Reed Muse 3C

O construtor dos excelente braços da Reed acaba de lançar o seu próprio gira discos. Ao que parece, o gira é um Idler que pode em ser transformado num gira a correia em 5 min.


http://reed.lt/products/turntables/all/17-turntables/muse-3c

  Eu fico mesmo impressionado com esta classe de génios!!!
Fico a pensar e analisar no seguinte:
Nos dias de hoje, com as tecnologias cada vez mais avançadas que surgem dia após dia e no entanto,    de quando em vez eis ai que emerge um Audio-nauta    com novas e divertidas soluções sempre com a finalidade de escutar nem mais, nem menos que, o sistema analógico...
Verdaeiramente surpreendente!!!
 

E ainda bem que assim é.   

António José da Silva escreveu:

E ainda bem que assim é.   

Ora nem mais, caro amigo António...
Já foi, o é agora e pelos vistos o será FORVER!!!  

Quanto tempo até ficar conhecido como o Mickey "M(o)use" gira?

Parece que é capa da LP alemã este mês... e com crítica muito boa...

MikeF escreveu:

Parece que é capa da LP alemã este mês... e com crítica muito boa...

Vou investigar.



And by the way, que seja bem aparecido.

andava a cuscar coisas sobre o Muse e reparei no teu post...

é um gira-discos verdadeiramente inovador... os 2 motores de corrente continua afastam-se do subprato quando está desligado, e quando se liga há um solenoide que os encosta ao subprato e que regula a pressão. Os 2 motores giram a velocidades diferentes para cancelarem as ressonâncias, com volantes de tamanho diferente.
E a velocidade é controlada com um sensor optico no prato. O desvio da velocidade é inferior a 0.003%.
E tem um inclinómetro de alta precisão...

Fantástico, soberba qualidade de construção. Essa ideia de dois motores a velocidades diferentes não é de gente parva não senhora.

Incrível que ainda se continue a inovar num formato com a idade do vinil.

António José da Silva escreveu:

Fantástico, soberba qualidade de construção. Essa ideia de dois motores a velocidades diferentes não é de gente parva não senhora.

Incrível que ainda se continue a inovar num formato com a idade do vinil.

Que projecto maravilhoso!!!!

- Pelo vistos continua-se a desenvolver novas soluções para um prazer com quase cem anos de existência!

Alexandre Vieira escreveu:

 - Pelo vistos continua-se a desenvolver novas soluções para um prazer com quase cem anos de existência!

Cada vez mais.

MikeF escreveu:

é um gira-discos verdadeiramente inovador... os 2 motores de corrente continua afastam-se do subprato quando está desligado, e quando se liga há um solenoide que os encosta ao subprato e que regula a pressão. Os 2 motores giram a velocidades diferentes para cancelarem as ressonâncias, com volantes de tamanho diferente.
E a velocidade é controlada com um sensor optico no prato. O desvio da velocidade é inferior a 0.003%.
E tem um inclinómetro de alta precisão...

Uma opinião que partilho e que transcrevo sobre esses giradiscos versão "NASA"

Epigraph

"…just buy a used Micro Seiki and don’t worry about turntables anymore; built like a tank and sounds better than TTs costing over 30K USD.”
Mr. Ikeda, of Ikeda / Fidelity Research

The Main bitching

It amasses me how the preoccupation of the analogs people with their turntables has practically no relation to the actual sonic result that those turntables are capable off and practically entirely depends from the blown up intellectual things that have no or littlie relation to actual sound of those turntables

The reason I write this article is become a see a huge lack of any common scene in turntable universe. Some folks do analog. They buy, turntables, tonearms, cartridges, phonocorrectors, washer machines, records, many other tools, they go over a huge amount of time and effort to get bet sound out of all this ridicules analog gear. Their efforts are perfectly reputed thing to do. Still, an audio a typical Moron can not escape from himself and while perusing better analog Sound the audio Morons submerge myself into the swamp of completely irrational addiction to the sings, that has no relation to better sound and “better audio”.

