On January 17, 1982, the very first Michell GyroDec turntable, serial number 001, rolled off the Michell Engineering production line in Borehamwood, England, and was shipped to Anglia Audio of Bury St. Edmunds, Suffolk. Nothing quite like it had ever been seen before—it was breathtakingly beautiful, but more importantly, it rewrote the rule book for all time on how to extract maximum information from a vinyl record.
Until the GyroDec, turntables came with wooden plinths not unlike the cases of vintage gramophones. John Michell, the GyroDec’s creator, understood that hollow wooden boxes resonate—that’s how guitars work, and why Steinway & Sons builds its pianos from wood. So, from the very beginning, the GyroDec was mounted on a solid acrylic plinth. As we shall see, Michell turntables eschewed convention; they have always been engineering-driven designs where form follows function to an unparalleled degree. After the GyroDec, turntables such as Clearaudio’s Master Reference and Pro-Ject Audio Systems’ Perspective emerged; both owe so much in terms of engineering and choice of materials to John Michell’s masterwork.
Back in 1982, putting a Michell GyroDec in your living room was the audiophile equivalent of parking a Lamborghini Countach on your drive—friends and neighbors were just staggered. When the first GyroDecs appeared in hi-fi dealers’ windows, crowds of pubescent schoolboys gathered outside and stared in wonder with the kind of reverence they might have used for a swimsuited Christie Brinkley. Even today, 40 years on, a GyroDec is a major talking point and a symbol of precision engineering and discerning taste. Despite its exotic construction, it remains one of the most extraordinary bargains in high-end audio. For around $4000 (all prices in USD), Michell will sell you a GyroDec turntable, complete with their excellent TecnoArm tonearm and cartridge. It’s akin to being offered a bottle of Leroy Domaine d’Auvenay Chevalier-Montrachet Grand Cru for the price of a drinkable Burgundy. That’s not just a bargain, it’s the steal of the century in a world of $30,000 speaker cables, $20,000 cartridges, and $100,000 amplifiers. It’s also a serious declaration of intent from Britain’s longest-established manufacturer of turntables still in continuous production.
Dynamite with a laser beam, guaranteed to blow your mind. . . . VTA alignment in progress
For 40 years, the GyroDec, thanks to a combination of supermodel looks and the kind of engineering that would impress a Swiss horologist, has probably graced more hi-fi shopwindow displays than any other vinyl spinner. However, its iconic status is due to much more than mere window dressing, because it is acknowledged across the industry as a superlative vinyl platform. When SME—the greatest tonearm maker of them all—began developing its flagship Series IV and V arms, the Michell GyroDec was its engineering mule. The deck was featured in Time magazine as the turntable owned by Steve Jobs, who, despite doing more than anyone in human history to popularize digital music, was a vinyl junkie and passionate audiophile. It has starred in blockbuster movies and remains the turntable of choice for musical legends as diverse as Roger Waters and Paloma Faith. In short, the GyroDec has attained cult status: renowned the world over as an icon, a majestic temple of vinyl replay hewn not from rock but from the finest gold, aluminum, and acrylic. With such a pedigree it might just as well have been hewn from gold, frankincense, and myrrh. It remains the most important turntable ever designed and built by John Michell, a visionary and gifted engineer who previously earned his corn building model spacecraft for Stanley Kubrick.
Steve Jobs owned a GyroDec
Michell Engineering’s HQ
I visited Michell Engineering to explore the history of this iconic turntable and to meet the family of founder John Michell, who still run the company to this day. The premises are modern and spacious, with a main production and servicing area on one floor and the training room, archive, and listening room on the floor beneath. But first, a little history.
The main production floor
Completed GyroDecs on test
The Michell Engineering story began in the early 1950s, when a young John Michell started his career with an engineering apprenticeship at Finchley Autos. After a few years, John decided to start his own general-purpose light engineering business, initially in his garden shed. The company expanded rapidly and moved to a small industrial unit in north London, which served its purposes until larger premises were required. The firm relocated to Theobald Street, Borehamwood, in 1968. Borehamwood, Hertfordshire, is a small, unassuming town north of London that’s most famous as the site of the legendary Elstree Studios, founded in 1926. Alfred Hitchcock made Blackmail there in 1929; Star Wars, Lolita, and The Shining were filmed there. The town was home to Michell Engineering for 51 years until the company relocated to a new factory in Stevenage, Hertfordshire, in July 2019.
