Famously invented and made in Huddersfield.

Pressure points are a solution to that age old question, which turntable mat should I use?  The answer is none. The pressure points replace your mat and bring about a stark transformation in sound quality that makes you wonder why no one thought of this before.

The points simply stick onto your existing platter, delrin, aluminium, perspex, it does not matter, the points are placed around the circumference of your platter near to the edge, they are made from a tacky elastomer with a non abrasive low friction plastic bonded to the lower part. They can easily be re-positioned and will not harm your vinyl in any way.

There is no need for support in the centre part of the vinyl, lifting your vinyl off the platter in this way will offer tangible improvements in sound staging, you will begin to hear exactly what is in those grooves.

MCRU have trialled the pressure points on the following turntables, we are 100% confident you will hear an improvement on any turntable or your money back.

Garrard 401 | Technics SL1200/1210 | Clearaudio Concept | Clearaudio Master Innovation | AMG Giro | Pro-Ject Classic | MoFi Studiodeck.

The points are supplied in sets of 8, simple position them on your turntable platter around the periphery. Rest your LP record on top and let the stylus hit the groove.

The pressure points are 4mm tall so you may need to adjust the VTA of your arm (basically the height) so that when the needle touches the record the arm is level to the naked eye.

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The ideas behind the design.......

Looking back it was when I was wrestling with a Decca gold cartridge on a modified SL1210 that I started to think this whole idea through. The decca is such a fizz bomb, ploughing so much energy into the record that I started thinking about seismology and in particular about how old Japanese buildings were constructed to cope with earthquakes by moving and flexing, rather than trying to resist. I began to realise that traditional mats and clamps etc are all just trying to resist the energy, or to attenuate it. And this is where the earthquake analogy clicked. A system can only store up so much energy before that energy makes it's presence felt in a bad way.

In an earthquake it rather dramatically kills people by dropping buildings on them, on a turntable we much less dramatically start to hear it. Problem to solve though was how to deal with two earthquakes, one from below (the platter, loaded up with bearing rumble and motor noise), and one from above (the record itself, picking up vibration from the spindle and from the cartridge stylus). I went through dozens of different designs, some of which make me laugh now, until I realised that the base had to be able to move and flex (to let the platter noise pass by) and the tip should not 'grip' the record (to let the record vibrations also pass by). I cautiously think I might have been successful.