So similar to the vinyl situation.I can't find the CD masters that I have on tape. The tape versions sound substantially better than the variations I have tried in digital. They have really screwed up the mastering for digital releases.
So similar to the vinyl situation.I can't find the CD masters that I have on tape. The tape versions sound substantially better than the variations I have tried in digital. They have really screwed up the mastering for digital releases.
Higher noise floor depends on the recording. Vintage recordings, whether classical or Beatles or Led Zeppelin will have been recorded on tape. If with Dolby, then the noise floor will be low enough not to be noticeable. If without Dolby, then classical recordings will have tape hiss on the quiet bits, not so noticeable on the louder bits. Rock/Pop less noticeable due to compression, but still audible if listening for it. (House of the Rising Sun, Animals) for instance. On the other hand, Telstar by the Tornadoes is recorded at peak level all the way through, so tape hiss isn't noticeable even without Dolby. Anything recorded on digital tape, even early on, like Bop Till You Drop, won't have any audible hiss.
CDs won't necessarily sound any better due to the limitations of the source material, although a lot can be done these days with DSP noise reduction.
S.
12,000GBP is insane. Converting to USD and then back to 1979 dollars (I just picked that year at random), that would've been $4600US - insanely high even for higher-end stuff back at that time.
If Thorens can sell a small number of these units to a super-niche set of wealthy buyers, good for them I guess - I mean, there apparently are people who buy $25k DACs, right?
12,000GBP is insane. Converting to USD and then back to 1979 dollars (I just picked that year at random), that would've been $4600US - insanely high even for higher-end stuff back at that time.
If Thorens can sell a small number of these units to a super-niche set of wealthy buyers, good for them I guess - I mean, there apparently are people who buy $25k DACs, right?
Not apparently ... Some on this board ,might have done it back in their years of insanity ... For some people on some boards this is a normal price because some purchase $100K DAC combos and $15,000 USB cable ...
It is a rebadged Ballfinger: http://www.ballfinger.de/....
Nice link. Looking at the Ballfinger website they are a luxury lifestyle brand rather than an audiophile brand. This: "It is to be expected that people will always prefer the corporeality of things to the continuing reduction possible through technical progress for a long time to come. After all, as much as new technologies are invariably convenient and enticing in the beginning: we do, though, still want to be able to decide and choose between an arbitrary user interface and real substance."
Partnering with Thorens branding seems like a great fit. Adding both nostalgia and substance. You don't want your guests first reaction to your new $12,000 toy to be "What the heck is a Ballfinger".
I usually close my eyes when listening intensively so I don't care much about looks[..]But it's really the wow factor that makes it worth it. I have a pretty dramatic looking TT (Michell Gyro SE) which gets lots of admiring looks, but my Revox PR99 gets a lot more "Holy crap!" because most people have never seen one in person before, ever in their lives.
Yes, except when it's the master tape used for making the CD.Would there be a higher noise floor?
I think that many turntables coming from companies either new on the market or never been known for making turntables are probably OEMed somewhere. How would it be possible that a company develops a highend TT from scratch without any know how on hand?It's a smart move for both.
It wouldn't shock me if McIntosh OEMed one, too.
After all, there is a whole line of McIntosh turntables, all of which I believe are OEMed from someone else (Clearaudio among them, I believe).
When even well known companies make such stupid design errors how can a newcomer be able to not do such errors?
Someone posted this link in the Thorens announcement comment about Ballfinger's construction.
Pictures at the end of the thread.
http://rt22.ru/viewtopic.php?f=10&t...f97sl_2baIN1n3TnHUkApI4lDTfdZ0QCAQJrQw8S7FQUU
Doesn't look very nice at first sight...
Which part struck you as not looking nice?
If I take the case off my Revox PR99, the frame looks similar, as do the circuit boards....the biggest difference being the lack of the big Studer motors.
I think that many turntables coming from companies either new on the market or never been known for making turntables are probably OEMed somewhere. How would it be possible that a company develops a highend TT from scratch without any know how on hand?
Some of the McIntoshs indeed look like Clearaudio, which may not be the smart move one might think. Last year I was at a demo where Clearaudio showed a new TT with magnetic bearing of the platter (CMB). This means that the platter can freely move up and down along the Z axis while the tonearm stays fix, as was demonstrated.
When I told the guy from Clearaudio that every movement of the platter against the tonearm must translate into an unwanted audio signal he just said that this would be no problem. The same is true for the new Music Hall mmf-11.1 where the tonearm is mounted on a different board than the platter, and both boards have no rigid connection but are decoupled with Sorbothane material.
When even well known companies make such stupid design errors how can a newcomer be able to not do such errors?
There are a few pics on the other pages showing what appears to me as somewhat creative/sloppy soldering.
I think that many turntables coming from companies either new on the market or never been known for making turntables are probably OEMed somewhere. How would it be possible that a company develops a highend TT from scratch without any know how on hand?
Some of the McIntoshs indeed look like Clearaudio, which may not be the smart move one might think. Last year I was at a demo where Clearaudio showed a new TT with magnetic bearing of the platter (CMB). This means that the platter can freely move up and down along the Z axis while the tonearm stays fix, as was demonstrated.
When I told the guy from Clearaudio that every movement of the platter against the tonearm must translate into an unwanted audio signal he just said that this would be no problem. The same is true for the new Music Hall mmf-11.1 where the tonearm is mounted on a different board than the platter, and both boards have no rigid connection but are decoupled with Sorbothane material.
When even well known companies make such stupid design errors how can a newcomer be able to not do such errors?
It is so strange to see modern electronics/ICs inside a reel to reel deck!Pictures at the end of the thread.
http://rt22.ru/viewtopic.php?f=10&t...f97sl_2baIN1n3TnHUkApI4lDTfdZ0QCAQJrQw8S7FQUU