La Platine VERDIER Page 1 of 25

HIGH END
TURNTABLES
and
VACUUM TUBES
AMPLIFIERS

"La Platine Verdier"

Articles
TO MY PIRATES (J.C.Verdier)
"HI-FI NEWS - February 1999"
To my Darling - DAS OHR issue Nø 29 December 1989
Learning to levitate From Newspaper : AUDIOFILE - the Star - June 18 1998
ABGESANG UND NEUANFANG - High Fidelity und Musik - 11 November 1992
HI-FI+ Issue 12 Jul/Aug 2001 - Issue 14 Nov/Dec 2001

It is the privilege of
Originals
to be plagiarized...
... by those
who don't manage to come up with an
original of their own

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La Platine VERDIER Page 2 of 25

Thanks to all who deem us worth

their effort

Paris

LABORATOIRE

To my pirates

I noticed that many of my Platine Verdier's pirates had a problem with the magneti

Generally the repulsion force is not adequate and it is necessary to complete it with
spindle or any other samarium cobalt magnets on the top of the axel. That situation
because some of the customers turn away ignorant they are facing copies and belie
device is defective, bad designed or bad developed

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La Platine VERDIER Page 3 of 25

To give a cure, I am going to indicate my pirates how to build magnetic circuits. T

that they use an ordirlary steel high carbon tenor.

On magnetic point of view that metal is certainly provided with a weak "coercitive
too much important, which decreases the field provided by the magnets. The answe
using a magnetic alloy of suitable quality, for example TELAR 57 of ARMCO. wh
tooling of the part is over, you have to realize a double fire under vacuum to elimin
carbon traces.

And then, to finish, you can paint. the magnetic circuits or realize a surface process
"zincage bichromatage" which gives that lovely gilded colour. of course that is rea
expensive and complicated than ordinary scrap-iron, but now you don't have any e

Good luck pirates

HI-FI+
Issue 12 Jul/Aug 2001
Issue 14 Nov/Dec 2001

Platine Verdier Record Player

and Audiocraft AC4400 Tonearm

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La Platine VERDIER Page 4 of 25

by Peter Russell

also to counteract the drag on the features and sculptured engineering. The
cartridge stylus in the grove of the detailing of the arm I will reserve for
record. There are three dissimilar later as we discuss the performance of
metals between the spindle and the the arm/deck combination.
platter, which serve to deflect
mechanical energy. It is important to
note that the only thing that actually
rotates is the platter. Very little of this
is visible to the casual observer. The
two powerful magnets housed in their
dull gold cast iron rings are in plain
view and the setscrew is visible from
underneath the platter, otherwise there
is little to see.

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With the outboard motor the actual

turntable base is quite small but large
enough to mount two arms if you
should so wish. The usual arm-board is
in the same material as the plinth,
whilst for the Granito version it is
aluminium. If you are feeling
particularly exotic you can
commission one in ebony! The
turntable was fitted with an Audiocraft
arm. This should really be described as
a tone-arm system as it provides for
remarkable flexibility. We are all
familiar with tone arms which offer the
versatility of interchangeable arm
wands of varying masses to
The motor supply, sited on a separate
accommodate different cartridges, but
support, can accommodate either a
no one goes to the extent that
thread or rubber belt. For the purposes of
Audiocraft do to provide a means of
this review the drive belt was the waxed
matching virtually any cartridge
button thread provided and the supply
including the Ortofon SPU's, as well as
was situated 22 inches from the platter
any turntable, as it has a choice of
spindle. The supply has the usual on/of
overall weights to fit suspended and
switch and status light, a switch for
non suspended decks. As fitted to the
33/45rpm and two rotary controls for
Verdier it came with the 12" arm with
setting the turntable speed, together with
fixed headshell, set of counterweights,
a switch at the back of the housing
overhang protractor, damping fluid, an
labelled thread/rubber.
additional S shaped arm to
All of this is housed in a pressed metal
accommodate the Ortofon SPU, lateral
box mounted on a matacrylic plinth.
side weights and its own high quality
Given the engineering involved in the
phono cable. Once set up it looked a
platter and base it is unfortunate that the
million dollars with its bronzed
motor assembly does not mirror the same
attention to form and function. 1 would
have thought that a more thoughtfully
engineered

motor housing and switching of the

turntable would have been more
appropriate. 1 understand from the UK
importer that this may well be in hand
and that there will be further

modifications to improve the look and

feet of the turntable.

It is possible to replace the existing

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La Platine VERDIER Page 6 of 25

motor supply with a battery driven one.

