SME exits the tonearm business!
- Thread starter howiebrou
- Start date
Without speculating, it is safe to say that the tonearm market is neither a large volume market and for that reason alone, possibly not highly profitable for a corporation conscious of volume, earnings and /or major growth.
Is it a surprise that this change has come on the heels of the recent ownership transition?
It would be speculation to assert that tonearms represent a small, if not (relatively) insignificant portion of the gross income of SME Corporation; I simply don't know. The SME website does, however, timeline recent changes in both ownership and direction, having been acquired by the Cadence Audio Group of companies.
SME has not introduced a completely new product since the 30/12 in 2008. That kind of selective and limited product development can leave a company open to takeover if the existing product line is not highly successful. It could be argued that SME's tonearms and tables are at the top of the game, but again, and particularly in our audio world, which is so characterized by strong personal opinions, being 'at the top' is very largely subjective, and it remains unclear whether the vinyl revolution offers a lasting growth opportunity, or a temporary reversal of former downtrends for audio manufacturers.
In 2017 the company reimagined itself to focus on the Aerospace, Formula 1, Automotive and Medical Equipment indus-tries ( per their website ).
To me, this seems a logical and understandable step. ( Perhaps that's because I believe in the paramount importance of complimentarity between components in making a system sing. I myself own a system designed and constructed on this principle ( Aurum Acoustics )) My experience with Derrick Moss' gear has solidified my belief that component matching is the 'black art' aspect of audio, because the performance of his components was ( obviously ) conceived, researched and executed with the aim of making the most of the pieces assembled by the maker. The Aurum Acoustics system approach has given me great musical fulfillment.
Though no longer in the public eye, Henry Kloss' approach to creating matched and assembled audio, with the KLH entity, was another, early and successful example of this approach, if not the first. Is this the wave of the future? I couldn't possibly say, but it's interesting to view SME's approach in the developmental continuum of audio. It will be interesting to see how this endeavor works --or doesn't-- as a business model. And more to the point, how it will sound. I look forward to hearing the result of their new approach. That's the proof, you know: the audio pudding.
Is it a surprise that this change has come on the heels of the recent ownership transition?
It would be speculation to assert that tonearms represent a small, if not (relatively) insignificant portion of the gross income of SME Corporation; I simply don't know. The SME website does, however, timeline recent changes in both ownership and direction, having been acquired by the Cadence Audio Group of companies.
SME has not introduced a completely new product since the 30/12 in 2008. That kind of selective and limited product development can leave a company open to takeover if the existing product line is not highly successful. It could be argued that SME's tonearms and tables are at the top of the game, but again, and particularly in our audio world, which is so characterized by strong personal opinions, being 'at the top' is very largely subjective, and it remains unclear whether the vinyl revolution offers a lasting growth opportunity, or a temporary reversal of former downtrends for audio manufacturers.
In 2017 the company reimagined itself to focus on the Aerospace, Formula 1, Automotive and Medical Equipment indus-tries ( per their website ).
To me, this seems a logical and understandable step. ( Perhaps that's because I believe in the paramount importance of complimentarity between components in making a system sing. I myself own a system designed and constructed on this principle ( Aurum Acoustics )) My experience with Derrick Moss' gear has solidified my belief that component matching is the 'black art' aspect of audio, because the performance of his components was ( obviously ) conceived, researched and executed with the aim of making the most of the pieces assembled by the maker. The Aurum Acoustics system approach has given me great musical fulfillment.
Though no longer in the public eye, Henry Kloss' approach to creating matched and assembled audio, with the KLH entity, was another, early and successful example of this approach, if not the first. Is this the wave of the future? I couldn't possibly say, but it's interesting to view SME's approach in the developmental continuum of audio. It will be interesting to see how this endeavor works --or doesn't-- as a business model. And more to the point, how it will sound. I look forward to hearing the result of their new approach. That's the proof, you know: the audio pudding.
Say you’re a high-end electronics manufacturer and you come out with a line of preamps based on a circuit that took you many years to create. Reviewers and customers acclaim your products and the marketplace rewards your success. Life is good.
Five years go by. The competition does not stand still. Their new models appear regularly. Other manufacturers release Mark II and III versions. Some products have obscure or avant-garde three word names, some makers offer more knobs and dials; new interfaces appear with intriguing Captain Nemo style gauges, fancy digital interfaces allow manipulation from the listening chair, newly chromed or matted finishes speak to the bling-desire currently in vogue.
All of this splashes across the covers of audio magazines around the world, generating buzz about hot new features, their siren song enticing audio-lust and creating audio-insecurity. See her picture in a thousand places cause she's this year's girl. Audiophiles talk about the on-going search to meet their dream goals and set the baseline to "the journey is the goal, if you're not searching you're not evolving." New is different, it relieves boredom and generates buzz on forums for those adoring the attention that comes with bringing it to light. Audio magazines publishing best component lists drop prior class A deluxe entries because "not heard in some time."
What do you do Mr. High-End Electronics Manufacturer with your already excellent five (ten twenty) year old preamp? What do you do in this world of continual audio churn?
They have cut Avid off already 2 years ago. So the 'transition' process started a while back.
I had a dinner with a major arm manufacturer during the weekend, who (literally) said: "suddenly, the CEO of SME became my best friend".
I know exactly what you mean but that's the way of the world, out of sight out of mind...
david
If these people came to buy the Kheops pyramid they could destroy it for building a parking or a supermarket. Tonearms are part of SME’s history. It is one of the things that make it apart. They don’t understand that and don’t understand they make sme just another hifi factory.
The new ownership didn't live SME's history they only bought the legacy, they'll do what they feel is most profitable for them. They can always reverse course if needed.
david
I think a lot of this distress in relation to SME now only doing "complete" turntable/tonearm units is wrapped up with the fact that SME only did tonearms initially - but it was a long initial period. 1959 to 1991. Then they started with turntables too.
