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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!");
var rethmFR = new String("Lowther haut parleurs ont tellement incroyablement r\u00e9aliste sonore, que les gens ont tendance \u00e0 tomber en amour avec eux d'une premi\u00e8re audition. Il existe de nombreux dessins en utilisant ces haut parleurs mont\u00e9 dans un coffret assez simple o\u00f9 les conceptions tr\u00e8s \u00e9laborer faisant usage de 'Horn Loading'. Toutefois, aucun haut parleurs ne sont parfait et les Lowthers ne sont pas sans ses limitations. Ses performances dans les basses fr\u00e9quences est limit\u00e9 et il existe une cr\u00e9te dans une certaine gamme de fr\u00e9quences, bien connue sous le nom de le 'Lowther Shout'.\n Jacob George est l'un de ceux qui sont tomb\u00e9s en amour avec la Lowther sonore. Toutefois, un architecte de profession, il a mis sur l'application de ses comp\u00e9tences consid\u00e9rables conception, pour obtenir l'ex\u00e9cution la meilleure possible de les Lowthers. Le r\u00e9sultat est totalement diff\u00e9rent que toute autre conceptions qui utilisent ces haut parleurs. Je pr\u00e9f\u00e8re penser que c'est un dispositif permettant de comprimer les meilleures performances sur les Lowthers. Il est aussi incroyablement compact et \u00e9l\u00e9gamment con\u00e7us.\n Jacob aussi largement modifie les Lowther \u00e0 gu\u00e9rir le 'shout'.\n Ayant atteint ces objectifs son prochain d\u00e9fi \u00e9tait d'augmenter le Lowthers avec une paire de Haut Parleurs d\u00e9di\u00e9s pour le fr\u00e9quences basse. C'est l\u00e0 un d\u00e9fi consid\u00e9rable parce que le Lowther est si rapide et haut parleurs basse ont tendance \u00e0 \u00e9tre lent en comparaison.\n La solution Jacob a pr\u00e9sent\u00e9 \u00e9tait parfaitement au m\u00e9lange le haut parleur basse qui est pilot\u00e9 par son propre amplificateur avec le Lowther haut parleur principal. Le r\u00e9sultat est un riche, plein, coh\u00e9rente sonore qui devrait satisfaire les amateurs de tous les types de musique. Vous n'avez pas vraiment entendu les merveilleux Lowthers Sauf si vous avez d\u00e9j\u00e0 entendu dans un syst\u00e8me Rethm. Il est fort probable que vous tomber en amour!");
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. 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. 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. 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.");
var redwine = new String("Red Wine Audio is the brainchild of Vinnie Rossi, a talented young designer whose Signature 30 Amplifier won the coveted Blue Moon award from the editor of 6Moons. The name of the company is obviously derived from his own name. It also reflects how music flows effortlessly through Red Wine electronics. 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? Vinnie achieved this by powering all his devices from batteries. The Signature 30 and 70 amplifiers are powered from two sealed (SLA) batteries within their chassis. 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. The amplifiers will allow for up to 20 or so hours of continuous listening. Whenever they're not in use, you should remember to put them into charge mode by a simple flip of a switch. Actually the very latest Signature 30.2 and 70.2 amps will detect when there has been no music playing for a while and switch themselves to charge mode automatically, in case you forget. 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!");