Here the turntable is activated by a
switch on the battery supply not the
motor which, at the same time
disconnects the mains. The turntable can
run continuously for a week without
requiring charge

It was fitted to the turntable by way vocals by Amanda Mcbroom, Jennifer

of the heavy suspension weight that Warnes and Ute Lemper; guitar music by
locates underneath the mounting Albert Lee, Jimi Hendrix and Buddy Guy;
board. There is a lighter one Opera sung by Bergonzi, Ferrier, Callas and
available to enable the arm to be more eclectic music by The Penguin Cafe
accommodated on lightly sprung Orchestra as well as Bo Hansen.
suspensions. Tracking weight is All in all this deck/arm combination created
effected by rotating the differences 1 had not heard before, whether
counterweight and then zeroed with was in the subtle shadings in Ute Lemper's
the bronzed collar with its graduated version of `Cries from the Heart' or Amand
markings, which proved to be Mcbroom's original version. Both were
reassuringly accurate. By throwing a portrayed with a sensitivity and emotional
small lever at the base of the arm impact, which revealed how very different
these two singers are in their ability to creat
pillar a locking collar is released the subtleties and moods through their voca
which then enables a vernier scale repertoire.
thread to be adjusted for VTA, and
then relocked by the lever. Whilst it
is not possible to adjust VTA whilst
the record is playing it only takes a
couple of seconds to do any required
adjustment. Because the arm is a
dual-pivot design it allows a facility
to vary the damping of the arm/
cartridge by the use of a large screw
at the top of the arm pillar that varies
the amount of oil within a small well
The instructions and drawings,
which accompany the arm, leave
very little to the

imagination; they are both

comprehensive and easy to follow, a Increasingly I am convinced that the succes
model some other manufacturers of a piece of hi-fi lies in its ability to
would do well to follow. Changing distinguish the differences between

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from the 12" arm to the S shaped
arm to allow the Ortofon SPU to be
fitted was a breeze, about two
minutes to replace the existing
counterweight with the heavier one,
attach the lateral side weights, SPU,
adjust VTA, set tracking weight, and
finalise the damping. We were ready
to ride the grooves.
As I said before I am not sure that
have yet got to the bottom of the
Verdier's sound. I must have ended
up playing every kind of music from
early music on original instruments
through Mozart, Mahler and Jazz;
small ensemble music through to
performances, instruments and recordings.
The portrayal of contrasts in such a way as
produce the verisimilitude of the performan
has to lie at the core of musical belief. As a
listener I want to experience the performanc
to participate in the event whether it is a liv
experience or one that I have created in my
room with the equipment that I have
available. If I can not believe in the
performance then I usually end up being
distracted or dissatisfied and

the fact that the addition of a turntable by the pianist as he phrased the notes.
mat and the effects of a clamp all made
their presence felt meant that not only
did this review seem to take for ages but mat established the relationship between
also the permutations seemed endless.
However, throughout these evolutions,
one factor remained constant; the
player's unerring ability to differentiate
one performance from another.
I am sure that there will be considerable
debate about whether to clamp and/or
mat the Verdier. A number of people
have said to me that a mat, especially
the lead composite Verdier mat, closes
down the sound, restricts the sound
stage and that the leading and trailing
edges of notes are lost. Well that may
well be the case with whatever arm and
cartridge they were using but in the set
up here this certainly wasn't so. The
Verdier mat changed the presentation of
large scale performances from a wide
wall of sound with a strikingly diffuse
The same was evident in the piano
playing of Kabi Laretei's Mozart
Fantasia in C minor. Here the use of the
the
right and the left hand whereas without
it, it was vague and diffuse with a lack
of control and a large forward
impressive soundstage. With vocals we
see the same ability of the mat to presen
the timbral accuracy of the singing of
Ute Lemper and Amanda Mcbroom.
There is an intimacy and warmth in thei
vocal projection, which draws you into
their emotional experience. By
removing the mat their voices lost some
of the midrange fullness that gives
expression to their performance.
I am sure that given the numerous