Compare this to the other main UK turntable/tonearm manufacturers. I'd guess nearly all units from Linn and Rega are (and have nearly always been) sold as turntable/arm combinations. The same lower down the scale with Project. Michell also do their own arm, albeit a Rega rebuild; and Avid are the only company I know of who are having to switch away from the SME supply chain.
I'd guess, pre the SME turntable, many SME arms were installed on Thorens turntables. Now you rarely see that.
Both manufacturers and retailers must want this consolidation. With the volume of high end turntables and tonearms sold being pretty low, a retailer must be much happier stocking three variants of three brands - nine in all - rather than the possibility of having to reconstruct up to 81 turntable/arm combinations depending on customer requests.
And I'd guess if you really just want an SME turntable or an SME arm they will supply them but just not market them.
Compare this to the other main UK turntable/tonearm manufacturers. I'd guess nearly all units from Linn and Rega are (and have nearly always been) sold as turntable/arm combinations. The same lower down the scale with Project. Michell also do their own arm, albeit a Rega rebuild; and Avid are the only company I know of who are having to switch away from the SME supply chain.
I'd guess, pre the SME turntable, many SME arms were installed on Thorens turntables. Now you rarely see that.
Both manufacturers and retailers must want this consolidation. With the volume of high end turntables and tonearms sold being pretty low, a retailer must be much happier stocking three variants of three brands - nine in all - rather than the possibility of having to reconstruct up to 81 turntable/arm combinations depending on customer requests.
And I'd guess if you really just want an SME turntable or an SME arm they will supply them but just not market them.
SME 15?
The new integrated turntable with a Nagra Phono Stage?
I guess the new wave of buyers are from the fit and forget school - maybe not the tweeters of old.
I frankly think that on the one hand they buy the Garrard name and outsource the plinth build to Spendor, whilst going up what they first made for audio.
It could be that the engineering into the tonearm is significantly greater than that of their turntables, and they cannot be made profitably on their own.
SME cutoff Transrotor almost 2 years ago as well. However, Transrotor designed their own tonearm to replace the SME supplied arms. Transrotor built the TRA9 arm which uses the DNA from an SME V and some well known Japanese arms, plus their own design elements incorporating different alloys to reduce resonance.
Transrotor | TRA 9 | Flagship Series 9" tonearm.
Transrotor decided that it was time to design, create and build their own tonearm.
For Transrotor there was no lack of practical experience with the best tonearms in the world as well as relevant knowledge and access to the most modern production methods available. Transrotor wrote ease of use and simple adjustability at the top of the specification list.
The Transrotor TRA 9 is designed using it's fine mechanics not to put any stamp on music and enabling even extremely high-quality pickups to develop their full sonic potential.
Creating a tonearm tube free from resonance is of decisive importance. Therefore, the Transrotor design team decided on a two-part solution with a tapered part that is connected to the bearing block. At first it was planned to insert a second tube and attaching the headshell to the opposite side. If the tubes overlap they would then mutually attenuate one another. However, no standard tube with the extremely tight tolerances required for this application could be found on the market. That's why the front tonearm tube is cnc machined from a solid piece of aluminium.
But it's not only the different dimensions of the two tubes that minimize resonance. Transrotor's experience gained in building turntables made it possible to combine different aluminum alloys in such a way that they are optimally damped. But with a tonearm it's not just about vibration control, it's also about deriving it as quickly as possible. Therefore, the idea of gluing the two tubes was rejected. Thanks to the very low tolerances the two tubes touch each other over a large surface area and only need to be screw fixed.
The massive bearing block is designed completely flat on top. With this feature you are able to simply check the horizontal alignment of the arm by placing a spirit level during adjustment. Two threaded rods are used for sensitive height adjustment.
For easy height adjusting a parallelogram made of plexiglas is supplied with the tonearm and two threaded rods that are screwed into the corresponding threaded bushes. With the two bars the arm can be moved extremely sensitive up and down.
The counterweight is fine adjustable by means of turning a central positioned screw. The bearing force can be set precisely up to the second decimal. The chrome-plated brass weights can be exchanged for ones with different weights if necessary.
Anti-skating force is generated magnetically and fine adjustable. The headshell can be rotated for azimuth adjustment.
Extremely low breakaway forces and very little play are decisive for a tonearm bearing. As a result high-end Japanese steel bearings are used by Transrotor for horizontal guidance and ceramic bearings for vertical guidance. Both bearings are braced against each other to eliminate unwanted play.
For mounting the arm Transrotor offers two options: Standard type, a circular one with a diameter of 43 millimeters and a SME type, an elongated one that allows mounting on surfaces that are prepared for a SME tonearm.
Features:
- Material: Aluminum alloy, stainless steel, brass, ceramic, magnetic material, engineering plastics, silver, anodized aluminum, chrome, gold, Ruthenium.
- Tonearm tube: Double tonearm tube made of 2 different aluminum alloys, pushed into each other, stiff and resonance-free.
- Counterweights: Aluminum alloy with exchangeable brass weights (depending on the system weight).
- Height adjustment: 2 screw-in adjustment screws raise the tonearm in parallel
- Scating setting: Magnetically adjustable with a fine thread, center setting 1.8 p (grams) (red line).
- Cabling: Pure silver cables (4x Seven Stream Van den Hul), oxygen-free insulation outside and inside with silicone hose, protected and damped, connections with silver solder, system connection cable lugs silver-plated.
- Connection cable: Pure silver cable (same material as inner cable), oxygen-free insulation.
- Connector: Straight Tac-5 to RCA or XLR, special highly conductive coated (WBT).
- Compatible with all 9" SME bases manufactured by Transrotor.
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