var redwineFR = new String("Red Wine Audio est l'invention de Vinnie Rossi, un jeune concepteur doué dont l'amplificateur de la signature 30 a gagn\u00e9 la r\u00e9compense convoit\u00e9e de lune bleue du r\u00e9dacteur de 6Moons. Le nom de la compagnie est \u00e9videmment d\u00e9riv\u00e9 de son propre nom. Il se refl\u00e8te \u00e9galement comment la musique passe effortlessly par l'\u00e9lectronique de Red Wine. Vinnie \u00e9tait parmi le premier pour rep\u00e8rer le potentiel des amplificateurs de la classe T et le seul concepteur qui a contrôl\u00e9s r\u00e9alise leur pleine capacit\u00e9. La classe T est une forme d'amplification num\u00e9rique et l'ex\u00e9cution des composants num\u00e9riques tendent en particulier à souffrir des impuret\u00e9s de forces, exigeant l'utilisation des filtres de forces et des cables \u00e9lectriques chers de retentir leur meilleur. Ce qui cependant si vous pourriez \u00e9viter les forces tout à fait? Vinnie a r\u00e9alis\u00e9 ceci en actionnant tous ses dispositifs à partir des batteries. Les amplificateurs de la signature 30 et 70 sont actionn\u00e9s à partir de deux batteries (SLA) scell\u00e9es dans leurs châssis. Le r\u00e9sultat est un son admirablement \u00e9quilibr\u00e9 entre la liquidit\u00e9 chaude des amplificateurs de valve et de la commande et l'autorit\u00e9 des amplificateurs à semi-conducteurs, sans stridence l'une des et s\u00e9cheresse souvent li\u00e9es à d'autres amplificateurs num\u00e9riques. Les amplificateurs tiendront compte jusqu'à de 20 environ d'heures de l'\u00e9coute continue. Toutes les fois qu'ils sont non utilisables, vous devriez se rappeler de les mettre dans le mode de charge par une chiquenaude simple d'un commutateur. En fait la signature la plus d\u00e9funte 30.2 et 70.2 amplificateurs d\u00e9tectera quand là a non \u00e9t\u00e9 aucune musique jouant pendant un moment et se commuter au mode de charge automatiquement, au cas où vous oublieriez. Vinnie modifie \u00e9galement les composants num\u00e9riques de source tels que l'iPod c\u00e9l\u00e8bre pour les apporter v\u00e9ritable le statut à 'High-End'. Tous actionn\u00e9s par des batteries naturellement, ainsi même si vous avez une panne de courant, la musique joueront dessus. Perfectionner pendant ces 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.");
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. 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. 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. 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. 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.");
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.");
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 loudspeakers 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.");
var podiumFR = new String("Que pensez-vous serait le r\u00e9sultat si un homme qui est un de classe mondiale Musicien de renom a d\u00e9cid\u00e9 de concevoir un haut-parleur?\n Shelley Katz est un pianiste canadien qui a jou\u00e9 \u00e0 l'\u00e2ge de six ans un concert qui a \u00e9t\u00e9 diffus\u00e9 sur la radio internationale du Canada, a \u00e9tudi\u00e9 \u00e0 la Juilliard \u00e9cole de musique,a dirig\u00e9 l'orchestres Allemand, jou\u00e9 au Carnegie Hall, \u00e0 New York, a accompagn\u00e9 Dame Gwyneth Jones, et le t\u00e9nor Nicolai Gedda sur sa tourn\u00e9e mondiale d'adieu.\n Toutefois en plus de ces r\u00e9alisations artistiques il ya un c\u00f4t\u00e9 scientifique \u00e0 Shelley. Tout en travaillant dans une maison d'op\u00e9ra en Allemagne, il a organis\u00e9 la pr\u00e9sentation d'un piano num\u00e9rique pour \u00eatre utilis\u00e9es dans la fosse d'orchestre classique. Il a commenc\u00e9 \u00e0 r\u00e9fl\u00e9chir sur la question pourquoi le piano num\u00e9rique a \u00e9t\u00e9 incapable de saines convaincante comme un piano acoustique classique?\n Tout en travaillant \u00e0 l'Universit\u00e9 de Cambridge en Angleterre \u00e0 l'\u00e9gard de son PHD Cognition d'Expression Musique, il a men\u00e9 des recherches sur la propagation acoustique du son. Cela am\u00e8ne \u00e0 produire un piano \u00e9lectrique qui a vraiment r\u00e9ussi \u00e0 rapprocher \u00e9troitement le son et le comportement d'un instrument acoustique.\n Depuis ces \u00e9v\u00e9nements \u00e9taient toutes en rapport avec l'acoustique et la propagation du son, il d\u00e9cide alors de savoir si des m\u00e9thodes similaires pourraient \u00eatre utilis\u00e9es dans la conception des haut-parleurs.