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La Platine VERDIER
presentation to one in which you were
able to discern the instrumental
positions, and where the solo
instruments were correctly scaled. The
Vivaldi pieces without the mat were
initially impressive, the notes filling out
the stage and appearing as if created by
a large ensemble. It is only by reference
to the sleeve notes that one realises that
there were only six instrumentalists. The
mat and clamp readdress the errors of
scale and notes take on their rightful
shape and precision. In The Tube the
mat resolved the resin tones of the
strings and exercised control over the
high levels of energy latent in the
violins, which can so often sound hard
and strident when they should not be. In
Handel's Chaconne in G Major one
could actually feel the pressure exerted
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Page 8 of 25
permutations possible with the.
turntable/arm/clamp/mat etc. that one is
able to voice the system to suit whateve
preferences one has and the tonal
balance of the equipment. However,
with its honesty to the recording, the
Verdier/Audiocraft combination is a
ruthless exposer of the rest of the
system. The weakest link will be
presented in all its failings and will have
to be addressed if the full potential of
this combination is to be realised. The
originality of its design, commitment to
its initial concept and the apparent
simplicity of its engineering and
operation have provided a remarkably
neutral transcription base on which to
ring
8/25/2010
La Platine VERDIER
Platine Verdier Revisited
There is always a danger in revisiting
somewhere you once knew in the past.
You know, going back home after a
long absence, driving a car you once
owned or going back to a favoured
restaurant. Memories are a mixture of
filtered past events and expectations of
the present. I am normally hesitant of
reliving some-thing I previously
enjoyed because I am so often
disappointed. In this case I will have to
revise that view In Issue 12 I
commented that 1 had not really got to
the bottom of the character of the
Platine Verdier. Two turntables later
and after reinstalling my Well
Tempered Signature in a new but
smaller listening room has meant that I
have had the opportunity to revisit the
Verdier and listen to it with a variety of
differently priced cartridges. 1 think
that by now I have a fairly clear view as
to what this exercise in levitation is all
about.
Let me first of all make a comparison;
over the last couple of months I had the
opportunity courtesy
the multi-miked imbalances. If the
strings shriek at you it is because that is
how they are. This deck will not make a
silk purse out of a sow's ear. There are
number of recordings that 1 have
enjoyed listening to in the past but
having heard them again on the Verdier,
1 am no longer so sure that I will be as
keen to spin them again. Some appear
thin and harsh whilst others have lost
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Page 9 of 25
by Peter Russell
of a friend, to listen to a Forsell
Reference in my system. Now there is
not a lot of similarity between that
turntable and the Verdier is there? You
would be right and you would be
wrong. What they do have in common
is a remarkable ability to portray the
rhythm and timing in a performance as
well as a total
absence of grain. There is one other
thing that they do well; the music
seems to pour out of the platter. It is
effortless and fluid. This latter quality
is something that all `air bearing' decks
seem to share. It is the antithesis of the
digital age where the episodic
remastered ones was both a joy and a
disappointment. Not all the recordings
were capable of portray that plaintive
pathos in her performance, or her
emotional intensity. At one point 1
succumbed to going through my Albert
Lee albums on both the Verdier, the
Well Tempered and the Forsell, using
the same cartridge on each turntable
supported on a BCD stand. All three
8/25/2010
La Platine VERDIER
the body and substance one remembers
from previous listening sessions on
other turntables with other arms and
cartridges. This fidelity to the source
was commented on in the original
review and implies that the turntable
does not have a particular character,
which would be tempting fate too
much. If anything, it is too revealing,
which is why it is so easy to `tune' this
deck with the choice of tonearm. For
me, listening to the different timbral
contrasts of the Cremona violins on the
Fone album was a real delight, just as
dragging out my Billy Holiday albums,
both the originals and the
"HI-FI NEWS - February 1999"
Here is a
combination
producing clean,
solidlyfocused
sound, having the
presence and control
of CD yet all the
natural warmth
of LP
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Page 10 of 25
turntables have their strengths and this
is not the place to present a detailed
comparison. 1 will say that the Verdier's
strengths lay in Usability to capture the
raw energy and sheer attack as Lee
went through his numbers. The
distinction between nylon, steel and gut
strings on the various guitars was more
obvious and the presentation of the
energy spectrum and authority and
control over the music meant that the
supporting percussive and stringed
instruments created a richer and more
involving listening experience.
It would be tempting to try to make a
final statement about the Verdier as
PLATINE
Verdier
At £5000, this combination represents
a substantial outlay, but it
won't disappoint lovers of vinyl
by JAMES M HUGHES
8/25/2010
La Platine VERDIER Page 11 of 25

Size matters. So do stability and And the Platine Verdier turntable,

solidity. They matter because music when fitted with 12in SME 3012R arm
isn't always comfortable and and an Ortofon SPU Classic doesn't
predictable. Halfway through the disappoint. Here is a combination
Andantino of Schubert's penultimate producing clean, solidly-focused
piano sonata (D959) is an sound, with tremendous width and
extraordinarily agitated, nightmarish depth, having the presence and control
passage, quite out of keeping with the of CD yet all the natural warmth of
tranquil mood in which the movement LP.
opens. Playing Claudio Arrau's LP
version [Philips 6514 368] can be a The music has exceptional range -
nerve-wracking experience: will the both dynamically and tonally -
pickup cope with the extreme transients enhancing the feeling of space and
or will the sound break up? Only the depth around voices and instruments.
finest turntable/arm/cartridge Bass is solid and firm, while treble is
combinations will survive. Security focused and sharp; stereo imaging is
definitely matters... detailed and wide. Underpinning this
is a reassuring sense of solidity:
Everyone knows LPs can sound great. listening, you know that nothing short
But they're also infuriating: frustrating of an earthquake is going to upset the
and disappointing when things aren't music.
right. Even the most ardent enthusiast
must wonder at times if records are A STABLE FOUNDATION
worth the bother: vinyl can be
temperamental and unpredictable. That's important. Especially for those
When you run LP and CD side by side, who listen to CD as well as LP, and are
it's essential that the negative aspects of accustomed to its stability and
vinyl surface noise, peak level consistency. Of course, even a
distortion, pitch instability - don't turntable as good as this won't hide
obtrude. The lifelike ease and faults, won't camouflage rough
naturalness of LP is very addictive; but surfaces. But neither will it exaggerate
it's a fragile pleasure and easily them. Difficult LPs like Arrau's
compromised. Schubert -reproduce cleanly, allowing
one the security that everything is
under control.

Instrumental, vocal, choral, orchestral,

rock, jazz - all types of music, from
simple to complicated, reproduce well.
When the music is complex and busy,
things don't crowd up - the sound
remains clean, detailed and articulate.