John Michell at work in Borehamwood
While The Beatles ruled the world and love was free, the proximity of the film studio led to John becoming acquainted with film director Stanley Kubrick, who needed a precision engineering firm to design and build the incredible models used in his groundbreaking 2001: A Space Odyssey (1968). Michell Engineering made several models used in the film, including the main Discovery spacecraft, and continued to be involved in manufacturing props for films, such as C-3PO’s illuminated golden eyes for 1977’s Star Wars.
Star Wars involvement, 1977
The firm’s first involvement with audio came in the mid-1960s, when it began manufacturing components and subassemblies for Transcriptors’ turntables. The relationship was further cemented when Transcriptors, led by the brilliant turntable designer David Gammon, moved into the Michell factory in 1968 to manufacture their highly acclaimed Hydraulic Reference turntable. The Hydraulic Reference was the most desirable turntable in the world at the time and was the first to explore the use of radical new materials like Perspex and chrome. After several years sharing premises and manufacturing with Michell, Transcriptors relocated to Ireland in 1973, having signed a licensing agreement to allow Michell Engineering to produce and sell the Hydraulic Reference under its own brand name.
When the Transcriptors agreement concluded in 1977, John Michell elected to develop his own turntables. Armed with a thorough knowledge of mechanical and electrical engineering, he developed the Michell Reference Electronic. This featured fully electronic speed controls and a platter with columns on top to support the record, similar to the one used for the Transcriptors model. The thinking behind these columns was to reduce the amount of static on records but it’s interesting that other turntable manufacturers didn’t follow suit with similar platter designs. John’s next design was the Michell Prisma—a new, flagship model that was the first to feature the solid-acrylic plinth characteristic of most Michell turntables thereafter.
Michell Hydraulic Reference
With sales growing steadily, the firm felt that the time was right to launch an entry-level product, and so the Michell Focus One was developed to offer a more affordable option. This funky-looking model featured a simple plinth suspended on leaf-spring feet. It quickly evolved into the superior S model with a heavy aluminum platter and an improved drive system. Around the same time, Michell launched its first tonearm: the Focus uni-pivot. This beautifully designed arm featured a layered-and-damped tube and used precision weights for azimuth adjustment. It’s noticeable that its low-slung counterweight is just like the one in its modern-day equivalent, the Michell TechnoArm 2. This was a feature embraced by no less an authority than SME when designing its Series IV and V decks, because it helps the arm to self-level over warped records, which is advantageous when using low-compliance moving-coil cartridges.
As the 1970s drew to a close and punk gave way to the new romantics, John Michell set about designing his ultimate turntable; it was to be the culmination of everything he had learned to date. Like all landmark creations, the GyroDec was born from a combination of inspiration and perspiration. R.J. Mitchell wouldn’t have created the Supermarine Spitfire, WW2’s most iconic fighter aircraft, without supreme effort and J.A. Michell was no different. He was obsessive, often returning to the office after a snatched dinner at home and working deep into the night, expertly honing his masterpiece on a German Feinbau lathe. The result was an extraordinary fusion of art and engineering. The Gyro had a thick, black acrylic base sitting on absorbent rubber feet. Upon this was mounted a massive, 25-pound, circular sub-chassis of die-cast aluminum, inspired by the huge, spinning space station featured in 2001: A Space Odyssey. The sub-chassis hung on springs inside three peripheral towers capped by gold-anodized aluminum covers. The huge advantage of this over, say, a Linn Sondek LP12, is that leveling the sub-chassis and achieving optimum “bounce” can be done from above by rotating the springs and does not require disassembly of the turntable. Adjustments can thus be easily made on the fly, and with the turntable sited in the final resting position for better accuracy. The suspension was of a “single post” design with many more turns on the springs than in later versions.
J.A. Michell Engineering GyroDec, serial number 001: the first of the line
A further radical innovation was the use of arm-mounting plates of different weights, tailored for specific tonearms, so that no matter what arm was fitted to the GyroDec and how much it weighed, the whole assembly of sub-chassis and arm would always be statically and dynamically balanced. This meant that achieving a good pistonic suspension bounce was easier on a GyroDec than on any other conventionally sprung sub-chassis design. The GyroDec was capable of working with the widest possible range of tonearms, including low-, medium-, and high-mass designs as well as linear-tracking models. The earliest versions of the GyroDec even offered a facility for two tonearms. The arm-mounting plate was originally decoupled from the sub-chassis by aluminum spacers; in later variants, these were replaced by an acrylic material.