\n L'id\u00e9e initial de st\u00e9r\u00e9o au moment de son invention, \u00e9tait de cr\u00e9er un sc\u00e8ne 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. L'objectif du 'High-End audio' a \u00e9t\u00e9 de r\u00e9aliser ce aussi compl\u00e8tement que possible et d'\u00e9tendre le sc\u00e8ne sonore \u00e0 toutes les dimensions. L'id\u00e9e est d'\u00eatre en mesure d'entendre la 'stratification' des diff\u00e9rents groupes d'instruments profond\u00e9ment dans le sc\u00e8ne sonore. Vous devez \u00e9galement \u00eatre en mesure d'entendre le son d'refl\u00e8te les murs de la salle.\n Vous pouvez \u00eatre familiers avec enregistrements 'binarural' qui atteignent une sorte de l'exp\u00e9rience de son surround lorsque \u00e9cout\u00e9 sur une casque. Ceci est difficile \u00e0 obtenir avec une seule paire de haut-parleurs st\u00e9r\u00e9o.\n Shelley m'a expliqu\u00e9 qu'un instrument de musique naturel dans une salle de concert g\u00e9n\u00e8re tant son qui est 'binaurally' corr\u00e9l\u00e9s ou son directe ou sonore et 'binaurally' non corr\u00e9l\u00e9s ou son r\u00e9fl\u00e9chie. La plupart des haut-parleurs produisent principalement son qui est 'binaurally' corr\u00e9l\u00e9s. Il est donc difficile de les amener \u00e0 produire les sons d'instruments naturels comme ils se propagent dans un espace acoustique.\n Shelley's Podium haut-parleurs en revanche, produisent beaucoup plus sonore 'binaurally' non corr\u00e9l\u00e9s. Cela leur permet de rapprocher le son de ces instruments, au sein de l'espace qu'elles ont \u00e9t\u00e9 enregistr\u00e9es, dans votre salle.\n Donc, pour revenir \u00e0 la question que j'ai pos\u00e9e au d\u00e9but Le r\u00e9sultat est un haut-parleur tr\u00e8s diff\u00e9rent de tous les autres, vous probablement de rencontrer.\n Ils sont \u00e9galement en mesure de reproduire avec r\u00e9alisme des contrastes dynamiques, et peuvent \u00eatre conduits par des amplificateurs sont \u00e9valu\u00e9es \u00e0 seulement 25 watts par canal, contrairement \u00e0 d'autres haut-parleur panneaux.\n Les m\u00e9lomanes de musique classique, de jazz et de musique tout en utilisant les instruments acoustiques qui a enregistr\u00e9 un espace sera \u00e9videmment attir\u00e9s par les Podiums. Toutefois, comme indiqu\u00e9 par Harry Pearson de l'Absolute Sound un syst\u00e8me capable de reproduire correctement la musique non-amplifi\u00e9e dans un espace acoustique, sera \u00e9galement reproduire correctement les autres types de musique enregistr\u00e9e dans les espaces artificiels de studios d'enregistrement.\n Vous \u00eates invit\u00e9s d'exp\u00e9rience ces haut-parleurs \u00e9tonnante ici \u00e0 Sound Galleries.");
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? 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'. 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'. 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'. 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. 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.");
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.");
var Goldenote = new String("From the historic capital of Renaissance Italy, Florence, we bring you Goldenote. A company 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.");
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.");
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.");
var fujitsuFR = new String("Beaucoup de l'artistes et producteurs de disques bien connu, utiliser les Fujitsu Ten Eclipse enceintes de leur dire exactement ce qui est dans les enregistrements qu'ils font. Par exemple Simon Rhodes de Abbey Road, Mike Ross-Trevor de Sony Music, Klaus Hiemann de Emile Berliner Studios et le compositeur et producteur Brian Eno.