Any audio person know that a Turntable maters. Different turntables produce different sonic masking inflictions and different performances equalizing colorations. The best of them do not impact (or even highlight) the interpretations of performed peaces and do not inflict sonic limitation to “the sound” that was taken out of LP. Sound simple, doesn’t it? Well, unfortunately the audio industry and the audio cretins who sponsor it (means you, the analog people) do not get it. The market flooded with dozen and dozen different turntables. I’m perfectly fine with a large number of $200-$500 turntables. They do not pretend to sound neutral and they cost accordingly. However, what to do with an army of $1000-$75.000 turntables that sound identically to their $500 counterparts, cost hundred times more and accompanied with all imaginable BS about their irrelevant designs, the BS structured only to convince the gadgets-minded Audio Morons the they “should be” sounding better.

Really, HOW MUCH “BETTER” AT TURNTABLES SHOULD BE FROM THE LEVEL WHEN IT ALREADY DELIVERS A PERFECTLY NORMAL SOUND? I know, I know, there is an army of idiots-reviewers who love to writhe this doodles how the different turntables produces the different sounds. Let leave aside that their “sounds evaluation” is as bogus notion that they only is cable to employ in their “incorrect reviewing techniques”. Let leave also aside that the reviewers are juts plain ignorant fools living in complete denial: the Fremer, reviewing in context of his impotent playback, impotent psycho-balance and in the room with sucked of reverberation time, the Myles who detects on his turntable the seismic movement of continental plates …. playing it in on the ….. smallest Martin Logans and having his turntable sitting atop of his TV set… I can go on … but give me a break! If we leave aside ALL that crap and presume that in the contemporary world there is no way to get a public objective opinion about a turntable’s Sound then what we have left? It is correct we have left with the pure intellectual and semi-technical justifications that you, freaks, convince yourself, while you are anticipating a turntable to reproduce better SOUND. So, HOW YOUR INTELLECTUAL CONVICTION RELATES TO ACTUAL SOUND? Good luck to answer this question.

Two or 5 motors spinning the same platter, the tension decoupling, the DC supplies for motors, the super sophisticates power sources for the motors, the NASSA’s or defense materials (this always made me to laugh), the complicated player suspensions, the crazy bearings and oiling topologies, the sophisticated allocations of masses in platters, the unimaginable decoupling and suspension ideas, the kinky idea of the vibration propagations and so on and so on and so on … Certainly this all are valid engineering points but again: HOW MUCH ALL OF THIS RELATES TO THE ACTUAL SONIC RESULTS, and particularly not the DIFFERENCES HOW A TURNTABLE PORTRAY THE SOUNDS BUT HOW IT DOES SOUND? (Not to mention that what our analog gurus-reviewers know about Sound and it’s objective assessment worth nothing). So, you the consumers, do not buy the turntables for their sound but for this intelectual justification what was done in those turntables. As the result, we have the Graveyard sounding Rockport turntables; Rock-&-Rolly but with no bass sounding VPI turntables; ecoy and puffy sounding Thorens turntables; flimsy, capricious and brainless built Walker turntables; farty sounding Garrard turntables; magnanimously-ineffective sounding Linn turntables, digitally sounding Clearadio turntables, zippy and floaty sounding Rega turntables, rubbery and chewy sounding Kuzma turntables, Audiogony sounding Wilson Turntables, granitely sounding Well Tempered turntables … I might go on and on…. You also have the Continuum guys who very egger to convince everyone that his software know what their turntable needs to Sound “correct” but at the same time they was playing a half of the CES 2005 their turntable at wrong speed and not able to hear that tempi-vise and tonally his $50K turntable was way off… Pathetic? Stupid? I am not taking about the Continuum’s people but about YOU - THE PEOPLE WHO GIVE A RESPECT TO A TURNTABLE EXPLICITLY FOR THESE INTELLECTUAL DESIGN EFFORTS INSTEAD OF THE ACTUAL SONIC EFFORTS.

