SATI TRANSFERRENS ULTIMATE
Why is the turntable industry not using this logical method? to hear their record players sound compared to the Vinyl’s original reel to reel Master tape recording.
This paper will only bring some light on different turntable bearing layout and its influence on the sound compared to reel to reel master tapes.
Throughout the years the analogue turntable has existed, there have been different predictions of “the perfect bearing construction” This discussion has largely been exclusively of “mechanical technical nature” and did not point out the actual range of sound differences between the different Types of bearing construction. No TT makers and reviewer has compared the TT to master tapes.
Another description could be that producers have been seduced by the notion of the “friction-free bearing” and “absolute noise-free bearing”.
Since all vinyl records are cut after analogue Master tapes or “digital masters”. It is obvious to compare the vinyl record sound against its tape master sound and look at what is closest to the Master. The only recordings process that differs is “direct- To – Disk” recordings which simply is the closest thing to reel to reel masters.
The first used bearings in the history of analog turntables was a horizontal slide bearing with a shaft turning on a rounding end against a flat surface. Later was this exchange with a ball turning on a hard plate at the bottom.
Later in history came high tech bearing variations like the air bearing and the magnet bearing both used to raise the turntable platter in order to archive minimal Friction. With the development of air floating platter has the industry obtained the highest isolation from the turntables Ground.
The oldest bearing with shaft resting on a ball has later been further medicated to a shaft resting on a ceramic ball turning on a ceramic ball or Silicon Ni/trid ball.
Airborne Bearings is used by Bergmann , Redpoint, Tech Das Airforce One and others
Magnetic Bearings is used by Kuzma og Clear Audio, V.P.I. and others
Countless of DIY users have Modified their turntables with Teflon and ceramic ball.
Studer A 80, A 67, c 37 professional reel to real tape recorders has been used for comparison. All used with a variety of genuine master tape and their corresponding copy on vinyl.
Compared to other turntable manufacturer is The SATI Transference Titanium going in the opposite direction. We have done everything to make the Sati turntable turning with absolute GROUND. This can only be made by a shaft/ball combination turning down into a flat diamond. A genuine combination which can control the ultimate massive high 50 kg Titanium platter. with *obtained inertia of 5625kg . cm2.
Under the development we have compared the Sati’s sound performance against original Decca’s 6000 and 2000 series, Emi/s as well as jazz and rock. All of them recorded in golden tube era with two or three microphones placed in the concert hall. Kindly lent from friends in the professional record industry.
Bearings design like air, magnetic and Teflon bearings was every time beaten by the old GROUNDED ball bearing design.
The Sati with massive GROUNDED bearing design went deeper in the bas, had much more body and all decays been easier to hear. All the Exotic bearings design just sounded THINNER, lighter and brighter.
The high- end industry has been seduced by the friction of the bearing itself instead of the bearings influence of the turntables overall sound. If you measure the Sati with a Statoscope has it more noise than air, magnetic or Teflon bearing, but it is a completely stupid measurement because why make a bearing which in the end has lower sound quality.
Just to emphasize that the Sati bearings own noise is not in any way hearable when the Titanium platter is turning.
In the development of the Sati record player we stated out with different platters with different weight going from 10 kg to 25 kg weight and ended up with 50 kg. The sound performance from 10 to 25 kg was easy to hear and the absolute version stopped with the 50 kg version we tested also a 75 kg version sound quality but it did not made any improvement over the 50 kg we went up with.
Which turntable motor was the question? In the beginning we started out with a philosophy that the motor should not be too strong; (like The Melco design from Japan) The should just be able to turn the platter round from there the inertia would do the rest of the job. But a weak was always making some unwanted drift when it tried to keep ultimate steady speed.
The solution for controlling the 50 kg high inertia platter came with a 500 mNm strong motor. This motor was able to run the 50 kg platter with low speed. The low speed option, A benefit with the low turning pulley that we no more had to live with the fast turning pulley used in nearly all turntable design today. The high speed of these motors makes the whole thing flimsier and the sound gets more uneasy
The small tiny POLY has LOW grip on the belt. With the ultimate 500mNm motor we were able to run the titanium platter with a large 70 mm diameter pulley. This has fantastic grip on the belt and can run the platter with absolutely accuracy. The reward was total control for every aspect od the sound spectrum. The first you will hear is that goes down further in the bas than any other turntable. Next you will hear ultimate dynamic and body to the sound, next comes its noticeably clear rendering of Decaying in the music. To hear the Sati will be an exploring of new details in the music but it will never loose its grip on the wholeness of the music it is presented.
We is completely convinced, the SATI is performing at the limits of what is possible for Vinyl playback, The Sati transference has everything to offer for the most demanding vinyl enthusiast.
You simply must have the opportunely to listen to this ultimate record player.
