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The Heretical Evolution of Michell GyroDeck's Turntable
- Andrew Munnik
- 1 day ago
- 4 min read
In the realm of high-end audio, certain pieces of equipment transcend mere functionality to become iconic benchmarks. The Michell GyroDeck turntable, since its debut in January 1982, stands firmly in this esteemed category. For over four decades, this remarkable turntable has not only graced the listening rooms of discerning audiophiles but left a palpable mark on the landscape of modern turntable design.
Its arrival marked a new era for J.A. Michell Engineering, establishing them as a pivotal and enduring innovator in the pursuit of pristine vinyl reproduction. Despite going against acoustic design understandings of the time, in fact actively opposing them, the GyroDeck established itself and Michael as a longstanding powerhouse. Though it has undergone significant changes over the years, the GyroDeck’s design principles can be seen echoed in myriad turntables across the industry.
From Classic to Iconic: Turntables Before the Michell GyroDec Era
Prior to the unveiling of the Michell GyroDeck, the prevailing approach to turntable construction often leaned towards more traditional methods.
Many manufacturers favoured the use of hollow wooden plinths. This was in an effort to replicate the structure and material of musical instruments, like a wooden box is expected to ring similarly to a guitar.
Today, we understand the folly of this thinking, with this approach creating unwanted vibrations and resonances that muddied the sound. The GyroDeck challenged this established wisdom head-on. Instead of embracing the perceived sonic benefits of wood, J.A. Michell Engineering opted for a solid plinth meticulously engineered from acrylic. Being a non-resonant material, acrylic offered an almost heretically different approach to vibration control, designed to minimise the introduction of extraneous vibrations.
This pioneering use of acrylic as a core structural element in a high-end turntable was a defining characteristic of The GyroDeck and set a precedent that would influence material choices in subsequent turntable designs across the industry.
What Made the Gyrodeck Such A Glorious Evolution?
While the adoption of a solid acrylic plinth was a groundbreaking aspect of the original GyroDeck, its innovative spirit extended far beyond material choices. Several other key design principles contributed to its revolutionary impact on turntable technology.
One of the most visually and sonically significant innovations was the implementation of a hanging pendulum-style sub-chassis. Actually inspired by the iconic spinning space station in "2001: A Space Odyssey," this massive sub-chassis, constructed from die-cast aluminium, was suspended on precisely calibrated springs housed within three frankly elegant peripheral towers.
This ingenious suspension system provided remarkable isolation, effectively separating the delicate platter and tonearm from external disturbances. And that’s whether they originated from the supporting surface or were transmitted through airborne vibrations. Furthermore, the original design allowed for easy and precise adjustment of the suspension springs from above, enabling audiophiles to fine-tune the "bounce" to ensure perfect levelling.
Another pivotal innovation was the inverted oil circulating main bearing. In stark contrast to traditional bearing designs where the platter spindle rested on a bearing at the bottom, the GyroDeck's bearing placed the point of rotation at the top.
This once again near heretical design incorporated an Archimedean screw machined into the inside bore of the bearing's housing.
In practise, this meant that while the platter rotated, the screw would draw oil from a reservoir at the base, all the way to the top, thoroughly lubricating every moving part. This self-lubricating mechanism significantly minimised friction and the generation of unwanted noise, further contributing to a cleaner and more nuanced sound.
Michel’s Legacy of Innovation
Michel’s Gyrodeck sparked a design revolution, most notably with its pioneering non-resonant acrylic plinth, inspiring others to move beyond traditional wood for superior vibration control. Its effective hanging sub-chassis demonstrated the benefits of isolating the platter and tonearm, influencing subsequent suspended designs. The ingenious inverted oil circulating bearing highlighted the importance of minimising friction and noise, leading to similar explorations by other manufacturers.
These are just some of the principles that The GyroDeck would go on to introduce into the industry, inspiring generations of audio engineers to seek out deeper innovation. Harbeth, for example, went as far as to create a new material to reduce unwanted vibrations in the form of RADIAL technology. This was not a one-sided interaction, mind you, as The GyroDeck underwent significant changes over the years. It goes to show the reciprocal relationship between audio engineers, underscoring the significance of events like High End Munich and its contemporaries.
In the realm of high-end audio engineering, it's easy to see the titans of industry as isolated innovators and perfection-obsessed recluses. Looking at the actual history of their innovation, however, that image begins to dissolve. Michael’s GyroDeck turntable, and products like it, as prolific as they might be, are never islands. The GyroDeck might have begun its life as a heretical revolution against industry standards, but the legacy of its influence follows the legacy of any heretic. Like Galileo insisting the Earth orbits the sun, Michell’s heresy of acoustic understanding has become the norm for any audiophile.
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