Well, be advised that if you freaks buy turntables only as an investment into a MUSEUM OF ABSTRACT MECHANICAL ENGINEERING then you do it juts as an investment into a pure relevant to sound BS. A few days ago a guy that I know bought a big turntable. The guy considers himself a rational person and he perhaps is. The turntable came with a supplemental but demanding engineering feature that I personally consider is quite bogus; means HAVING NO RELATION TO SOUND. When I asked the guy if he intend to use this feature he replied that it is a magnificent feature that has a great implication to sound. Knowing that he did not even set his TT up I asked him why he made such a statement. He replied that whoever used it told him so. Eventually he admitted that he has no one credible person who ever use the feature and that his feeling that this feature might me beneficial he pulled totally out of his own ass. Why? Because he (as well as you) wants to believe that a MORE EXTRAVAGANT ITEM IN A MUSEUM OF ABSTRACT MECHANICAL ENGINEERING PRODUCES BETTER SOUND.

Afonso, por muito bom que o Micro seja, não é nem o melhor nem o único.

Nunca disse que era o melhor. Mas isso em nada altera a minha opinião que há por aí muita falta de bom senso no marketing que se usa para vender giradiscos supostamente com tecnologias da NASA e outras supostas engenhocas que em nada alteram ou melhoram o som.


E já agora deixa-me dizer-te qual é para mim o melhor giradiscos do mundo actualmente, (opinião que certamente partilhas)...


And coming back to our modern times, The Seiki is back again in new, it is called Air Force One and it is a technical copy from Seiki 8000 II with only 2 minor changes (obviously after 20+ years, it has an active speed controller and 3 platters the buyer can choose - of course, the brainless blubber is alive again, it is depending what "sound" the buyer prefers -.....). Available for 85000 USD and now it is taken seriously.
That's the only language Analog Audiophiles understand :-)

Probably Albert Einstein was an early Audiophile, don't know, but to quote him:

"Two Things Are Infinite: the Universe and Human Stupidity"

afonso escreveu:

Nunca disse que era o melhor. Mas isso em nada altera a minha opinião que há por aí muita falta de bom senso ....

Mas isso também se passava quando os Micros topo de gama como o 5000 e 8000 (e mesmo o 1500) eram comercializados novos. Era material só para gente com muito dinheiro, e também na altura, decerto que havia malta que vivia feliz com algo bem mais em conta que outrora tinha sido caro.
Sem os topo de gama de hoje, não existe os vintage bons a preço mais em conta de amanhã.

afonso escreveu:

It amasses me how the preoccupation of the analogs people with their turntables has practically no relation to the actual sonic result that those turntables are capable off and practically entirely depends from the blown up intellectual things that have no or littlie  relation to actual sound of those turntables

The reason I write this article is become a see a huge lack of any common scene in turntable universe. Some folks do analog. They buy, turntables, tonearms, cartridges, phonocorrectors, washer machines, records, many other tools, they go over a huge amount of time and effort to get bet sound out of all this ridicules analog gear. Their efforts are perfectly reputed thing to do. Still, an audio a typical Moron can not escape from himself and while perusing better analog Sound the audio Morons submerge myself into the swamp of completely irrational addiction to the sings, that has no relation to better sound and   “better audio”.

Any audio person know that a Turntable maters. Different turntables produce different sonic masking inflictions and different performances equalizing colorations. The best of them do not impact (or even highlight) the interpretations of performed peaces and do not inflict sonic limitation to “the sound” that was taken out of LP. Sound simple, doesn’t it? Well, unfortunately the audio industry and the audio cretins who sponsor it (means you, the analog people) do not get it. The market flooded with dozen and dozen different turntables. I’m perfectly fine with a large number of $200-$500 turntables. They do not pretend to sound neutral and they cost accordingly. However, what to do with an army of $1000-$75.000 turntables that sound identically to their $500 counterparts, cost hundred times more and accompanied with all imaginable BS about their irrelevant designs, the BS structured only to convince the gadgets-minded Audio Morons the they “should be” sounding better.