Clearly, the Platine Verdier provides a

good solid foundation for the arm and
cartridge to do their job. But the

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excellent tracking ability of the

Ortofon SPU Classic is also important.
`Classic' is a worthy designation: the
sleek lines of this beautiful
cartridge/head remind one of a vintage
1950s sports car. It plays at robust
downforces of between 3 to 5 grams,
and some may worry that this will
accelerate record wear. However, this
isn't so, because the elliptical stylus
profile is quite broad, spreading the
load.

Spending £5000 on a record player is

undoubtedly a sizeable investment.
Those indulging their passion for vinyl
to this degree will rightly expect
something special.

Because there's more slippage with

the linen belt, a two-position switch
at the back of the power supply is
provided to increase the speed of
the motor slightly. Fine speed
adjustment is possible at both 33
and 45rpm, and the tensioning of
the linen belt changes the speed of
the deck - and thus the sound. So
check running speeds with a strobe
when setting up.

MAGNETIC CUSHION

But the main bearing is the star of

the show. With such a heavy
planer, this needs to be pretty
massive, and it is: an inverted
20mm diameter shaft some 68mm
long. But there's no supporting bail
or thrust plate; instead, the spindle
and underside of the planer are
surrounded by two large ceramic
ring magnets that repel each other,

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thus allowing the planer to float on

a magnetic cushion.

Verdier claims that ifs main

bearing is the quietest ever, as the
planer is vertically isolated. Of
course, the sides of the bearing are
in contact with the shaft, but the
use of thick oil and a high standard
of finish ensure minimal noise and
friction. Which leads to one of the
Verdier’s little foibles: the bottom
of the main bearing is designed to
leak oil!

With an inverted bearing, gravity Cosmetic finish is good, but some details Although th
causes lubricating oil to flow to the disappoint. For example, the large bolt universal tur
bottom of the shaft, leaving the top and washer that secures the arm block arms, UK im
part dry. The Verdier has a small looks rather crude. True, there is a combination
grub screw near the LP centre plastic cover for the nut, but the silver
spindle that tan be removed to washer is still visible. I also feel the
SME 30128
allow oil to be poured into a surface colouring of the magneticClassic or G
reservoir at the top of the bearing. enclosures looks cheap like the plated
had a few pre
Over tune, this oil will eventually steel chassis of an inexpensive Japanese
and wondered
make ifs way to the bottom of the amplifier. A black finish would be
such august
shaft where it collects and exits via better. very well: th
a small hole. You simply put a much improv
piece of paper under the deck to Although the Platine Verdier is a and it's goo
catch the drips... universal turntable, compatible with cartridges so
most arms, UK importer GT Audio feels
If all this conjures up visions of the combination of the 12in Perhaps there

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La Platine VERDIER Page 14 of 25

getting out dip-sticks to check oil The heavy plinth is made from Medite
improvement
levels before going for a spin, don’t and finished in high gloss piano-black.
using more co
worry. The oil reservoir is The arm support board needs to be SPU. I tried O
generous, and the rate of seepage the Transfigu
quite deep to raise the arm sufficiently
low. Also, as the oil is thick, it tends virtually unu
because of the deep planer; two are
to cling to the sides of the bearing. with very goo
provided - one cut for an SME, the other
All the same, this turntable needs agree with GT
blank. Three large finger bolts adjust
rather more maintenance than the sprung suspension so the plinth tan
quality of the
your average deck. Incidentally, be levelled. As with many open-design
combination;
the bearing tan be fitted with a bail turntables, no lid is provided. SPU. GT Aud
and thrust plate, by-passing the number of sp
magnetic support. but apparently itCosmetic finish is good, but some details include impro
doesn't then sound as good. disappoint. For example, the large bolt wiring and ch
and washer that secures the arm block
The heavy plinth is made from looks rather crude. True, there is a A magnificen
Medite and finished in high gloss plastic cover for the nut, but the silver of a doubt
piano-black. The arm support washer is still visible. I also feel the positive aspec
board needs to be quite deep to surface colouring of the magnetic minimising fa
raise the arm sufficiently because enclosures looks cheap like the plated a turntable ab
of the deep planer; two are steel chassis of an inexpensive Japanese kinds of mate
provided - one cut for an SME, the amplifier. A black finish would be voices and ac
other blank. Three large finger better. complex layer
bolts adjust the sprung suspension you forget ab
so the plinth tan be levelled. As records, leavi
with many open-design turntables, the music.
no lid is provided. And what cou

Fine speed adjustment is possible

at both 33 and 45rpm, and the
tensioning of the linen belt
changes the speed of the deck
and thus the sound. So check
running speeds with a strobe
when setting up

Left : one of the two opposing

magnets which provide a no
Contact ‘air cushion' main bearing

Right : the Platine comes with an

optional linen thread drive belt

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La Platine VERDIER Page 15 of 25

Translation of Klaus Renner's Kommentar

DAS OHR issue Nø 29 December 1989

To my darling,
This write up is a love declaration to analogic technical and to an apparatus who
HI-FI a love declaration to VERDIER'S Turntable

When we live 1O years with an HI FI apparatus, we are not able to write a pap
perhaps I will succeed in explaining why this turntable is so incredibly attracti
system " was built around it.

