enhanced Archives – Luxuryradios

Saba Meer…

27th 5 月 202327th 5 月 2023
by giovanni

Also this reviews will be accompanied by a section with graphs of technical measures of the most important parameters.
There is no such thing anywhere else, as far as I know. Not even the manufacturers themselves detailed the technical features of their own devices at this level.
This new section has been developed for an objective comparison of different devices.
In order to avoid interpreting the measurements incorrectly, it is very important to read the warnings carefully the first time.

The Meersburg is one of the most prestigious models produced by Saba. The version that we present in this review has been modified in order to maximize the performance of this device.

The low frequency stage is an excellent example of a class A amplifier, with an EL84 with well known sonic characteristics.
The feedback is moderate, so the resulting sound is very open, with great presence in the mids and trebles and sufficiently damped bass.
The cabinet is very robust and free from vibrations and resonances.
There are no equalizers or filter circuits that could introduce distortion or blurring of the sound.
In short, the first models of Saba Meersburg represent an ideal basis for an upgrade.

The weak point is represented by the loudspeaker system, and it is precisely the section on which we have worked around.

The speakers:
The larger of the two, a huge SABA 1675U10 with TIGGES Permadyn magnet in Alnico measures 35 x 24cm.
It is a loudspeaker built starting from 1953, with a magnet with a flux density of 8000 Gauss, an impedance of 4.1 Ohm and a voice coil of about 25 mm.
It has a frequency response that extends from 55 to 10,500Hz within +/-3dB.
The entire frequency range is sent to this loudspeaker and the high part is cut mechanically.
The cone, despite being very large is relatively light, this property allows you to have bass that are very ready, really powerful and without tails.

In our opinion, the original 5330F15 electrostatic tweeter is too inefficient compared to the large oval mid-woofer and above all it has a too high cutoff frequency. It begins to feel starting from 9600 Hz, and at a level that is too low anyway. It works therefore as a supertweeter rather than a tweeter.
This loudspeaker is placed in front of the full-range, almost in the centre. This arrangement (if it were placed right in the centre) would in our opinion be the ideal arrangement, see Goodmans Triaxiom, Altec Lansing Duplex and so on, because it allows very precise focusing of the sound image. However, since the mid-high frequencies emitted by the full range are concentrated right in the central part of the cone, the treble is mechanically hindered by the electrostatic loudspeaker placed in front.
The end result is a sound that tends towards gloom and with some unpleasant reflections as the electrostatic tweeter is not placed exactly coaxially with the mid-woofer.

We fixed these issues with two essential changes:
1 - Replacement and correct placement of the original tweeter with a Saba 5238U8 cone tweeter
2 - Made the frame with the front canvas removable

1) The Saba 5238U8 cone tweeter has a diameter of 112 mm, is equipped with a 7500 Gauss magnet, a very light 12 mm voice coil and an impedance of 5.1 Ohm.
The frequency response starts already regular from 1500 Hz and rises up to about 13 kHz, and then returns to decrease towards 20kHz.
Remember that all acoustic musical instruments that reach higher are the cymbals (Cymbals) that reach just over 10 kHz.
The efficiency of the tweeter and its low cut-off frequency compensate for the mids and trebles generated by the central part of the rear mid-woofer which are absorbed by the shadow cone of the tweeter itself.
The tweeter is positioned exactly in the center of the mid-woofer, in a perfectly coaxial position, thus avoiding the annoying reflections generated by the misalignment of the original electrostatic tweeter, maintaining the invaluable advantages of coaxial speakers.
Finally, the crescendo response curve up to 13 kHz means that the treble is really very bright.

2) The front canvas covering the speakers is never completely acoustically transparent.
For this reason, the only way to obtain maximum performance from the appliance is to eliminate it.
We built a dummy frame into which the original canvas was installed. This frame attaches to the speaker panel with magnets.
In this way it is possible to detach it when you want to listen to music with maximum transparency and put it back in its place when the radio is at rest to protect the loudspeakers from dust and to restore the original aesthetic appearance of the unit.

All this translates into exciting dynamics, brilliance of sound, lack of oscillation of the canvas in the presence of low frequencies, making listening to this beautiful device very realistic and pleasant. With a pinch of eccentricity.

The first track is Nobody Knows You When You're Down and Out performed by Bessie Smith. At the end of the WWI, the United States economy restarts strongly, a period of abundance begins, the Roaring Twenties. Written by pianist Jimmie Cox in 1923, after several interpretations and modifications to the original text, it was interpreted by Bessie Smith in 1929. The text speaks of the fortunes made by someone during the Prohibition era and highlights the precariousness of material wealth and interested friendships that result. On October 24, 1929, the collapse of the New York Stock Exchange will bring about the greatest depression that the United States and parts of the rest of the world have known.

This year Napoli won the Scudetto, so there was bound to be happy Neapolitan music. The second piece written by Umberto Bertini and set to music by Vincenzo Di Paola and Sandro Taccani Chella 'llà was one of Renato Carosone's fortes. The song tells of the joy of a man who manages to free himself from a relationship that caged him and who is savoring freedom. The song begins with a speech to become playful and catchy as only the Neapolitans can do.

The third piece performed by Dizzy Gillespie, the famous Tin Tin Deo was composed together with Gil Fuller and Luciano "Chano" Pozo. A thunderous opening that later transforms into a Latin rhythm and then returns explosively with the trumpets sliding towards swing. His style that combined entertainment and musicality has encouraged the spread of bebop. Gillespie's solos were breathtaking. Certainly a giant of Jazz.