Really, HOW MUCH “BETTER” AT TURNTABLES SHOULD BE FROM THE LEVEL WHEN IT ALREADY DELIVERS A PERFECTLY NORMAL SOUND? I know, I know, there is an army of idiots-reviewers who love to writhe this doodles how the different turntables produces the different sounds. Let leave aside that their “sounds evaluation” is as bogus notion that they only is cable to employ in their “incorrect reviewing techniques”. Let leave also aside that the reviewers are juts plain ignorant fools living in complete denial: the Fremer,  reviewing in context of his impotent playback, impotent psycho-balance and in the room with sucked of reverberation time, the Myles who detects on his turntable the seismic movement of continental plates …. playing it in on the ….. smallest Martin Logans and having his turntable sitting atop of his TV set… I can go on … but give me a break! If we leave aside ALL that crap and presume that in the contemporary world there is no way to get a public objective opinion about a turntable’s Sound then what we have left? It is correct we have left with the pure intellectual and semi-technical justifications that you, freaks, convince yourself, while you are anticipating a turntable to reproduce better SOUND. So, HOW YOUR INTELLECTUAL CONVICTION RELATES TO  ACTUAL SOUND? Good luck to answer this question.

Two or 5 motors spinning the same platter, the tension decoupling, the DC supplies for motors, the super sophisticates power sources for the motors, the NASSA’s or defense materials (this always made me to laugh), the complicated player suspensions, the crazy bearings and oiling topologies, the sophisticated allocations of masses in platters, the unimaginable decoupling and suspension ideas, the kinky idea of the vibration propagations and so on and so on and so on … Certainly this all are valid engineering points but again: HOW MUCH ALL OF THIS RELATES TO THE ACTUAL SONIC RESULTS, and particularly not the DIFFERENCES HOW A TURNTABLE PORTRAY THE SOUNDS BUT HOW IT DOES SOUND? (Not to mention that what our analog gurus-reviewers know about Sound and it’s objective assessment worth nothing). So, you the consumers, do not buy the turntables for their sound but for this intelectual justification what was done in those turntables. As the result, we have  the Graveyard sounding Rockport turntables; Rock-&-Rolly but with no bass sounding VPI turntables; ecoy and puffy sounding Thorens turntables; flimsy, capricious and brainless built Walker turntables; farty sounding Garrard turntables; magnanimously-ineffective sounding Linn turntables, digitally sounding Clearadio turntables, zippy  and floaty sounding Rega turntables, rubbery  and chewy  sounding Kuzma turntables, Audiogony sounding Wilson Turntables, granitely sounding Well Tempered turntables … I might go on and on…. You also have the Continuum guys who very egger to convince everyone  that his software know what their turntable needs to Sound “correct” but at the same time they was playing a half of the CES 2005 their turntable at wrong speed and not able to hear that tempi-vise and tonally his $50K turntable was way off… Pathetic? Stupid?  I am not taking about the Continuum’s people but about YOU - THE PEOPLE WHO GIVE A RESPECT TO A TURNTABLE EXPLICITLY FOR THESE INTELLECTUAL DESIGN EFFORTS INSTEAD OF THE ACTUAL SONIC EFFORTS.

Well,  be advised  that if you freaks buy turntables only as an investment into a MUSEUM OF ABSTRACT MECHANICAL ENGINEERING then you do it juts as an investment into a pure relevant to sound BS. A few days ago a guy that I know bought a big turntable. The guy considers himself a rational person and he perhaps is. The turntable came with a supplemental but demanding engineering feature that I personally consider is quite bogus; means HAVING NO RELATION TO SOUND. When I asked the guy if he intend to use this feature he replied that it is a magnificent feature that has a great implication to sound. Knowing that he did not even set his TT up I asked him why he made such a statement. He replied that whoever used it told him so. Eventually he admitted that he has no one credible person who ever use the feature and that his feeling that this feature might me beneficial he pulled totally out of his own ass. Why? Because he (as well as you) wants to believe that a MORE EXTRAVAGANT ITEM IN A MUSEUM OF ABSTRACT MECHANICAL ENGINEERING PRODUCES BETTER SOUND.

This can only be from Romy the cat...

A bit over the top and political incorrect, but he hits some points.

Unfortunately he does not say which $200-$500 turntables he finds o.k.

Cheers
Manfred

Politiquement incorrect, alors c'est edité !!!

