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var rethm = new String("Lowther drivers are so incredibly realistic sounding that people tend to fall in love with them on first hearing. There are many designs with Lowther drivers mounted either in a fairly simple cabinet with horm loading or very elaborate and very large horn loaded designs. However, no driver is perfect and the Lowther is not without its limitations. Its performance in the lower frequencies is limited and it has a peak in part of its frequency range famously known as the Lowther 'shout'.\n Jacob George is one of those who fell in love with the Lowther sound. However, being an architect by profession he set about applying his considerable design skills to get the very best out of them. The result is unlike any conventional speaker cabinet. I prefer to think of it as a device for squeezing the very best performance out of the Lowther drivers. It is also incredibly compact and elegantly designed.\n Jacob also extensively modifies the driver itself to cure the Lowther 'shout'. Having achieved those goals his next challenge was to augment the Lowther driver with a pair of dedicated bass modules to handle the lower frequencies. This is a considerable challenge, since the Lowther driver is so 'fast' and bass drivers tend to be sluggish in comparison.\n The solution Jacob came up with was to seamlessly blend the bass driver which is driven by its own transistor amplifier, with the main Lowther driver.\n The result is a rich, full-bodied, coherent sound, which should satisfy lovers of all types of music. You haven't really heard the wonderful Lowther drivers unless you've heard them in a Rethm system. There's a very good chance you'll fall in love! Visit Rethm");
var pspower = new String("Paul McGowan's PS Audio company has been well established in High-End audio since the early 1970's. They have had many highly positive reviews to their credit from the various High-End audio journals, such as 'the Absolute Sound'. You can read the full colourful history of the company here.\nPS Audio have produced a number of legendary pre-amplifiers, power amplifiers and digital components. They have also turned their skills to the all important area of improving the quality of the mains which powers your system. If you live in an environment with an ideal mains supply where the voltage never varies more than a few percentage points from the standard (230 volts in Europe) and the distortion present on your power lines is 0.5% or less, then your mains would not need improving. However, such an ideal environment probably doesn't exit or is very rare. If you live in a typical urban environment, your mains is probably a good deal worse than this.\nIn order to produce music the various components in your audio system are simply modulating the original mains signal in various ways until the end result exits your speakers. So your mains is literally the source or root of the sound your system creates. If this root isn't as pure and clean as possible, neither will the music be pure or accurately reproduced. Without a clean mains you're building your system on a less than stable foundation.\nEnter the Power Plant Premier, pictured above. This product resembles a medium sized power amplifier and has a very informative digital display on it's attractive front panel. The information you choose to display is selectable from the supplied remote control. It includes the raw input voltage as well as the total harmonic distortion present on your mains. With the touch of a button you can then compare this with the new purer mains being output by the Power Plant Premier to your audio components. For example here at Sound Galleries our Power Plant Premier is currently reading an input 240 volts, almost 5% too much. The Power Plant Premier has reduced this to a far more acceptable and stable 234 volts on its newly regenerated mains. The distortion on the incoming mains is reading 1.4%. The Power Plant Premier has reduced this right down to just 0.3%. So with the Power Plant Premier you can tell at a glance just how much improvement your getting to your mains signal before it enters any of your audio components. Our situation at Sound Galleries is probably far better than might be encountered in a typical home environment, since we are running a dedicated line for the Audio systems and using Hospital Grade Power outlets.\nWhat does this level of improvement to the mains result in? Instruments emerge naturally from the fabric of the acoustic environment they were recorded in. The resolution of details is far higher, so your brain doesn't have to work overtime to fill in missing information. This results in the ability to listen far longer without fatigue as well as making your listening sessions more enjoyable. It should also result in greater reliability and longevity of your audio components.\nHow are these amazing results achieved? The Power Plant Premier literally generates a brand new sparkling clean mains. It does this by first converting your AC (alternating current) mains to DC (Direct Current) and then out of this converted DC it generates a new cleaned up and stabilised AC mains for feeding your audio system. It even employs nano-technology to achieve this and you can't get much more cutting edge than that.\nThe Power Plant Premier is one of a number of excellent products available from PS Audio's PS Power line which ensure you Audio system is built on stable and reliable roots. Visit PS Audio");
var pspowerFR = new String("La soci\u00e9t\u00e9 PS Audio de Paul McGowan s\u2019est bien install\u00e9e dans l\u2019acoustique High-End depuis le d\u00e9but des ann\u00e9es 1970. Ils ont d\u2019ailleurs re\u00e7u de nombreux critiques tr\u00e8s positives \u00e0 leur \u00e9gard de la part de divers journaux sp\u00e9cialis\u00e9s dans l\u2019acoustique High-End, tels que \u00ab Absolute Sound \u00bb. Vous pouvez y lire l'histoire compl\u00e8te et pleine de couleurs de la soci\u00e9t\u00e9. PS Audio ont produit un nombre de pr\u00e9amplificateurs, amplificateurs de puissance et composants num\u00e9riques l\u00e9gendaires. Ils ont \u00e9galement concentr\u00e9 leurs comp\u00e9tences sur l\u2019am\u00e9lioration du r\u00e9seau qui alimente votre syst\u00e8me. Si vous habitez dans un environnement avec un r\u00e9seau \u00e9lectrique dont la tension ne varie jamais plus de quelques points de pourcentage par rapport \u00e0 la norme (230 volts en Europe) et la distorsion pr\u00e9sente dans vos lignes \u00e9lectriques est de 0,5 % ou moins, alors votre adaptateur secteur n'aura pas besoin d\u2019\u00eatre am\u00e9lior\u00e9. Toutefois, il est plus que probable qu\u2019un tel environnement id\u00e9al n'existe pas ou est tr\u00e8s rare. Si vous habitez dans un environnement urbain typique, votre adaptateur secteur est probablement bien pire. Afin de produire de la musique les divers \u00e9l\u00e9ments de votre syst\u00e8me audio modulent simplement le signal d\u2019origine du r\u00e9seau de diverses mani\u00e8res jusqu'\u00e0 ce que le r\u00e9sultat final sorte de vos haut-parleurs. Le secteur est litt\u00e9ralement la source ou la racine du son que votre syst\u00e8me produit. Si cette racine n'est pas aussi pure et propre que possible, la musique ne sera pure non plus, ni rendue avec pr\u00e9cision. Sans un courant propre vous construisez votre syst\u00e8me sur une fondation instable. Connectez le Power Plant Premier, photo ci-dessus. Ce produit ressemble \u00e0 un amplificateur de puissance de taille moyenne et dispose d\u2019un affichage num\u00e9rique tr\u00e8s informatif sur un \u00e9cran frontal attrayant. Vous pouvez faire le choix des informations que vous voulez afficher \u00e0 l\u2019aide de la t\u00e9l\u00e9commande fournie. Parmi d\u2019autres, il comprend la tension d'entr\u00e9e brute, ainsi que la distorsion harmonique totale pr\u00e9sente sur votre secteur. Simplement en appuyant sur un bouton vous pouvez ensuite la comparer avec le nouveau courant plus pure sortant du Power Plant Premier et dirig\u00e9 vers vos composants audio. Par exemple, chez Sound Galleries notre Power Plant Premier lit actuellement 240 volts en entr\u00e9e de secteur, pr\u00e8s de 5 % de trop. Le Power Plant Premier l\u2019a r\u00e9duit jusqu\u2019\u00e0 234 volts, ce qui est beaucoup plus stable et acceptable. La distorsion sur le courant entrant est de 1.4 %. Le Power Plant Premier l\u2019a r\u00e9duite \u00e0 seulement 0,3 %. Avec le Power Plant Premier vous pouvez voir en un clin d\u2019\u0153il l\u2019am\u00e9lioration de votre signal obtenue avant qu\u2019elle ne p\u00e9n\u00e8tre dans un de vos composants audio. De plus, notre situation chez Sound Galleries est probablement bien meilleure que celle d\u2019un environnement domestique typique, puisque nous travaillons sur une ligne d\u00e9di\u00e9e aux syst\u00e8mes audio et nous utilisons des prises de courant marqu\u00e9es Hospital Grade. Quel est donc le r\u00e9sultat de ce niveau d'am\u00e9lioration du secteur ? Les instruments \u00e9mergent naturellement de l'environnement acoustique dans lequel ils ont \u00e9t\u00e9 enregistr\u00e9s. La r\u00e9solution des d\u00e9tails est beaucoup plus \u00e9lev\u00e9e, donc votre cerveau ne doit pas faire des heures sup\u2019 pour compl\u00e9ter les informations manquantes. D\u2019o\u00f9 une capacit\u00e9 d'\u00e9coute bien plus grande, sans fatigue, ainsi que des s\u00e9ances d'\u00e9coute plus agr\u00e9ables. Il devrait aussi entra\u00eener une plus grande fiabilit\u00e9 et long\u00e9vit\u00e9 de vos composants audio. \n Comment ces r\u00e9sultats \u00e9tonnants sont-ils atteints ? Le Plant Power Premier g\u00e9n\u00e8re litt\u00e9ralement un nouveau courant tout propre. Il y arrive en convertissant d\u2019abord votre secteur CA (courant alternatif) en secteur CD (courant direct), puis de ce CD converti il g\u00e9n\u00e8re un nouveau secteur CA propre et stabilis\u00e9 pour alimenter votre syst\u00e8me audio. Il emploie m\u00eame la nanotechnologie pour y parvenir et il est peu probable de pouvoir obtenir un meilleur r\u00e9sultat que celui-ci. \n Le Power Plant Premier est seulement l'un d'un nombre d'excellents produits disponibles dans la gamme \u00ab Courants \u00bb de PS Audio qui garantit \u00e0 votre syst\u00e8me audio une fondation stable et fiable. ");
var rethmFR = new String("Les haut parleurs Lowther sont si incroyablement r\u00e9alistes au niveau du son que les gens ont tendance \u00e0 en tomber amoureux \u00e0 la premi\u00e8re audition. Il y a beaucoup de mod\u00e8les avec des transducteurs Lowther, mont\u00e9s soit dans un coffret plut\u00f4t simple de type horn-loaded soit des mod\u00e8les tr\u00e8s \u00e9labor\u00e9s et tr\u00e8s grands de type horn-loaded \u00e9galement. Toutefois, aucun haut parleur n'est parfait et le Lowther aussi a ses limites. Sa performance dans les basses fr\u00e9quences est limit\u00e9e et il conna\u00eet un pic dans sa gamme de fr\u00e9quences connu sous le nom de \u00ab cri Lowther \u00bb. \nJacob George fait partie de ceux qui sont tomb\u00e9s amoureux du son Lowther. Toutefois, \u00e9tant un architecte de profession, il a cherch\u00e9 \u00e0 appliquer ses consid\u00e9rables comp\u00e9tences dans le design afin d\u2019en tirer le meilleur. Le r\u00e9sultat ne ressemble \u00e0 aucune enceinte conventionnelle. Je pr\u00e9f\u00e8re penser que c'est un appareil con\u00e7u pour tirer les meilleures performances des haut-parleurs Lowther. Il est \u00e9galement incroyablement compact et \u00e9l\u00e9gant. Jacob modifie aussi consid\u00e9rablement le transducteur simple afin de rem\u00e9dier au \u00ab cri Lowther \u00bb. Ayant atteint ces buts, son prochain d\u00e9fi est d'augmenter le transducteur Lowther avec une paire de modules de basse d\u00e9di\u00e9es aux fr\u00e9quences basses. Il s'agit d'un d\u00e9fi consid\u00e9rable, puisque le transducteur Lowther est si \u00abrapide\u00bb que les caissons de basse ont tendance \u00e0 \u00eatre lents en comparaison. La solution que trouva Jacob fut de fondre de fa\u00e7on homog\u00e8ne le transducteur de basse conduit par son propre amplificateur \u00e0 transistors, avec le principal transducteur Lowther. Le r\u00e9sultat est un son riche, cors\u00e9, coh\u00e9rent, qui devrait satisfaire les amoureux de tout type de musique. Vous n'avez pas vraiment entendu les merveilleux transducteurs Lowther si vous ne les avez pas entendus dans un syst\u00e8me Rethm. Il y a une tr\u00e8s bonne chance que vous tomberiez amoureux!");
var harmonic = new String("Harmonic Technology have produced a cable that works on a completely different principle to all others. Instead of passing electrical signals through a metal wire the Cyberlight cable converts the signal to light. Faster light pulses correspond to higher frequencies and slower pulses to lower frequencies. At the other end the light is converted back to an electrical signal.\n While the signal is travelling along the cable, since it is made of pure light it is immune from the noise that plagues conventional cables.\n The result is a cable that can be used in long runs without fear of noise or signal deterioration. Previously only balanced cable could achieve this.\n With Cyberlight, sounds emerge from a silent background. Cyberlight, has been compared very favourably to cables costing far more. Couple it with Harmonic Technologies equally highly regarded Magic series speaker cable and your cable certainly won't be a weak link in the chain. Visit Harmonic Technology");
var harmonicFR = new String("Harmonic Technology ont produit un c\u00e2ble qui fonctionne selon un principe compl\u00e8tement diff\u00e9rent de tous les autres. Au lieu de faire passer les signaux \u00e9lectriques \u00e0 travers un fil en m\u00e9tal, le c\u00e2ble de Cyberlight convertit le signal en lumi\u00e8re. Les pulsations lumineuses plus rapides correspondent \u00e0 des fr\u00e9quences plus \u00e9lev\u00e9es et les impulsions plus lentes \u00e0 des fr\u00e9quences plus basses. \u00c0 l'autre extr\u00e9mit\u00e9 la lumi\u00e8re est convertie \u00e0 nouveau dans un signal \u00e9lectrique.\n\nPendant que le signal voyage le long du c\u00e2ble, il n\u2019est pas corrompu par le bruit qui affecte les c\u00e2bles conventionnels, \u00e9tant fait de pure lumi\u00e8re.\n\nLe r\u00e9sultat est un c\u00e2ble qui peut \u00eatre employ\u00e9 pour de longs trajets sans crainte de bruits ou d\u2019une d\u00e9t\u00e9rioration du signal. Pr\u00e9c\u00e9demment les c\u00e2bles \u00e9quilibr\u00e9s seuls pouvaient arriver \u00e0 une telle performance.\nAvec Cyberlight, les sons \u00e9mergent d'un background silencieux. Cyberlight a \u00e9t\u00e9 compar\u00e9 tr\u00e8s favorablement \u00e0 des c\u00e2bles ayant un hautement consid\u00e9r\u00e9 \u00e9galement, et votre c\u00e2ble ne sera certainement pas le maillon faible de la cha\u00eene.");
var redwine = new String("Red Wine Audio is the brainchild of Vinnie Rossi, a talented young designer whose new Signature 30.2 Amplifier has just won the coveted Lunar Eclipse award from the editor of 6Moons.\n In his review Srajan uses the Rethm Saadhana's extensively. You can also read my positive experiences of using the Signature 30.2 with Podium Speakers there. The name Red Wine Audio is obviously derived from Vinnie's own name. It also reflects how music flows effortlessly through Red Wine electronics.\n Vinnie was amongst the first to spot the potential of Class T amplifiers and the only designer who has managed to realise their full potential. Class T is a form of digital amplification and the performance of digital components in particular tend to suffer from mains impurities, requiring the use of mains filters and expensive power cables to sound their best. What though if you could avoid the mains altogether?\n Vinnie achieved this by powering all his devices from batteries. The Signature 30.2 and 70.2 amplifiers are powered from two sealed (SLA) batteries within their chassis.\n The result is a sound beautifully balanced between the warm liquidity of valve amplifiers and the control and authority of solid state amps, without any of the stridency and dryness often associated with other digital amplifiers.\n The amplifiers will allow for between 12 and 24 hours of continuous listening. Whenever they're not in use, you should remember to put them into instant charge mode by a simple push of a button. However, even if you forget to do this the Signature 30.2 and 70.2 amps will detect when the voltage is too low and automatically switch themselves to charge mode.\n Vinnie also modifies digital source components such as the famous iPod to bring them to true High-End status. All powered by batteries of course, so even if you have a power failure, the music will play on. Perfect for those romantic evenings! Visit Red Wine Audio");
var redwineFR = new String("Red Wine Audio est le b\u00e9b\u00e9 de Vinnie Rossi, un jeune cr\u00e9ateur talentueux dont le nouvel amplificateur Signature 30.2 vient de remporter le tr\u00e8s convoit\u00e9 prix Lunar Eclipse de l'\u00e9diteur de 6Moons.\n Dans sa revue Srajan utilise le Saadhana Rethm de mani\u00e8re extensive. Vous pouvez \u00e9galement y lire ma propre exp\u00e9rience positive de l'utilisation du Signature 30.2 avec des haut-parleurs Podium. Le nom de Red Wine Audio est \u00e9videmment d\u00e9riv\u00e9 du propre nom de Vinnie. Il refl\u00e8te \u00e9galement comment la musique coule sans effort gr\u00e2ce \u00e0 l'\u00e9lectronique de Red Wine. Vinnie a \u00e9t\u00e9 parmi les premiers \u00e0 rep\u00e9rer le potentiel des amplificateurs de classe T et le seul designer qui a r\u00e9ussi \u00e0 comprendre leur entier potentiel. Classe T est une forme d'amplification num\u00e9rique et la performance des composants num\u00e9riques en particulier a tendance \u00e0 souffrir des impuret\u00e9s du secteur, n\u00e9cessitant l'utilisation des filtres de secteur et de c\u00e2bles \u00e9lectriques co\u00fbteux afin de donner un meilleur son. Et si vous pouviez \u00e9viter compl\u00e8tement le secteur? Vinnie atteint cet objectif en \u00e9quipant tous ses appareils avec des piles. Les amplificateurs Signature 30.2 et 70.2 sont aliment\u00e9es par deux batteries scell\u00e9es (SLA) situ\u00e9es \u00e0 l\u2019int\u00e9rieur de leur ch\u00e2ssis. Le r\u00e9sultat est un son magnifiquement \u00e9quilibr\u00e9 entre la liquidit\u00e9 chaleureuse des amplificateurs \u00e0 valves et le contr\u00f4le et l'autorit\u00e9 d'un ampli \u00e9tat solide, sans la stridence et l\u2019aridit\u00e9 souvent associ\u00e9es \u00e0 d'autres amplificateurs num\u00e9riques. Les amplificateurs permettront entre 12 et 24 heures d'\u00e9coute continue. Chaque fois qu'ils ne sont pas en usage, rappelez-vous de les mettre en mode de recharge instantan\u00e9e, par une simple pression sur un bouton. Toutefois, m\u00eame si vous oubliez de le faire, les Signature 30.2 et 70.2 d\u00e9tecteront une tension trop basse et basculeront automatiquement en mode recharge. Vinnie modifie \u00e9galement des composants de source num\u00e9rique comme le c\u00e9l\u00e8bre iPod afin de les \u00e9lever au v\u00e9ritable status High-End. Ils sont tous aliment\u00e9s par des batteries, bien s\u00fbr, de sorte que m\u00eame si vous avez une panne de courant, la musique continue. Parfait pour les soir\u00e9es romantiques!");
var ancient = new String("The name Ancient Audio is partially inspired by Christopher Hogwood's Academy of Ancient music and also from an interest and love of classical art. Jarek Waszczyszyn collects original instruments and his wife Elizabeth is an architectural historian advising on modern architecture within the classically beautiful city of Krakow. This blend of the classical and the modern is perfectly reflected in Jarek's designs.\n Krakow itself is a cultural centre with very strong traditional musical roots, so it isn't surprising that people there tend to be highly critical listeners. Jarek together with his friends and associates has listened very critically to a number of established High-End audio brands and identified what each of them do well and equally what they are lacking.\n Despite Jarek's interest in baroque classical music, his aim with Ancient Audio is to produce components that satisfy on all types of music including the most demanding full symphony orchestras and heavy rock.\n His latest Wing Speakers with their ultra wide bandwidth ribbon drivers for example, can fill a room of 100 square metres with full range sound of the highest quality.\n Ancient Audio products are painstakingly designed right down to the smallest detail for the highest possible sound quality as well as the most elegant looks and can only be described as ultra High-End audio.\n When it comes to looks as well, despite the name Ancient Audio, Jarek can design whatever look a customer may request. The photo pictured above shows a Porsche red, decidedly modern version of the Lektor Prime CD player as well as the standard version in beautiful galaxy granite.\n Jarek works with local artisans such as his cabinet maker and stonemason to achieve these fabulous finishes.\n Although the fit and finish are luxurious the Lektor Prime has been favourably compared with the much more costly Zanden products in 6 Moons and the Lektor Grand digital system has also been favorably compared to pricier systems from DCS by HiFi news in the UK. So if you are in the market for an ultra High-End system you owe it to yourself to audition Ancient Audio. Visit Ancient Audio");