Let us make a turn back of 1O years : it was the age of the birth of CD idea an
analogic turntable, we were discussing around direct driving and belt driving.

I labored very hard to optimize a direct drive MICRO DDX-1OOO: I had abs
bitumen mass so as to remove its bell-s resonance , and a mural rack was in ch
Various Tone arms - GRACE, AUDIOCRAFT and FR handled AUREX and G

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La Platine VERDIER Page 16 of 25

One day I had a phone call from a Belgian distributor to have a meet for an in
An unusual Turntable was in question, the inventor, a man whose name is Jea
at my disposal to answer my questions.

A few weeks later J.C.Verdier came to Munich - on the table of the editorial st
turntable quite different of all I have ever seen before. The English of J.C. was
staying for hours discussing of his Turntable somehow or other in 3 languages

In spite of communication problems it was, and stays to-day, one of the most im
an HI FI inventor. In each sentence, in the description of each minor detail, we
J.C.Verdier Turntable's love.

The engineering called in question again what I have ever seen and yet The Ve
lot of points. But I had a real surprise when I heard it. By chance, at the same
turntables, very famous at this time, the COTTER B with a DENON DP 7O ca

I fastly observed that my coddled MICRO had not any chance facing those 3 c
problem with the COTTER and the WIN who surrendered facing the VERDI
as all other turntables who tried to cope musically with the VERDIER's.

To-day, 1O years were passed since that memorable talk with J.C Verdier, his
number is 1, is always in my auditorium practically without change. Only two
this time : the plate cover and the tone- arm base fixation.

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La Platine VERDIER Page 17 of 25

Learning to levitate

TECHNOLOGICAL progress ensures that the boundaries of the high en

redefined, but after a taste of gourmet vinyl hardware, one might well be
attained its zenith. Try for size the very unorthodox La Platine turntable

Ah, but no complex techno-gadgetry is involved here; La Platine uses the

scientific principles to minimize friction, that bane of civilization. To ban
of the turntable's platter is supplemented with a permanent magnet. Thi
another permanent magnet attached to the plinth, with the poles of both
And as you know, like poles repel, exactly the same principle applied to t
trains. Voilà!

A central spindle keeps the plinth and platter in alignment. The "levitati
smooth rotation. An external DC motor, mounted away from the turntab
a fine nylon thread (provided generously by the manufacturer). Speed fr
1/3 rpm on the La Platine. Just slip on your fave LP.

Less startling, but engineered to a price, is the single-unit smaller sibling

uses oil-based platter suspension.

Intimidatingly, you can mount dual tonearms on either of these exquisite

can also be adjusted to accommodate conventional tonearms of various le
Awesome, eh ?

Ah, price, yes, hold your hearts ! The La Platine is a mere RM33,000, La
enticing RM18,000. You'll have to get your own tonearm though. Vinyl f
out (The nouvelle is arriving soon), at Wisma Audio Center (03 262 8034
and life's not the same anymore ... and yes, this sumptuous turntable will
Fest 98

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La Platine VERDIER Page 18 of 25

From Newspaper : AUDIOFILE - the Star - June 18 1998

LAUFWERK PLATINE
von Roland Kraft

in STEREO - High Fidelity und Musik

ABGESANG UND NEUANFANG

Die Ära der Schallplatte ist vorbei. Doch während die einen den Abgesang
anstimmen, reden andere von einem neuen Anfang - Analog, so heißt es, w
die mächtigen Saurier vom Schlage einer Platine Verdier also überleben ?
denn Legenden sterben nicht

Langsam kristallisiert e
bemerkenswert großer P
beharrt auf der Schallpl
unaufhaltsam entwickel
für die guten alten schw
der Boom im Second
Neupressungs
Verfechter - der Platten
HiFi-Laden oder auf de
Zuwachsraten meldet. U
"Plattenläden" wurden

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La Platine VERDIER Page 19 of 25

reiben, wenn sie nur mitbekommen hatten, was auf der HIGH END'92 in

war: Im Messezimmer eines szenebekannten Versandhändlers traten sich

die Füsse; trotz mitunter gepfefferter Preise wurde kaltlächelnd in Second
audiophile Neupressungen investiert. Daß sich etwas tut, können auch die
"Wir lassen uns die LP nicht miesmachen", war der Tenor der Leser, die
der Mehrzahl CD-Benutzer sind. Der Highender, so scheint es, hat die Kla
aufgegeben und geht jetzt ganz pragmatisch vor: CD plus LP lautet allent
In der STEREO-Mannschaft spiegelt sich wider, was sich "draußen" absp
Verfechter liefern sich zwar immer noch heiße Diskussionen, und die Prag
- doch niemand kann sich, womit wir beim Thema wären, der Faszination
entziehen. Superlaufwerke vom Schlage einer Verdier sind sprichwörtlich
audiophiler Träume, Gegenstand unendlicher Klangdebatten und der Gru
Bankkonten, Bandscheibenprobleme und die Suche nach der einzig richti
dem monströsen Aufwand, dem rücksichtslosen Materialeinsatz, dem Dra
zu perfektionieren, teht auch ein langer, steiniger Weg der Erkenntnis, de
Riemen hin zum Direktantrieb und wieder zurück gegangen wurde. Hätte
die Meßtechnik gehalten, dann wäre das Thema Laufwerk mit nachweisli
Direktantrieblern ad acta gelegtworden; Gleichlaufund Rumpelmessunge
sowie die kürzeste Hochlaufzeit hätten entschieden, daß das Ohr sich irrt.