The fourth piece is the Adagio for oboe in D minor by Alessandro and Benedetto Marcello. It is an interesting piece because it is a classic example of baroque with a musical theme adorned with flourishes. The flourishes are recognized above all in the repetition of the opening motif where the virtuosity and musical sensibility of the singer or performer could be expressed. Johann Sebastian Bach transcribed a harpsichord version of Marcellus' Adagio (BWV 974)

The fifth song is the very famous The River by Bruce Springsteen. Springsteen himself called this song "a revolutionary song". He himself also stated that he drew inspiration, in the lyrics, from a 1950 song by Hank Williams "Long Gone Lonesome Blues". The song recounts a conversation between him and his wife's brother. After losing his construction job, he worked hard to support his wife and young son, but he never complained. In Pittsburgh on September 22, 1984, he dedicated the song to Pennsylvania union leaders.

BLUETOOTH

Bluetooth receiver embedn

MULTI PLATFORM CONNECTION

Each radio is equipped with a cable for connection to any digital device.n

Bluetooth receiver embed – The unit is equipped with a BLUETOOTH receiver powered directly by the receiver power supply. This makes it possible to control the amplifier from any external digital device as an IPAD, a Smartphone, or a sophisticated multimedia station. So you can hear your preferred web station or your lossesless file without cables on the room. Wireless Receiver can be equipped upon requests.

– Multi Platform Connection – A customized adaptation cable to connect any digital device as Iphone, Smartphone, Laptop, CD Player etc. will be provided with this radio. This special cable suits the different impedances between the modern equipment and the receiver. Furthermore the two stereo channels flow into one without increasing the load to the input unit.

SABA is the acronym for Schawarzwälder-Apparate-Bau-Anstalt meaning engineering institute of Technological appliances of the Black Forest.

The company was founded back in 1835 by Joseph Benedikt with the initial name of Jockele-Uhren, but only in 1923 the production of radio devices began and the company went under the name of SABA.
Toward the end of the 20s SABA became famous with the well-known S35 and in the following years it became the second German producer after Telefunken. During the war SABA produced military equipment and in 1945 the company was completely destroyed by a bombing.
In 1947 the production of radio devices began again and SABA distinguished itself immediately for ist avant-garde and high- quality production.

hey also began to produce TVs (the first PAL color TV is a SABA), house appliances and medical equipment. Many Italians used to work there. The Alnico Greencone loudspeakers became popular for their linearity, power handling, constant impendence that would be employed in each Hi-Fi devices of that time.

The radio devices with motorized tuning became popular as well and SABA became the representative German brand meaning quality, reliability and detailed precision. In the 1970s the decline began. According to specialized magazines of that time not having a Japanese device at that time meant not having Hi-Fi. In the 80s Thompson took over SABA. In the 90s the other way around, having a Japanese device of the 70s meant not having Hi-Fi. They found out that they functioned with a 96% counterreaction and that a device with 0.001 db from 1 to 100 KHz extension did not necessarily sound good.

We do not trust our ears and we do trust what other people say not necessarily with a good purpose.
2007: due to insolvency SABA disappeared from the TLC (Chinese) and Thompson (French) joint venture, and SABA ceased to exist.

MEASURED TECHNICAL FEATURES

IMPORTANT REMARK
(to be read carefully at least the first time)

The following measures have been carried out in order to compare, from an electrical point of view, the devices that will be reviewed on this site. It is not possible to make comparisons with measurements made by other laboratories on different devices. The instrumentation and measurement conditions are probably very different.
The instrumentation used for the measurements is obsolete and unprofessional. We believe that more precise instrumentation is not necessary due to the tolerances of the human auditory system. Distinguishing a distortion of 1% from one of 1.1% or 1.001% only makes sense from the electrical point of view. Probably no one can hear the difference by ear. Only a child and very few lucky people can perceive the difference between a flat response curve up to 16 KHz and one up to 20 kHz.
The perception of sound depends on many factors, namely the age of the listener, the listening environment, the musical genre that is being reproduced, the listener's expectations, his or her listening habits and knowledge and many other factors, besides of course the quality of the other devices. Therefore, there is no direct and unique relationship between the results of the measurements made and the pleasantness of listening to a specific device.

BANDWIDTH

Normally the measurement of the bandwidth is done on a resistive load. Therefore, the deformation caused by the loudspeakers' inductive load and the effect of the mechanical resonance of the speakers themselves on the feedback circuit are not considered. The effects are by no means negligible, the measurements carried out on a purely resistive load are always very linear but they don't coincide with the real frequency response.

On the other hand, this response curve was measured on an inductive laod, that is, with its own loudspeakers.
The frequency response measurements were made with a sinusoidal generator and a Wandel & Goltermann WM – 20 level meter.
You can see the actual frequency response on the vobulator' screen.

Inside the cabinet there is a dipole for FM reception and a ferrite rotating aerial for AM reception.
Ferrite aerial can be rotated from the outside to achieve a perfect tuning of the device in the AM.
In this picture you can see the rotation mechanism, and the aerial position indicator.
The reception sensitivity with internal aerials is very good. This unit was in fact produced when there were not many radio stations, and those available were far from each other.
Using an external aerial sensitivity is further increased.

opus 55 ts - cn

Telefunke…

20th 3 月 202020th 3 月 2020
by giovanni

Designed and created in 1954, the OPUS 55 TS was the flagship model of the entire Telefunken production for the years 1954-55.
Since 1949, Telefunken decided to distinguish by the name “OPUS” the radio models at the top of their production. In fact, the first Opus model is the 1949 OPUS 49. This denomination remains until 1978, when the last Opus model, the 7050 HI-FI, is produced. In the following years the different models will be distinguished by alphanumeric abbreviations, such as TR550 and such.

