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SOTA Cosmos i afrikansk rosentre. www.sotaturntables.com
Vi er noen som har SOTA her, og disse tunge vakre flytende opphengte spillerne kan vel få lov å ha en tråd som vi kan dele erfaringer i.
Not anymore. Den uregulerte strømforsyngen, der innsatsen var lagt i det som ikke betyr noe, var en elendig match og er erstattet av en 30W SMPS-basert sak fra Clas Ohlson. Så slipper jeg at Wilhelm Kempff skifter toneart i tide og utide.Valentino skrev:Norskprodusert 24VDC ekstern strømforsyning bygget av Norsk Audioteknikk rundt en 650VA (!)ringkjernetrafo.
Alle spillerne fra SOTA bygger på flytende oppheng med unntak av Millenia.Continuo skrev:Veldig flott spiller. Er det flytende oppheng på Sota, i samme gate som Linn?
Fant en interessant tråd på avguide som starter med diskusjon av ulike dempeplattformer, som går over i en diskusjon om "for og imot" flytende oppheng osv. Sota nevnes ofte. http://www.avguide.com/forums/turntable-isolation-platform Merk tråden går over to sider. Svar på spørsmålet ditt finner du nok derContinuo skrev:Veldig flott spiller. Er det flytende oppheng på Sota, i samme gate som Linn?
Takk for linken!zimon skrev:Fant en interessant tråd på avguide som starter med diskusjon av ulike dempeplattformer, som går over i en diskusjon om "for og imot" flytende oppheng osv. Sota nevnes ofte. http://www.avguide.com/forums/turntable-isolation-platform Merk tråden går over to sider. Svar på spørsmålet ditt finner du nok derContinuo skrev:Veldig flott spiller. Er det flytende oppheng på Sota, i samme gate som Linn?
Takk for linken!Continuo skrev:Fant en interessant tråd på avguide som starter med diskusjon av ulike dempeplattformer, som går over i en diskusjon om "for og imot" flytende oppheng osv. Sota nevnes ofte. http://www.avguide.com/forums/turntable-isolation-platform Merk tråden går over to sider. Svar på spørsmålet ditt finner du nok der
The SOTA Sapphire turntable, which will be thirty next year, occupies an important place in audio history. Designed by the estimable David Fletcher (now retired from audio but the auteur of The Arm and the much missed Talisman pickups) and introduced in 1981, it put America on the map again as a manufacturer of state-of-the-art turntables (the acronym gave the company its name). The Sapphire was the first of just two turntables, the other being the Oracle, to challenge the near-decade-long hegemony of the Scottish Linn Sondek LP12 as the putative best in the world. No matter that such global pronouncements are unprovable and serve mostly to massage someone or others ego, thus began the so called turntable wars of the early eighties, the big three combatants the LP12, Oracle Delphi, and SOTA Sapphire. 1 For all the hectoring and acrimony that ensuedmore among dealers, consumers, and audio reviewers, its worth pointing out, than among the designers themselves, who were friendly and oftener than not amused by the sturm und drangall three shared two design principles that originated with Edgar Villchurs Acoustic Research AR XA turntable from the late fifties: belt drive and tuned suspensions as a means of isolating the pickup/stylus interface from acoustic feedback and other environmental disturbances.
Each product had its champions (or defenders) and each had legitimate virtues and shortcomings. Linn, a pioneer in asserting that turntables do in fact affect the sound beyond such obvious matters as rumble and speed accuracy, boasted outstanding speed constancy and resolution, the precision machining of its bearing assembly without equal at the time (and even today bested by only a very few much more expensive competitors). But it also had a suspension that was difficult to set up, easily disturbed, and typically in need of readjustment over time, and a sound that, whatever its tunefulness, was moderately colored, especially in the mid and upper bass (in my opinion, in the upper midrange and highs too). The Oracle had an extremely sophisticated suspension systemsuperior to the LP12s, though even more notoriously difficult to set upand exhibited fewer colorations and a beautifully transparent and airy presentation. The Sapphire brought a considerable increase in tonal neutrality, deep bass, and an altogether more balanced presentation; and despite some early speed-regulation teething-problems from the inconsistent Papst DC motors, the design reigned supreme in the areas of suspension tuning, long-term stability, ease of setup, and sheer effectiveness in isolating the turntable from its environment.
After introducing the Sapphire named for the sapphire thrust-plate of the inverted bearing used in most SOTA turntables Fletcher and his associate Rodney Herman went on to develop the first vacuum-hold-down platter that actually worked and didnt damage records. With the record held in intimate contact with a platter that was also heavy and well damped, vinyl resonances were reduced by an order of magnitude and warps were rendered effectively nonexistent. Together these brought huge gains in significantly quieter backgrounds (i.e., suppression of the grunge and surface noises typical of vinyl playback) and much improved tracking. Thus was born the Star, and eventually the Cosmos, which remains SOTAs flagship suspended turntable. But the start of it all was the Sapphire, which despite two changes of company ownership retains the distinction, I believe, of being the turntable with the greatest product longevity without a change in model designation or fundamental design, and with complete backward compatibility. 2 The current owners, since 1997, are Kirk and Donna Bodinet, who retain Fletcher as a consultant, thus further ensuring product continuity and design expertise.