An engraved brass plaque is fitted to every GyroDec ever made—but this was the first
The motor unit supplied on the early GyroDecs was a Swiss Papst 24V synchronous type, renowned for high quality and reliability. At that time, many turntables used the cheaper Airpax motor. The aluminum platter was driven by means of a thin, round-section, butyl-rubber belt running around its outside edge. The platter was a heavy machined-alloy affair under which were slung six gold-plated brass peripheral weights, which became one of the most iconic elements of the GyroDec design. They rotate as the platter spins, creating a hypnotic visual effect, and it’s easy to see why the name GyroDec was chosen. The top of the original aluminum platter was capped with a rubber mat. The GyroDec, like 1979's Oracle Delphi, came supplied with one of the world's earliest record clamps. Rendering the vinyl record and platter one cohesive whole, the Gyro's record clamp reduced vibration and improved the tracking of warped records. About the only thing ordinary about this seminal design was the conventional main bearing, with its aluminum bearing housing and steel ball. Even that changed radically later.
One of the world’s first record clamps
Conventional bearing design on the original GyroDec
It’s worth noting that at its £590 launch price in January 1982, the basic GyroDec was more expensive than the Linn LP12 or Ariston RD11 Superior, but it was much more expensive to engineer and certainly looked it! In the early 1980s, it was as far removed from conventional turntables as Concorde was from conventional jumbo jets and it’s no wonder that it caused a sensation in the traditional world of audiophilia. Right from the very beginning, the GyroDec proved itself an extremely stable and revealing platform which didn’t require arcane fettling by a turntable guru every few months to keep it “on song.” It’s a fit-and-forget device, and most owners of even the earliest decks haven’t needed to touch them for decades—except, perhaps, to change the bearing oil. That stability and reliability is just one of the many reasons why I love this turntable and use it as my own personal reference.
Sales of the new turntable got off to a flying start and launch reviews were extremely positive. The firm didn’t rest on its laurels, though, and almost immediately work commenced on enhancing the existing design. While hi-fi magazines have referred to various iterations of the GyroDec as the Mk1, Mk2, Mk3, and so on over the years, Michell Engineering is at pains to point out that it has never used such nomenclature. The company has merely continued to refine the original GyroDec and refers to all models since simply as the GyroDec—like Ford does with its Mustang muscle car and Porsche does with the 911. One short-lived early revision used two drive belts instead of one—John Michell referred to this arrangement as the Duplex Drive.
The next major revision to this classic design occurred with the development of a new platter, which was fitted to all GyroDecs produced after September 1987. The new platter was made of an acrylic/vinyl composite, the physical properties of which resembled record vinyl itself. This ensured a better match between the platter and the record under the clamp, enabling the platter to function as an extension of the vinyl and dissipate vibration and unwanted resonance away from the stylus. As Michell Engineering explain: “Indeed, at boundaries of materials with like acoustic impedances, transmission of vibrational energy occurs. Whereas at boundaries of dissimilar materials, be they vinyl versus felt, metal, glass, or just air, only part of the energy is transmitted, the remainder being reflected back into the vinyl, toward the stylus.” At the time, almost every other turntable manufacturer in the world apart from Transcriptors and Michell were using an aluminum platter and a felt or rubber mat—which begs the question: Were they all wrong? Were John Michell and David Gammon the only turntable designers in the world who had sufficient understanding of materials science and mechanical engineering to appreciate the importance of the vinyl-platter interface? It’s certainly my belief that this gave the GyroDec a significant sonic advantage over its rivals. The drive had also reverted to a single belt, which further reduced the risk of motor vibration reaching the crucial stylus/record interface.