The restoration of this device was very challenging, as the chassis had been cannibalized. As a matter of fact, potentiometers, tube sockets, many components, wires were missing and the HF coils had been torn. In short, the device was in terrible conditions. But a machine like this deserved a much more glorious end and the final result proved us right.
The amplifier stage has been literally rebuilt, the very fine wires of the high frequency coils have been reconnected through a very meticulous work.
The phases of this challenging restoration are documented with photographs, which can be seen at the end of the page in the dedicated section.

The declared output power was 15W but judging by the scheme and the voltages it must deliver about 10.
The good amount of power delivered and the high efficiency of the 6 loudspeakers allow the Opus 55 to successfully sonorize large rooms.
The double medium frequency stage, the complex feedback network, the push-pull output stage make it a classy and elegant radio. The configuration of this device will remain pretty much unchanged also in the following models, until the transition to the production of stereophonic models.
The devices of the Opus series are still among the most wanted by collectors for their extremely high quality standard.

The songs in the playlist highlight the incredible virtuosity of the performers. All these tracks were chosen specifically to put the device to the test. Below is a brief description.

- The first song proposed is a flamenco. Inspired by Playa la Barrosa in Cadiz, Spain, it was composed and interpreted by Paco de Lucia. The talent of the Spanish Maestro makes flamenco enjoyable even for those approaching this peculiar musical genre for the first time.
- With the second track we fly to Paris to meet the Russian-Israeli trumpet player, Sergei Nakariakov. Known as “the Paganini of the trumpet”, Nakariakov's work is fascinating because it continuously experiments with transcriptions of songs composed for other instruments, such as the song proposed here, “Moto perpetuo”, written for violin by Paganini himself.
- The third song, known as “Vento d'inverno”, ranked as op.25 no.11 is a technical study written by F. Chopin in 1836. This study was specifically written with the purpose of developing technique and endurance. It deserves to be seen played live, as it is truly disconcerting. However, Chopin did not mean to impress his listeners with the demonstration of his skills, but he believed his fingers to be “handmaidens of his soul” and with his soul he wanted to be heard, not with ears (H. Heine).
- The fourth track is a 1987 song taken from the album “Surfing with the alien” by guitarist Joe Satriani. An album that was recorded on the cheap, with a very limited budget, the three guitars used by Satriani were modified by him and electronic instruments were used to simulate many drum effects. However, the album was extremely successful thanks to Satriani's skills and creativity. The proposed song is a remastered edition of 2014.
- The last track, “Drum solo”, is a live recording of a performance by Daniel John Erlandsson (Malmö, 1976). Erlandsson is a Swedish drummer, who became successful with the metal band Arch Enemy. It is characterized by a very precise ritmica suono that mixes classic metal passages with the death-metal typical of his band. The song is undoubtedly exciting even for the non-lovers of the Metal genre.

蓝牙

加装蓝牙接收器

多平台的连接

每台收音机都配备了一条连接到任何数字设备的音频线。

- 蓝牙接收器加装-该单位配备了一个蓝牙接收器，直接由收音机供应电源。这使得有可能控制放大器从任何外部数字设备作为一个iPad，智能手机，或一个复杂的多媒体站。所以你能无线听到您喜欢的网站或你的无损档案。无线接收器可根据要求选配。

– 多平台连接-一个定制的适应电缆连接任何数字设备，如iPhone，智能手机，笔记本电脑，CD播放器等将提供这台收音机。这种特殊的电缆适合现代设备和接收机之间的不同阻抗。此外，两个立体声信道流入一个不增加负载的输入单元。

1903 To prevent the English Marconi Company from having a monopoly on wireless transmissions,,Kaiser Wilhelm II orders the company AEG and Siemens to set up a joint venture to develop wireless telegraphy in Germany. It was established under the name of Gesellschaft für drahtlose Telegrafen mbH.

1923 The company name is changed to Firmierung in Telefunken, Gesellschaft für drahtlose Telegrafen mbH. Abbreviated as Telefunken, where Tele means Telegraph and Funken means "Lightning" in the sense of being fast and immediate.

1930 Production gradually moves from military and Government equipment to the production of consumer appliances. During this period, Telefunken enters the market of radio-television, recorders and etching of records.

1930 As radio transmissions are now needed not only to transmit telegraph messages, but also true music and speech broadcasts, it becomes necessary to introduce the concept of sound compression, to avoid continual volume level changes of the radio. Telefunken designs and produces the U3, the first compressor for transmitting stations in the world,. TheU73b, as seen in the picture, represents the evolution of previous models—it allows you to change the compression level, the release times and the attack times.

1941 All Telefunken’s actions are transferred to AEG, which effectively becomes the sole owner of the trademark Telefunken, its factories and patents.

1948 Germany is not invited to the Copenhagen Conference, where the division of Medium and Short Wave radio frequencies of Central Europe is decided. The war has just ended, and officially Germany isn't considered as a technologically important nation. Because of this, Germany decides to develop FM broadcasts even if the quality of the transmissions is considerably higher than those in the AM. At this time, Telefunken develops the V72 microphone/amplification system and its evolutions, intended to be used in all German broadcasters and most European ones too, as well as at the most important recording studios, such as EMI, Decca, Telefunken, etc.

1955 The company becomes Telefunken GmbH.

1967 Telefunken is joined with AEG and the company becomes ‘’AEG-Telefunken’’.

1970 Poor management causes the company to lose market shares. AEG begins to outsource entire business segments and make constant rearrangements.