var ancientFR = new String("Le nom \u00ab Ancient Audio \u00bb a \u00e9t\u00e9 partialement inspir\u00e9 par l\u2019Academy of Ancient Music de Christopher Hogwood et \u00e9galement par un v\u00e9ritable int\u00e9r\u00eat et amour de l\u2019art classique. Jarek Waszczyszyn collectionne d\u2019ailleurs des instruments originaux, tandis que sa femme, Elisabeth, est une historienne de l\u2019architecture, conseill\u00e8re en architecture moderne \u00e0 Cracovie, ville r\u00e9put\u00e9e pour sa beaut\u00e9 classique. Ce m\u00e9lange de classique et de moderne se refl\u00e8te parfaitement dans les cr\u00e9ations de Jarek. La Cracovie est un centre culturel ayant de tr\u00e8s fortes racines musicales traditionnelles, ce n\u2019est donc pas surprenant que ses habitants ont tendance \u00e0 \u00eatre des auditeurs extr\u00eamement critiques. Jarek et ses amis et associ\u00e9s ont pass\u00e9 du temps \u00e0 \u00e9couter de mani\u00e8re tr\u00e8s critique un certain nombre de marques d\u2019audio High-End connues et ils ont identifi\u00e9 ce que chacune apportait de positif, mais aussi ce dont elle manquait. Malgr\u00e9 la passion de Jarek pour la musique baroque, le but d\u2019Ancient Audio est de produire des composants qui correspondent \u00e0 tout type de musique, y compris aux plus exigeantes orchestras symphoniques ou au hard rock. Pour vous donner juste un exemple, ses derni\u00e8res enceintes Wing, avec leurs transducteurs \u00e0 ruban et bande ultra large, peuvent remplir une pi\u00e8ce de 100 m\u00b2 avec un son large bande de la plus haute qualit\u00e9. Les produits Ancient Audio sont con\u00e7us de mani\u00e8re particuli\u00e8rement minutieuse, soign\u00e9s jusqu\u2019aux moindres d\u00e9tails, afin de rendre un son de la plus haute qualit\u00e9 possible, tout en ayant un design \u00e9l\u00e9gant. Il s\u2019agit vraiment de l\u2019audio High-End haut de gamme. En ce qui concerne le design ext\u00e9rieur, justement, malgr\u00e9 le nom Ancient Audio, Jarek peut satisfaire toute demande. Dans la photo ci-dessus vous pouvez voir une version r\u00e9solument moderne, rouge Ferrari, du lecteur CD Lektor Prime, mais \u00e9galement la version standard, d\u2019une belle couleur granit. Jarek travaille avec des artisans locaux comme son menuisier et son tailleur de pierre afin d\u2019arriver \u00e0 ces fabuleuses finitions. De plus, malgr\u00e9 cette finition luxueuse, le Lektor Prime a \u00e9t\u00e9 favorablement compar\u00e9 sur 6Moons aux produits Zanden, bien plus co\u00fbteux, tandis que le syst\u00e8me num\u00e9rique Lektor Grand a \u00e9t\u00e9 quand a lui favorablement compar\u00e9 aux syst\u00e8mes plus on\u00e9reux de DCS par \u00ab Hifi news \u00bb en Grande Bretagne. Par cons\u00e9quent, si vous \u00eates amateur d\u2019un syst\u00e8me audio High-End au sommet de la perfection, vous vous devez \u00e0 vous-m\u00eames de venir auditionner Ancient Audio chez Sound Galleries.");
var ear = new String("Legendary designer Tim de Paravacini has an exemplary track record which is far too long to do justice to here. His perfectionist recordings with Kavi Alexander, using all tube electronics designed by Tim, have understandably become collectors items. Tim has designed and built every component in the record-making chain, from tape machines to mixing consoles to mastering decks and when Paul McCartney needs something new for either his studio or his home HiFi system, he gets in touch with Tim.\n Tim is justly proud of his noble Italian ancestry, which he can recount with the same meticulous accuracy that he applies to his designs. His work has been equally balanced between the recording studio and home audio. Tim's valve electronics for the home have won so many accolades that they are also too numerous to mention here.\n EAR Yoshino valve amplifiers provide fully extended highs and the bass goes down deep and with authority. They are also tonally neutral allowing for the full range of instrumental colours to be accurately portrayed.\n These are qualities that are difficult to find in valve amplifiers. At the same time the qualities that cause many people to prefer valve amplifiers are also present in abundance with Tim's designs.\n His amplifiers have a magical way of luring the listener into the music. Liquid and neutral at the same time with a wonderful sense of drama and scale. They make you want to listen on and on as you re-discover the music on your favourite disks. Visit E.A.R. Yoshino");
var earFR = new String("Le l\u00e9gendaire designer Tim de Paravacini a un parcours exemplaire, mais bien trop long et complexe pour pouvoir le r\u00e9sumer en quelques mots sans lui porter pr\u00e9judice. Ses enregistrements perfectionnistes avec Kavi Alexander, en n\u2019utilisant que l\u2019\u00e9lectronique \u00e0 tubes con\u00e7ue par Tim, sont devenus de v\u00e9ritables pi\u00e8ces de collection.\nTim a con\u00e7u et construit tous les composants possibles de la cha\u00eene de fabrication du disque, des t\u00e9lescripteurs aux tables de mixage et aux consoles de mastering. D\u2019ailleurs, Paul McCartney, lorsqu\u2019il a besoin de quelque chose de nouveau, que ce soit pour son studio ou le syst\u00e8me Hifi de sa maison, il prend contact avec Tim. A juste titre, Tim est fier de son ascendance aristocratique italienne, qu\u2019il est capable de retracer avec la m\u00eame pr\u00e9cision m\u00e9ticuleuse qu\u2019il applique \u00e0 ses cr\u00e9ations. Tim partage son travail de mani\u00e8re \u00e9gale entre son studio d\u2019enregistrement et le syst\u00e8me acoustique de sa maison. L\u2019\u00e9lectronique \u00e0 lampe con\u00e7ue pour un usage priv\u00e9 a \u00e9galement re\u00e7u de nombreuses \u00e9loges qu\u2019elles sont \u00e9galement trop nombreuses pour les mentionner ici. Les amplificateurs \u00e0 valves EAR Yoshino fournissent des aigus d\u2019une amplitude parfaite tandis que la basse descend en profondeur avec autorit\u00e9. Ils sont en outre neutres du point de vue de la tonalit\u00e9, ce qui permet \u00e0 la gamme enti\u00e8re de couleurs instrumentales d\u2019\u00eatre repr\u00e9sent\u00e9e de mani\u00e8re extr\u00eamement pr\u00e9cise. Il est rare que les amplificateurs \u00e0 valve pr\u00e9sentent ces caract\u00e9ristiques en g\u00e9n\u00e9ral. En m\u00eame temps, les qualit\u00e9s qui font que beaucoup ont une pr\u00e9f\u00e9rence pour les amplificateurs \u00e0 valve sont aussi pr\u00e9sentes en abondance dans les cr\u00e9ations de Tim. Ses amplificateurs ont une fa\u00e7on magique de leurrer l\u2019auditeur \u00e0 la musique. Liquide et neutre en m\u00eame temps, avec un magnifique sens du dramatique et de l\u2019ampleur. On a tout simplement envie d\u2019\u00e9couter encore et encore, en red\u00e9couvrant la musique de nos disques pr\u00e9f\u00e9r\u00e9s.");
var omega = new String("The speakers we feature at Sound Galleries all use a wide bandwidth driver to cover almost all of the frequency range. These designs provide wonderful coherence and unparalleled imaging. Where other drivers are added it is to add richer deeper bass or extend the highs to regions the wide bandwidth driver can't quite achieve by itself.\n However most of the music is actually being reproduced by the single wide bandwidth driver. The simplest of our speakers use only the wide bandwidth driver by itself. The output from the speaker will gradually roll-off (diminish in volume) as it begins to reach the frequencies it's unable to handle. For example you may see a figure such as -6db at 40hz, meaning the speaker is still able to reproduce bass at 40hz, though at a diminished volume of -6db compared to the other frequencies. Similarly it may be -3db at 18khz, indicating the point around where the high frequencies begin to roll-off.\n If this sounds too limited to you, consider that most rock or pop music rarely reaches below 80hz in the bass. It is true that the lowest pedal of a cathedral organ reaches to around 16hz, so lovers of that sort of music may want a speaker with dedicated bass drivers or add a subwoofer. Most music, though is adequately covered by a speaker that can reach to 40hz.\n In the high frequencies a lot of recordings add unnatural emphasis in the highs to add excitement and this is disagreeable to many listeners, so the gradual roll-off in the highs can actually be an advantage, depending on the music you listen to.\n Wide bandwidth drivers are rare compared to most of the drivers found in conventional speakers. Each designer will select the driver he feels works best with his designs and achieves the result he's looking for.\n Louis Cochos, the man behind Omega speakers has chosen hempcone drivers for all his speakers. He loves the sound they produce in his beautifully wood veneered cabinets and judging from the reviews so do many others.\n Omega speakers will satisfy lovers of most types of music and those who enjoy guitar music especially are likely to fall in love with them.\n Like a guitar they can be tuned to provide the most satisfying sound in your room. They can be used close to walls for tighter snappier bass or, if you have the space, brought out into the room for more spacious imaging.\n A wide selection of gorgeous cabinet finishes are available as standard. Despite all this the Omegas are excellent value for money!");
var opera = new String("Opera Audio is a true High-End audio company producing beautifully made stylish, sturdy and reliable equipment.\n High-End audio is a 'cottage industry' and Opera is a small outfit based in Beijing China. However, 'small' in Chinese terms isn't quite the same concept as 'small' in Europe and Opera manage to produce a very wide range of highly regarded equipment, covering Turntables, Amplifiers both Tube and Solid state, CD Players, Speakers as well as their own cables and stands.\n All of the reviews we've read on Opera equipment have been highly positive. Their CD players from both the middle of the range and the top of the range have been particularly praised in 6Moons and compared favourably to digital systems costing twenty times more!\n Opera enables us at Sound Galleries to offer starter systems for as low as \u20ac3000.00 for a complete system that satisfies the most important criteria for reproducing music.\n With so many products in their range we've decided for the moment to concentrate on their top of the range CD players as well as the complete starter system featuring all Opera components and cabling. Visit Opera-Consonance");
var operaFR = new String("Op\u00e9ra Audio est une v\u00e9ritable soci\u00e9t\u00e9 d\u2019audio High-End produisant un mat\u00e9riel magnifiquement fait, \u00e9l\u00e9gant, robuste et fiable. \nLa technique audio High-End reste une industrie de taille familiale et Op\u00e9ra est une petite structure bas\u00e9e \u00e0 Beijing, en Chine. Cependant, \u00ab petite \u00bb en termes chinois n'est pas tout \u00e0 fait le m\u00eame concept que \u00ab petite \u00bb en Europe et Opera parvient \u00e0 produire une large gamme d'\u00e9quipements hautement consid\u00e9r\u00e9s comme platines vinyle, amplificateurs aussi bien \u00e0 tube que \u00e9tat solide, lecteurs CD, haut-parleurs ainsi que leurs propres c\u00e2bles et pupitres. Toutes les critiques que nous avons lues sur l\u2019\u00e9quipement d\u2019Op\u00e9ra ont \u00e9t\u00e9 tr\u00e8s positives. Leurs lecteurs CD que ce soit de milieu de gamme ou haut de gamme ont \u00e9t\u00e9 particuli\u00e8rement salu\u00e9s dans 6Moons et compar\u00e9s favorablement \u00e0 des syst\u00e8mes num\u00e9riques ayant un co\u00fbt vingt fois sup\u00e9rieur ! Op\u00e9ra nous permet ainsi de pouvoir vous proposer des syst\u00e8mes de base complets qui r\u00e9pondent aux crit\u00e8res les plus exigeants de la reproduction musicale \u00e0 des prix aussi bas que 3000 \u20ac. Avec tant de produits dans la gamme, nous avons d\u00e9cid\u00e9 pour le moment de nous concentrer sur leur lecteurs CD haut de la gamme ainsi que sur un syst\u00e8me de base complet pr\u00e9sentant tous les composants et le c\u00e2blage Op\u00e9ra.");
var podium = new String("What do you think would be the result if a man who is a world class renowned musician decided to design a loudspeaker?\n Shelley Katz is a pianist who's playing was broadcast on Canadian international radio at the age of six, has studied at the Juilliard School of Music, conducted orchestras in Germany, played at Carnegie hall in New York, has accompanied Dame Gwyneth-Jones and the tenor Nicolai Gedda on his farewell world tour.\n However, in addition to these artistic achievements there is a scientific side to Shelley. While working at an opera house in Germany he arranged for a digital piano to be used in the classical orchestra pit. He started to ponder on the issue of just why the digital piano was unable to sound convincingly like a conventional acoustic piano.\n While working at Cambridge University in England towards his PHD in Cognition of Expression in Music he conducted research into acoustics and sound propagation. This lead him to produce an electric piano which did actually manage to closely approximate the sound and behaviour of an acoustic instrument.\n Since these developments were all in connection with acoustics and sound propagation, he then decided to find out if similar methods could be employed in the design of loudspeakers.\n The original aim of stereo when it was first invented, was to create a soundstage in front of the listener, so that instruments would appear to originate from where they are located in the live concert hall. The aim of 'High-End' audio has been to realise this as completely as possible and to extend the soundstage in all dimensions. The idea is to be able to hear the 'layering' of different groups of instruments deep into the soundstage. You should also be able to hear reflected sound from the walls of the hall.\n You may be familiar with binaural recordings which achieve a kind of surround sound experience when listened to on a pair of headphones. This is difficult to achieve with a single pair of stereo speakers, however.\n Shelley explained to me that a natural musical instrument in a concert hall generates both binaurally correlated or direct sound and binaurally de-correlated or reflected sound. Most loudspeakers produce mostly binaurally correlated sound, so it is difficult to get them to produce the natural sounds of instruments as they propagate within an acoustic space.\n Shelley's Podium speakers in contrast, produce far more binaurally de-collerated sound. This allows them to bring the sound of the instruments, within the space they were recorded, into your room.\n So to return to the question I posed at the beginning, the result is a loudspeaker quite unlike any other you are likely to encounter.\n They are also able to realistically reproduce dynamic contrasts and can be driven by amplifiers rated at only 25 watts per channel, unlike other panel speakers.\n Lovers of Classical music, Jazz and any music using acoustic instruments recorded in a live space will obviously be attracted to the Podiums. However, as noted by Harry Pearson of the Absolute Sound, a system able to correctly reproduce un-amplified music in an acoustic space, will also correctly reproduce other kinds of music recorded in the artificial spaces of recording studios.\n You are welcome to experience these amazing speakers for yourself here at Sound Galleries. Visit Podium Sound");
var podiumFR = new String("Quel serait, d\u2019apr\u00e8s-vous, le r\u00e9sultat lorsqu\u2019un homme, musicien de renomm\u00e9e internationale, d\u00e9cide de concevoir un haut-parleur? Shelley Katz est un pianiste qui a \u00e9t\u00e9 diffus\u00e9 \u00e0 la Radio Internationale Canadienne \u00e0 l'\u00e2ge de six ans, qui a \u00e9tudi\u00e9 \u00e0 la Juilliard School of Music, dirig\u00e9 des orchestres en Allemagne, qui a jou\u00e9 au Carnegie Hall \u00e0 New York et a accompagn\u00e9 Dame Gwyneth-Jones et le t\u00e9nor Nicolai Gedda lors de sa tourn\u00e9e mondiale d'adieu. Toutefois, en plus de ces r\u00e9alisations artistiques, Shelley a \u00e9galement un c\u00f4t\u00e9 scientifique. Alors qu'il travaillait pour un th\u00e9\u00e2tre d'op\u00e9ra en Allemagne, il a demand\u00e9 \u00e0 ce qu\u2019un piano num\u00e9rique soit utilis\u00e9 dans la fosse de l\u2019'orchestre classique, d\u00e9but d\u2019une r\u00e9flexion sur la raison pour laquelle un piano num\u00e9rique \u00e9tait incapable de produire un son aussi convaincant qu\u2019un piano acoustique classique. \nTout en travaillant \u00e0 l'Universit\u00e9 Cambridge en Angleterre dans le cadre de son doctorat en \u00ab Cognition de l'expression dans la musique \u00bb, il a conduit des recherches sur l'acoustique et la propagation du son. Cela l'a amen\u00e9 \u00e0 produire un piano \u00e9lectrique qui parvienne \u00e0 se rapprocher beaucoup du son et comportement d'un instrument acoustique. \u00c9tant donn\u00e9 que ces d\u00e9veloppements \u00e9taient tous en rapport avec l'acoustique et la propagation du son, il d\u00e9cida alors de savoir si des m\u00e9thodes similaires pourraient \u00eatre employ\u00e9es dans la conception de haut-parleurs. L'objectif initial de la st\u00e9r\u00e9o quand elle a \u00e9t\u00e9 invent\u00e9e \u00e9tait de cr\u00e9er un espace sonore en face de l'auditeur, de sorte que les instruments semblent provenir de l'endroit o\u00f9 ils se trouvent dans la salle de concert live. Le but de l\u2019audio High-End consiste \u00e0 r\u00e9aliser ceci aussi compl\u00e8tement que possible et \u00e0 \u00e9tendre le champ acoustique dans toutes ses dimensions. L'id\u00e9e est d'\u00eatre capable d'entendre la \"superposition\" en profondeur des diff\u00e9rents groupes d'instruments dans la sc\u00e8ne sonore. Vous devriez \u00e9galement \u00eatre capable d'entendre le son r\u00e9fl\u00e9chi par les murs de la salle. Vous \u00eates peut \u00eatre familier avec le concept des enregistrements binauraux qui arrivent \u00e0 r\u00e9aliser une sorte d'exp\u00e9rience de son surround lorsqu\u2019on les \u00e9coute dans des \u00e9couteurs. Cela reste difficile \u00e0 obtenir avec une seule paire de haut-parleurs st\u00e9r\u00e9o, cependant. Shelley m'a expliqu\u00e9 qu'un instrument de musique naturel dans une salle de concert g\u00e9n\u00e8re \u00e0 la fois un son corr\u00e9l\u00e9 de mani\u00e8re binaurale ou son direct et un son de-corr\u00e9l\u00e9 de mani\u00e8re binaurale ou son r\u00e9fl\u00e9chi. La plupart des haut-parleurs produisent un son essentiellement corr\u00e9l\u00e9 de mani\u00e8re binaurale, il est donc difficile de les amener \u00e0 produire les sons naturels des instruments pendant qu\u2019ils se propagent dans un espace acoustique. Les haut-parleurs de Shelley en revanche produisent un son bien plus d\u00e9-corr\u00e9l\u00e9 de mani\u00e8re binaurale. Cela leur permet d\u2019introduire dans la pi\u00e8ce le son des instruments \u00e0 l\u2019int\u00e9rieur de l'espace o\u00f9 ils ont \u00e9t\u00e9 enregistr\u00e9s. \nAlors, pour revenir \u00e0 la question que j'ai pos\u00e9e au d\u00e9but, le r\u00e9sultat est un haut-parleur pas tout \u00e0 fait comme les autres. Il est \u00e9galement capable de reproduire de mani\u00e8re r\u00e9aliste des contrastes dynamiques et peut \u00eatre conduit par des amplificateurs de puissance nominale de seulement 25 watts par canal, contrairement aux autres enceintes panneau. Les\namoureux de musique classique, de jazz ou de tout autre genre utilisant des instruments acoustiques enregistr\u00e9s en direct dans un espace acoustique seront \u00e9videmment conquis par les Podiums. De plus, comme dit Harry Pearson, d\u2019Absolute Sound, un syst\u00e8me capable de reproduire correctement la musique non-amplifi\u00e9e dans un espace acoustique sera \u00e9galement capable de reproduire correctement d\u2019autres types de musique enregistr\u00e9e dans l\u2019espace artificiel des studios d'enregistrement. N\u2019h\u00e9sitez pas de faire un saut chez Sound Galleries pour faire l\u2019exp\u00e9rience de ces sensationnelles enceintes.\n");