\n J'ai \u00e9t\u00e9 un grand amateur de Eno's musique novateur, depuis ses premiers jours avec Roxy Music et de sa propre 'Another Green World', sortie en 1975 jusqu'\u00e0 son dernier merveilleux 'Another Day On Earth'. Ainsi que sa collaborations fabuleux avec David Bowie, Talking Heads, U2 et Robert Wyatt. Voici ce qu'il Eno \u00e0 dire au sujet de les Fujitsu Ten Eclipse enceintes: 'Ce qui m'a impressionn\u00e9 surtout \u00e9tait comment serr\u00e9 la basse fr\u00e9quences \u00e9tait, et comment absolument pr\u00e9cis il a sembl\u00e9. Il n'y avait aucun doublement de la basse, il semble tr\u00e8s pointu, tr\u00e8s courte. Le grosse caisse basse de la batterie sonn\u00e9 fantastique. En fait, j'ai tir\u00e9 le batteur du groupe, qui avait jou\u00e9 sur le disque que je produites \u00e0 l'\u00e9coute'. Il a disait:'Je n'ai jamais entendu une grosse caisse sembler que sur un enregistrement'. 'Il y a quelque chose au sujet de la vitesse [R\u00e9ponse \u00e0 la renfort sonore] des ces enceintes; Je suppose que, parce qu'ils sont petits haut-parleurs, Ils se d\u00e9placent et d'arr\u00eater tr\u00e8s rapidement. Cela semble \u00eatre une part importante de l'acoustique. Ils sont \u00e9galement tr\u00e8s pr\u00e9cises en se rapprochant l'image sonore et le positionnement de chaque instrument'. Lire l'article complet.\n Eh bien, je ne peux penser \u00e0 un meilleur approbation que celui et bien sur \u00e9tant grande vitesse et enceintes avec un seul haut parleur, Ils sont d'accord parfaitement avec notre philosophie ici \u00e0 Sound Galleries. Brian Eno's observations \u00e9taient fond\u00e9es sur la premi\u00e8re enceintes de Fujistu-Ten, la TD512, qui a depuis \u00e9t\u00e9 remplac\u00e9e par la TD510. Nous avons la TD510 ainsi que le nouveau haut de gamme, la TD712Z, qui a \u00e9t\u00e9 r\u00e9cemment tr\u00e8s appr\u00e9ci\u00e9 par Robert Deutsch, dans son essai chez Stereophile. Le plus petite TD508 est aussi disponible et nous avons la tr\u00e8s petite TD307 MKII. Tous ces mod\u00e8les \u00e0 partir du sommet TD712Z vers les TD307 MKII Partagent les m\u00eames qualit\u00e9s essentielles. Si quels que soient vos besoins vous serez en mesure de trouver un mod\u00e8le Vous serez heureux avec.");
//var companyChoice = 0;
var language = "";
function pickRandom(range) {
if (Math.random)
return Math.round(Math.random() * (range-1));
else {
var now = new Date();
return (now.getTime() / 1000) % range;
}
}
function picklang(choice) {
language = choice;
//alert(companyChoice);
setCookie('language',choice,365);
loadMainImage(companyChoice);
}
function loadMainImage(optional) {
MM_preloadImages('admin/images/navigation/home_hover.jpg', 'admin/images/navigation/about_hover.png','admin/images/navigation/products_hover.png','admin/images/navigation/companies_hover.png','admin/images/navigation/contact_hover.png', 'admin/images/navigation/home_active.jpg', 'admin/images/navigation/about_active.png','admin/images/navigation/products_active.png','admin/images/navigation/companies_active.png','admin/images/navigation/contact_active.png');
var ic = 5; // Number of alternative images
var i = new Array(ic); // Array to hold imagenames
i[0] = "admin/images/fujitsu-ten1.jpg";
i[1] = "admin/images/omega1.jpg";
i[2] = "admin/images/podium1.jpg";
i[3] = "admin/images/rethm1.jpg";
i[4] = "admin/images/zu1.jpg";
var h = new Array(ic); // Array to hold company header names
h[0] = "Fujitsu-Ten Eclipse";
h[1] = "Omega Speaker Systems";
h[2] = "Podium Sound";
h[3] = "Rethm";
h[4] = "Zu";
var c = new Array(10); // Array to hold company blurbs
c[0] = fujitsu;
c[1] = omega;
c[2] = podium;
c[3] = rethm;
c[4] = zu;
c[5] = fujitsuFR;
c[6] = omega + " french";
c[7] = podiumFR;
c[8] = rethmFR;
c[9] = zu + " french";
if ( optional === undefined ) {
var theCell = document.getElementById('tdMainimage');
theCell.removeChild(theCell.firstChild);
var ic = pickRandom(ic);
companyChoice = ic;
}else{
var theCell = document.getElementById('tdMainimage');
theCell.removeChild(theCell.firstChild);
var ic = optional;
}
var choice = i[ic];
var theCell = document.getElementById('tdMainimage');
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+5];
}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 = 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&&i',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;
}