Cheers anyway

TD124 escreveu:

idiot-pseudo-reviewer escreveu:

...
... I know, I know, there is an army of idiots-reviewers who love to writhe this doodles how the different turntables produces the different sounds. ...

... As the result, we have  the Graveyard sounding Rockport turntables; Rock-&-Rolly but with no bass sounding VPI turntables; ecoy and puffy sounding Thorens turntables; flimsy, capricious and brainless built Walker turntables; farty sounding Garrard turntables; magnanimously-ineffective sounding Linn turntables, digitally sounding Clearadio turntables, zippy  and floaty sounding Rega turntables, rubbery  and chewy  sounding Kuzma turntables, Audiogony sounding Wilson Turntables, granitely sounding Well Tempered turntables … ...

... I know, I know, there is an army of idiots-pseudo-reviewers or pseudo-audio-anarchists that even make a complete internet site, dedicated to their own glory : http://www.goodsoundclub.com/   ...

... I know, I know, this one sounds like that and that one like this!... but yours is certainly fabulous!...

... I think, you are like eunuchs!... because you know how to do it, but you can't do it!!!...

Cheers anyway

É por causa destas atitudes, ainda por cima vinda de um Administrador que os fóruns acabam.

Para isto não contém mais comigo.

Passem bem.

afonso escreveu:

...

É por causa destas atitudes, ainda por cima vinda de um Administrador que os fóruns acabam.

Para isto não contém mais comigo.

...  

???... mas então amigo afonso, jà não se pode dizer o que se pensa ???

Se o ofendi peço desculpa, pois em algum momento tal era a minha intenção !, Acredite...

Deixe-se disso homém, isto é sò brincadeira e ninguém quer mal a ninguém!!!

Abraço

PS: A minha intervenção era destinada ao RTC!!!, voçê compreendeu bem que não era para si...

Caro afonso,

todos podem ter a sua opinião, mas despejar copy/pastes de opiniões de cépticos não parece apropriado ao tema em questão...
Quanto a materiais "nasa"... não é nada do que vai encontrar no Reed, apenas engenharia muito bem concebida, e não são exageros...

Quanto a motores, o facto de serem 2 faz todo o sentido. Se imaginar um belt drive ou um idler drive, a correia ou a roda puxam ou empurram o bearing do prato numa direção. Um bearing nessas condições vai ter mais atrito e fazer mais ruido.
Se por outro lado tiver 2 correias ou 2 idlers aplicados simetricamente, o bearing vai rolar praticamente sem forças laterais aplicadas. Faz todo o sentido...
Não tem pratos com massas brutais que sobrecarregam o bearing, mas tem um prato com uma alta parte da massa à periferia para ter o momento de inércia muito alto...
Não me parece que haja exageros por aqui, mas está tudo muito bem pensado. A eletrónica é mais complicada que o costume? Talvez... porque além da velocidade dos motores DC também há que regular a pressão dos volantes no subprato, e há que os fazer recuar quando o gira-discos não está a trabalhar, porque senão a pressão ia deformar os volantes.
Enfim, é esperar para ouvir. Assim que tiver cá um convido-vos, mas por enquanto o tempo de espera ainda é longo.

What I always wonder at is, that the task of driving a cutter lathe without rumble and at a constant speed was solved by a handful of companies many decades ago. Since then, myriades of turntable designers outbeat themselves with ever new and better approaches- which make some audiophiles a little sick and tired...

To be clear: this is not specific for the Reed (which may be a fabulous turntable) but applies generally.

mannitheear escreveu:

What I always wonder at is, that the task of driving a cutter lathe without rumble and at a constant speed was solved by a handful of companies many decades ago. Since then, myriades of turntable designers outbeat themselves with ever new and better approaches- which make some audiophiles a little sick and tired... ...

I think, that any effort to go further is rich and gives us something new. The future is the sum of the past and the present...

Of course, the sterile science exist (specially in audio...), but there are a lot of recycled science also, only copying the past (specially in audio...), and talk about or criticize that, don't let us go further!...