1985 Daimler-Benz AG buys what remains of AEG-Telefunken.

1996 The name Telefunken is cleared and all activities related to audio products stop.

Today The company name has been renewed in Telefunken Holding AG. Telefunken and its use worldwide are responsible for the name. In United States Telefunken USA buys the rights to build and market worldwide original microphones and some audio equipment under the brand Telefunken Elektroakustik.
The original company that helped spread the music throughout the world doesn’t exist anymore.

This device is equipped with a set of 6 loudspeakers.
Only the Saba Freiburg 14, the Nordmende Tannhauser 59 and some later models of the Opus series are equipped with the same number of loudspeakers. All other German radios, even top-quality ones, have 5 loudspeakers at most.
In the front we find two wideband loudspeakers and two electrostatic tweeters. These loudspeakers are very directional so they are fixed to a prism structure that directs them so that the resulting spread angle is as wide as possible.
Two 10 cm cone tweeter are placed on the sides, cut with a 6 dB/oct filter so that along with the treble they also reproduce medium-high frequencies. The whole audible spectrum is then spread evenly in all directions, granting the listener a complete freedom of movement.

The frontal loudspeakers visible in these photos are not Telefunken originals. All the other loudspeakers are original.

freiburg w3 - cn

Saba Frei…

6th 4 月 201818th 2 月 2024
by giovanni

Saba Freiburg WIII is the company's flagship model in 1953. In that year, only Grundig 5050 could compete with Saba Freiburg in terms of sound quality.
No other device was provided with concentric loudspeakers and, at the same time, with the 2 x EL84 (6BQ8) push-pull power amplifier.
The sound performance is very satisfying in both devices. The tweeter aligned with the woofer plays voices and solo instruments with unsuspecting brightness and presence.
With the second reinforcing woofer, the depth of the bass is inspiring and the holding power is also remarkable.
We are talking about actual 7W which, with such powerful loudspeakers, enough for large places.
The solution of concentric loudspeakers, unfortunately, was not adopted for the devices subsequently created both by Saba and Grunding, but it was later taken up by Graetz for some of its top-of-the-rang models.
Now, it is one of the most adopted solutions in Hi-End speakers.

In the radio section, three peculiarities can be underlined:

the Muting button
By pushing this button, the FM stations search becomes very quiet. The noise and interferences that are normally heard while moving from one station to another in the research phase are quietened. The Tuning Indicator decreases its sensitivity in the interval between two stations, regaining automatically the maximum sensitivity as soon as it gets closer to the station. A pleasant and exclusive refinement.
KW-Lupe
When listening to broadcasts in the short wave band, tuning is often difficult because of the small bandwidth. It only takes a slight movement of the knob to lose the station. In order to solve this problem, Saba drew up the tuning precision control in Short Waves (KW-Lupe). This is how it works: press button K to select the Short Wave band. Tune to a radio station through the big knob of AM bands. Finally, refine the tuning by turning the small knob of the FM band, which in this case works as precision tuning for Short Waves.
ORT-S.
It is possible to store a radio station in Medium Waves and rename it simply by pushing the ORT-S button. The storing mechanism is very simple. Press button ORT-S. Under the radio there is a hole with a screw. By turning that screw with a screwdriver, it is possible to tune to the favourite station. From this moment, every time the button ORT-S will be pushed it will tune to the preset station. In order to listen to other broadcasts in Medium Waves, it will be necessary to just push the button M and use normally the big tuning knob.

As usual for German companies, the series name, Freiburg in this case, is maintained throughout the years, even if the models produced are very different from each other. Among the devices of the Freiburg series, the WIII model has unique features. The previous models do not have the same tone controls, the next models lack the concentric loudspeakers. They have other features, equally interesting... but not these.

BLUETOOTH

Bluetooth receiver embed

MULTI PLATFORM CONNECTION

Each radio is equipped with a cable for connection to any digital device.

SABA is the acronym for Schawarzwälder-Apparate-Bau-Anstalt meaning engineering institute of Technological appliances of the Black Forest.

TONE CONTROLS

The tone control system is peculiar. It is a Baxandall configuration system with a particular feature, it interacts with the feedback system. This ensures an effective control of the band providing at the same time a reduction of distortion. The use, anyway, is very simple, as we can find the usual tone control knobs at the sides of the display. The colour of windows on the display progressively changes with the rotation of each knob. In this way, it is possible to get an impression of how much tones have been enhanced.

The Volume is controlled by the big knob on the left, the physiologic compensation is integrated.
The front knob, smaller, enables to rotate the ferrite aerial.
Moving right, on the tuning dial we can first find the tuning indicator (Magical Eye).
Around the Magical Eye we can see a crown with the indicator of the position of the ferrite aerial.
Just below, we can see the window of the bass tones indicator, and further below the bass tones knob.
Moving further right, we find the dial glass with the different bands, Long Waves, Medium Waves and Short Waves.
The UK section is the scale of the FM band.
Below it, we can see also the scale of the TV channels, which could be listened to installing an additional module.

Moving left we can see the window of the treble indicator, and below the treble knob.
Finally, on the left remain the two concentric knobs of the tuning.
The one on the back, bigger, regulates the tuning of AM bands (OC, OM, OL).
The front one, smaller, regulates the tuning of the FM band (when the UK button is pushed).
When it is the K button to be pushed, instead, the same knob regulates the fine tuning of the Short Waves.
Under the radio we can find the two pre-selection screws of the OM station, which can be listened to by pushing the ORTS-S button.

braun - cn

Braun RCS…

24th 6 月 20175th 10 月 2017
by giovanni

BRAUN建造的最佳电子管接收器
Same receiver you find on model with turntable Atelier 2 and 3.