var tead = new String("'Linear' could easily be designer Tom Evan's middle name. The word already hints at what his amplifier designs are all about. So what does 'Linear' mean in the context of an amplifier?\n Well to put it in the simplest possible terms an amplifier and loudspeaker have to work together as a team. The end result of what you hear will have a lot to do with how well they work together. One specification you will always see quoted for Loudspeakers is their 'nominal' impedance. Impedance, again put very simply, is the speakers resistance to the current the amplifier is attempting to drive it with. The key to understanding the advantage of Tom's amplifiers is that other word 'Nominal'.\n The reason speaker designers quote a 'Nominal' impedance is that, in reality, the impedance varies with different frequencies. A typical amplifier will have an easier task driving the speaker at some frequencies than others, so some frequencies may be reproduced slightly louder than others. In other words the result will be 'non-linear'.\n Recognising that although a speaker may be quoted as having a 'nominal' impedance of 8ohms, it may dip to 6ohms or below at some frequencies or rise to 10ohms or more for others, Tom went about designing an amplifier that would behave exactly the same regardless of these changes of impedance with frequency. In other words it would be 'Linear'!\n Leaving the technicalities aside for a moment, this results in a coherent sound throughout the entire frequency range so that no particular instrument's or part of an instrument's sound will be exaggerated at the expense of others.\n The Linear A and B amplifiers as well as Tom's equally excellent Vibe pre-amplifier all fit in perfectly with our philosophy at Sound Galleries of creating systems with the most coherently natural sound possible. Visit Tom Evans Audio Design");
var teadFR = new String("\u00abLin\u00e9aire\u00bb pourrait facilement \u00eatre le deuxi\u00e8me pr\u00e9nom du designer Tom Evans. Le mot sugg\u00e8re d\u00e9j\u00e0 ce qui d\u00e9finit le plus ses projets d\u2019amplificateur. Alors, que veut dire \"lin\u00e9aire\" dans le contexte d'un amplificateur? Dans les termes les plus simples possible, un amplificateur et un haut-parleur doivent travailler ensemble comme une \u00e9quipe. Le r\u00e9sultat final de ce que vous entendez aura beaucoup \u00e0 voir avec la fa\u00e7on dont ils travaillent ensemble. Une pr\u00e9cision que vous verrez toujours mentionn\u00e9e par rapport \u00e0 un haut-parleur est son \u00abimp\u00e9dance nominale\u00bb. L\u2019imp\u00e9dance, expliqu\u00e9e encore une fois tr\u00e8s simplement, c'est la r\u00e9sistance du haut-parleur au courant envoy\u00e9 par l'amplificateur. La cl\u00e9 pour comprendre l'avantage des amplificateurs de Tom est le deuxi\u00e8me mot : \u00ab nominale \u00bb, et la raison pour laquelle les concepteurs de hautparleurs parlent d\u2019 \u00ab imp\u00e9dance nominale \u00bb, c'est que, en r\u00e9alit\u00e9, l'imp\u00e9dance varie en fonction de diff\u00e9rentes fr\u00e9quences. Un amplificateur typique aura de la facilit\u00e9 \u00e0 conduire le hautparleur \u00e0 certaines fr\u00e9quences plus qu\u2019\u00e0 d\u2019autres, par cons\u00e9quent certaines fr\u00e9quences peuvent \u00eatre reproduites de mani\u00e8re un peu plus forte que d'autres. En d'autres termes, le r\u00e9sultat sera \u00abnon lin\u00e9aire\u00bb. S\u2019en rendant compte que, m\u00eame si un hautparleur peut avoir une imp\u00e9dance \u00ab nominale \u00bb indiqu\u00e9e de 8 ohms, il peut quand m\u00eame descendre \u00e0 6 ohms voire plus \u00e0 certaines fr\u00e9quences ou monter \u00e0 10 ohms ou plus \u00e0 d\u2019autres, Tom concevra un amplificateur qui se comportera de la m\u00eame mani\u00e8re indiff\u00e9remment de ces changements d'imp\u00e9dance avec la fr\u00e9quence. En d'autres termes, il sera \"lin\u00e9aire\"! Laissant les aspects techniques de c\u00f4t\u00e9 pour un moment, le r\u00e9sultat est un son coh\u00e9rent \u00e0 travers toute la gamme de fr\u00e9quences de sorte qu'aucun son d\u2019un instrument particulier ou d\u2019une partie d'un instrument ne sera exag\u00e9r\u00e9 au d\u00e9triment des autres. Les amplificateurs lin\u00e9aires A et B de Tom, tout comme son tout aussi excellent pr\u00e9amplificateur Vibe s'int\u00e8grent parfaitement dans la philosophie Sound Galleries, de concevoir des syst\u00e8mes produisant un son naturel le plus coh\u00e9rent possible.");
var fortysevenlabs = new String("'Only the simplest can accommodate the most complex'!\n This is the motto of talented japanese designer Junji Kimura, Having designed many key components for Pioneer, Kenwood (known as Trio at the time), Luxman and Kyocera, from the early 1960's through to the beginning of the 90's, in 1992 he decided to free himself from corporate constraints and found his own company, 47 Laboratory.\n Junji's approach is concerned with the sheer pleasure and emotion that listening to music can convey.\n This fit's in perfectly with our approach at Sound Galleries. At the same time Junji's singular approach has lead to products which are completely unique. The Shigaraki components are so small and unobtrusive they can be accommodated easily within any domestic environment.\n They take their name from a type of Japanese ceramic used to make daily home utensils. These exquisitely designed petite components can work well on quality home furniture and may not require dedicated audio stands to sound their best. They are domestically acceptable and musically satisfying to a very high degree.\n The first product Junji designed for 47 Labs was his legendary Pi-Tracer CD transport.\n The Pi-Tracer is the only CD transport which is able to maintain a strict 90 degree laser to CD reading angle. It also automatically corrects for the manufacturing fault of CDs whose spindle holes are punched off-center. All this adds up to a transport which can extract the maximum musical information from the Compact Disc.\n The Pi-Tracer stands as an ultimate statement of what can be achieved in CD playback and understandably a precision instrument such as this is expensive. Nevertheless I was pleasantly surprised when I encountered it at the Top Audio Show in Milan to discover it is also relatively small and neat looking.\n While designing the Pi-Tracer Junji needed a simple amplifier with a completely predictable sound that he could use as a reference. Having nothing suitable to hand, like a master chef who can whip up a tasty meal in minutes, he pieced an amplifier together from a few simple parts. Surprised himself at how good the result was, he tweaked it to perfection. The result is the equally legendary Gaincard amplifier.\n Holding a record for the smallest number of parts and shortest signal paths, it has had a major influence on other designers and resulted in a number of clones.\n With two separate 'Power Dumpty' power supplies it becomes a true 'Dual Mono' design.\n Returning to the subject of CD payback, for those who find the Pi-Tracer too expensive, 47 Labs offer the also highly innovative 'Flatfish' CD transport and the still more affordable Shigaraki transport. Whilst neither can quite scale to the heights of performance offered by the Pi-Tracer, they produce highly musically satisfying results, coupled with the 'Progression' DAC or 'Shigaraki' DAC respectively.\n For Vinyl enthusiasts there is now a 47Labs Turntable. One of my favorite toys as a child was a Gyroscope. I was fascinated by its ability to stay spinning absolutely upright on the end of my finger for an amazingly long time, considering it only needed my initial energy in pulling the string to start it in motion. The 47Labs Turntable is the first to use a Gyroscopic principle to cancel the tendency for the turntable platter to by pulled in one direction by the drive belt.\n Other designers have employed different approaches such as additional motors around the platter in an attempt to cancel this tendency which is detrimental to the ability of the stylus to perfectly trace a record groove; but additional motors can introduce problems of their own in the form of unwanted vibration and noise.\n Instead Junji makes use of a second platter which rotates in the opposite counter clockwise direction underneath the main platter. As with the Gyroscope, this keeps the platters absolutely stable, maintaining the same relationship with the turntable spindle at all times.\n It is typical of the 'out of the box' Japanese zen approach to design applied to all 47Labs products.\n I was reminded of my childhood years as I watched with fascination the one platter turning contra clockwise direction to the other via their Red drive belts and wish I'd have taken a video camera to the show. More importantly, the sound from records was sublime.\n The tonearm is equally innovative in its ability to cancel noise from less than perfectly flat records.\n A complete 47Labs vinyl playback system would include a 47Labs Phono-Stage and either the high value for money McBee cartridge or one of the top of the line Miyabi cartridges.\n Whether you choose a CD or Vinyl system (or both) from 47Labs, you can complete the system with the neat little, beautiful sounding stand mounted 'Lens' or 'AMM' speakers designed by Takanori Ohmura or go all the way up to Junji's personal reference Essence Speaker, designed by 47Labs head of European operations Sead Lejlic.\n 47Labs certainly take novel and unique approaches to design, though all for sound reasons.\n If your are a music lover and you want your system to blend in with your living environment, we recommend you take a trip to Sound Galleries and audition 47Labs. Visit 47 Labs");
var fortysevenlabsFR = new String("Seule la simplicit\u00e9 donne acc\u00e8s \u00e0 la complexit\u00e9!\nTelle est la devise du talentueux designer japonais Junji Kimura, qui, apr\u00e8s avoir con\u00e7u, entre le d\u00e9but des ann\u00e9es 60 et le d\u00e9but des ann\u00e9es 90, beaucoup de composants-cl\u00e9s pour Pioneer, Kenwood (connu \u00e0 l\u2019\u00e9poque sous le nom de Trio), Luxman et Kyocera, d\u00e9cide en 1992 de se lib\u00e9rer des contraintes d\u2019une grande soci\u00e9t\u00e9 et fonde sa propre entreprise, 47 Laboratory.\nSon approche, que Sound Galleries partage d\u2019ailleurs enti\u00e8rement, est concern\u00e9e par le pur plaisir et l\u2019\u00e9motion que l\u2019\u00e9coute de la musique peut transmettre. En m\u00eame temps, la d\u00e9marche singuli\u00e8re de Junji a eu comme r\u00e9sultat des produits enti\u00e8rement uniques. Les composants Shigaraki sont tellement petits et discrets qu\u2019ils peuvent s\u2019int\u00e9grer avec aisance dans tout environnement int\u00e9rieur. \nLeur nom provient d\u2019un type de c\u00e9ramique japonaise utilis\u00e9e \u00e0 la fabrication d\u2019ustensiles \u00e0 usage domestique quotidien. Ces exquises pi\u00e8ces \u00e0 dimensions r\u00e9duites s\u2019int\u00e9greront parfaitement \u00e0 un mobilier de qualit\u00e9 et n\u2019exigeront pas forc\u00e9ment de supports audio sp\u00e9cifiques afin de donner le meilleur son. Que ce soit pour la d\u00e9coration de votre int\u00e9rieur ou pour l\u2019\u00e9coute de la musique, elles sont satisfaisantes \u00e0 un tr\u00e8s haut degr\u00e9. \nLe premier produit con\u00e7u par Jinji pour 47 Labs fut son l\u00e9gendaire transport CD Pi-Tracer.\nLe Pi-Tracer est le seul lecteur CD capable d\u2019assurer en toute circonstance un angle de lecture parfait de 90\u2019. De plus, il corrige automatiquement le d\u00e9faut de fabrication des CDs dont les trous sont l\u00e9g\u00e8rement excentr\u00e9s. \nCeci se rajoute \u00e0 un transport capable d\u2019extraire le maximum d\u2019information musicale du Compact Disc.\nLe Pi-Tracer est le sommet de ce qui peut \u00eatre obtenu en mati\u00e8re de lecture de CD et il est compr\u00e9hensible qu\u2019un instrument d\u2019une telle pr\u00e9cision ne soit pas bon march\u00e9. Cependant, j\u2019ai \u00e9t\u00e9 surpris de mani\u00e8re agr\u00e9able lorsque je l\u2019ai vu au Salon Top Audio de Milan par sa taille r\u00e9duite et son aspect soign\u00e9. \nLors de la conception du Pi-Tracer, Junji avait besoin d\u2019un amplificateur simple avec un son enti\u00e8rement pr\u00e9visible qu\u2019il pouvait utiliser comme r\u00e9f\u00e9rence. N\u2019ayant rien d\u2019appropri\u00e9 sous la main, tout comme un chef cuisinier capable de mijoter un plat savoureux en quelques minutes, il a assembl\u00e9 un amplificateur \u00e0 partir de quelques \u00e9l\u00e9ments tout \u00e0 fait basiques. Surpris lui-m\u00eame par la qualit\u00e9 du r\u00e9sultat, il l\u2019a affin\u00e9 jusqu\u2019\u00e0 perfection, cr\u00e9ant ainsi le Gaincard, amplificateur \u00e9galement l\u00e9gendaire.\nAvec le nombre le plus limit\u00e9 de composants et les trajets du signal les plus courts, il a eu une influence majeure sur d\u2019autres concepteurs et a donn\u00e9 naissance \u00e0 un certain nombre de copies. \nAvec deux batteries s\u00e9par\u00e9es \u00ab Power Dumpty \u00bb il devient un v\u00e9ritable \u00ab Dual Mono \u00bb.\nPour revenir au sujet de la lecture CD, \u00e0 ceux qui trouvent le Pi-Tracer trop cher, 47 Labs proposent le transport CD \u00ab Flatfish \u00bb, tr\u00e8s novateur \u00e9galement, et le \u00ab Shigaraki \u00bb, plus abordable. Malgr\u00e9 qu\u2019aucun ne puisse rivaliser avec le Pi-Tracer en termes de performance, ils donnent des r\u00e9sultats tr\u00e8s satisfaisants du point de vue musical, coupl\u00e9s avec le DAC \u00ab Progression \u00bb ou le DAC \u00ab Shigaraki \u00bb, respectivement. \nPour les amateurs de vinyle, il existe maintenant une platine 47Labs. Lorsque j\u2019\u00e9tais enfant, l\u2019un de mes jouets favoris \u00e9tait un gyroscope. J\u2019\u00e9tais fascin\u00e9 par son habilit\u00e9 de tourner tout en restant parfaitement droit au bout de mon doigt et pendant si longtemps, surtout que la seule \u00e9nergie n\u00e9cessaire pour le mettre en marche \u00e9tait celle de tirer sur la corde. La platine 47Labs est la premi\u00e8re \u00e0 utiliser un principe gyroscopique destin\u00e9 \u00e0 compenser la tendance de la courroie de tirer le disque de la platine dans une certaine direction. \nD\u2019autres concepteurs ont eu de diff\u00e9rentes approches afin de r\u00e9soudre ce probl\u00e8me au d\u00e9triment de la capacit\u00e9 de la pointe de lecture de suivre parfaitement les rainures du vinyle, comme, par exemple, rajouter des moteurs suppl\u00e9mentaires autour du disque. N\u00e9anmoins, un moteur additionnel peut causer d\u2019autres ennuis, comme des vibrations non voulues ou du bruit. \nQuant \u00e0 Junji, il utilise \u00e0 la place un second disque qui tourne dans le sens inverse des aiguilles d\u2019une montre, plac\u00e9 sous le disque principal. De la m\u00eame mani\u00e8re que le Gyroscope, cette m\u00e9thode maintient les disques stables, tout en gardant en permanence le m\u00eame rapport avec le fuseau de la platine. \nCette innovation est tout \u00e0 fait typique de l\u2019approche japonaise zen \u00ab pr\u00eat \u00e0 l\u2019emploi \u00bb, qui s\u2019applique d\u2019ailleurs \u00e0 tous les produits 47Labs. \nEn train de regarder avec fascination l\u2019un des disques tourner en sens inverse de l\u2019autre \u00e0 l\u2019aide de leurs courroies Red, je me suis senti transport\u00e9 dans l\u2019enfance et j\u2019ai regrett\u00e9 ne pas avoir une cam\u00e9ra vid\u00e9o sur moi. Plus important encore, le son des vinyles \u00e9tait tout simplement sublime. \nLe bras de lecture est lui aussi innovant dans sa capacit\u00e9 d\u2019annuler le bruit des vinyles qui ne sont pas parfaitement plats. \nUn syst\u00e8me de lecture des vinyles 47Labs complet comprendrait un Phono-Stage 47Labs et soit le chargeur McBee, avec un tr\u00e8s bon rapport qualit\u00e9-prix, soit l\u2019une des t\u00eates de liste de la ligne Miyabi.\nQue vous choisissiez un syst\u00e8me de lecture vinyle ou CD (ou les deux) de 47Labs, vous auriez \u00e9galement le choix de le compl\u00e9ter avec les enceintes Lens ou AMM. Con\u00e7ues par Takanori Ohmura, elles sont de dimensions r\u00e9duites, d\u2019un aspect tr\u00e8s soign\u00e9, ont un tr\u00e8s beau son et sont en outre mont\u00e9es sur un support sp\u00e9cifique. Vous pouvez \u00e9galement viser le summum de la qualit\u00e9, la r\u00e9f\u00e9rence personnelle de Junji, l\u2019enceinte Essence Speaker, con\u00e7ue par le directeur du march\u00e9 europ\u00e9en de 47Labs, Sead Lejlic. \nCe qui est certain, c\u2019est que 47 Labs adoptent des approches nouvelles et uniques, et tout cela pour des raisonsÉ sonores. \nSi vous \u00eates un amateur de musique et qu\u2019en m\u00eame temps vous souhaitez que votre syst\u00e8me s\u2019int\u00e8gre parfaitement dans votre environnement int\u00e9rieur, nous vous recommandons chaleureusement de faire le voyage chez Sound Galleries et prendre le temps d\u2019auditionner 47Labs.");
var goldenote = new String("From the historic capital of Renaissance Italy, Florence, we bring you Goldenote, a brand which proves that the great heritage of Italian design and craftsmanship is still very much alive today. The Goldenote Stibbert tube CD player won the coveted Golden Ear award from the Absolute Sound in 2005.\n In that journal it was favorably compared to previous reference CD players costing at least eight times as much. In fact the Stibbert has been further improved since winning that award.\n So what makes it so special? Well it employs two 6922 tubes in its output stage; but that is also true of a number of the most 'musical' sounding CD players. What really sets the Stibbert apart is its innovative use of a suspended sub-chassis.\n This allows the CD transport to 'float' on precision engineered springs in the same manner as most of the finest turntables in the world. Suspended sub-chassis's have long been recognised as the best method for extracting those micro-vibrations from record grooves which is how the music is derived from Vinyl discs. Goldenote are the first to apply this method to a CD transport and to very good effect. It has long been recognised that CD players are prone to the problems caused by unwanted vibrations and the importance of isolating them from these by being careful about the kind of support they are placed on. However, it turns out that when a CD player utilises a similar spring suspended sub-chassis as a turntable, the performance is considerably enhanced.\n The Stibbert Tube CD player is the proof of this and not surprisingly it actually sounds quite similar to a top class Turntable. The same smooth relaxed natural sound is heard from the Stibbert as many of us are used to enjoying from analogue.\n I know of one analogue devotee who owns at least 8,000 LP's that has found it to be the only CD player he can live with and enjoy.\n I was privileged recently to visit their impressive, modern and well run factory just outside of Florence in the beautiful Tuscan countryside where Maurizio Arterini of Goldenote demonstrated to us the Stibbert CD player together with some of their other excellent products.\n It isn't surprising that Goldenote also make fine Turntables and this demonstration included one of these.\n We will be featuring more of these products alongside the Stibbert CD player at Sound Galleries and invite you to join us in sharing the experience of these highly cultivated designs. Visit Goldenote");