The present is now, and we must see the horizon with one foot on earth and the other on the sky, and I think that this Reed turntable, is not certainly one revolution neither the absolute limit, but maybe a serious approach, by people who tries/wants to go further!... So they deserve my sympathy and respect !...

That's what I think...

Cheers

afonso escreveu:

MikeF escreveu:

é um gira-discos verdadeiramente inovador... os 2 motores de corrente continua afastam-se do subprato quando está desligado, e quando se liga há um solenoide que os encosta ao subprato e que regula a pressão. Os 2 motores giram a velocidades diferentes para cancelarem as ressonâncias, com volantes de tamanho diferente.
E a velocidade é controlada com um sensor optico no prato. O desvio da velocidade é inferior a 0.003%.
E tem um inclinómetro de alta precisão...

Uma opinião que partilho e que transcrevo sobre esses giradiscos versão "NASA"

Epigraph

"…just buy a used Micro Seiki and don’t worry about turntables anymore; built like a tank and sounds better than TTs costing over 30K USD.”
Mr. Ikeda, of Ikeda / Fidelity Research

The Main bitching

It amasses me how the preoccupation of the analogs people with their turntables has practically no relation to the actual sonic result that those turntables are capable off and practically entirely depends from the blown up intellectual things that have no or littlie  relation to actual sound of those turntables

The reason I write this article is become a see a huge lack of any common scene in turntable universe. Some folks do analog. They buy, turntables, tonearms, cartridges, phonocorrectors, washer machines, records, many other tools, they go over a huge amount of time and effort to get bet sound out of all this ridicules analog gear. Their efforts are perfectly reputed thing to do. Still, an audio a typical Moron can not escape from himself and while perusing better analog Sound the audio Morons submerge myself into the swamp of completely irrational addiction to the sings, that has no relation to better sound and   “better audio”.

Any audio person know that a Turntable maters. Different turntables produce different sonic masking inflictions and different performances equalizing colorations. The best of them do not impact (or even highlight) the interpretations of performed peaces and do not inflict sonic limitation to “the sound” that was taken out of LP. Sound simple, doesn’t it? Well, unfortunately the audio industry and the audio cretins who sponsor it (means you, the analog people) do not get it. The market flooded with dozen and dozen different turntables. I’m perfectly fine with a large number of $200-$500 turntables. They do not pretend to sound neutral and they cost accordingly. However, what to do with an army of $1000-$75.000 turntables that sound identically to their $500 counterparts, cost hundred times more and accompanied with all imaginable BS about their irrelevant designs, the BS structured only to convince the gadgets-minded Audio Morons the they “should be” sounding better.

Really, HOW MUCH “BETTER” AT TURNTABLES SHOULD BE FROM THE LEVEL WHEN IT ALREADY DELIVERS A PERFECTLY NORMAL SOUND? I know, I know, there is an army of idiots-reviewers who love to writhe this doodles how the different turntables produces the different sounds. Let leave aside that their “sounds evaluation” is as bogus notion that they only is cable to employ in their “incorrect reviewing techniques”. Let leave also aside that the reviewers are juts plain ignorant fools living in complete denial: the Fremer,  reviewing in context of his impotent playback, impotent psycho-balance and in the room with sucked of reverberation time, the Myles who detects on his turntable the seismic movement of continental plates …. playing it in on the ….. smallest Martin Logans and having his turntable sitting atop of his TV set… I can go on … but give me a break! If we leave aside ALL that crap and presume that in the contemporary world there is no way to get a public objective opinion about a turntable’s Sound then what we have left? It is correct we have left with the pure intellectual and semi-technical justifications that you, freaks, convince yourself, while you are anticipating a turntable to reproduce better SOUND. So, HOW YOUR INTELLECTUAL CONVICTION RELATES TO  ACTUAL SOUND? Good luck to answer this question.