My exploration of the Michell archives revealed that John designed his revolutionary inverted self-lubricating bearing shortly afterward. The technical drawings are dated 1989, so early versions of the acrylic platter may have shipped with older-style aluminum bearings. Conventional turntable bearings operate with the platter spindle sitting in an oil-filled housing with the bearing at the bottom of the housing. John Michell inverted the design, putting the ball bearing on top of a hardened steel spindle. The oil is circulated through the entirety of the bearing and its brass housing by an Archimedean spiral machined into the inside of the bearing bore, rather like the rifling of a gun barrel. The bearing itself sits inside a bearing cup machined into the inverted bearing housing. Platter rotation drives oil up the spiral from the bearing reservoir at the bottom of the assembly and it returns to the reservoir via a channel drilled through the inside of the spindle. The company claims that this design provides much better circulation of oil throughout the entire bearing and so reduces friction and audible vibration. A huge benefit of an inverted bearing is that it puts the turntable’s center of gravity below the point of rotation of the bearing, creating a self-leveling tendency. The Michell bearing is designed to ensure the drive belt is at the same height as the contact point of the bearing ball itself, which minimizes any destabilizing torsional forces from the motor drive system. It’s a remarkably ingenious and elegant design that reduces rumble and friction, and so improves sound quality and pitch stability.
The Michell inverted bearing
Having released a tidal wave of innovation in vinyl replay in 1989, Michell expanded into electronics and began shipping the Michell ISO phono stage, Argo preamplifier, and Alecto power amplifiers. The ISO and Argo were designed by famed amplifier designer Tom Evans, while the Alecto was designed by Graham Fowler of Trichord Research. Industrial design—in particular, the swooping acrylic casework—was by John Michell, and the amplifiers garnered widespread rave reviews for sound quality and engineering prowess. The later flagship Orca preamplifier, with its pyramidical chromed casework, was even more astonishing and was frequently cited as a high-end best buy for its sound quality, design, and ease of use. Despite being discontinued, these components remain highly sought-after to this day.
Michell Alecto power amplifier—form follows function yet again
In the early 1990s, turntable manufacturers began to realize that motor vibration could be reduced and speed accuracy improved by the addition of a better-regulated power supply. Linn introduced the Lingo, and Michell launched the first Gyropower, a simple, passively regulated design housed in an acrylic case.
First-generation Gyropower
In 1993, the Gyropower QC was launched. A far more sophisticated power supply than the original passive Gyropower, this was a fully active design that provided the precise 50Hz power feed that the GyroDec’s 24V AC motor required for optimal performance. The QC used quartz-clock synthesized sine waves to generate the current to drive the motor coils. Speed changes could now be accomplished at the push of a button, eliminating the need to fiddle with drive belts and motor pulleys, and the significant reduction in motor vibration greatly improved overall sonic performance.
Henry Royce, founder of Rolls-Royce, said: “Strive for perfection in everything you do. Take the best that exists and make it better. When it does not exist, design it.” That was John Michell’s approach, too—like the classic “man in his shed” he was an inveterate tinkerer! In 1994, in pursuit of even higher levels of fidelity, Michell launched the Orbe—a new flagship turntable, which was really a cost-no-object redevelopment of the GyroDec. Its refinements included a dual-layer plinth for better isolation, a much deeper and heavier acrylic platter that dispensed with the spinning weights, an improved, heavier motor housing, and a better engineered record clamp/spindle. In addition, the Orbe featured a GyroDec sub-chassis with the addition of DensoDamp compound to reduce resonances. The Orbe propelled Michell turntables to an even higher level of refinement; many reviews of the period praised the Orbe for sounding astonishingly close to the master tape—even more so than vastly more expensive designs. Retailing at under $5000, excluding a tonearm, the Orbe looks like an extraordinary bargain when you consider that so many other turntables which stake a claim to being among the world’s finest comfortably exceed ten times its price!
The Michell Orbe
Further revisions to the GyroDec’s basic architecture occurred with the advent of an entirely new suspension-spring design, launched in December 1998. The new spring design had fewer turns but incorporated a two-piece suspension-turret spindle that separated the action of height adjustment from the setting of spring orientation for optimum bounce. The previous design meant that once the turntable was leveled, the action of centering the coils of the spring to be concentric (which is crucial to achieving correct pistonic motion) would alter the height of the sub-chassis. With the new spring suspension, setting the height and achieving concentric springs for perfect bounce became a breeze.
New suspension turret design
Not content with achieving superior isolation of the sub-chassis, Michell also enhanced the decoupling of the tonearm by the addition of acrylic spacers sandwiched between the sub-chassis and the tonearm mounting plate. Taken together, these refinements further improved the GyroDec and enabled it to continue competing at the top echelon of vinyl replay. They were incorporated without increasing the price of the GyroDec, so by the late 1990s it was priced far below the competition from Oracle Audio and Linn, while arguably outperforming them.