var goldenoteFR = new String("La marque Goldenote, originaire de Florence, la capitale historique de l\u2019Italie \u00e0 l\u2019\u00e9poque de la Renaissance, est la preuve que le formidable h\u00e9ritage du design et du savoir-faire italien est encore extr\u00eamement vivant. Le lecteur CD \u00e0 tubes Stibbert de Goldenote a gagn\u00e9 le tr\u00e8s convoit\u00e9 prix Golden Ear d\u2019Absolute Sound en 2005. Dans ce journal il a \u00e9t\u00e9 compar\u00e9 de mani\u00e8re favorable \u00e0 des lecteurs CD de r\u00e9f\u00e9rence sortis ant\u00e9rieurement et au moins huit fois plus chers. Depuis, le Stibbert a davantage \u00e9t\u00e9 am\u00e9lior\u00e9. Qu\u2019est ce qui le rend si sp\u00e9cial ? Pour tout vous dire, il emploie deux tubes 6922 \u00e0 l\u2019\u00e9tage de sortie, mais il n\u2019est pas le seul \u00e0 le faire, un certain nombre des lecteurs CD ayant un son des plus \u00ab musicaux \u00bb le font \u00e9galement. La caract\u00e9ristique qui le distingue des autres est sa fa\u00e7on innovatrice d\u2019utiliser un ch\u00e2ssis sup\u00e9rieur suspendu, ce qui permet au transport CD de \u00ab flotter \u00bb sur les ressorts fabriqu\u00e9s avec pr\u00e9cision de la m\u00eame mani\u00e8re que la plupart des meilleures platines. Les ch\u00e2ssis sup\u00e9rieurs suspendus sont reconnus depuis longtemps comme la meilleure m\u00e9thode d\u2019extraction des micro-vibrations des sillons du vinyle, c'est-\u00e0-dire de tirer tout simplement de la musique des disques vinyle. Goldenote sont les premiers \u00e0 appliquer cette m\u00e9thode \u00e0 un transport CD, et le r\u00e9sultat est excellent. Il est connu depuis longtemps que les lecteurs CD sont sujets \u00e0 des probl\u00e8mes caus\u00e9s par des vibrations non d\u00e9sir\u00e9es et qu\u2019il est important de bien les isoler en faisant tr\u00e8s attention au type de support sur lequel ils sont plac\u00e9s. N\u00e9anmoins, il s\u2019av\u00e8re que lorsqu\u2019un lecteur CD emploie un ch\u00e2ssis suspendu \u00e0 ressorts similaire en tant que platine, la performance est augment\u00e9e consid\u00e9rablement. Le lecteur CD Stibbert en est la preuve et il n\u2019est pas surprenant qu\u2019il sonne vraiment comme une platine haut de gamme. Le Stibbert a le m\u00eame son naturel, doux et relaxant qu\u2019on a l\u2019habitude d\u2019entendre de l\u2019analogique. Je connais d\u2019ailleurs un adepte de l\u2019analogique qui poss\u00e8de au moins 8 000 33 tours et qui trouve que le Stibbert est le seul lecteur CD avec lequel il peut vivre et qu\u2019il est arriv\u00e9 m\u00eame \u00e0 appr\u00e9cier. J\u2019ai eu le privil\u00e8ge r\u00e9cemment de visiter leur impressionnante usine, moderne et tr\u00e8s bien dirig\u00e9e, qui se trouve dans la belle campagne toscane, pr\u00e8s de Florence. Maurizio Arterini de Goldenote nous a fait la d\u00e9monstration par cette occasion du lecteur CD Stibbert et d\u2019autres excellents produits. Ce n\u2019est pas du tout surprenant que Goldenote r\u00e9alise \u00e9galement d\u2019admirables platines, nous en avons d\u2019ailleurs fait l\u2019exp\u00e9rience \u00e9galement lors de cette d\u00e9monstration. Nous pr\u00e9senterons dans le futur davantage de ces produits \u00e0 c\u00f4t\u00e9 du lecteur CD Stibbert et nous vous convions chaleureusement de vous joindre \u00e0 nous afin de partager l\u2019exp\u00e9rience de ces produits hautement perfectionn\u00e9s.");
var zu = new String("Music constantly changes from being very soft to very loud, from loud to a little louder or quieter and all combinations in between.\n When a single musician, such as a pianist hits one key harder or softer than the previous key it is a deliberate choice and an essential part of the music making. These are known as dynamic contrasts.\n If an audio system cannot track these dynamic swings, the intent of the music is lost. The system may be making a pleasant noise that reminds you of music; but the meaning of the music as composed or improvised by the musician will not be conveyed. As a music lover you may well already be familiar with such terms as 'Pianoforte' and 'Pianissimo'.\n In Audio we speak about Macro and Micro Dynamic contrasts. They are as important to music as contrast is to photography.\n The differences between light and dark are how all the details are expressed in a photograph. If you have a computer with software for altering digital photographs, try turning the contrast level down on a favorite photograph with lots of detail. As you watch the details disappearing reflect on how your HiFi system could be doing the same thing to the music on every disc you play. Unless it can capture all the dynamic contrasts.\n Zu Speakers are champions at conveying dynamic contrasts. They allow you to hear those initial loud transients, when a percussion instrument is struck or a guitar string plucked as well as the decay as these sounds and their secondary harmonics gradually fade out. 'Speed, Immediacy and lightning fast reflexes are qualities Zu speakers have in spades'.\n Their 'Druid MKIV' became an instant classic after its review by Srajan Ebean, the editor of 6Moons, who bestowed on it their highest 'blue moon' award.\n This 'edge of the seat' excitement is in large part due to the custom wide bandwidth drivers that Zu designers Sean Casey and Adam Decaria employ. Yet despite its diminutive and domestically acceptable size of only 28cm x 16cm x 127cm WxDxH, the Druid can reach down to as low as 40hz in the bass without any loss of output. Which means it is wide-bandwidth enough for most music.\n If you are a fan of music that reaches lower than that, Zu have the answer in their matching 'Method' subwoofer. Speakers which are so fast, immediate and dynamic can lack tonal warmth. The biggest surprise for Srajan though was how 'gutsy, fleshy and full-bodied the Zu's are'.\n Their tonal warmth also allows them to correctly reproduce the natural timbre of musical instruments.\n Zu speakers also incorporate a super tweeter which handles all frequencies above 12khz, so you certainly won't be missing anything in the high frequencies either.\n As if their achievements in speaker design weren't enough, Zu also make some of the finest cables currently available, which have additionally been highly praised in 6Moons and elsewhere. In fact their own speaker cables are connected directly to the Zu Druid drivers for the purest speaker cable connection possible. Visit Zu");
var zuFR = new String("La musique \u00e9volue constamment de tr\u00e8s doux \u00e0 tr\u00e8s fort, de fort \u00e0 un peu plus ou moins fort et toutes les combinaisons possibles entre les deux.\n Quand un musicien seul, comme un pianiste par exemple, frappe une certaine touche de mani\u00e8re plus dure ou plus douce que la pr\u00e9c\u00e9dente, il s\u2019agit d\u2019un choix d\u00e9lib\u00e9r\u00e9 et d\u2019une partie essentielle de la cr\u00e9ation musicale ; on les appelle des contrastes dynamiques. Si un syst\u00e8me audio ne peut pas suivre ces variations dynamiques, l'esprit de la musique est perdu. Le syst\u00e8me \u00e9met un bruit agr\u00e9able qui vous rappelle la musique, mais le sens de la musique comme compos\u00e9e ou improvis\u00e9e par le musicien ne sera pas transmis. En tant que m\u00e9lomane, vous \u00eates peut \u00eatre d\u00e9j\u00e0 familier avec des termes tels que \u00abPianoforte\u00bb et \u00abPianissimo\u00bb. Dans le domaine de l\u2019acoustique on parle de macro et micro contrastes dynamiques. Ils sont aussi importants pour la musique que le contraste pour la photographie. \n Les diff\u00e9rences entre la lumi\u00e8re et l'obscurit\u00e9 sont la fa\u00e7on dont tous les d\u00e9tails sont exprim\u00e9s dans une photographie. Si vous avez un ordinateur avec un logiciel pour modifier les photos num\u00e9riques, essayez de baisser le niveau de contraste sur une photographie que vous aimez avec beaucoup de d\u00e9tails. Lorsque vous regardez les d\u00e9tails disparaitre, pensez que votre syst\u00e8me HiFi pourrait faire la m\u00eame chose \u00e0 la musique de chaque disque que vous mettez. Sauf s'il peut capturer tous les contrastes dynamiques. Les enceintes Zu sont des championness de la transmission des contrastes dynamiques. Elles vous permettent d'entendre ces sons forts, mais \u00e9ph\u00e9m\u00e8res, du d\u00e9but, lorsqu\u2019on frappe un instrument de percussion ou on pince une corde de guitare, ainsi que leur d\u00e9sagr\u00e9gation pendant que ces sons et leurs harmoniques secondaires disparaissent progressivement. \u00abVitesse, Imm\u00e9diatet\u00e9, r\u00e9flexes rapides comme l\u2019\u00e9clair, sont des qualit\u00e9s que les enceintes Zu ont pleinement\u00bb. Leur \u00abDruide MKIV\u00bb est imm\u00e9diatement devenu un classique apr\u00e8s que Srajan Ebean, le r\u00e9dacteur en chef de 6Moons, l\u2019ait pass\u00e9 en revue, en lui accordant leur distinction la plus haute. Cette excitation extraordinaire est en grande partie due aux transducteurs large bande que les concepteurs Zu Sean Casey et Adam Decaria emploient. Pourtant, malgr\u00e9 ses dimensions r\u00e9duites et tout \u00e0 fait acceptables au niveau domestique de seulement 28cm x 16cm x 127cm (L x P x H), le Druid peut atteindre 40 Hz dans les graves sans aucune perte de puissance de sortie. Ce qui signifie qu'il est suffisamment large bande pour la plupart des morceaux musicaux. \n Si vous aimez la musique qui va au-del\u00e0 dans les graves, Zu ont la r\u00e9ponse avec leur subwoofer assorti Method. En g\u00e9n\u00e9ral, les enceintes qui sont si rapides, imm\u00e9diates et dynamiques peuvent manquer de chaleur tonale. La plus grande surprise pour Srajan a \u00e9t\u00e9 d\u2019entendre combien le son des Zu est \u00abmuscl\u00e9, charnu et corpulent \u00bb. Leur chaleur tonale leur permet \u00e9galement de reproduire correctement le timbre naturel des instruments de musique. Les enceintes Zu int\u00e8grent aussi un super tweeter qui g\u00e8re toutes les fr\u00e9quences sup\u00e9rieures \u00e0 12kHz, donc vous ne manqueriez certainement quoi que ce soit dans les fr\u00e9quences hautes non plus. Et comme si leurs exploits en mati\u00e8re de conception d\u2019enceintes ne suffisaient pas, Zu produisent \u00e9galement certains des c\u00e2bles les plus fins actuellement disponibles, qui ont \u00e9t\u00e9 largement pl\u00e9biscit\u00e9s dans 6Moons et ailleurs.\n En fait, leurs propres c\u00e2bles d'enceintes sont raccord\u00e9s directement aux transducteurs Zu Druid pour la connexion par c\u00e2ble la plus pure possible. \n");
var fujitsu = new String("The following top artists and record producers use the Fujitsu-Ten Eclipse Speakers to tell them exactly what's on the records they make, Simon Rhodes of Abbey Road, Mike Ross-Trevor of Sony Music, Klaus Hiemann of Emile Berliner Studios, and composer and record producer Brian Eno.\n I've been a huge fan of Eno's own groundbreaking music from his earliest days with Roxy Music, through Albums such as 'Another Green World' to his latest amazing 'Another Day On Earth' as well as his fabulous collaborations and productions with David Bowie, Talking Heads, U2 and Robert Wyatt. Here's what he has to say about Fujitsu-Ten Eclipse speakers: 'What impressed me more than anything else was how tight the bass was and how absolutely accurate it seemed. There was no hang over of the bass. It seemed very sharp, very short. The bass drum sounded fantastic. In fact I pulled the drummer of the band, who had played in the record I produced, in to listen'. He said, 'I've never heard a bass drum sound like that on a recording. There is something about the very high speed [response to sound reinforcement] of those speakers. I guess, because they're small speakers; they move very fast and they damp [finish moving] very quickly as well. That seems to be an important part of the sound. They are also very accurate in getting close to the real sound image and the actual positioning of each instrument.' Read the complete article.\n Well I can't think of a better endorsement than that and, of course, being high speed, single driver speakers, they fit in perfectly with our philosophy here at Sound Galleries. Brian Eno's comments were based on the original TD512, which has since been superseded by the TD510 model. We have the TD510 as well as the new larger top of the line TD712z model which was recently so highly praised by Robert Deutsch in his Stereophile Review. The smaller TD508 model is also available and we have the very small TD307MKII's. All of these models from the top TD712z down to the TD307MKII share the same essential qualities, so whatever your requirements you will be able to find a model that suites you. Visit Fujitsu-Ten");
var fujitsuFR = new String("Les artistes et les producteurs de disque suivants utilisent les enceintes Fujitsu-Ten Eclipse pour savoir exactement ce qui se trouve sur les disques qu'ils font : Simon Rhodes d\u2019Abbey Road, Mike Ross-Trevor de Sony Music, Klaus Hiemann d\u2019Emile Berliner Studios et le compositeur et producteur Brian Eno. J'ai \u00e9t\u00e9 un \u00e9norme fan de la musique r\u00e9volutionnaire d'Eno de ses d\u00e9buts avec Roxy Music, de ses albums comme \u00ab Another Green World \u00bb \u00e0 son dernier \u00ab Another Day On Earth \u00bb, extraordinaire, mais \u00e9galement de ses collaborations et productions fabuleuses avec David Bowie, Talking Heads, U2 et Robert Wyatt. Voici ce qu'il dit de Fujitsu-Ten Eclipse : \u00ab ce qui m'a impressionn\u00e9 plus qu'autre chose, c\u2019est comment la basse \u00e9tait tendue et sa parfaite pr\u00e9cision. Aucune confusion, cela m\u2019a sembl\u00e9 tr\u00e8s pointu, tr\u00e8s bref. Le tambour de basse avait une sonorit\u00e9 fantastique. J'ai m\u00eame fait venir le batteur de la bande, qui avait jou\u00e9 sur le disque, pour lui faire \u00e9couter \u00bb. Il a dit \u00ab je n'ai jamais entendu de tambour de basse avoir ce son-l\u00e0 sur un enregistrement. \u00c7a doit \u00eatre li\u00e9 \u00e0 la tr\u00e8s grande vitesse [en r\u00e9ponse au renforcement du son] de ces haut-parleurs. Je suppose, comme ils sont de petite taille, ils bougent tr\u00e8s vite et qu\u2019ils s\u2019arr\u00eatent aussi tr\u00e8s vite. Cela semble \u00eatre une partie importante du son. Ils sont aussi tr\u00e8s pr\u00e9cis dans l'accomplissement de l'image son r\u00e9elle et de l\u2019emplacement de chaque instrument. \u00bb Lisez l'article complet.. (I will place a link here)\nIl ne me vient pas \u00e0 l\u2019esprit une meilleure cons\u00e9cration que celle-ci et, bien \u00e9videmment, s\u2019agissant de haut-parleurs \u00e0 transducteur simple, \u00e0 grande vitesse, ils correspondent parfaitement \u00e0 la philosophie Sound Galleries. Les commentaires de Brian Eno concernent le TD512 d\u2019origine, qui a depuis \u00e9t\u00e9 supplant\u00e9 par le mod\u00e8le TD510. \nNous disposons du TD510 aussi bien que du nouveau mod\u00e8le haut de gamme TD712z dont Robert Deutsch a r\u00e9cemment fait l\u2019\u00e9loge dans sa Stereophile Revue. Le mod\u00e8le TD508, de taille plus r\u00e9duite, et le TD307MKII, tr\u00e8s petit, sont \u00e9galement disponibles. Tous ces mod\u00e8les, du haut de gamme TD712z au tout petit TD307MKII, partagent les m\u00eames qualit\u00e9s essentielles, donc quelles que soient vos exigences vous trouverez un mod\u00e8le qui vous correspond.");
var vertexaq = new String("The secret of a natural sounding, life like, HiFi system is quite simple. It is achieving the lowest possible 'Noise Floor'. What exactly does 'Noise Floor' refer to? Many people mistakenly believe it refers to the literal noise that plagues some systems, such as hums, buzzes, tube rush and vinyl noise. These noises can certainly be a nuisance, though they have nothing at all to do with the 'Noise Floor'. Instead what this concept is actually referring to, is a corruption of the musical Wave-Form as it is processed by the components in your system. This 'corruption' may be heard as a grainy, electronic or otherwise artificial quality to the sound. These pollutants of the musical Wave-Form make it all too obvious that you're listening to reproduced music rather than the real thing. For the music to sound real through your system, you need to get rid of these pollutants. This is what is referred to by achieving a low 'Noise Floor'.\nIronically, the components which tend to achieve the lowest 'Noise Floor' are Tube amplifiers and Turntables, which is why they are often preferred by audiophiles. This should make the difference between literal noise and the 'Noise Floor' concept clearer. Obviously Vinyl records and Tube amplifiers often suffer from more literal noise than CD players and Transistor amplifiers and yet they achieve a lower 'Noise Floor'. CD Players and other digital components, as well as Solid State amplifiers, tend to suffer more from those pollutants getting right into the musical Wave-Form itself; but of course these components offer a number of advantages, if only we can lower the 'Noise Floor'.\nEnter VertexAQ, a young company from the UK that has dedicated itself to solving this crucial problem. The results of applying VertexAQ products to an audio system are dramatic and we can easily demonstrate this to you here at Sound Galleries. Where such problems as electronic grain and digital artefacts previously corrupted the music, this corruption is removed and the music is free to breathe naturally into the room. More detail will be revealed, though in a natural way which enables you to make sense of the musical gestalt at all times. With VertexAQ products you will also be able to listen at much lower volume levels than previously, and the music will still satisfy you. This is another important advantage of a low 'Noise Floor' for people who need to listen at lower than realistic levels. Of course, VertexAQ products will also greatly benefit Turntables and Tube amplifiers as their 'Noise Floor' will be lowered even further.\nHow do VertexAQ achieve this? Steve Elford and John Cheadle are the guys behind VertexAQ. Whilst working in the Royal Air Force, Steve developed new acoustic absorption technologies for use in critical aircraft systems. After he met John Cheadle, who has a background in Audio design, the two of them took on the challenge of applying those absorption technologies to Audio. The approach of VertexAQ is basically twofold. One is to develop support systems which drain away all unwanted energy from Audio components, the other is to remove pollutants within the mains before it can get into the components. While developing their products a third approach suggested itself, because it became clear that the cables themselves carry a lot of unwanted vibration and that this also pollutes the sound. As a result of this the boxes you see around all of the VertexAQ Mains and Signal cables contain acoustic absorbers to eliminate this unwanted vibration, in addition to sophisticated RFI\/EMI mains filtering on the mains cables and distribution blocks.\nThe Kinabalu supports that VertexAQ have developed for placing your components on, really are the ultimate solution in draining unwanted energy from the components themselves. These supports go in between the shelf you place your equipment on and the equipment itself. Each support consists of a large piece of granite, which for some supports is surrounded by an attractive wooden frame. This is not just a simple piece of granite, since precisely calculated paths have been carved within it as determined by VertexAQ to have the maximum effect in draining away unwanted energy. The surface of the Granite is deliberately left unpolished and natural, as this too was found to make a difference in draining away resonance.\nThe Power cords, signals cables, distribution blocks and support platforms developed by VertexAQ are much more than add on accessories, that may be purchased as an afterthought. Instead they should be thought of as 'system components' themselves, because their contribution is every bit as important as the other components, (CD Players, Amplifiers, etc.) within your system. In fact, because of their effect on dramatically lowering the 'Noise Floor' a moderately priced system where VertexAQ products have been applied, will often outperform a far more expensive system. The VertexAQ products can be incrementally added to your system and each addition will make a clear improvement. The beauty of a traditional dealer Auditorium such as Sound Galleries is that you'll be able to clearly hear the differences the VertexAQ products make for yourself. VertexAQ products are based on solid scientific research and development and most importantly, they work! Visit VertexAQ");