Two or 5 motors spinning the same platter, the tension decoupling, the DC supplies for motors, the super sophisticates power sources for the motors, the NASSA’s or defense materials (this always made me to laugh), the complicated player suspensions, the crazy bearings and oiling topologies, the sophisticated allocations of masses in platters, the unimaginable decoupling and suspension ideas, the kinky idea of the vibration propagations and so on and so on and so on … Certainly this all are valid engineering points but again: HOW MUCH ALL OF THIS RELATES TO THE ACTUAL SONIC RESULTS, and particularly not the DIFFERENCES HOW A TURNTABLE PORTRAY THE SOUNDS BUT HOW IT DOES SOUND? (Not to mention that what our analog gurus-reviewers know about Sound and it’s objective assessment worth nothing). So, you the consumers, do not buy the turntables for their sound but for this intelectual justification what was done in those turntables. As the result, we have  the Graveyard sounding Rockport turntables; Rock-&-Rolly but with no bass sounding VPI turntables; ecoy and puffy sounding Thorens turntables; flimsy, capricious and brainless built Walker turntables; farty sounding Garrard turntables; magnanimously-ineffective sounding Linn turntables, digitally sounding Clearadio turntables, zippy  and floaty sounding Rega turntables, rubbery  and chewy  sounding Kuzma turntables, Audiogony sounding Wilson Turntables, granitely sounding Well Tempered turntables … I might go on and on…. You also have the Continuum guys who very egger to convince everyone  that his software know what their turntable needs to Sound “correct” but at the same time they was playing a half of the CES 2005 their turntable at wrong speed and not able to hear that tempi-vise and tonally his $50K turntable was way off… Pathetic? Stupid?  I am not taking about the Continuum’s people but about YOU - THE PEOPLE WHO GIVE A RESPECT TO A TURNTABLE EXPLICITLY FOR THESE INTELLECTUAL DESIGN EFFORTS INSTEAD OF THE ACTUAL SONIC EFFORTS.

Well,  be advised  that if you freaks buy turntables only as an investment into a MUSEUM OF ABSTRACT MECHANICAL ENGINEERING then you do it juts as an investment into a pure relevant to sound BS. A few days ago a guy that I know bought a big turntable. The guy considers himself a rational person and he perhaps is. The turntable came with a supplemental but demanding engineering feature that I personally consider is quite bogus; means HAVING NO RELATION TO SOUND. When I asked the guy if he intend to use this feature he replied that it is a magnificent feature that has a great implication to sound. Knowing that he did not even set his TT up I asked him why he made such a statement. He replied that whoever used it told him so. Eventually he admitted that he has no one credible person who ever use the feature and that his feeling that this feature might me beneficial he pulled totally out of his own ass. Why? Because he (as well as you) wants to believe that a MORE EXTRAVAGANT ITEM IN A MUSEUM OF ABSTRACT MECHANICAL ENGINEERING PRODUCES BETTER SOUND.

E as complicações para simplesmente fazer vinho? Depois é a temperatura, respirar e mais não sei o quê, copo, como se pega no copo, como se deve beber o vinho, vinhos a custarem dezenas largas de euros que num teste cego se confundem com vinhos de 2 ou 3 euros.
Afinal a Engª é o quê e serve para quê???
Em qualquer área há a mania da evolução e da pesquisa e obsessão constante com a qualidade e no final mal se distinguem, se é que de facto distinguem, dos resultados mais práticos e fáceis.
Tenho de concordar com o supra-citado, aliás, nem sei para que é que existem "NASAS"!!!

Manias!

Vou vender o meu RB ULTIMO e o SME V e a Bobolli...

Rui Borges e outros que tais "Shame on You" por serem puros, apaixonados e desejarem tão simplesmente a perfeição.

Abaixo a mecânica abstracta extravagante!

Abaixo tudo o que diga respeito a Mecânica dos Materiais, Elemento Finito, Tecnologias de maquinação com recurso a CNC, exageros de metrologia com micrómetros e outros rídiculos gadgets de malucos que nem sabem o que andam a fabricar!!!

Viva a mediocridade e o simplismo, afinal de contas os resultados são indistintos e os esforços ingratos, soa tudo "mais ou menos" ao mesmo.