但让我们从头开始。接收器部分可以说是Braun电子管设备生产的极限。德国最大的电子管接收器生产还是属于这些大厂，比如Telefunken Opus 2550，Nordmende 3004，Graetz Stereo Unit 250，the Saba Studio I等。

本装置的主要特点是电路的简化（现今而言是理所当然的，但1961年被认为是一个显着的特点）。Braun不同于其他设备，针对低失真和杰出的音乐透明度其负反馈减少到单一的电阻（图中红色圈记）。

权威的声音控制电路：一个非常有效的且平衡的Baxandall电路（图中黄色圈记）。它允许依据电位器而不改变信号的相位状况下控制声音。

响度电路（图中绿色圈记）是非常简单的而且低频重点研究是正确的。声音质量和德律风根，Nordmende是一样好；和Grundig和Graetz在同一水平，Braun也许比他們更细致。

你肯定需要一組高效率的扬声器。其惊人的设计和其性能对这种升级的设备是有价值的。

FM频率范围

调频频率范围从88扩大到104兆赫(MHz)

放大器的改进

新的放大器改用静音电容器及电阻

立体声解码器

配备MPX解码器

蓝牙

内置蓝牙接收器

- FM频率范围从88到104兆赫---在1950 / 60年代德国生产的电子管收音机是世界闻名的，这是因为他们出色的声音质量，他们美丽的机箱外型，他们的实力和他们没有妥协的作业标准。不幸的是，FM频段只有从87.5~100兆赫，但无法接收到100兆赫以上的电台，经过仔细的研究和大量的测试，我们能够获得的频率范围由原有范围扩大至88~104兆赫。我们还重建了一个与原始完全相同的玻璃面板，用相同的材料和相同的技术，且与新的频率范围对应，结果是完美的。使我们可以在任何国家收听到大部分的FM电台。

相容性特点：
-比Braun稍新几年
-与原来的唱片机尺寸相当
-Piezo唱头: 所以它能夠在Braun前置放大器完美地工作
改进特点：
- 唱头重量调整
- 抗滑调整
这是必要的一个重要的上方面板调整工作，但结果是完美的，似乎是与生俱来的。

- - 放大器的改进---新的高品质金属膜电阻器取代嘈杂的老式碳复合电阻。旧的电容器完全更新，新的电阻器具有非常低的寄生损耗（ESR）。我们非常注意这些老旧零配件的续用性。所有的改进都是实质性的。

- -超静音MPX解码器--- MPX解码器引入RF和BF阶段之间。通常没有这个装置的。这个解码器是由和我一起工作德国工程师特别为这个接收器设计的。噪音电平非常低。串话干扰完美校准。正确的接收条件，结果是一个准确的声学重建

- Walter Gropius, 新建筑与包豪斯, 剑桥、麻省理工大学出版社, 1968, ©1965.
- Gropius - Marston Fitch, Walter Gropius, 纽约, G. Braziller, (世界建筑大师系列), 1960.
- Magdalena Droste; Angelika Taschen, 包豪斯 1919 - 1933, Ko?ln Taschen 2002,
- Reissinger; Robinson; Siebenbrodt, Bauhaus Weimar - 设计的未来, Ostfildern-Ruit : Hatje Cantz Publishers, 2000.
- Jaeggi-Schwaiger, Fagus: 从Werkbund到Bauhaus的工业文化, 纽约 , Princeton Architectural Press, 2000.
- Hans-Joachim Braun, 在第二十世纪的德国经济（德意志帝国和联邦共和国），纽约出版社， Routledge, New York 1990.
- Jonathan M Woodham, 第二十年代的设计，牛津大学出版社，牛津， 1997.
- Nigel Whiteley, 为社会的设计，伦敦，Reaktion Books, 1998.

Web:
- http://www.bauhaus.de/
- http://designmuseum.org/design/dieter-rams
- http://gizmodo.com/5411868/dieter-rams-gallery/gallery/10
- http://www.formguide.de/en/designers/overview/peter-keler/

1961年是“第二十世纪历史”的“十字路口”之一。在欧洲，这一年的事件将留下深刻的印记，无论是好是坏。战后的国际形势发生了深刻的变化。那些打败纳粹德国的国家现在在军事上和思想上都是对立的。从年初起，冷战影响了全世界，新的全球战争的威胁出现在这一点上不可避免的。在这种阴郁的气候下，人类接连发生了一系列重大事件。

特别是在德国，1961年被回忆起“长城之年”。几天后，德意志民主共和国当局下令建造一个双层墙和武装监视系统，目的是阻止民主德国（含首都东柏林）和德意志联邦共和国（简称“联邦德国”或“西德”）所属的西柏林之间人员的自由往来。柏林墙成为东西柏林地区之间的对比，逐渐涉及到整个世界的象征，不久之后将在两年后与古巴危机的核灾难的边缘。

对比两个超级大国涉及经济和政治生活的各个领域。科学研究为征服太空而铺路，也开辟了美国与苏联之间的另一场太空竞赛。1961年4月12日，Yuri Gagarin与东方1号是第一次人类在太空轨道环绕地球的。美利坚合众国必须承认这是苏联技术发展的巨大飞跃。