var vertexaqFR = new String("Le secret d'une cha\u00eene Hi-Fi avec un son naturel est tr\u00e8s simple, il s'agit en fait de r\u00e9aliser un \u00abplancher de bruit\u00bb le plus bas possible. Que signifie exactement \u00ab le plancher de bruit \u00bb ? Beaucoup de gens croient \u00e0 tort que l\u2019expression se r\u00e9f\u00e8re au bruit effectif qui affecte certains syst\u00e8mes, tels que des bourdonnements, vrombissements, sifflements de tube et bruits de vinyle. Ces bruits peuvent certainement \u00eatre une nuisance, mais ils n'ont rien \u00e0 voir avec le \u00ab plancher de bruit \u00bb. Ce concept se r\u00e9f\u00e8re effectivement \u00e0 une corruption de la forme d\u2019onde musicale telle qu'elle est g\u00e9n\u00e9r\u00e9e par les composants de votre syst\u00e8me. Cette \"corruption\" peut \u00eatre entendue comme une qualit\u00e9 de son granuleuse, \u00e9lectronique ou autrement artificielle. Ces polluants de la forme d\u2019onde musicale rendent \u00e9vident le fait que vous \u00e9coutez de la musique reproduite et non de la musique \u00ab r\u00e9elle \u00bb. Afin que la musique ait un son r\u00e9el \u00e0 travers votre syst\u00e8me, vous devez vous d\u00e9barrasser de ces polluants. Voil\u00e0 le sens de l\u2019expression \u00ab avoir un plancher de son bas \u00bb.\nIroniquement, les \u00e9l\u00e9ments qui tendent \u00e0 atteindre le \u00ab plancher de bruit \u00bb le plus bas sont les amplificateurs \u00e0 tube et les platines, raison pour laquelle ils sont souvent pr\u00e9f\u00e9r\u00e9s par les audiophiles. Cela devrait rendre plus claire la diff\u00e9rence entre le bruit au sens litt\u00e9ral du terme et le concept de \u00abplancher de bruit\u00bb. \u00c9videmment les disques vinyles et les amplificateurs \u00e0 tube souffrent souvent de plus de bruit effectif que les lecteurs CD et les amplificateurs \u00e0 transistors et pourtant ils parviennent \u00e0 atteindre un \u00ab plancher de bruit \u00bb plus bas. Les lecteurs CD ou autres composants num\u00e9riques, ainsi que les amplificateurs \u00e9tat solide, ont tendance \u00e0 souffrir davantage de ces polluants qui s'infiltrent directement dans la forme d\u2019onde musicale. En \u00e9change, ces \u00e9l\u00e9ments offrent un certain nombre d'avantages, \u00e0 condition de pouvoir baisser \u00able plancher de bruit \u00bb.\nC\u2019est l\u00e0 que VertexAQ entre en sc\u00e8ne. Il s\u2019agit d\u2019une jeune entreprise du Royaume-Uni qui s\u2019est consacr\u00e9e \u00e0 r\u00e9soudre ce probl\u00e8me d\u2019importance capitale. Les r\u00e9sultats de l'application des produits VertexAQ \u00e0 un syst\u00e8me audio sont spectaculaires ; nous pouvons d\u2019ailleurs vous en faire la d\u00e9monstration facilement, chez Sound Galleries. Si auparavant des probl\u00e8mes comme le parasites \u00e9lectronique et les artefacts num\u00e9riques endommageaient la musique, maintenant cette corruption ne se fait plus sentir et la musique peut respirer naturellement dans la pi\u00e8ce. Encore plus de d\u00e9tail, d\u2019une fa\u00e7on naturelle, cela vous permettra de sentir le Gestalt \u00e0 tout moment ! Avec les produits VertexAQ vous serez \u00e9galement en mesure d'\u00e9couter de la musique \u00e0 des niveaux de volume beaucoup plus faibles qu'auparavant, toujours pour votre bonheur. C'est un autre avantage important d'un \u00abplancher de bruit \u00bb bas pour les personnes qui ont besoin d'\u00e9couter la musique \u00e0 des niveaux plus faibles que la normale. Et bien \u00e9videmment, les produits VertexAQ b\u00e9n\u00e9ficieront aussi largement aux platines et aux amplificateurs \u00e0 tube, leur \u00ab plancher de bruit \u00bb \u00e9tant encore plus bas.\nComment VertexAQ parvient-elle \u00e0 ce r\u00e9sultat ? Derri\u00e8re le nom VertexAQ, se cachent Steve Elford et John Cheadle. Pendant qu\u2019il travaillait dans la Royal Air Force, Steve a d\u00e9velopp\u00e9 de nouvelles technologies d'absorption acoustique cens\u00e9es \u00eatre utilis\u00e9es dans des syst\u00e8mes d\u2019aviation d\u2019importance cruciale. Apr\u00e8s avoir rencontr\u00e9 John Cheadle, qui a une formation en mati\u00e8re de conception audio, tous les deux ont d\u00e9cid\u00e9 de relever le d\u00e9fi d'appliquer ces technologies d'absorption \u00e0 l'acoustique. L'approche de VertexAQ est essentiellement de deux ordres... La premi\u00e8re consiste \u00e0 d\u00e9velopper des syst\u00e8mes de soutien qui font \u00e9couler toute l\u2019\u00e9nergie non d\u00e9sir\u00e9e des composants acoustiques, tandis que la deuxi\u00e8me \u00e9limine les polluants dans le r\u00e9seau avant qu\u2019ils puissent p\u00e9n\u00e9trer dans les composants. Pendant le d\u00e9veloppement de leurs produits, une troisi\u00e8me approche se propose, car il \u00e9tait devenu \u00e9vident que les c\u00e2bles eux-m\u00eames portent beaucoup de vibrations ind\u00e9sirables et que ces vibrations polluent aussi le son. Les bo\u00eetes que vous voyez autour de tous les c\u00e2bles secteurs et de signal VertexAQ contiennent en cons\u00e9quence des absorbeurs acoustiques pour \u00e9liminer cette vibration ind\u00e9sirable, en plus du sophistiqu\u00e9 filtrage secteur RFI / EMI sur les c\u00e2bles d'alimentation \u00e9lectrique et les blocs de distribution.\nLes supports Kinabalu que VertexAQ ont mis au point pour vos composants sont vraiment la solution ultime afin d\u2019\u00e9couler l\u2019exc\u00e8s d'\u00e9nergie des composants. Ces supports s\u2019installent entre l\u2019\u00e9tag\u00e8re sur laquelle vous placez votre mat\u00e9riel et l'\u00e9quipement lui-m\u00eame. Chaque support est constitu\u00e9 d'un grand morceau de granit, qui pour certains supports est entour\u00e9 par un cadre en bois. Ce n'est pas un simple morceau de granit, puisque des trajectoires pr\u00e9cis\u00e9ment calcul\u00e9es y ont \u00e9t\u00e9 perc\u00e9es tels que d\u00e9termin\u00e9es par VertexAQ pour avoir l'effet maximum dans l\u2019\u00e9vacuation de l'\u00e9nergie non d\u00e9sir\u00e9e. La surface du granit est laiss\u00e9e d\u00e9lib\u00e9r\u00e9ment non polie et naturel, ce qui aide aussi \u00e0 \u00e9vacuer la r\u00e9sonance.\nLes cordons d'alimentation, c\u00e2bles de signal, blocs de distribution et plateformes de support mis au point par VertexAQ sont beaucoup plus que de simples accessoires, auxquelles on n\u2019y pense qu\u2019apr\u00e8s coup. Au contraire, ils devraient \u00eatre consid\u00e9r\u00e9s comme des composants eux-m\u00eames, car leur contribution est tout aussi importante que celle des autres composants (lecteurs CD, amplificateurs, etc.) au sein de votre syst\u00e8me. En effet, en raison de leur effet spectaculaire sur l'abaissement du \u00ab plancher de son \u00bb, un syst\u00e8me \u00e0 prix mod\u00e9r\u00e9 mais avec en plus les produits VertexAQ sera souvent plus performant qu'un syst\u00e8me beaucoup plus cher. Les produits VertexAQ peuvent \u00eatre progressivement ajout\u00e9s \u00e0 votre syst\u00e8me et chaque ajout apportera une nette am\u00e9lioration visible. L\u2019avantage d'un vendeur traditionnel disposant d\u2019une salle d\u2019audition comme Sound Galleries consiste dans le fait que vous pouvez venir et entendre par vous-m\u00eames la diff\u00e9rence que peuvent faire les produits VertexAQ. Les produits VertexAQ sont bas\u00e9s sur des recherches scientifiques et des d\u00e9veloppements solides et, surtout, ils fonctionnent!");
var klangwerk = new String("Regular visitors to Sound Galleries will know I tend to favour large bandwidth drivers. I appreciate them for their exceptional coherence. So when at the High-End show in Munich earlier this year my curiosity was peaked when I spotted a new speaker based on the amazing Manger driver. The Manger is a large bandwidth driver and it also works on the 'Bending Wave' principle, said to more closely approximate how our ears process sounds than other types of driver. To my knowledge this is the only driver to work on this principle apart from the panels in the exceptional Podium Sound speakers. So I made an appointment to visit designer Markus Thomann in his Zurich studio to audition these speakers which he has named the Onda.\nThe Onda's proved to be amazing speakers. The silences between the musical notes and other sounds were conveyed in a way I've seldom heard before, allowing the intentions behind all types of musical performances to be clearly communicated. We certainly intend to feature the Onda's at Sound Galleries in the near future.\nHowever, much to my surprise, Markus's smaller Ella speakers also proved to be exceptional performers. Despite being based on a more conventional array of a woofer from Audax and a metal dome tweeter, they still managed to achieve excellent coherence. These two drivers, which are mounted on the front baffle are flanked by two additional woofers on each side of the slim elegant cabinet.\nHowever, apart from the use of relatively conventional drivers, these are hardly conventional speakers. The front baffle is constructed of Creanit\u00ae, a form of artificial stone, and their curvaceous shape also assists in correct timing and phase linearity, in addition to suggesting the feminine appellation. Markus is also an architect by profession and his speakers are a wonderful example of 'form follows function'. None of these qualities though explain how the Ella's achieve their coherence, although they're based on multiple drivers. The secret to this is that the Ellas are fully active. All necessary power amplification is mounted within those slim enclosures. When you know exactly which power amplifiers your drivers will be working with, because they are incorporated into the design, then it is possible to optimise the relationship between each driver and its amplifier module. The Power amplifier modules and crossover filtration that do this work are specially produced for Markus by another Swiss company, Relec SA based in Yverdon at the lake of Neuchatel, better known under the brand name of PSI Audio as producers of professional studio monitors. \nThe design of the Ella's also results in exceptionally wide dispersion which means that more than one person can enjoy their realistic sound-stage presentation. Their design allows for placement right against the wall, which is perfect for apartment dwellers and anyone who prefers their speakers to be placed in as visually discrete a position as possible. Their flexibility also allows for free placement away from walls, if preferred.\nSince the speakers are active they take their connection directly from any pre-amplifier with a balanced output. This also includes our Ancient Audio Lektor Prime CD player which has a built in pre-amplifier with balanced outputs. This allows us to offer an exceptionally attractive ultra high-end system consisting of just three components. This three piece system is a wonderful example of elegant and exceptional sounding designer audio. Visit Klangwerk");
var klangwerkFR = new String("Les visiteurs r\u00e9guliers de Sound Galleries savent que j\u2019ai tendance \u00e0 favoriser les transducteurs simples large bande. Je les appr\u00e9cie notamment pour leur exceptionnelle coh\u00e9rence. Ainsi, au Salon High-End de Munich de cette ann\u00e9e ma curiosit\u00e9 a \u00e9t\u00e9 attis\u00e9e de suite lorsque j'ai rep\u00e9r\u00e9 une nouvelle enceinte bas\u00e9e sur l\u2019incroyable haut-parleur Manger. Manger est un transducteur large bande qui en plus fonctionne selon le principe dit de \u00ab radiation naturelle \u00bb, afin de se rapprocher le plus possible de la mani\u00e8re dont notre oreille traite les sons. \n\u00c0 ma connaissance c'est le seul transducteur \u00e0 employer ce principe \u00e0 part les panneaux qui se trouvent dans les exceptionnelles enceintes Podium Sound. Ainsi j'ai pris un rendez-vous pour rendre visite au concepteur Markus Thomann dans son studio de Zurich afin d\u2019auditionner ces haut-parleurs qu'il a appel\u00e9s Onda. Incroyable ! Les silences entre les notes musicales et d'autres sons sont restituits d'une mani\u00e8re que j'ai rarement entendue avant, permettant de communiquer clairement les intentions derri\u00e8re tous types d'ex\u00e9cutions d\u2019\u0153uvres musicales. Nous avons certainement l'intention de pr\u00e9senter l'Onda chez Sound Galleries dans un avenir proche.\nA ma grande surprise, les enceintes plus petites Ella de Markus se sont \u00e9galement av\u00e9r\u00e9es d\u2019une exceptionnelles performantes. En d\u00e9pit d'\u00eatre bas\u00e9es sur une rang\u00e9e plus conventionnelle de woofers de chez Audax et d'un tweeter \u00e0 d\u00f4me en m\u00e9tal, elles sont toujours parvenues \u00e0 une excellente coh\u00e9rence. Ces deux transducteurs, qui sont mont\u00e9s sur le baffle frontal, sont flanqu\u00e9s de deux woofers additionnels de chaque c\u00f4t\u00e9 du coffret \u00e9l\u00e9gant et d\u00e9licat.\nCependant, mis \u00e0 part l'utilisation de transducteurs relativement conventionnels, il s\u2019agit \u00e0 peine d\u2019enceintes conventionnelles. Le baffle avant est en Creanit\u00ae, une sorte de pierre artificielle, et leur forme curviligne aide \u00e9galement \u00e0 la synchronisation et \u00e0 une lin\u00e9arit\u00e9 de phase correcte, en plus de sugg\u00e9rer une appellation f\u00e9minine. Markus est \u00e9galement un architecte par profession et ses enceintes sont un exemple merveilleux du dicton \u00ab la forme suit la fonction \u00bb. Aucune de ces qualit\u00e9s n'explique cependant comment l'Ella arrive \u00e0 une telle coh\u00e9rence, bien qu'elles soient bas\u00e9es sur des transducteurs multiples. Le secret est que les Ellas sont enti\u00e8rement actives. Toute l'amplification de puissance n\u00e9cessaire est mont\u00e9e \u00e0 l\u2019int\u00e9rieur de ces minces cloisons. Quand vous savez exactement avec quels amplificateurs de puissance vos transducteurs fonctionneront, parce qu'ils y sont incorpor\u00e9s, il est alors possible d'optimiser le rapport entre chaque transducteur et son module amplificateur. Les amplificateurs de puissance et les s\u00e9parateurs de fr\u00e9quence qui effectuent ce travail sont sp\u00e9cialement produits pour Markus par une autre compagnie suisse, Relec SA, bas\u00e9e \u00e0 Yverdon pr\u00e8s du lac de Neuch\u00e2tel, plus connue sous le nom de marque de PSI Audio, producteur d\u2019enceintes de monitoring de studio.\nLe design de l'Ella a \u00e9galement comme cons\u00e9quence une dispersion particuli\u00e8rement large, ce qui signifie que plus d'une personne pourra appr\u00e9cier leur rendu acoustique extr\u00eamement r\u00e9aliste. Leur design permet justement l\u2019installation contre le mur, ce qui est parfait pour ceux qui habitent en appartement et d\u2019ailleurs pour tous les gens qui pr\u00e9f\u00e8rent avoir leurs enceintes install\u00e9es de la mani\u00e8re la plus discr\u00e8te possible. Leur flexibilit\u00e9 permet \u00e9galement le placement au choix, loin des murs.\nPuisque les haut-parleurs sont actifs, ils se connectent directement par n'importe quel pr\u00e9amplificateur avec des sorties \u00e9quilibr\u00e9es. Vous pouvez utiliser par exemple notre lecteur CD Ancient Audio Lektor Prime qui contient d\u00e9j\u00e0 un pr\u00e9amplificateur avec sorties \u00e9quilibr\u00e9es. Ceci nous permet d'offrir un syst\u00e8me particuli\u00e8rement attrayant High-End avec seulement trois composants. Ce syst\u00e8me \u00e0 trois pi\u00e8ces est un exemple merveilleux de design acoustique \u00e9l\u00e9gant.");
var analysis = new String("Analysis audio are a solid company having been established for more than 15 years. Their speakers are equally solid and well built, resembling in appearance the Apogee full range ribbon speakers of old. Like the old Apogees the Analysis speakers combine amazing speed with the kind of slam and attack that the full range Apogees were famous for, and were unmatched by any other panel speakers. Unlike the old Apogees and most other panel speakers the Analysis are very easy to drive. A minimum of 50 watts per channel is recommended for the Epsilon model which we're featuring in Sound Galleries today. The Analysis speakers are actually based on a blend of a ribbon driver that runs the full length of one side of each speaker combined with a planar magnetic driver that handles the lower frequencies. These drivers do indeed blend seamlessly together. They also allow for bi-amping or bi-wiring, so a lot of flexibility is provided for getting the very best out of the Analysis speakers. Although we've achieved excellent results with a single stereo amp, especially using the excellent Moncayo links from Vertex AQ designed for this purpose. There are four speakers in the range, from smallest to largest, these are the 'Omicron', 'Epsilon', 'Omega' and 'Amphitryon'. Visit Analysis Audio");
var analysisFR = new String("Analysis Audio est une entreprise fiable pr\u00e9sente sur le march\u00e9 depuis plus de 15 ans. Leurs enceintes sont elles-aussi fiables et tr\u00e8s bien con\u00e7ues, similaires en apparence aux anciennes enceintes \u00e0 ruban large bande Apogee. Tout comme les Apogee, les enceintes Analysis se caract\u00e9risent par une vitesse surprenante et ce type de rythme et attaque pour lesquels les Apogee \u00e9taient reconnues et m\u00eame imparables. De plus, elles sont tr\u00e8s faciles \u00e0 man\u0153uvrer, ce qui n\u2019est pas le cas des anciennes Apogees ni de la plupart des autres enceintes panneau. Un minimum de 50 watts par canal est n\u00e9cessaire pour le mod\u00e8le Epsilon que nous exposons actuellement chez Sound Galleries. En r\u00e9alit\u00e9, les enceintes Analysis sont bas\u00e9es sur un m\u00e9lange de transducteur \u00e0 ruban situ\u00e9 sur le c\u00f4t\u00e9, sur toute la longueur de l\u2019enceinte, et un transducteur magn\u00e9tique planaire qui g\u00e8re les fr\u00e9quences plus basses. Ces deux transducteurs se m\u00e9langent de mani\u00e8re homog\u00e8ne et permettent \u00e9galement la bi-amplification ou le bi-c\u00e2blage. Cette flexibilit\u00e9 permet d\u2019en tirer vraiment le meilleur des enceintes Analysis. Nous avons \u00e9galement obtenu d\u2019excellents r\u00e9sultats avec un seul amplificateur st\u00e9r\u00e9o, en utilisant les connecteurs Moncayo de AQ, express\u00e9ment con\u00e7us dans ce but. Il y a quatre enceintes dans cette gamme (de la plus petite \u00e0 la plus grande) : Omicron, Epsilon, Omega et Amphitryon.");
var raysonic = new String("How sweet it is! That was the reaction from Sue Craft in her review of the Raysonic CD168 in issue 183 of the Absolute Sound recently. The appearance of the CD168 and Raysonic's other products, will tell you a lot about the very high standards these products are built to, and those high standards are reflected inside as well.\nBack to the CD168. This is the player from Raysonic we are currently featuring at Sound Galleries. It boasts true balanced operation via a pair of Burr-Brown PCM 1792 24-bit\/192k upsampling DAC's, fed to a Class A triode vacuum-tube output stage. Both RCA and XLR analogue outputs are provided on the back panel. It includes a suspension system to isolate the Philips transport mechanism from vibration, a warm-up function to extend tube life, and ceramic tube sockets.\nThe CD168 has variable output which allows it to be connected to a power amplifier directly or to active speakers such as the Klangwerk Ella's or Avantgarde Solo's. Volume is controlled from the supplied solid metal remote control.\nThis natural sounding, beautifully styled CD player is likely to please a lot of people, and it is available at a surprisingly affordable price. Visit Raysonic");
var raysonicFR = new String("Comme c\u2019est doux ! Telle a \u00e9t\u00e9 r\u00e9cemment la r\u00e9action de Sue Craft dans sa critique du Raysonic CD168 dans le num\u00e9ro 183 d\u2019Absolute Sound. Le design du CD168 et des autres produits Raysonic vous dira beaucoup sur les standards tr\u00e8s \u00e9lev\u00e9s de ces produits, standards qui se refl\u00e8tent \u00e9galement \u00e0 l'int\u00e9rieur. Pour revenir au CD168, il s\u2019agit du lecteur de Raysonic que nous promouvons actuellement chez Sound Galleries. Connu pour un fonctionnement \u00e9quilibr\u00e9 via une paire de DAC Burr-Brown PCM 1792 24-bit/192 k avec sur\u00e9chantillonage, aliment\u00e9 \u00e0 un \u00e9tage de sortie classe A \u00e0 tubes (triodes). Les sorties RCA et les sorties analogiques XLR se trouvent sur le panneau arri\u00e8re. Il comprend un syst\u00e8me de suspension pour isoler le m\u00e9canisme de transport Philips des vibrations, une fonction d'\u00e9chauffement afin d\u2019\u00e9tendre la dur\u00e9e de vie du tube et des douilles tube en c\u00e9ramique. Le CD168 dispose d\u2019une sortie variable qui lui permet d\u2019\u00eatre directement connect\u00e9 \u00e0 un amplificateur de puissance ou aux haut-parleurs actifs tels que le Klangwerk Ella ou Avantgarde Solo. Le volume est contr\u00f4l\u00e9 par une solide t\u00e9l\u00e9commande en m\u00e9tal. Ce lecteur CD si styl\u00e9 et ayant un son si proche du naturel est susceptible de plaire \u00e0 beaucoup de gens, et il est disponible \u00e0 un prix \u00e9tonnamment abordable.");