In January 1999, one of the most significant changes in GyroDec history emerged when the motor became a freestanding unit, which passes through a hole in the acrylic base. This further decoupled the motor housing from the record-playing surface—now the motor is only coupled to the deck via the drive belt and the supporting surface they share. This significantly lowered the noise floor, and increased information retrieval and sonic precision. Later that year, Michell unveiled the GyroDec SE, which dispensed with the expensive acrylic plinth and dustcover altogether and offered the same level of performance at an even more competitive price.
Fully decoupled motor unit arrives
The debuts of the TecnoDec, TecnoArm, and TecnoWeight meant that 2003 was a busy year for Michell Engineering. The TecnoDec was essentially a stripped-down GyroDec without the suspended sub-chassis, and retailed at a lower price point. The TecnoArm was a heavily modified derivation of the Rega Research RB250 unit and was the last product John worked on before his untimely death. The TecnoArm was shot-blasted to improve rigidity and 22 holes drilled in the underside reduced the moving mass. The underslung TecnoWeight came as standard, and the arm was furnished with high-purity silver Litz wiring with no internal joins from cartridge tags to phono plugs. Along with a set of Michell-designed ultra-low-friction polymer bearings, the TecnoWeight featured built-in VTA adjustment, which relied on shims in the original Rega design.
The Michell HR power supply, codeveloped with Trichord Research, was released in 2013. Incorporating similar “Never Connected” principles to those of the Trichord Dino phono-stage power supply, this system used banks of capacitors to totally isolate the regulated power feed from powerline fluctuations. Michell regards the HR as its most refined power supply to date; as well as providing the maximum improvement to sound quality, it has the added bonus of fine trim control that allows the user to tune the platter to run at the perfect speed.
Michell Engineering was never a company to rest on its laurels. In September 2018, the firm surprised everyone by launching its first-ever moving-coil phono cartridges—the Cusis range. The three moving-coil designs are not made in-house, but are a joint initiative between Michell and a cartridge maker whose identity remains shrouded in mystery. This joint development took place in the kind of secrecy you’d expect for reverse-engineering crashed alien spacecraft at Area 51; with a little imagination, one can imagine unmarked helicopters bringing key personnel and prototypes into Michell HQ under cover of darkness. We dangled Michell’s Steve Rowland from a first-floor window by his lapels, but he still refused to discuss specifics. So, like the monolith in 2001: A Space Odyssey, the origin of these mysterious cartridges remains unknown. . . .
The mysterious Michell Cusis: like the monolith in 2001: A Space Odyssey, its origins are unknown
The latest revision to the Gyro specification occurred in late 2021, and involved rubber-coating the suspension springs to improve isolation of the sub-chassis. This followed on from a series of experiments where the team attached an accelerometer to the sub-chassis of a GyroDec placed over a huge subwoofer to measure displacement in response to low-frequency vibration. They tried all sorts of suspension modifications, including the rubber-band suspension systems now offered by aftermarket vendors in the style of SME. The team concluded that springs remained the best way to isolate the GyroDec from extraneous vibration and that rubber-coating the springs was the most effective solution of all.
The Michell Engineering team
In the 21st century, Michell Engineering continues to follow the simple principles and ethos established by its founder, John Michell, and subsequently maintained by his family. The company has a no-nonsense approach to product pricing. While some audio firms seemingly try to create a halo around their products by being “reassuringly expensive,” Michell works out what it costs to build its products and add a small margin on top for profit. It’s the approach of engineers, not marketeers, and has been a cornerstone of the company’s business practices since John Michell first turned a lathe. What is also apparent is the level of care afforded to existing owners and their turntables. Michell’s service and repair capabilities are legendary in the industry, and, to this day, the company can repair every turntable it has ever made. Just consider that for a moment—in an era when almost every product is essentially disposable once it breaks, Britain’s oldest turntable manufacturer can service and repair every single one of the turntables it has produced through the decades to the present day. In addition, it is entirely possible for owners of a 1982 GyroDec to have it brought up to the latest Gyro or even Orbe specification should they so wish. During my visit, I saw turntables from the ’60s, ’70s, and ’80s being lovingly restored to their former glory. This part of the business has expanded with the growing popularity of vinyl and the impact of the pandemic, which has caused people to spend more time at home. As a result, dusty turntables—many of which are Michells—and much-loved record collections are being pulled down from attics to be savored all over again.