Vergegenwärtigt man sich den

Mikrokosmos der Schallplatte, jene
winzige Kontaktzone, in der sich Nadel
und Vinyl begegnen, dann wird klar,
wie außergewöhnlich heikel der
Vorgang ist, wie krass sich selbst
kleinste Störungen auswirken können.
Das A und O außergewöhnlicher
Laufwerke, das Alphabet der
Konstrukteure, beschränkt sich auf
zwei Leitsatze. Erstens: Den
Abtastvorgang so weit wie möglich
gegen äußere Einflüsse isolieren.
Zweitens : Dafür sorgen, daB der
Plattendreher nicht selbst zum
Unruheherd wird. Wie wir wissen,
führen diesbezüglich viele
Lösungswege nach Rom -
Superschwerkonzepte, ausgefuchste Federsysteme, Subchassis-
Luftlagerungen, exotischste Materialien und noch vieles mehr. Logisch. d
gar simples Klotzen also noch keinen guten Plattenspieler ausmachen. Wi
richtige Weg in der gekonnten Komposition, im perfekt ausbalancierten Z
Bestandteile. Regeln'? Die scheint es aller Erfahrung nach nicht zu geben.

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La Platine VERDIER Page 20 of 25

nicht klingen, störend mitschwingen. Der Motor soll für möglichst gleichm
Tonarmbasis muß solide und das Tellerlager so laufruhig wie nur möglich
gibt es kein Kochrezept,

das für ein gelungenes Gericht garantiert. Zudem steht der Benutzer nich
seinen Plattenspieler zum Laufen zu bringen, den Aufbau zu bewerkstellig
oder - wie auch bei der Platine Verdier - anhand feiner Details, die ein biß
wirken, eigene Entscheidungen zu treffen.So wie die Platine Verdier jetzt
schwer, optisch eher unscheinbar - Glanz und Gloria finden nicht statt
Jahren von dem Franzosen Jean-Constant Verdier konzipiert. Und die Hi
nie von großiem Rummel bestimmt. Mit HiFi im üblichen Sinn, mit dem g
dieses Laufwerk auch nie etwas zu tun; die Verdier war und ist ein Kleins
Anfangs erschien im französischen InsiderMagazin L'Audiophile sogar ei
mit der Metallbearbeitung auf gutem Fuß stand, konnte selbst zur Drehba
Zwischendurch war die Verdier sogar einmal eine ganze Zeitlang nicht m
Monsieur Verdier, einem ruhigen, allem High-End-Voodoo abgeneigten M
für Musik, alte Rõhrengeräte und klassische Automobile, sind Vermarktu
Greuel. Statt "the best turntable in the world" ist lediglich zu vernehmen,
einen anständigen Plattenspieler zu bauen, und darüber hinaus habe er de

Der Plattenteller, so Verdier, müsse eben ruhig sein, und abseits von Däm
und kunstvollen Sandwich-Verschachtelungen ergab sich ein sechs Zentim
Alu-Legierung mit rund 16 Kilogramm Gewicht - simples Anklopfen bew
Anhand des Lagers bewies der Franzose, daß geniale Lösungen auch imm
der Teller schwebt horizontal reibungslos auf einem Magnetfeld, das von
Ringmagneten erzeugt wird. Zwischen den Dauermagneten, übrigens eine
Lautsprecherbau, verbleibt ein etwa funf Millimeter großer Luftspalt, die

selbst sitzen jeweils in ei

Glocke aus Metallguß, d
sehen - goldfarben oberf
sind durch den dicken P
Einflüsse auf den Tonab
massive Lagerbüchse ist
unter der Mittelspindel b
Ölreservoir für die Lage
winzige Verschlußschrau
selbst ist mit fast zwei Ze
extrem massiv
Vergleich aus, als kämen
Als Chassis dient eine kl
gegossenem Kunststein;
Laufwerksachse und die
Tonarmbasis erfolgt übe