var slee = new String("Graham Slee has been producing award winning Phono Stages for Vinyl enthusiasts as well as high quality headphone amplifiers for a number of years now. Recently he released the highly innovative Revelation Phono Stage. What follows is a description of the unique advantages of the Revelation over just about any other Phono stage ever produced.\nWhen the grooves are engraved into an LP record, the bass levels are deliberately reduced and the treble levels increased. This is because for a given sound level the bass frequencies would otherwise need a larger groove which would reduce the recording time and make it harder for the cartridge to track. When a record is played back the contact between the stylus and the record groove creates a high frequency noise. By deliberately boosting the high frequencies when a record is cut, the high frequency noise of the stylus groove contact can be reduced when the record is played back.\nThe specific amount of reduction in bass frequencies and boosting of treble frequencies describes a curve through the frequency spectrum. The RIAA (recording industry of America) established a standard curve for recording and playback of vinyl records, which was supposed to be adopted by all record labels since 1954. Before then each record company adopted their own curves.\nIn order to play back a vinyl record you need a phono pre-amplifier which has to apply equalization based on the curve, so that the reduced bass levels on the record are brought back up to their correct levels and the boosted high frequencies are reduced to their correct levels.\nJust about every phono preamplifier produced since 1954 applies this equalization based on the RIAA curve.\nIn reality, however, many of the record companies continued to apply their own curves with different reductions in bass frequencies and boosts in the treble, well into the 1960's. Records cut using one of these alternative curves will not be played back correctly by a standard phono preamplifier which applies the RIAA curve. If you have LP records recorded in the 50's and early 60's and have found the sound disappointing, e.g. muddy and lacking life, this may be the reason.\nFortunately Graham Slee has come to the rescue with his Revelation Phono stage, which enables you to apply different equalization curves than the standard RIAA curve.\nA series of toggle switches allows you to easily apply different equalization curves and a guide is provided which indicates which curve is likely to be correct for different record labels. The guide should be used as a starting point as it can never be ascertained with 100% accuracy as to which curve was applied when a particular disk was cut. The best method is to experiment with different curves and judge for yourself which curve sounds best to you on the record concerned. You could then make a note on the record sleeve as to which curve to apply each time you play that record in the future.\nThe results of correct equalization will truly be a revelation to you.\nAt Sound Galleries we have the Revelation available for audition together with the Elevator Moving Coil Step-up transformer. Both are supplied with the separate PSU1-24 power supplies.\nWe can, of course, also order any of Graham's excellent products for you, including his new Voyager portable headphone amp, for greatly improving the quality of audio on the move, from portable devices such as iPods and Laptop computers. Visit Graham Slee");
var sleeFR = new String("Cela fait des ann\u00e9es que Graham Slee gagne des prix avec ses pr\u00e9amplificateurs phono pour les adeptes de vinyle et produit \u00e9galement des amplificateurs pour \u00e9couteurs d\u2019une tr\u00e8s grande qualit\u00e9. Il a r\u00e9cemment sorti le pr\u00e9ampli extr\u00eamement novateur Revelation. Ce qui suit est une description des avantages uniques du Revelation, qui d\u00e9passe \u00e0 peu pr\u00e8s n\u2019importe quel autre pr\u00e9ampli phono jamais produit. Lorsque les sillons sont grav\u00e9s sur un disque vinyle, les niveaux du registre grave sont d\u00e9lib\u00e9r\u00e9ment r\u00e9duits tandis que les niveaux des aigus sont augment\u00e9s. Cela arrive parce que pour un niveau de son donn\u00e9 les fr\u00e9quences des graves auraient besoin autrement d'un plus grand sillon qui r\u00e9duirait la dur\u00e9e de l\u2019enregistrement et que la cartouche aura du mal \u00e0 tracer. Quand on \u00e9coute un disque, le contact entre la pointe de lecture et le sillon du disque cr\u00e9e un bruit de haute fr\u00e9quence. En amplifiant d\u00e9lib\u00e9r\u00e9ment les fr\u00e9quences hautes quand un disque est grav\u00e9, le bruit de haute fr\u00e9quence du contact entre la pointe de lecture et le sillon peut \u00eatre r\u00e9duit lorsqu\u2019on fait marcher le disque.\nLa quantit\u00e9 sp\u00e9cifique de r\u00e9duction des fr\u00e9quences graves et d'amplification des fr\u00e9quences aig\u00fces d\u00e9crit une courbe dans le spectre de fr\u00e9quence. La RIAA (l\u2019Association de l\u2019industrie du disque des Etats-Unis) a \u00e9tabli une courbe standard pour l'enregistrement et le playback des disques vinyle, qui devait \u00eatre adopt\u00e9e par tous les labels de disque depuis 1954. Jusqu\u2019alors, chaque compagnie de disque adoptait sa propre courbe.\n\nAfin d\u2019\u00e9couter un disque vinyle vous avez besoin d'un pr\u00e9amplificateur phono qui doit appliquer une certaine \u00e9galisation sur la base de la courbe, de sorte que les niveaux de grave, r\u00e9duits sur le disque, soient remont\u00e9s \u00e0 leurs niveaux r\u00e9els et les fr\u00e9quences d\u2019aigus, qui ont \u00e9t\u00e9 amplifi\u00e9es, soient r\u00e9duites \u00e0 leurs niveaux corrects. Presque tout pr\u00e9amplificateur phono produit depuis 1954 applique cette \u00e9galisation bas\u00e9e sur la courbe de la RIAA.\n\nEn r\u00e9alit\u00e9, cependant, un certain nombre de compagnies de disque ont continu\u00e9 encore dans les ann\u00e9es 60 \u00e0 appliquer leurs propres courbes avec de diff\u00e9rents degr\u00e9s de r\u00e9duction des fr\u00e9quences graves et d\u2019amplification des aigus. Les disques grav\u00e9s en utilisant une de ces courbes alternatives ne seront pas lus correctement par un pr\u00e9amplificateur phono standard qui applique la courbe de la RIAA. Si vous avez des disques vinyle enregistr\u00e9s dans les ann\u00e9es 50 ou au d\u00e9but des ann\u00e9es 60 et que vous avez trouv\u00e9 le son d\u00e9cevant, confus et sans vie, par exemple, ceci peut \u00eatre la raison.\n\nHeureusement Graham Slee viens au secours avec son pr\u00e9ampli Revelation, qui permet d'appliquer d\u2019autres courbes d'\u00e9galisation que la courbe standard de la RIAA.\n\nUne s\u00e9rie d'interrupteurs \u00e0 bascule permettent d'appliquer facilement diff\u00e9rentes courbes d'\u00e9galisation et un guide est fourni indiquant la courbe susceptible d'\u00eatre la bonne pour diff\u00e9rents labels de disque. Le guide cependant devrait \u00eatre employ\u00e9 seulement comme point de d\u00e9part car on ne peut jamais \u00eatre s\u00fbr \u00e0 100% de la courbe qui a \u00e9t\u00e9 appliqu\u00e9e lors de la gravure du disque. La meilleure m\u00e9thode est d'exp\u00e9rimenter plusieurs courbes et retenir celle qui produit le meilleur son quant au disque concern\u00e9. Vous pourriez m\u00eame faire une annotation sur la pochette du disque en pr\u00e9cisant la courbe correcte afin de la retrouver plus facilement par la suite.\n\nLes r\u00e9sultats d\u2019une \u00e9galisation correcte seront une v\u00e9ritable r\u00e9v\u00e9lation.\nChez Sound Galleries\nnous avons le Revelation disponible pour une audition, ainsi que le transformateur survolteur \u00e0 bobine mobile Elevator. Tous les deux sont fournis avec une alimentation \u00e9lectrique s\u00e9par\u00e9e PSU1-24.\n\nNous pouvons, naturellement, commander pour vous n'importe lequel des excellents produits Graham Slee, y compris son nouvel amplificateur portatif pour \u00e9couteurs Voyager, pour am\u00e9liorer consid\u00e9rablement la qualit\u00e9 de l'acoustique sur la route, ou des dispositifs portatifs tels que les iPods et les ordinateurs portables.");
var avantgarde = new String("When visiting two of the most important High-End Audio shows, 'High-End' Munich and 'Top Audio Milan' I sensed an unmistakeable \"buzz\" and excitement in and around the rooms of one company. That company is Avantgarde Acoustic of Germany. The \"Buzz\" reminded me of the same excitement I experienced during the 1980's at the London HiFi show when certain well known 'High-End' products from America were being demonstrated for the first time. People were crowding outside the room eager for a seat to experience these systems. The same is true today wherever Avantgarde exhibit, except the sound of the Avantgarde systems goes way beyond those early 'high-end' systems and way beyond most systems that are termed 'high-end' today. The experience of real musicians creating the music in the room with you is the experience of listening to Avantgarde Acoustic Systems. It is ironic that we have come full circle back to the earliest type of loudspeaker transducer ever created, the spherical horn, in order to achieve the highest level of realism. Of course, these contemporary horns from Avantgarde Acoustic could not have been created in the early days of audio, since they apply modern materials such as fiberglass and modern methods such as injection moulding and computer modeling, to create these contemporary looking pieces of acoustic art.\nThe company was founded by Holger Fromme, who was stunned by the approximation to live music of a horn system he happened to hear. This system had it's limitations however; but being so taken with the obvious potential of horns he dedicated himself to learning more about the technology and attempting to create the ultimate horn speaker system. In 1985 he teamed up with Matthias Ruff a very talented engineer who already had experience in building horns. Together they built the first set of handmade fibreglass Trio horns. On May 17th 1991 Avantgarde Acoustic Lautsprechersysteme GmbH was founded by Holger and Matthias with the intent to bring this incredible technology to the world. The public response to their first Consumer Electronics Show in Berlin in 1993 was amazing. This public enthusiasm inspired the pair to take Avantgarde Acoustics further by opening a new facility where injection moulding techniques could be applied.\nSince that time Avantgarde Acoustic have gone from strength to strength and public enthusiasm for their products continues to grow along with the accolades showered on them from the various Hi-end Review magazines and Web-sites across the world. Their full line up today consists of the Trio, with various true Basshorn options, the highly popular and easier to accommodate Duo Models and the smaller and even easier to accommodate Uno Nano's, as well as the very compact and fully active Solo model. The Solo is perfect for smaller rooms or for use in multi-channel surround sound systems. All share the unmistakeable Avantgarde Hornspeaker sound, with the larger models obviously offering a greater sense of scale and extension than the smaller models. The model you select should obviously be commensurate with the size of your listening space. At the top audio show in Milan this year I once again picked up on the excitement generated by Avantgarde and decided I really must acquire these wonderful hornspeakers for Sound Galleries. We are starting off with the Avantgarde Duo Omega's. Now you have a chance to join in the excitement and experience the uncannily close to live music sound of Avantgarde speakers for yourself. Visit Avantgarde Acoustic");
var avantgardeFR = new String("Lors de deux des plus importants salons High-End, c'est-\u00e0-dire \u00ab High-End Munich \u00bb et \u00ab Top Audio Milan \u00bb, j\u2019ai remarqu\u00e9 une excitation particuli\u00e8re sur les stands d\u2019une certaine entreprise allemande : Avantgarde Acoustic. Cette agitation me rappelle celle provoqu\u00e9e dans les ann\u00e9es \u201980 par certains produits High-End connus seulement aux Etats-Unis lors de leur premi\u00e8re exhibition au salon London Hi-fi. Une foule de gens patientait \u00e0 l\u2019ext\u00e9rieur du stand afin de pouvoir tester ces syst\u00e8mes. Avantgarde provoque ce m\u00eame effet \u00e0 chaque fois qu\u2019elle expose, \u00e0 la seule diff\u00e9rence que le son de ses syst\u00e8mes va beaucoup plus loin que ceux de ces premiers syst\u00e8mes \u00ab high-end \u00bb et m\u00eame de la plupart des syst\u00e8mes d\u00e9nomm\u00e9s \u00ab high-end \u00bb d\u2019aujourd\u2019hui. L\u2019exp\u00e9rience d\u2019\u00e9couter des vrais musiciens en train de faire na\u00eetre la musique dans la m\u00eame pi\u00e8ce, voil\u00e0 comment on peut d\u00e9crire l\u2019exp\u00e9rience d\u2019\u00e9couter les syst\u00e8mes Avantgarde Acoustic. Il est d\u2019ailleurs ironique de voir que nous sommes retourn\u00e9s dans le temps au premier type de transducteur acoustique jamais cr\u00e9\u00e9, le cor sph\u00e9rique, afin d\u2019arriver au degr\u00e9 de r\u00e9alisme le plus intense. Bien \u00e9videmment, ces cors contemporains d\u2019Avantgarde Acoustic n\u2019auraient pas pu \u00eatre cr\u00e9\u00e9s dans les premiers jours de l\u2019acoustique car ils emploient des mat\u00e9riaux modernes comme la fibre de verre et des m\u00e9thodes modernes comme le moulage par injection et le modelage assist\u00e9 par ordinateur afin de fabriquer ces pi\u00e8ces d\u2019art acoustique au design si contemporain. La compagnie a \u00e9t\u00e9 cr\u00e9\u00e9e par Holger Fromme, suite \u00e0 l\u2019exp\u00e9rience in\u00e9dite d\u2019un syst\u00e8me sous forme de cor qu\u2019il a eu l\u2019occasion d\u2019entendre, \u00e9tonn\u00e9 par un son si proche de la musique live. Ce syst\u00e8me a cependant des limites, mais, conquis par l\u2019\u00e9vident potentiel des cors, il a voulu apprendre plus sur cette technologie et a ainsi mis au point le syst\u00e8me d\u2019enceintes en forme de cor le plus \u00e9volu\u00e9 jusqu\u2019\u00e0 maintenant. En 1985 il fait \u00e9quipe avec Matthias Ruff, un designer tr\u00e8s talentueux qui avait d\u00e9j\u00e0 acquis de l\u2019exp\u00e9rience dans la fabrication des cors. Ensemble ils fabriquent le premier set de cors faits main en fibre de verre, Trio. Le 17 mai 1991 Holger et Matthias fondent Avantgarde Acoustic Lautsprechersysteme GmbH dans l\u2019intention d\u2019apporter au monde entier cette incroyable technologie. La r\u00e9ponse du public lors de leur premier salon Consumer Electronics Show \u00e0 Berlin en 1993 a \u00e9t\u00e9 extraordinaire. Cet enthousiasme les a determin\u00e9 de porter Avantgarde Acoustic encore plus loin en ouvrant une nouvelle installation o\u00f9 appliquer les techniques de moulage par injection. Depuis, Avantgarde Acoustic s\u2019est d\u00e9velopp\u00e9e et l\u2019enthousiasme du public pour ses produits n\u2019a pas cess\u00e9 d\u2019accro\u00eetre, tout comme les \u00e9loges de multiples revues et sites Internet High-end partout dans le monde. Leur gamme compl\u00e8te consiste aujourd\u2019hui de Trio, avec plusieurs options Basshorn, du tr\u00e8s populaire et facile \u00e0 adapter Duo Models, des plus petits et encore plus facilement adaptables Uno Nano\u2019s, et \u00e9galement du model tr\u00e8s compact et enti\u00e8rement actif Solo. Le Solo est parfait pour les pi\u00e8ces de taille r\u00e9duite ou dans des syst\u00e8mes surround multicanal. Tous les mod\u00e8les partagent l\u2019inconfondable son des enceintes en forme de cor Avantgarde, les produits de taille plus importante offrant en plus, bien \u00e9videmment, un meilleur sens de l\u2019envergure et de l\u2019amplitude que les mod\u00e8les plus r\u00e9duits. Le mod\u00e8le que vous choisiriez devrait \u00eatre adapt\u00e9 \u00e0 la taille de l\u2019espace. \nAu salon \u00ab Top Audio Show \u00bb de Milan de cette ann\u00e9e j\u2019ai encore une fois \u00e9t\u00e9 alert\u00e9 par l\u2019excitation g\u00e9n\u00e9r\u00e9e par Avantgarde et j\u2019ai d\u00e9cid\u00e9 d\u2019acqu\u00e9rir ces merveilleuses enceintes en forme de cor pour Sound Galleries. Nous commen\u00e7ons avec les Duo Omega. Vous avez maintenant l\u2019opportunit\u00e9 de vous joindre vous-m\u00eames \u00e0 l\u2019excitation et \u00e0 l\u2019exp\u00e9rience si \u00e9tonnamment proche du son de la musique live des enceintes Avantgarde. ");
var fonel = new String("At Sound Galleries we are all about the most natural organic sound possible. We also place coherence, throughout the frequency range, at the top of our priorities. This is why we favour speakers with large band drivers, and avoid the damage to coherence caused by complex crossovers.\nCoherence is also a product of the electronics which go before those speakers. In the new Fonel range of products, that are built in Germany, we have found a very natural and coherent range of electronics, which also exude quality in their attractive and solid enclosures.\nAudiophiles often favour vacuum tube electronics for their more organic, natural sound, and tubes are often employed in the output stages of CD players for this reason. Within the Fonel range you will find a mixture of tube and transistor based products. In auditioning the Fonel electronics we have found that regardless of whether tubes or transistors are used in a particular product, there is a Fonel house sound, and that sound is always lifelike and natural.\nFor example Fonel\'s Simplicit\u00e9 CD player comes in both a tube and transistor version. The tube version is, of necessity, more expensive than the transistor player, though in terms of sound they come surprisingly close. Putting together a High-End system often makes me think of cooking. You need to use a specific mix of ingredients in the right measures to obtain the result you desire, according to your own tastes. Whether you prefer the transistor or tube version of the Simplicit\u00e9 will depend on the rest of the system you plan to use it in, and your own tastes.\nThere are technical considerations as well, of course, especially when it comes to amplifiers. Fonel also make two versions of their Emotion Amplifier. One is a 25wpc Class A model using tubes, the other uses a mixture of Mosfet and Bipolar transistor technology to put out 300wpc; enough for the most demanding speaker loads. Which of these you choose will, of course, depend on how efficient your chosen speakers are. Again, these two versions of the Emotion amplifier sound surprisingly similar. This amplifier is also extremely flexible. It can be used as either an integrated amplifier, or a power amplifier for use with a separate preamplifier or CD player with volume control, such as the Simplicit\u00e9. The Emotion has four inputs, 3 RCA and 1 XLR. Any one of these inputs can be programmed for fixed output when you want to use it as a power amplifier. The amplifier can also be customised upon order, for a different mix of XLR and RCA inputs, if for example, you prefer more XLR\'s and less RCA\'s. Using the Emotion with Fonel\'s matching Renaissance pre-amplifier will produce even more palpable, three dimensional instrumental images, for the ultimate in realism.\nThis amplifier, along with Fonel\'s other products, come with attractive matching solid wood remote controls that interact with gorgeous displays. These displays are not based on the usual LED\'s; but instead a custom display technology from Japan, which gives the most natural feedback. For example the volume change display on the Emotion lights up as a rotary dial, which advances and recedes as you adjust the volume up and down from the remote. These displays can easily be seen from across the room, without disagreeable glare. They are the most natural marriage of analogue sensibilities with advanced display technology we have seen.\nAdd to that the range of attractive cases, with different wooden panels available, and you will appreciate how luxurious a range of products Fonel are producing. If none of the standard finishes suite your tastes, they will also build custom enclosures to your specification.\nSo to conclude, what exactly is the \'Fonel house sound\' referred to earlier? Because it is so natural it would be easy to employ that old clich\u00e9\'musical\'. However, this term often refers to components which homogenise the sound of the various instruments. This makes it easy to get the gestalt of the music, at the expense of being able to follow individual instruments in complex music. With Fonel you get to choose. If you want to relax and enjoy the music as a whole you can easily do so. If you choose to concentrate a little more though, you can easily follow individual threads in complex music, because Fonel equipment provides a wealth of detail. In a similar vain, some equipment avoids overly aggressive highs, on brass instruments, for example, by rolling off and smoothing the details. Fonel doesn\'t do this. Brass and other instruments with higher frequencies are reproduced with a satisfying sense of bite, where appropriate, together with the necessary detail. They sound realistic without ever being offensive. The natural dynamic contrasts and energy of the music are all presented appropriately through Fonel equipment. The Fonel sound, therefore, makes a great partner to many of the speakers we feature at Sound Galleries.\nSome of the Fonal products, e.g. Emotion and Simplicit\u00e9 have already been very positively reviewed in 6Moons by way of syndicated articles from Fairaudio in Germany, and I'm sure there will be many more highly favourable reviews to follow. With all the qualities Fonel equipment possesses, you\'ll be surprised at how affordable it is, in comparison to many typical High-End products. Visit Fonel");