Saudações audiófilas e as minhas desculpas e arrependimento por ser um assumido "Audio Moron", felizmente já em franca recuperação.

tomaz escreveu:

E as complicações para simplesmente fazer vinho? Depois é a temperatura, respirar e mais não sei o quê, copo, como se pega no copo, como se deve beber o vinho, vinhos a custarem dezenas largas de euros que num teste cego se confundem com vinhos de 2 ou 3 euros.
Afinal a Engª é o quê e serve para quê???
Em qualquer área há a mania da evolução e da pesquisa e obsessão constante com a qualidade e no final mal se distinguem, se é que de facto distinguem, dos resultados mais práticos e fáceis.
Tenho de concordar com o supra-citado, aliás, nem sei para que é que existem "NASAS"!!!

Manias!

Vou vender o meu RB ULTIMO e o SME V e a Bobolli...

Rui Borges e outros que tais "Shame on You" por serem puros, apaixonados e desejarem tão simplesmente a perfeição.

Abaixo a mecânica abstracta extravagante!

Abaixo tudo o que diga respeito a Mecânica dos Materiais, Elemento Finito, Tecnologias de maquinação com recurso a CNC, exageros de metrologia com micrómetros e outros rídiculos gadgets de malucos que nem sabem o que andam a fabricar!!!

Viva a mediocridade e o simplismo, afinal de contas os resultados são indistintos e os esforços ingratos, soa tudo "mais ou menos" ao mesmo.

Saudações audiófilas e as minhas desculpas e arrependimento por ser um assumido "Audio Moron", felizmente já em franca recuperação.

E há quem esteja à espera desse dia, o dia em que passa a ser segunda mão e repentinamente.....bom.

Review...

mannitheear escreveu:

Review...

I haven't understand nothing... bit the pictures are quite "jolies"

Cheers

mannitheear escreveu:

Review...

Amigo MikeF. Aqui está o teste da LP que querias.

Conclusão final: O mais inovador gira de há muitos anos a esta parte. Tracção por correia e idler executados com moderna tecnologia, e diz que no modo idler toca numa classe á parte dos outros.

Bastante promissor. Parece que estamos na presença de algo de grande potencialidade.

TD124 escreveu:

mannitheear escreveu:

Review...

I haven't understand nothing... bit the pictures are quite "jolies"

Cheers

TD124 likes it because of the friction drive...

The review is very positive, but much blahblah, as usual. The author likes also his Reed tonearm and his Lyras very much.

22.000 - 25.000 for a complete turntable. Lot of money, but then that's that with vinyl, I suppose.

António Jose da Silva escreveu:

E há quem esteja à espera desse dia, o dia em que passa a ser segunda mão e repentinamente.....bom.

É uma espécie de paradigma quântico!

A expectativa, quiçá certeza, que o Futuro (esse tal dia...) influencia o presente do que já foi passado

tomaz escreveu:

António Jose da Silva escreveu:

E há quem esteja à espera desse dia, o dia em que passa a ser segunda mão e repentinamente.....bom.

É uma espécie de paradigma quântico!

A expectativa, quiçá certeza, que o Futuro (esse tal dia...) influencia o presente do que já foi passado

Obrigado, meus caros.

A crítica parece realmente muito boa e deixa antever um gira-discos fantásticos. Tenho de ver se consigo a tradução completa...
E esperar, por enquanto o tempo de espera por um é cerca de 3 meses.

O preço, cerca de 16000€, não parece nada exagerado, pelo contrário, se o compararmos com ofertas recentes. Aliás, os braços Reed também têm uma relação qualidade/preço fantástica...

Presente em Krefeld e bastante apreciado.

conta os detalhes...

MikeF escreveu:

conta os detalhes...

Não tenho muitos detalhes, mas do resumo de todos os posts dos membros dos AAA, dá para ver que uma grande maioria ficou bastante bem impressionada com o Sistema onde o Gira e braços Reed.

E fica aqui um pequeno vídeo fotográfico dos AAA.


http://www.aaanalog.de/index.php?context=news&id=News:7741

já a rodar na ZenAudio...



https://www.facebook.com/media/set/?set=a.10153196086507728.1073741832.351259477727&type=1&l=b619e49806

Os motores do Muse em acção...

Impressionante.

Isso deve de tocar nas horas.