这是以对立身份出现知识分子之间建立的桥梁。对文化而言1961年果然也是不平凡的一年：Ivo Andric是获得诺贝尔文学奖；法兰克福学派实证主义与辩证唯物主义之间的争论。Karl Popper和Theodor Adorno讨论了科学的研究方法，产生了“Positivismusstreit”，即实证主义和唯物辩证法之间的冲突，将影响未来的认识论的争论。哲学论争是由马克思主义和实证主义的不同意识形态观所引发的。海明威自杀，Primo Levi写道“休止/停战”，历经啤酒的地狱后回到生活世界的帐单。

此外，已在第二次世界大战中被摧毁，在50年代继续形成了一个前所未有的经济增长时期的铺垫，1961年经济繁荣年和重新建设的欧洲。福利社会兴起，德国处于第一线。

德国文化的重新发现者Weimar。而艺术和戏剧的先锋派的代表，如Brecht. Walter Gropius.在1919的包豪斯建筑的革命倾向的创始人，Walter Gropius是BAUHAUS学校的创办人,包豪斯的目的是将艺术和工艺结合起来，以此解决工业革命所产生的问题。Walter Gropius认为，“必须形成一个新的设计学派来影响本国的工业界”。第二次世界大战后，他的建筑理论和实践为各国建筑界所推崇。他认为现代建筑师要创造自己的美学章法，“通过精确的不含糊的形式，清新的对比，各种部件之间的秩序，形体和色彩的匀称与统一来创造自己的美学章法。这是社会的力量与经济所需要的。在日常生活用品的设计中，包豪斯强调设计家要着眼于工业大生产，要为大多数人生产实用美观的物品，而不是为少数的富豪生产奢侈品。

新的建筑技术的概念进入大公司槽由聘请设计师，新的专业，开始影响生产线。随着事情的新方法，是产品的销售对象是在一个“总”的产品来看，这是一个综合的技术和概念，现代的设计理念为我们目前的意思是天生的。

Braun是最早决定投资设计的公司之一。最好的设计师是Dieter Rams，他出生于1932年5月20日，出生地是德国的威斯巴登。1947年他在威斯巴登的Werkkunst学校建筑学专业学习。1955年他成为1921年建立的Braun公司的一位建筑师和室内设计师，1956年开始为他们设计产品。1961年他成为布劳恩公司产品设计和发展部门的领导。他曾为建筑师奥图·阿培尔（Otto Apel）短暂地工作，随后便加入家电用品制造商百灵的设计部门，同时期建立起与乌尔姆造型学院的产学合作关系，1961年晋升为百灵首席设计师，一直到1995年仍留有这个头衔。他带来了发展“符合人体工程学的重要性”的概念，总结了他的名言"Weniger, aber besser",，即“少，但更好”，或者更广泛意义上的“少，只要更好”。他在作品中对Bauhaus的影响是明显的，特别是Peter Keler的作品，从他作为概念的“空间”和“线性”的作品为“wiege（摇篮）”，1922翻译成简单和优雅的线条。

Carlo Giacchin

1.好的设计是革新的: 永远不要为了设计革新而革新。

2.好的设计是实用的: 产品是供人使用的，好的设计强调产品的实用性。

3.好的设计是美观的: 一个产品的审美品质和它的实用性是不可分割的，因为产品每天都在使用，对人们和他们的幸福都有影响。

4. 好的设计使产品可以理解: 它能够自己解释自己。

5.好的设计是谨慎克制的: 履行某种功能的产品具有工具属性，它们既不是装饰物也不是艺术品。

6.好的设计是诚实的: 产品不应该看起来比实际上更创新、更高效和更有价值，它不试图通过无法兑现的承诺来操纵消费者。

7.好的设计是经久永恒的: 它避免迎合时尚，也因此不会过时。

8.好的设计在细枝末节处也维持一致: 不要容忍随意和偶然。设计的逻辑性和准确性，最终都是表达对消费者的尊重。

9.好的设计是环保的:设计是要为保护环境作出重要贡献。

10.好的设计是尽可能少的设计: 少，但更好。回到纯净，回到简单。

german radios - cn

Saba meer…

4th 4 月 201717th 10 月 2018
by giovanni

SABA MEERSBURG W2创建于1952年。Saba挑选德国的城市名称用于各种机型上。MEERSBURG曾经是SABA最好的A级放大器。
MEERSBURG在全世界是非常独特的、优秀的。因为它使用一个强大的EL34电子管作为功率输出。这是我听过最特别的收音机。

根据需求，我们可以提供这个收音机做一些变化，以突出其非凡的性能。

任何更改是完全可逆的。

以下是我们提出的最重要的改变：

用KT88电子管取代EL34，包括偏振的改变。
改变扬声器的配置以保持原有的深层音场。

关于Meersburg W2最有趣的特点是：
使用EL34五极管作为A级放大器有如现代版的Hi-End放大器效果。
Alloy扬声器完全屏蔽振动。
选择五个预定均衡曲线从开关检查响度。

FM放大器是一个五极管。这个建构的选择保证比下面的三极管放大器更敏感。不幸的是，高音是依赖于这种类型的管，出于这个原因，它是要小心选择正确的管。

中频配有耦合调整。此功能使用高精度斜率和延伸的中段曲线进行校准。通常情况下是没有这种控制，而是由制造商预定的平均值所控制。

这收音机外形匀称，看起来很美。
可以把扩音器放在书架或墙上的角落里。
声音的质量和力量超乎想象。
此外，由于在设备内部加装蓝牙接收器，所以可以通无线来听音乐。
在我看来这是特别有价值的。