var fonelFR = new String("Chez Sound Galleries, lorsqu\u2019on parle de son, il ne s\u2019agit que du son organique le plus naturel possible. La coh\u00e9rence, par la gamme de fr\u00e9quences, est \u00e9galement au top de nos priorit\u00e9s, raison pour laquelle on privil\u00e9gie les enceintes avec des transducteurs large bande et on \u00e9vite les erreurs de coh\u00e9rence caus\u00e9es par des s\u00e9parateurs de fr\u00e9quences complexes. La coh\u00e9rence est \u00e9galement le r\u00e9sultat de l\u2019\u00e9lectronique qui est \u00e0 la base de ces enceintes. La nouvelle gamme de produits Fonel, fabriqu\u00e9s en Allemagne, s\u2019illustre par des composants \u00e9lectroniques tr\u00e8s naturels et coh\u00e9rents, et avec un design solide et attractif qui respire la qualit\u00e9. Les audiophiles ont souvent une pr\u00e9f\u00e9rence pour les produits employant des tubes \u00e9lectroniques car le son obtenu est plus organique et naturel ; pour cette raison les tubes \u00e0 vide sont souvent utilis\u00e9s dans les \u00e9tages de sortie des lecteurs CD. \nVous trouverez dans la gamme Fonel aussi bien des produits \u00e0 tube ou \u00e0 transistor. N\u00e9anmoins, en auditionnant l\u2019\u00e9lectronique Fonel, que ce soit \u00e0 tube ou \u00e0 transistor, nous avons trouv\u00e9 qu\u2019il y a un v\u00e9ritable \u00ab son d\u2019int\u00e9rieur Fonel \u00bb et que ce son est toujours authentique et naturel. Par exemple, le lecteur CD Simplicit\u00e9 existe \u00e0 tube ou \u00e0 transistor. La version \u00e0 tube est, par n\u00e9cessit\u00e9, plus co\u00fbteuse que celle \u00e0 transistor, bien qu\u2019en terme de son le r\u00e9sultat est \u00e9tonnamment proche. \nAssembler un syst\u00e8me High-End me fait souvent penser \u00e0 la cuisine. On a besoin d\u2019un m\u00e9lange bien sp\u00e9cifique d\u2019ingr\u00e9dients dans la juste quantit\u00e9 afin d\u2019obtenir le r\u00e9sultat d\u00e9sir\u00e9, selon son propre go\u00fbt. La pr\u00e9f\u00e9rence pour la version tube ou transistor du Simplicit\u00e9 d\u00e9pend enti\u00e8rement du reste du syst\u00e8me dans lequel on veut l\u2019int\u00e9grer, ainsi que de ses propres pr\u00e9f\u00e9rences. Il y a bien \u00e9videmment des consid\u00e9rations techniques \u00e0 prendre en compte \u00e9galement, surtout au niveau des amplificateurs. Fonel pr\u00e9sente \u00e9galement deux versions de son Amplificateur Emotion. L\u2019un est un model Classe A 25 wpc \u00e0 tubes, l\u2019autre utilise un transistor hybride regroupant un transistor de type Mosfet et un transistor bipolaire afin d\u2019arriver \u00e0 300 wpc, ce qui est suffisant m\u00eame pour les charges les plus puissantes. Le mod\u00e8le choisi d\u00e9pendra de l\u2019efficacit\u00e9 des enceintes. Encore une fois, ces deux versions de l\u2019amplificateur Emotion produisent un son \u00e9tonnamment similaire. Cet amplificateur est \u00e9galement extr\u00eamement flexible, pouvant \u00eatre utilis\u00e9 soit comme un amplificateur int\u00e9gr\u00e9, soit comme un amplificateur de puissance \u00e0 combiner avec un pr\u00e9-ampli ou lecteur CD avec contr\u00f4le de volume, comme le Simplicit\u00e9. L\u2019Emotion a quatre entr\u00e9es, trois RCA et une XLR ; toutes peuvent \u00eatre programm\u00e9es pour une sortie fixe si on veut l\u2019utiliser comme un amplificateur de puissance. Cet amplificateur peut \u00e9galement \u00eatre customis\u00e9 sur demande, pour une combinaison diff\u00e9rente d\u2019entr\u00e9es XLR et RCA, si, par exemple, on pr\u00e9f\u00e8re davantage les XLR que les RCA. L\u2019Emotion va de paire avec le pr\u00e9amplificateur Renaissance et lorsqu\u2019on les utilise ensemble on arrive \u00e0 des images instrumentales 3D encore plus palpables, pour un r\u00e9alisme supr\u00eame. Cet amplificateur, tout comme d\u2019autres produits Fonel, est pr\u00e9vu avec de jolies t\u00e9l\u00e9commandes en bois, assorties qui interagissent avec de magnifiques \u00e9crans de visualisation. Ces \u00e9crans ne sont pas compos\u00e9s de LED, mais utilisent en \u00e9change une technologie de visualisation personnalis\u00e9e qui vient du Japon qui donne un feedback tr\u00e8s naturel. Par exemple, on visualise le contr\u00f4le de volume sur l\u2019Emotion sous la forme d\u2019un cadran rotatif lumineux qui avance ou se retire selon comment on ajuste le volume sur la t\u00e9l\u00e9commande. Ces visualisations peuvent \u00eatre vues facilement de l\u2019autre c\u00f4t\u00e9 de la pi\u00e8ce, sans aucun \u00e9clat d\u00e9sagr\u00e9able, c\u2019est vraiment le mariage le plus naturel possible entre des sensibilit\u00e9s analogiques et des technologies de visualisation avanc\u00e9es qu\u2019on ait jamais vu. Avec le design des enceintes, tr\u00e8s attrayant, et des diff\u00e9rents panneaux en bois disponibles, on appr\u00e9cie encore plus le luxe de la gamme de produits Fonel. Et si aucune des finitions standard ne vous convient pas, ils fabriqueront des caisses sur mesure, selon vos propres pr\u00e9cisions. \nEn conclusion, qu\u2019est ce qu\u2019il est exactement, le \u00ab son d\u2019int\u00e9rieur Fonel \u00bb dont on parlait pr\u00e9c\u00e9demment ? Parce qu\u2019il est si naturel, on pourrait employer le vieux clich\u00e9 de \u00ab musical \u00bb. Ce terme se r\u00e9f\u00e8re pourtant souvent aux composants qui homog\u00e9n\u00e9isent le son de plusieurs instruments. Il est ainsi plus facile d\u2019exp\u00e9rimenter le gestalt de la musique, \u00e0 d\u00e9faut de pouvoir suivre les instruments individuels dans un morceau de musique complexe. Avec Fonel on a le choix. Si on veut se relaxer et appr\u00e9cier la musique dans l\u2019ensemble, on peut le faire ais\u00e9ment. Si n\u00e9anmoins on choisit de se concentrer davantage, on peut facilement suivre des fils individuels dans de la musique complexe car les \u00e9quipements Fonel fournissent une multitude de d\u00e9tails. Il y a des \u00e9quipements qui \u00e9vitent, vainement, les aigus trop agressives, des cuivres par exemple, en adoucissant les d\u00e9tails, chose que Fonel ne fait pas. Les cuivres ou d\u2019autres instruments \u00e0 fr\u00e9quences plus hautes sont reproduits avec de l'\u00e9nergie satisfaisant, tout en gardant le d\u00e9tail n\u00e9cessaire. Leur son est r\u00e9aliste, sans jamais \u00eatre d\u00e9plaisant. L\u2019\u00e9nergie et les contrastes dynamiques et naturels de la musique sont toujours repr\u00e9sent\u00e9s de mani\u00e8re appropri\u00e9e par l\u2019\u00e9quipement Fonel. Par cons\u00e9quent, le son Fonel est un partenaire extraordinaire pour beaucoup d\u2019enceintes en exposition chez Sound Galleries. Quelques-uns des produits Fonel, comme par exemple Emotion et Simplicit\u00e9, ont d\u00e9j\u00e0 re\u00e7u une critique tr\u00e8s positive sur 6Moons, dans des articles d\u2019agence de Fairaudio en Allemagne, et je suis persuad\u00e9 que les commentaires favorables les concernant ne s\u2019arr\u00eateront pas l\u00e0. Et avec toutes ces qualit\u00e9s, vous serez surpris de son prix abordable, par rapport \u00e0 beaucoup de produits High-End typiques. ");
var musicfirst = new String("Music First Audio believe in absolute purity of sound. In their philosophy nothing should be added or subtracted from the signal received from the source component, such as a CD player. How is this purity achieved? Their pre-amplifiers are completely \'passive\'. Passive, means no active circuitry which in turn means there is no power supply of any sort. The Music First Pre-amps do not need to be plugged into the mains and not even batteries need to be employed, because there is no power supply.\nBecause of their purity of sound \'passive\' pre-amps have had many enthusiastic followers over the years. The only problem is that most passive pre-amps simply use resistors to adjust volume, and that design has resulted in compressed dynamics. For that reason a number of people who tried passives, went back to active pre-amps to restore dynamic contrasts.\nMusic First have completely solved this problem by using multi-tapped attenuation transformers of the highest quality, instead of resistors. Now you can have your cake and eat it! Passive purity with no compression of dynamics. Some of this purity results from the fact that there is no need for a power supply, the rest is down to the quality of the parts used. Music First is the High-End Audio brand of Stevens & Billington who have been producing some of the highest quality transformers for more than 30 years, and for which they have customers all over the world. When they realised how this transformer technology could be tapped to produce such high quality passive pre-amps, the Music First brand was born. Their first Passive Magnetic Preamplifier (now dubbed the classic) makes use of copper for the transformer windings. It won many awards gaining five stars from Revue du Son and in HiFi World, was called \"the best preamplifier ever made\". It also won the HiFi news best Preamplifier winner in 2006.\nSuch accolades kept pouring in from review magazines and web-sites all over the world. Music First did not rest on their laurels however. It is difficult to imagine how \'purity\' can be improved on. We need to remember though that these preamps will be used within the context of a system consisting of other components. When Music First produced a Silver Wired transformer version of their classic pre-amp, it did indeed change the sound, since silver has a different sonic signature to copper. Many people do prefer the sound of Silver cable used as interconnects or speaker cable within their systems and depending on your system you may also prefer the sound of the silver wired version of the classic pre-amp. Silver is, of course, expensive and this basically doubles the cost of the Classic Pre-amp. So if you try both and prefer the sound of the copper wired version, there would be a significant financial saving.\nIf you value purity, either one of these could well turn out to be the perfect preamplifier for you. How though to improve upon such perfection? An obvious way is to add more features. So when Music First decided to produce an improved preamplifier they added an extra pair of both balanced and unbalanced outputs to be used for bi-amplification or driving a sub-woofer. They also added remote volume control. However, that's not all. They actually managed to improve on the sound of their original Passive Magnetic preamp by employing transformers with a 25% larger core. This has resulted in a larger, full size case. More importantly though, the sound is even better. I must admit I was sceptical when I visited Music First, and Harry O'Sullivan replaced the Classic with the MKII in the system, because the classic already sounded so pure and natural. The MKII did manage to improve on the classic significantly, though in a way which is difficult to describe. There was now an even greater sense of realism and feeling that there was nothing between myself and the musicians.\nThe system made use of Podium Sound 0.5 speakers and it's no surprise that Shelley Katz personally uses a MKII, customised for his purposes, in helping him to develop new products. Shelley has always demanded the purist sound possible, and this is evident in his speakers.\nIncidentally the MKII is also available in either copper or silver wired versions.\nIt is the introduction of the MKII that lead Music First to refer to their original Preamp as the Classic. The Classic remains one of the finest preamps in the world and many music lovers will be quite content with it. As sometimes happens in high-end audio though, we can be very happy with our systems until we hear something even better.\nSo in terms of purity is there something even better out there than the Music First MKII? Apparently there is, although again I remain sceptical until I hear it for myself, which I haven't yet had a chance to do. Music First have now produced their Reference Preamplifier. There is no question, this preamplifier is very expensive. For those searching for the ultimate preamplifier in the world though, this may well be it. Judging from the sound of both the Classic and MKII, I have every reason to believe it, and Harry ensures me the improvement in Sound quality of the Reference over the MKII is much greater than the improvement of the MKII over the Classic. Difficult to imagine, though as soon as I get a chance to experience a Reference for myself I will report further.\nI strongly recommend any one of these Music First preamplifiers to anyone looking for the ultimate sonic purity at the heart of their audio system. Visit Music First");
var weiss = new String("Weiss audio was founded by Daniel Weiss back in 1984 in order to produce the highest quality digital audio products for professional studios. The high-end products produced by Weiss benefit from their enormous expertise in the professional world, including Daniel\'s background at the PCM lab at Willi Studer AG in Switzerland.\nThe desire of a rapidly growing number of audiophiles is to be able to play your music back from a computer at the highest possible quality. Considering the limitations of most computers built in audio output, a truly high-end solution was needed. We are sure you\'ll wish to benefit from the high resolution audio music that's becoming increasingly available over the internet up to 192khz at 24 bit (more than 4 times the quality of ordinary CD\'s)\nWeiss audio of Switzerland have two solutions which meet these requirements perfectly. They are the Minerva Firewire DAC and Vesta audio interface. The Minerva is a complete solution, which plugs into your computer via Firewire for playback of up to 192khz 24bit files through it\'s superb digital to analogue converter. The Vesta is an audio interface which allows you to extract the digital music from your computer, also up to 192 khz 24bit quality and feed it to an external DAC such as Weiss\'s own Medea DAC or any DAC you may already own. The Minerva DAC has won critical acclaim from Computer Audiophile, HiFi News, La Stampa, Suono and Ultra Audio to name a few. Both of these products have arrived at exactly the right time for audiophiles who are moving to the new world of high quality digital playback from a computer.\nEach Minerva DAC includes a sampler of the excellent HRX recordings from Reference Recordings (176.4/24bit) on a DVD data disc. Also by visiting the 2L website and entering in your Minerva serial number you are able to download a sampling of their excellent high resolution recordings for free.\nFor more traditional CD playback, Weiss also offer the ultra high-end Jason Transport and Medea DAC. Their product offering also includes the high powered Castor Class D digital amplifier as well as Chiron cables. Visit Weiss");
var aurousal = new String("Aurousal surprised everyone with their A1 speaker based on a single large band Jordan metal foil driver. Jordan pioneered this type of driver which gradually flexes more as the frequency range ascends, in order to successfully reproduce those high frequencies. In the A1 the lower frequencies are augmented by a front facing port. This small stand mounted speaker achieves stunningly realistic imaging using Aurousal\'s recommended placement with the speakers angled in so the centre axis crosses over about 60cm in front of the listener. And, of course, this single driver speaker achieves excellent coherence. This is the reason why at Sound Galleries we favour large band designs without crossover\'s. The A1 has deservedly met with critical acclaim for its achievements and its incredible value for money.\nFollowing this Aurousal introduced their VS floor standing model, which makes use of two Jordan drivers in parallel. This more than doubles the radiating area for even more impressive stereo imaging, together with a very respectable bass extension right down to 20hz at -3db. There is still no crossover, so that wonderful coherence we value so highly is also achieved in this model. The VS speaker also adds some \"icing on the cake\" in the form of an adjustable tweeter, which augments the two main large band drivers. This is not used like a conventional tweeter, because the high frequency output of the combined Jordan drivers is satisfactory by itself. Because these divers produce such deep powerful bass though, it may be necessary to add some further high frequency output with this tweeter, to correctly tonally balance the speaker. How much you need to add via the tweeter controls on each speaker will depend on your room. This is a great additional feature for tuning the VS to your room. The VS is also amazing value for money considering its sophistication and what it achieves.\nAurousal speakers have a wonderful sense of openness and transparency and listening to them will allow you to experience the same emotional response as live music. Allow yourself to be Auroused! Visit Aurousal");
var quadraspire = new String("The stands you place your equipment on will have a profound effect on the sound. It is essential to utilise equipment stands designed to minimise unwanted resonance\'s in order to experience the full potential sound quality your equipment is capable of. Unfortunately many High-End audio stands and supports have an extremely high tech appearance, which may not blend in with your living environment. Fortunately Quadraspire have a very wide range of solutions available, which can be custom built to your requirements. Available in various wood finishes as well as clear acrylic, the Quadraspire products are as attractive in the home as they are effective at eliminating unwanted resonance\'s.\nFrom the simple, attractive acrylic QX speaker stands which seem to make small speakers literally float in mid-air, through equipment stands available in numerous shelf sizes and column heights you\'re sure to find a Quadraspire solution to meet your needs. Quadraspire will also build you a complete \'Media Wall\' designed to house your flat screen TV monitor, all your CD\'s, DVD\'s, Blu-Ray discs and other media, as well as your equipment. Just specify your choices and we will order a Quadraspire support system for you. This system can be easily expanded as your needs change in the future.");
var emille = new String("The valve amplification pieces from Emill\u00e9 labs exude luxury in similar ways to the best Swiss watches. The visual beauty of their design is married to pristine engineering that instills utter confidence in their owners.\nVisually they depart radically from traditional valve amplifiers, which usually expose their transformers quite obviously, and hide their tubes under industrial looking grills for protection.\nWhat about their sound you'll be asking, does this depart just as radically from traditional valve amplifier sound? It's useful to ask ourselves just what attracts many of us to valve amplifiers in the first place. There is of course the comforting warm glow of the tubes, most beautifully presented through the prism of the Emill\u00e9 design. This warm tube glow is equated in our minds with a similarly warm, lush, liquid sound. Three dimensional sonic images of instruments and voices performing in an acoustic space, and the sense of presence of those instruments and voices in front of you within that space.\nWhen we consider most other valve amplifiers in the market, they fall into two categories. Generally speaking the more powerful push-pull valve designs definitely lean towards the warm and lush side, being a bit soft at either of the frequency extremes. Some of these qualities are a departure from reality. Many people find that departure highly enjoyable though, when combined with the palpable sense of instruments in front of them and the ability to convey the full emotion of a performance.\nLower powered Single Ended Triode designs also tend to part to some degree from reality. However some of the modern SET designs combine the three dimensional palpability with a see through clarity and transparency that reminds one of crystal clear cool water. They may still be a little sweeter than reality; but they could not be described as warm, lush or soft and may even be a bit too brilliant for some peoples tastes.\nEmill\u00e9 labs instead manage to combine the best of both worlds, while avoiding the pitfalls of either. They include in their line both push-pull designs, where the extra power is needed to drive your speakers and SET designs where your speakers are efficient enough to be driven by 10 watts or less. In both cases these pieces are uncannily balanced between the more traditional valve sound and the more modern SET sound described above. Sure you will still hear some of the personality of the 300B Valves in their SET KM300SE integrated. This has turned out to be a wonderful Amplifier to use with our top of the range Avantgarde Trio system with Basshorn. In combination with the Emill\u00e9 Quintessence Pre-amplifier, it just adds a touch of sweetness and softening to the presentation which suits many people's tastes.\nEqually you will still hear some of the characteristics of the four 6550's in their KI-120 Mono-blocks, which provide 120 watts per channel for more demanding speaker loads. However, the Emill\u00e9 sound is all about poise and balance, and this is achieved throughout their amplifier range. Both Srajan Ebean of 6Moons and Roy Gregory from HiFi plus agree on this point. Here are some quotes from Roy's review of the KI-40L integrated stereo amplifier:\n\"To quote a phrase, \"It\'s all in the timing\" and boy does the KI-40L get that right. It has a way with the shape and pace of a phrase that serves music well.\n\"Deft enough to do small scale acoustic works with a breathtaking sense of life and presence, beefy enough to handle all but the most outrageous beats and kind to old ladies and poor recordings, this is a perfectly poised performer. Sit back and simply enjoy the expansive soundstage, the subtlest of intimacies, the sweeping majesty of a full orchestra.\"\n\"The Emill\u00e9 sticks close to traditional valve virtues but avoids the normal pitfalls. It is above all, and unashamedly, musical. Indeed, its rare combination of delicacy and sheer physical presence makes for rewarding listening.\"\nThe name Emill\u00e9 may sound like it comes from France. In fact though it refers to the historic Korean Emill\u00e9 bell which has a uniquely beautiful tone and provided the name and inspiration for the Emill\u00e9 Labs pieces. The Emill\u00e9 bell itself which was cast in 771 A.D. is so delicate it can never be struck or heard again. Fortunately you can hear its namesake in the form of the superb Emill\u00e9 labs pieces, here at Sound Galleries.");