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La Platine VERDIER Page 21 of 25

und Schrauben, für die der HiFi-Fan statt dem gewohnten Uhrmacher
Schraubenschlüssel bemühen darf. Ach ja: Das Lageröl läuft im laufe der
durch und kommt an der zentralen Achsschraube unter dem Chassis wied
so be- absichtigt und der Platine-Verdier-Besitzer stellt flugs ein Ölwännc
"permanente" ÖIwechsel verhindert, daß verbrauchtes Ölschädigend im
erwahnte einzig richtige Ölsorte ist auch bei den Verdier-Besitzern ein Da
dickflüsig? Speziell oder ganz normal, aus Mutters Nähmaschine? Monsie
halten wir uns an den Rat des Vertriebs - man gibt eine dünnflüssige Ölso
Plastikspritze, für die in der Apotheke die größte Injektionsnadel zu besor
Blick und das Vorzeigen der ölgefüllten Spritze - und der Wunsch nach de
erleichtern die 30-Pfennig-Aktion. Ach ja - synthetische Dauerschmierstof
sind Gift für das Lager. Die Verdier steht auf drei Füssen, die das Laufwe
Mischkonzept aus Masse- und Federprinzip machen: In drei aus dem Kun
Kammern sitzen konische Spiralfedern, die, worauf Jean-Constant Verdie
Zustand nicht komprimiert werden. Nach unten sind die Dämpferkamme
luftdicht abgeschlossen. zum Druckausgleich dienen Bohrungen in den Hö
aus dem Chassis herausragen. Trotz einiger vptischer Unterschiede zu den
hat sich das Federsy stem nicht grundlegend geändert; es ist übrigens nich
sondern .,hart" ausgelegt: Man mu schon relativ

kräftig auf das Chassis drücken, um die Federn zum Nachgeben zu beweg
wurde komplett ausgelagert und kann -jetzt kommen wir zu den jeweilige
Besitzer- im Extremfall zwei Meter weiter oder ganz dicht am Laufwerk s
durch den String-Antrieb:

Ein dunner Antriebsfaden lauft vom Motorpulley über den Außenrand de

trieb dürfte einigen HiFi-Fans noch von den japanischen Micro
Der Antriebsmotor- ein kleiner, aber drehmomentstarker Gleichstrommo
schweren Extragehäuse, das zur Verbesserung der Standfestigkeit auf dic
kleiner Umschalter an dem eher rustikal wirkenden Antrieb erlaubt die W
45er- Geschwindigkeit; zwei Regler sind für die Feineinstellung der Drehz
Stroboskopscheibe bei aufgelegter Schallplatte und abgesenktem Tonarm
Motor vorgeschaltet ist ein hochstabilisiertes Netzteil, das die Gleichspann
selbst ist Gegenstand highfideler Experimentierfreude: Nylon, simple Näh
dehnbar oder nicht dehnbar, plus Exotika aus der Faserchemie
Varianten klingen übrigens tendenziell ein wenig anders; eine weitere Var
Strings, der in der Mitte des Tellers laufen sollte: Keinesfalls zu fest, laute
wunderbarerweise kann man stets beobachten, wie sich der Knoten des A
Durchgang am Teller nach außen legt. Bei unseren Experimenten haben w
drei Sorbothane Füsse gestellt, die der HiFi-Zubehörhandel bereithält. Di
Sorbothane-Rundlinge isolieren den Motor bestens und halten das Antrie
Selbstklebe-Effekt unverrückbar fest. Es bietet sich natürlich an, den Mot
Laufwerk - etwa auf einem Extratisch - aufzustellen; Extremisten sei aber
Meter Distanz zum Laufwerk wegen der Lauferei völlig unpraktisch sind.
schweren Tellers ist von der Spannung des Fadens abhängig, einige stolze

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La Platine VERDIER Page 22 of 25

versicherten uns sogar glaubhaft, den Motor praktisch niemals auszuscha

seit Jahren" - daß das Auflegen und Abnehmen der Platten bei drehendem
Problem sei! In der Praxis ist die Hochlaufzeit von einigen Sekunden durc
Erträglichen. Wer neben einer Verdier einen Stapel l2-Volt-Bleiakkus ort
Stromversorgungsfreak begegnet: Dem - wie man hört - klanglich nochma
Batteriebetrieb des Motors steht außer versierter Bastelei nichts im Wege

Wer sich über die Qualitäten des Verdier-Lagers

informieren will, gibt dem - nach längerer Zeit
endgültig eingelaufenen - Teller bei abgenommenem
String

einen kräftigen Schubs und guckt dann bei zwei

Tassen Kaffee zu, wie sich die Sache weiterdreht.
Dabei läßt sich auch gut über das Plattenmatten-
Problem nachdenken; der Vertrieb liefert die
Verdier mit einer einfachen dünnen Ledermatte, auf
die wir nach einigen Versuchen stets zurückkamen.
Diverse "Matten", wie man die kunstvoll gemachten
und entsprechend teuren Dinger kaum mehr
nennen kann, wurden probiert, und allenfalls einige
Metacrylat-Versionen waren imstande, den Klang
positivzu beeinflussen - Unterlagen aus einem LP-
ähnlichen Material sind erfahrungsgemäß am
besten.Doch diesbezüglich herrscht
Meinungsfreiheit, ebenso wie bei Plattenklemmen,
Ikea-Tischen, Ziegelstein-Unterbauten, Betonfundamenten, Stahlrohr
versehenen, mitunter unbezahlbaren Supersound-Mk-IV-Klangförderern
der schieren Verdier-Masse allerdings auf Tragfähigkeit zu prüfen. Der V
noch erwähnt werden, daß Laufwerks- und Motoreinheit selbstverständli
Wasserwaage einzurichten sind. Im Gegensatz zu einigen anderen "Laufw
mechanisch präzise gebaut: Steinzarge und Telleroberfläche liegen zum B
paralellen Ebenen - ein Umstand, den sich die Konstrukteure einiger ande
einmal zu Herzen nehmen sollten. Die zweiteilige Tonarmbasis ist durch e
ausgelegten Montageschlitz im Steinchassis variabel montierbar, was den
"kurzer" Tonarme ermöglicht. Das Unterteil der Basis, ein schwerer Vier
mit einem Schraubbolzen und riesigen Unterlegscheiben festgezogen; das
Inbusschraube aufgetlanscht.