A beautiful Reference Electronic being restored in the service department
January 2022 marks the 40th anniversary of the Michell GyroDec. During its production life, there have been times when it seemed that vinyl might disappear forever. It’s all the more remarkable that LP revenues exceeded CDs in the US in 2020, for the first time in 34 years, with sales in the UK likely to follow suit this year. Pressing plants are reopening, prices for vintage vinyl are sky-high, new 180gm vinyl is everywhere, and pressing and packaging quality is the best it has ever been. We’re in the midst of vinyl’s second golden age and Michell Engineering is selling as many turntables as it can make. Consider the facts—by the late ’90s, vinyl had become the preserve of the seedy-looking, middle-aged men in raincoats who frequented scruffy record shops chasing down obscure pressings of vintage Neil Young albums. Take a trip to any present-day record emporium with its brimming shelves of virgin vinyl, and a quick glance around will reveal that the young and beautiful wearing Canada Goose now outnumber those of us in seedy raincoats by about four to one.
In life, aspirations and dreams are so very important. It doesn’t matter whether it’s striving for a degree, dreaming of playing the guitar, or wanting to own a particular turntable. Desire is a powerful force that drives endeavor, innovation, hard work, and ingenuity. When John F. Kennedy described America’s mission to put a man on the moon, he inspired an entire generation to stratospheric heights of human achievement. I was 14 the first time I saw the sun rise on a Michell GyroDec, but in 1983 it was the stuff of dreams—priced way beyond unobtanium to a working-class boy from a seaside town in northern England where haute cuisine was having onion gravy on your chips. . . . I resolved there and then that one day I would own a Gyro, complete with an SME IV arm. It took me 15 years to acquire a GyroDec and a further 20 years to add my SME. Perhaps the best thing about having to struggle to get these items was that I really appreciated the listening experience when I finally did. I still listen astonished that such power of musical communication is even possible in my own home. Those Canada Goose kids may not currently own a top-flight turntable like a GyroDec, but those spinning Gyros in hi-fi store windows—and featured in audio publications like SoundStage! Ultra—will help to bring them into the fold to embark upon the musical journey of a lifetime.
The Michell demo room: GyroDec vs. Orbe
While savoring some great records in the demo room at Michell HQ and listening to an Orbe and GyroDec go head-to-head, I reflected on the history of this remarkable transcription instrument. For 40 years, Michell Engineering has continued to refine the GyroDec and hold its performance searingly close to the outer envelope of vinyl reproduction. It remains, as it always has been, a superb vinyl spinner capable of extracting the most intricate musical details and revealing them to the listener, thanks to its extremely low noise floor. It’s uncolored and neutral to a fault, and I simply cannot think of another turntable that offers the same potential to grow with you. A basic GyroDec with a Rega arm is relatively affordable, while a fully loaded GyroDec or Orbe equipped with an SME Lyra bears comparison with the very best ’tables in the world. Its world-class dynamics and master-quality transparency are engineered to provide a lifetime of musical pleasure. In design terms, the GyroDec is a British masterpiece every bit as desirable and remarkable as the E-type Jaguar. It’s an object of desire for many audiophiles, an icon for most, and it’s undeniable that few turntables in the world are as focused on their design objectives. It simply has no real equivalent, but remains like 2001: A Space Odyssey—an incomparable and timeless blend of high art and its designer’s unique genius, allied to awesome precision engineering.
As I departed Michell HQ, the sun was slipping below the horizon, bathing the sky in glorious gold-and-purple hues in a very cinematic way—Stanley Kubrick would have approved. I’m really not sure if there is a monolith waiting to be discovered, but I would be amazed if somewhere in the world, as you read this article, there isn’t a kid standing in front of a hi-fi store gazing longingly at a spinning GyroDec and dreaming some pretty big dreams. . . .
Jonathan’s own Gyro
. . . Jonathan Gorse
jonathan@soundstage.com
J.A. Michell Engineering Ltd
Unit B Gateway 1000
Arlington Business Park
Whittle Way
Stevenage
Hertfordshire
England SG1 2FP
Phone: (0044) 208 953 0771
Email: enquiries@michell-engineering.co.uk
Website: www.michell-engineering.co.uk
US distributor:
Fidelity Imports
7 Crown Ct
Manalapan Township, NJ 07726
Website: www.fidelityimports.com