var emilleFR = new String("Les pi\u00e8ces d\'amplification d\'Emill\u00e9 Labs sont tr\u00e8s luxe comme les montres Suisse. Leur dessin tr\u00e8s beau, avec un mariage de pr\u00e9cision de fabrication, qui fournir leurs propri\u00e9taires le confiance complet.\nVisuellement les Emill\u00e9\'s sont tr\u00e8s diff\u00e9rente que les amplis lampes traditionnel qui normalement expos\u00e9 leurs transformateurs dans un mani\u00e8re tr\u00e8s \u00e9vident, et qui caches les lampes au-dessous un gril de protection, tr\u00e8s industriel. Mais probablement vous posez le question si le son d\'Emill\u00e9 est aussi tr\u00e8s diff\u00e9rentes que les autres amplis de lampe. \nC\'est utile pour se demander aussi la question qui est l\'attraction de les amplis lampes? il y a la lueur des lampes admirablement pr\u00e9sent\u00e9 \u00e0 travers le prisme de les Emill\u00e9s. Cet leur co\u00efncides dans des nos t\u00eates avec un son chaleur, ivrogne et liquide. Les instruments et les voix tridimensionnel qui ex\u00e9cuter dans un espace acoustique, et le pr\u00e9sence de les instruments devant nous dans cet espace.\nG\u00e9n\u00e9ralement les amplificateurs lampes \"push-pull\", qui est les plus forts, produit un son un peu trop chaleur, ivrogne et liquide et un peu doux \u00e0 les extr\u00eames du fr\u00e9quences. Uns de ces qualit\u00e9s ,bien sur, n\'est correspond pas exactement de la r\u00e9alit\u00e9, mais beaucoup de gens les trouves tr\u00e8s agr\u00e9able. Romantique quand ils sont combin\u00e9 avec un sens\u00e9 r\u00e9al des les instruments et le capacit\u00e9 de leurs transporter les \u00e9motion de la performance.\nL\'amplis \"Single Ended Triode\", qui produises peu de puissance, ont une tendance aussi de ne corresponde pas de la r\u00e9alit\u00e9. Mais uns de les dessins \"SET\" tr\u00e8s moderne combin\u00e9 les qualit\u00e9s tridimensionnel de les instruments avec un pr\u00e9sentation tr\u00e8s claire comme l\'eau cristalline. Une peu trop brillant pour les gouts de certain gens.\nEmill\u00e9 Labs a achev\u00e9e les meilleures de les deux mondes sans les probl\u00e8mes de l\'un ou l\'autre. Vous trouverez dans leur gamme les dessins \"push-pull\" pour enceintes qui a besoin de leurs puissance fort, et les SET\'s qui est bien pour les enceintes tr\u00e8s efficace, o\u00f9 10 watts ou moins sera suffisent. Dans les deux cas ces pi\u00e8ces pr\u00e9sentes un son parfaitement \u00e9quilibr\u00e9 entre les sons du lampes plus traditionnel et le son le plus moderne d\u00e9crit ci-dessus. Bien sur vous entendrez un degr\u00e9 de le personnalit\u00e9 typique du lampes 300B dans leur SET KM300 SE. Cet ampli s\'est av\u00e9r\u00e9e un partenaire formidable avec les enceintes Avantgarde Trio avec basshorn. Avec l\'Emill\u00e9 pre-ampli Quintessence il ajoute un petit peu de \u00e9dulcorant et ramollissement \u00e0 le pr\u00e9sentation qui a porter beaucoup de plaisir.\nEgalement vous entendrez un degr\u00e9 de les caract\u00e9ristiques du lampes 6550\'s dans l\'Emill\u00e9 KI-120 blocs - mono\'s, qui fourni 120 watts par canal pour les enceintes qui \u00e0 un app\u00e9tit plus grand. En toutes cas le son d\'Emill\u00e9 est toujours au sujet de l\'\u00e9quilibre. Srajan Ebean de 6Moons et Roy Gregory de HiFi Plus sont d\'accord sur ce sujet. Voici les quotations de le banc d\'essaye de Roy sur le KI-40L integr\u00e9:\n\"Pour citer une expression, \'toute est dans le rythme\' et bien sur la KI-40L est certainement correcte dans cette sens. Il signifie le forme et le temps d\'une phrase qui servir la musique bien.\"\n\"Parfaitement accompli pour la musique de chambres, il est formidable de transporter la vie et la pr\u00e9sence avec beaucoup d\'enthousiasme. \u00c0 la m\u00eame temps il est assez musculaire pour les battements extreme mais \u00e9galement romantique quand le situation arrives. Pr\u00e9voyez un performance parfaitement \u00e9quilibr\u00e9. Rel\u00e2cher vous et exp\u00e9rience une grande image sonore, les intimit\u00e9s tr\u00e8s subtile, mais aussi le complet majest\u00e9 de les plus grandes orchestres.\n\"L\'Emill\u00e9 reste proche de les traditions de les amplis lampe, mais \u00e0 la m\u00eame temps elle \u00e9vite les choses qui d\u00e9tractes de la musique. Surtout elle est musicaux sans vergogne. En fait il est tr\u00e8s rare de trouve cette combinaison de subtilit\u00e9 avec telle pr\u00e9sence musculaire et formidable.\nLe nom d\'Emill\u00e9 ressemble un nom Fran\u00e7ais, mais en fait l\'origine c\'est le fameux Emill\u00e9 cloche qui poss\u00e8de un timbre tr\u00e8s unique et tr\u00e8s beau. Cette cloche a fournisse l\'inspiration pour le nom et les pi\u00e8ces d\'Emill\u00e9. Le cloche \u00e9tait exprim\u00e9s dans 771 AD. Malheureusement maintenant il est trop d\u00e9licat et ne sera jamais plus possible d'\u00e9couter. Mais heureusement il est toujours possible d\'\u00e9coutez son homonyme, le superbe pi\u00e8ces d\'Emill\u00e9 Labs aujourd\'hui \u00e0 Sound Galleries.");
var crayon = new String("Winner of the prestigious Blue Moon award from 6Moons. The Crayon CFA-1, designed in Austria and built in Germany, is unique in both design and sound. Managing to mimic the sound of some of the very best modern Single Ended Triode tube amplifiers, despite being a Mosfet based amplifier. With the Crayon you won't get a romanticized version of reality, as with some tube amps and other solid state amps that attempt to mimic tubes. Instead you will hear crystal clear clarity and transparency. This quality is combined with the ability to portray the three dimensional palpability of musical instruments, along with emotion, in a way that usually only single ended triode tube amps can achieve. The following extracts from the editor of the 6Moons review make this clear.\n\"The Crayon Audio amp is a virtual stand-in for triodes in matters of depicting audible space...\"\n\"...Versus my customary ModWright DM 36.5 \| Yamamoto A-09S combo, the CFA-1 seemed to enjoy even faster rise times. This translated into hair-raising depictions of stringed instruments. Anything plucked had intense instantaneousness in which initial metallic violence, then the woody resonance and then the disbursing swarm of harmonics were even more real and compelling than over my tubed pre\/power reference. Wondering whence this perception of greater realism arose, I guessed on superior speed and timing and just perhaps an even lower noise floor which gave the finest of fades a fraction more endurance.\"\n\"...Switching to the Ancient Audio Lektor Prime CD player levelled the playing field between my reference Yamamoto A-09 single ended Triode Tube amplifier and the Crayon to an extent I have not before heard between tube and transistor amplifiers.\"\n\"...the Crayon stages very powerfully into the far corners. The density of its images is equal in the center as it is at the outer edges\"\n\"...it handles space, interrelatedness and flow, the intangible organic aspects writers default into poetry for to capture. Here the Crayon is the complete antithesis of any transistor amp I've ever heard. So, to prevent even the smallest chance of misunderstanding - if the Lektor Prime direct was my default source and a preamp not part of my inventory, I'd own the Crayon Audio CFA-1\"\nPart of the purity of the sound achieved by the CFA-1 is due to the fact that volume and input selection are performed entirely by software. Because of this certain components that would normally be in the signal path are no longer necessary. With those components removed, so is any detrimental effect they can have on the music. When you make a volume adjustment via the remote control the screen on the front of the amplifier lights up to show you the adjustment you're making. When you are finished the screen goes blank again and the circuitry used to adjust the volume goes into sleep mode. The same applies when you use the remote to make an input selection.\nThe holes on the top of the amplifier are actually 'chimneys' which allow for very efficient heat dissipation and not simply part of the visual design.\nInputs are provided for Phono (Vinyl records), CD player, Tuner and Record in/out. Yes, you read that correctly, this amplifier contains a built in Phono stage which can be set to accept either Moving Magnet or Moving Coil cartridges. So if you have a good quality turntable or are thinking of adding one to your system, you have everything you need. Just plug the output from the Turntable directly into the CFA-1 and choose the correct setting.\nAll these features, combined with incredible sound quality are offered at only \u20ac3.000 for the 40 WPC version (capable of driving most medium to high-efficiency speakers) and \u20ac4.000 for the 90 WPC version which will easily drive most other speakers.\nI have found the Crayon to be an extremely versatile amplifier with many speakers. Including the Analysis Audio Epsilon and Fujitsu Ten-Eclipse to name just two.");
var kingrex = new String("At Sound Galleries we are known for our \"no compromise\" ultra realistic systems. Of necessity such systems tend to be expensive. As a general rule the prices for these systems are comparable to car prices. For true music lovers to be able to own one of our top systems is easily worth the cost of an additional car.\nHowever we've always wanted to offer systems at much lower prices which could still be described as \"High-End\". There will inevitably be some compromises in lower priced systems and it is a challenge to be able to put low cost systems together with as few compromises as possible.\nYou may well ask, \"what is this thing called 'High-End' anyway?\". Does it simply equate to high prices? Is it pure snobbery? It is true that determining if a system is \"High-End\" is a subjective matter. You need to be able to use your ears. The designers of High-End equipment use their ears in the process of creating and perfecting their products.\nTypical consumer Hi-Fi systems are usually sold on impressive sounding specifications. Amplifiers far more powerful than is actually required and speakers which promise deep bass and extended highs. Such systems sound artificial and unnatural. Natural sounding systems have to be able to convey the true tonal colours (timbre) of the various musical instruments. They also have to handle all the dynamic contrasts, both small and large. There shouldn't be timing and phase errors, which prevent instruments from appearing within the three dimensional space as they were recorded. The rhythm, pace and timing (energy) of the music should come across, so that jazz can swing and dance music is danceable. All of this amounts to a pretty tall order for any HiFi system, particularly one which must sell for a very reasonable price. Where compromises have to be made it is better to sacrifice ultimate detail (resolution) ultra low bass, or very extended highs.\nThese become like \"the icing on the cake\" because most of the music takes place in the Middle range of frequencies. Get those right and you're a good part of the way on the road to a system which could be described as \"High-End\". Or let's just say \"naturally musical\".\nValve amplifiers tend to be more natural sounding than transistors or many digital amplifiers. They also tend to be more expensive to produce, if high quality and reliability is to be ensured. Amplifiers which are able to mimic these natural traits of valves may be preferred. When it comes to transistor amplifiers that share similar qualities with valves, they have tended to be the very large power hungry Class A designs.\nClass T amplifiers, which use digital processing to modulate the input signal, showed tremendous promise when they were first introduced; but were prone to distortions from electromagnetic and radio frequency interference. Class T chips can provide an incredibly natural sound at a very low price, providing they are used with very well designed power supplies and carefully selected components, to avoid the problems introduced by the above interferences.\nKingRex are a company which have achieved those goals and still kept their prices incredibly low. Their high quality T20U Class T amplifier and USB DAC in one very compact unit is available at only \u20ac291. Just connect it to your PC or Mac and play the music from iTunes or your preferred software. Simply add some high-efficiency speakers and you have a complete system.\nWe do recommend adding their separate dedicated power supply at an additional \u20ac100 to obtain the best possible sound from the T20U. The T20U will accept one analogue input in addition to the USB input. If you have the need for more than these two inputs you will need to add the KingRex pre-amplifier. Not only are the KingRex products easy to accommodate financially, also in terms of space at just 180mm x 138mm x 45mm, these pieces will fit discretely anywhere.\nA recommended system, using a Mac or PC as the source and the T20U plus Power supply at \u20ac391, plus a pair of the excellent Aurousal A1 at \u20ac920 would provide a system that could be described as \"High-End\" at a price almost anyone can afford.\nThe KingRex products will work very well with any High-Efficiency speakers. They can be successfully used with Rethm Saadhana's or Zu Essence for example. It may seem crazy to combine a \u20ac391 Amplifier/DAC combination with a speaker system costing between \u20ac5.000 to \u20ac8.500; but if you've been holding off on such speakers because you think you'd have to spend at least as much on Amplification, the KingRex once again provide an incredible value for money alternative. They can then become the benchmark against which more expensive amplifiers can be judged in the future. You will need to spend quite a bit more than the price of the KingRex to significantly improve on their sound.\nKingRex easily demonstrate the real benefits of \"High-End\" audio without spending any more than usual consumer HiFi prices. That is is why all of their products described here have won the 'Blue Moon' award from the influential 6Moons High-End audio review web-site.");
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i[4] = "/admin/images/avantgarde1.jpg";
i[5] = "/admin/images/crayon1.jpg";
i[6] = "/admin/images/goldenote1.jpg";
i[7] = "/admin/images/ear1.jpg";
i[8] = "/admin/images/emille1.jpg";
i[9] = "/admin/images/fonel1.jpg";
i[10] = "/admin/images/fujitsu-ten1.jpg";
i[11] = "/admin/images/slee1.jpg";
i[12] = "/admin/images/harmonic1.jpg";
i[13] = "/admin/images/kingrex1.jpg";
i[14] = "/admin/images/klangwerk1.jpg";
i[15] = "/admin/images/opera1.jpg";
i[16] = "/admin/images/podium1.jpg";
i[17] = "/admin/images/pspower1.jpg";
i[18] = "/admin/images/quadra1.jpg";
i[19] = "/admin/images/redwine2.jpg";
i[20] = "/admin/images/rethm1.jpg";
i[21] = "/admin/images/evans1.jpg";
i[22] = "/admin/images/vertexaq1.jpg";
i[23] = "/admin/images/weiss1.jpg";
i[24] = "/admin/images/zu1.jpg";
var h = new Array(25); // Array to hold company header names
h[0] = "47Labs";
h[1] = "Analysis Audio";
h[2] = "Ancient Audio";
h[3] = "Aurousal";
h[4] = "Avantgarde Acoustic";
h[5] = "Crayon";
h[6] = "Goldenote";
h[7] = "E.A.R. Yoshino";
h[8] = "Emill\u00e9 Labs";
h[9] = "Fonel";
h[10] = "Fujitsu-Ten Eclipse";
h[11] = "Graham Slee";
h[12] = "Harmonic Technology";
h[13] = "KingRex";
h[14] = "Klangwerk";
h[15] = "Opera";
h[16] = "Podium Sound";
h[17] = "PS Audio";
h[18] = "Quadraspire";
h[19] = "Red Wine Audio";
h[20] = "Rethm";
h[21] = "Tom Evans Audio Design";
h[22] = "VertexAQ";
h[23] = "Weiss";
h[24] = "Zu";
var c = new Array(50); // Array to hold company blurbs
c[0] = fortysevenlabs;
c[1] = analysis;
c[2] = ancient;
c[3] = aurousal;
c[4] = avantgarde;
c[5] = crayon;
c[6] = goldenote;
c[7] = ear;
c[8] = emille;
c[9] = fonel;
c[10] = fujitsu;
c[11] = slee;
c[12] = harmonic;
c[13] = kingrex;
c[14] = klangwerk;
c[15] = opera;
c[16] = podium;
c[17] = pspower;
c[18] = quadraspire;
c[19] = redwine;
c[20] = rethm;
c[21] = tead;
c[22] = vertexaq;
c[23] = weiss;
c[24] = zu;
c[25] = fortysevenlabsFR;
c[26] = analysisFR;
c[27] = ancientFR;
c[28] = aurousal + " French";
c[29] = avantgardeFR;
c[30] = crayon + " French";
c[31] = goldenoteFR;
c[32] = earFR;
c[33] = emilleFR;
c[34] = fonelFR;
c[35] = fujitsuFR;
c[36] = sleeFR;
c[37] = harmonicFR;
c[38] = kingrex + " french";
c[39] = klangwerkFR;
c[40] = operaFR;
c[41] = podiumFR;
c[42] = pspowerFR;
c[43] = quadraspire + " french";
c[44] = redwineFR;
c[45] = rethmFR;
c[46] = teadFR;
c[47] = vertexaqFR;
c[48] = weiss + " french";
c[49] = zuFR;
var ic = pickRandom(ic);
companyChoice = ic;
if(hisLocation){
//ic = hisLocation;
}
var choice = i[ic];
var theCell = document.getElementById('tdMainimage');
theCell.removeChild(theCell.firstChild);
var image_tag = document.createElement("img");
image_tag.setAttribute("src", choice);
image_tag.setAttribute("id", "mainImage");
image_tag.setAttribute("alt", "Main Image");
image_tag.setAttribute("width", "751");
image_tag.setAttribute("height", "354");
theCell.appendChild(image_tag);
choice = h[ic];
var companyHeader = document.getElementById('h2Company');
companyHeader.removeChild(companyHeader.firstChild);
var header = document.createTextNode(choice);
companyHeader.appendChild(header);
language = getCookie('language');
//alert(language);
if (language=='french'){
choice = c[ic+25];
}else{
choice = c[ic];
}
var maintext = new Array(100);
var anAnchor = new Array(4);
maintext = stringSegment(choice, '\n');
var contentPara = document.getElementById('pMaintext');
while(contentPara.childNodes.length > 0){
contentPara.removeChild(contentPara.childNodes[0]);
}
var anchorCount = 1;
for(i=0;i 0){
contentPara.removeChild(contentPara.childNodes[0]);
}
var anchorCount = 0;
for(i=0;i0&&parent.frames.length) {
d=parent.frames[n.substring(p+1)].document; n=n.substring(0,p);}
if(!(x=d[n])&&d.all) x=d.all[n]; for (i=0;!x&&iA history change has "
+ "occured: "
+ "newLocation="+newLocation
+ ", historyData="+historyMsg);*/
}
function debugMsg(msg) {
var debugMsg =
document.getElementById("debugMsg");
debugMsg.innerHTML = msg;
}
function setCookie(c_name,value,expiredays)
{
var exdate=new Date()
exdate.setDate(exdate.getDate()+expiredays)
document.cookie=c_name+ "=" +escape(value)+
((expiredays==null) ? "" : ";expires="+exdate.toGMTString())
}
function getCookie(c_name)
{
if (document.cookie.length>0)
{
c_start=document.cookie.indexOf(c_name + "=")
if (c_start!=-1)
{
c_start=c_start + c_name.length+1
c_end=document.cookie.indexOf(";",c_start)
if (c_end==-1) c_end=document.cookie.length
return unescape(document.cookie.substring(c_start,c_end))
}
}
return ""
}
function findAnchor(theString,theIndex){
var temp = new Array(4);
var start = theString.indexOf('',theIndex);
var anchorEnd = theString.indexOf('',theIndex);
temp[0]=start;
temp[1]=anchorEnd+4;
temp[2] = theString.substring(start+9,linkEnd-1);
temp[3] = theString.substring(linkEnd+1,anchorEnd);
return temp;
}
function stringSegment(theString,theChar){
var temp = new Array();
temp = theString.split('\n');
return temp;
}