Nun, was erwartet jene, die sich das Zehntausend-Mark-Vergnügen Platin

und können? Zunächst einmal: Erstaunen. Es ist nur schwer in Worte zu
Abstand zwischen relativ normalen Plattendrehern und einem Superlaufw
ist. Der Standpunkt, daß die Qualität des Laufwerks der entscheidende, a
Sachen Analogwiedergabe ist, hat sich ja in den letzten Jahren

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La Platine VERDIER Page 23 of 25

durchgesetzt. Wer schon einmal einen Goldmund Reference, einen Forsel

gehört hat, wird verstehen, was gemeint ist. Mit welchen Abtastern oder T
ist dabei fast von sekundärer Natur; all jenen, die immer noch behaupten
drehen und das Geld solle besser in den Tonabnehmer investiert werden,
Gegenteil. Aber, keine Frage, aus hochkarätigen Zutaten holt die Platine V
heraus. Dabei tritt das Rillengerausch bei leisen Passagen, ein altbekannte
fast ganz in den Hintergrund, wie wenn hierfür ein Filter zwischengescha
Baßwiedergabe dehnt sich ungeheuer in der Tiefe aus, wirkt farbiger, krä

schneller. Und erst jetzt hört man, daß der musikalisch so wichtige Grund
guten Laufwerken fast wie unterbelichtet kommt, Solidität vermissen läßt
Lagen Substanz und Fülle raubt. Was die Verdier hier realisiert, ist aber
die wahre Qualität des Laufwerks zeigt sich nicht an der noch beschreibb
sondern auf der Erlebnisebene: In der guten alten LP versteckt sich noch
eine neue Qualität, die sich dort manifestiert, wo die Konserve nicht mehr
aufgenommen, verstanden wird.

Ist es die sprichwörtlich

Verdier zu reproduzier
Geheimnis in der dynam
der Hörbarkeit feinster
Gerauschteppich unterg
unglaubliche Homogeni
verschmilzt, die bruchlo
mit der auch große Kla
selbstverständlich darg
wurde einmal formulier
Und genau hier dürfte e
- die Unterscheidung zw
zwischen dem explosive
zurückhaltenden, ja ver
der Verdier auf einem h
Zuhörer ganz anders pa
deutlich mehr gefangen
Hintergrund müssen au
Klangveränderungen ge
Verdier anerziehen kann: Eine andere Plattenmatte, ein anderer Antriebs
Plattenklemme - und schon verändert sich zum Beispiel der Baß; vorher s
farbig - dann hart. zwar akzentuierter, aber weniger packend, weniger m
Rythmus gehen etwas verloren. Und im Hintergrund taucht schon scheme
Sterilitat, der oberflächlichen, gedankenlosen Verbesserung, der
digitalen Emotionslosigkeit auf. Die beschriebene feine, durchhörbare Rea
Kleinigkeiten macht das Laufwerk aber noch nicht zu einer klanglichen M
umzugehen ist; das Niveau, auf dem die Platine Verdier steht, bleibt

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La Platine VERDIER Page 24 of 25

ausgleichen -ja, auch den eigenen Geschmack einfließen lassen

Abbruch. Besagte Sache wiederum ist zu Recht eine Legende, keine HiFi
musikalische Legende, die den schwarzen Tonkonserven zu einer neuen, n
vorhandenen, aber nur so schwer zu realisierenden Qualität verhilft. Spät
Einwand kommen: Zu enthusiastisch beschriehen. und überhaupt
/Systemkombis wurde gehört'' Gemach. Es geht nicht um Referenzen, nic
des Monats. Das Verdier-Laufwerk hat gut ein Dutzend Jährchen auf dem
paar im großen und ganzen vernachlässigbare Änderungen, eher kosmeti
Konzept zu beeinträchtigen. Während dieser Zeit kamen und gingen viele
Sensationen, Flops und Dauerbrenner - aber die Verdier blieb. Dafür gibt
geben. Und die sind nicht kurzlebiger Natur. Wir jedenfalls heften Jean
STEREO-Sternchen ans Revers. Wohl wissend. daß er sich nichts aus Aus
dürfen die Sternchen auch vergessen. Aber Sie könnten uns fragen. ob un
so sehr begeistert hat. Die Antwort : Ja !

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La Platine VERDIER Page 25 of 25

Download the musique : Schubert Fantaisie en Fa

http://www.jcverdier.com/ADSL/platineV.html 8/25/2010