改进的扬声器

扬声器的位置和种类发生了变化。

增加输出阶段

KT88取代EL34。

蓝牙

加装蓝牙接收器

多平台的连接

每台收音机都配备了一条连接到任何数字设备的音频线。

- 改进扬声器 - 这两个扬声器发生了变化，把中心轴对齐。一个新的交叉过滤器安装使反应曲线尽可能变得最好。结果是，以一个单一设备却能创造出令人难以置信的真实声场。以单声道聆听，它可能会有一些惊喜。眼见为实。

- KT88取代EL34。- -这个收音机原功率管是一支EL34放大管。这是一个不寻常的工程选择，使这收音機成為世界上最独特的收音機之一。我想实验的是將KT88代替EL34。极化已经改变和KT88也在适宜的条件下工作。这是故意的，其所有的推力不是用来把性能最大化，而希望可以用于其他外部扬声器。这个精心计划是想将收音机改造成类似自动点唱机。KT88的声音比EL34更”dry”，所以KT88会比EL34更全面。两支电子管之间不同的选择基础下，有可能产生不同的结果。KT88使功率更加强。风险是当前扬声器于多种频率播放时将达到物理极限。这使得收音机适合各式环境！

- 加装蓝牙接收器 - 此收音机配置了蓝牙接收器，由接收器电源直接供电。这使得它可以从任何外部数字设备控制放大器，如iPad、智能手机，或一个复杂的多媒体站。所以你能无线拨放您喜爱的网站或Apple lossless音乐。无线接收器可依客户需求配置。

- 多平台连接 - 一个定制的音频线，可以连接任何数字设备，如手机，智能手机，笔记本电脑，光盘播放器等，收音机接收音频。这种特殊的音频线适合现代设备和接收器之间的不同的阻抗。此外，两个立体声信道流入一个不增加负载到输入单元。

SABA是德文Schawarzwälder-Apparate-Bau-Anstalt的缩写，也就是黑森林技术设备工程学院。

公司在1835年由Joseph Benedikt成立，最初的公司名称是Jockele-Uhren，但只有1923年起的无线电设备生产开始，公司才以SABA的名义。
在20世纪末，SABA因制造S35而闻名.和在随后的几年，它仅次于TELEFUNKEN成为德国第二制造厂。战争期间，SABA生产军事装备并于1945年公司被彻底炸毁了。
1947年SABA是以收音机制造东山再起，和之前不同的是，现在是前卫和高质量的生产

他们也开始生产电视机（第一台PAL彩色电视就是SABA所生产），家用电器和医疗设备。许多意大利人曾经在那里工作。Alnico Greencone扬声器的高线性，高功率容量，恒定阻抗而成为流行.当时每一Hi-Fi音响设备都采用。

收音机电动调谐成为流行，同时SABA因其高质量、可靠性和精密度成为德国代表品牌。1970年代衰落开始。根据当时的专业杂志报导，如果你未拥有日本收音机，就表示你未曾拥有Hi-Fi。在上世纪80年代，Thompson（汤普森）接手SABA。在90年代，相反的，如果你拥有日本收音机，就表示你未曾拥有Hi-Fi。他们发现他们有96%逆反应，即便设备从1到100千赫只有0.001分贝的延伸也不一定是好声音。

即便没有好的目的，我们总会不相信自己的耳朵，而是相信别人所说的。
2007年：自从TLC（中国）和汤普森（法国）合资经营后，SABA因财务困难而不复存在。

german radios - cn

Telefunke…

17th 3 月 201716th 5 月 2023
by giovanni

大约在60年代初期，德国最大的制造商把我们现在称之为“接收器”的产品推向市场。他们称之为Steuergerät，即电子控制单元。Telefunken（德律风根）Concertino Steuergerät 2380就是一个这样的设备。
德律风根生产两类的steuergeräT，分别配置A级输出和AB级输出。Concertino 2380属于A级输出，Opus 2430和后来的Opus 2550则属于AB级输出。
Concertino和Opus 2550具有相同的尺寸，相同的外壳。Opus机型输出更强大一些，每频道7 W，而Concertino每频道4 W。但4W在A级输出具有其特殊性的:它的优点是失真度小，信号越小传真度越高。因其高传真度，部分高级音响器材仍采用A級放大器。
Opus和Concertino的另一个很大的区别是，Opus设计了一个嵌入式的立体声解码器，雖然在Concertino解码器是选购的。但我们所有的Concertinos都是配备了立体声解码器。
Concertino最终管是著名的ECL86。这种双重管由一个三极管作为前置放大器，和一个五极管作为功率输出。
我们经常可以发现这种管使用于精制的放大器中，如Bang & Olufsen 608或Scott Stereomaster 200B。
Concertino 2380配备了超大的输出变压器以防止空气间隙达到饱和。此外，超大形的电源供器，你可以在图片中看到。
该电路还提供了负反馈，保证其线性度。
前置放大器有一个音量和音调控制( 高音和低音分离的控制 )。
还有两个移动式均衡器，进一步强调低音和高音。当该设备连接到频率反应不是完全线性的扬声器时，它们是非常有用的。
最后，声音是非常圆润和平衡的，正如你所期望的。你可以感知音符之间的空间。这电子管装置产生一个温暖的声音，正如预期的那样，但如果连接至有超高音喇叭的扬声器时，甚至会令人產生急躁感。
这种类型的设备有如此的声音质量真的是不可想象。由于该设备内置蓝牙，所以特别适合听”流媒体音乐”。这在我看来，是把它的使用最佳化。

