suppose three tuning forks of frequencies 260

The Lenco shown here was our second project. Since buying a well-engineered LP can be a bit of a gamble, it is a good idea to share personal experience on sound quality, as I have started doing here. The result is astounding, and for the first time, our turntable actually does sound more impressive than CD, if the record itself is of a good pressing. We made sure that the turntable was placed on non-resonant footing and was level with the ground. We checked the platter speed, corrected the azimuth, as well as the offset and rake angle. We lubricated the moving parts, upgraded the internal wiring, and changed the output terminal from 5-pin DIN to RCA/cinch sockets. The Philips needed a new belt, bracket, and cartridge. Lots of time reading and experimenting has passed since then. summer 2018, when we found a 1972 Philips 212 deck in our grandpa’s basement. I consequently sold my record player in the early 90s, never to look back until. And, honestly, at the affordable price range of an adolescent, the CD performed much better. Like most turntable owners around in the 80s, I was excited about the emergence of the new, super silent, digital technology that came in the shape of a shiny and more compact disc. I must confess that I am still a relative ‘newbie’ to the subject of turntables. Not surprisingly then, the merits of a given audio device are entwined with the personal history and motivation of the people who have spent much of their professional lives to create it. Even today, true High End manufacturers will place more emphasis on the subjective human perception of sound than on the objective data that is derived from measurements. Tube amplifiers are a relict of such times, in that they provide more joy to the listener than they do to the reader of their data sheets. Judgement on the performance of audio equipment was based on the ability to satisfy the human ear rather than ultra clean measuring results that would out-spec the competition. In this scenario, customers will be comparing the technical specifications of a device rather than the product’s ability to convey the recorded music event with lifelike musicality.īefore the receiver wars of the late 1970s and early 1980s, and even more so before we started comparing prices and purchasing products online, HiFi electronics mostly had to compete with music events and the sounds produced by real-life instruments.

Manufacturers today mostly compete with a range of similar audio devices on the market and need to attract buyers who will mostly be unable to hear the actual product, let alone test it out in their domestic environment, before making their purchase. Contrary to popular belief, there is only a relatively loose connection between the technical specifications of an audio device and its ability to play music in an authentic fashion.

Suppose three tuning forks of frequencies 260