分離式的扬声器

它可以连接任何扬声器，最好是高效率扬声器。

详细介绍 >

立体声解码器

该设备配备了罕见的立体声解码器，让您收听FM调频立体声广播多种立体声。

详细介绍 >

蓝牙

内置蓝牙接收器

详细介绍 >

多平台的连接

每台收音机都配有一条特殊的音频线以连接任何数位音源。

详细介绍 >

- 独立式的扬声器 - 使用独立式的扬声器是立体声接收器的重要选择。这使您的接收器能够在最适合的特定空间连接扬声器，以达到设计或声学性能要求。最适合进行分析后的扬声器。

- 立体声解码器-它配备了 - 个集成立体声解码器。这允许您使用立体声传输系统收听电台。许多立体声接收器没有配备这种多路转换器，所以他们只有当选择录音机/唱片机/辅助输入时才会有立体声工作。这样的接收器在听收音机时，两频道发送相同的信号，所以听的是单声道。Concertino 2380不是上述的情况，而是完全超越立体声。

- 蓝牙接收器加装-该单位配备了一个蓝牙接收器，直接由收音机供应电源。这使得有可能控制放大器从任何外部数字设备作为一个iPad，智能手机，或一个复杂的多媒体站。所以你能无线听到您喜欢的网站或你的无损档案。无线接收器可根据要求选配。

– 多平台连接-一个定制的适应电缆连接任何数字设备，如iPhone，智能手机，笔记本电脑，CD播放器等将提供这台收音机。这种特殊的电缆适合现代设备和接收机之间的不同阻抗。此外，两个立体声信道流入一个不增加负载的输入单元。

1903年: 為了防止English Marconi公司对无线传输市场的垄断，Kaiser Wilhelm II命令AEG公司和Siemens公司成立一个合资企业在德国发展无线电报。以Gesellschaft für drahtlose Telegrafen mbH公司名称成立。

1923年: 公司更名为Firmierung in Telefunken，Gesellschaft für drahtlose Telegrafen mbH。简称德律风根（Telefunken），快速和直接的感觉：Tele是“电报”的意思, Funken则是“闪电”的意思。

1930年: 逐步从军事和政府设备的生产转到消费电器的生产。在这期间，德律风根进入收音机-电视，唱片机和唱片市场。

1930年: 当时无线电传输不仅需要传送电报信息，而且还需要真正的音乐和语音广播，因此有必要引入声音压缩的概念，以避免无线电音量的不断变化。德律风根设计并生产的U3，这是世界上第一个发射站的压缩机。图片所看到的U73b是由以前的机型演变而生，它允许你改变压缩程度、释放时间、启动次数。

1941年: 所有德律风根的一切均转移到AEG公司，AEG成为德律风根的唯一拥有者，包含其工厂和各项专利。

1948年: 德国没有被邀请参与哥本哈根会议，会议决定中欧的中波和短波无线电频率的区分。战争刚刚结束，德国不被认为是一个技术上重要的国家。正因为如此，德国决定发展FM调频广播，FM传输的质量大大高于其他国家的AM。在这个时候，德律风根开发出V72麦克风/放大系统及其衍生产品，适用于所有德国广播公司和大多数欧洲国家，以及最重要的录音棚，如EMI，Decca，Telefunken等。

1955年: 公司改成为德律风根公司( Telefunken GmbH )。

1967年: 德律风根与AEG公司合併,公司成为AEG-Telefunken。

1970年: 管理不善导致公司失去市场份额。AEG公司开始外包整个业务部门和不断重整。

1985 年: Daimler-Benz AG买下了AEG-Telefunken。

1996年: Telefunken被除名，並且音频产品相关的所有活动停止。

今天的公司名称更新为Telefunken Holding AG,并以此名称使用及负责于全球。在美国Telefunken USA买下权利并以Telefunken Elektroakustik品牌行销原有的麦克风和音频设备于全球市场。

帮助音乐传播至整个世界的原来公司已经不存在了。

braun - cn

Braun Ate…

21st 2 月 201727th 2 月 2019
by giovanni

BRAUN建造的最佳电子管接收器

这是一个非常特别的回顾。事实上，所测试的设备在60年代是德国建造最好的电子管立体声接收器之一，在当时比其他的设备不仅是具有令人震惊的设计---现代和理性的。而且我们对此接收器改善了一些不足之处。结果是令人激赏的。

权威的声音控制电路：一个非常有效的且平衡的Baxandall电路（图中黄色圈记）。它允许依据电位器而不改变信号的相位状况下控制声音。

你肯定需要一組高效率的扬声器。其惊人的设计和其性能对这种升级的设备是有价值的。

FM频率范围

调频频率范围从88扩大到104兆赫(MHz)

更合适的唱片机

新的老式唱片机具备抗滑和唱头重量调节功能

放大器的改进

新的放大器改用静音电容器及电阻

立体声解码器

配备MPX解码器

蓝牙

内置蓝牙接收器

详细介绍 >

- -新的老式唱片机具备抗滑和唱头重量调节功能- --原来安装在这个美丽机器的唱片机是不够胜任的。在1962年你可以找到更好的，但考虑到空间，美学，我想也有经济的原因，它只安装了一个Braun PC4唱片机。
新的唱片机是由Dual生产的，是一个非常特殊的机型。它有一系列的特点而且容许移植至Braun Atelier 3，价格也是我们负担得起的。

Web:
- http://www.bauhaus.de/
- http://designmuseum.org/design/dieter-rams
- http://gizmodo.com/5411868/dieter-rams-gallery/gallery/10
- http://www.formguide.de/en/designers/overview/peter-keler/

Carlo Giacchin

1.好的设计是革新的: 永远不要为了设计革新而革新。

2.好的设计是实用的: 产品是供人使用的，好的设计强调产品的实用性。

3.好的设计是美观的: 一个产品的审美品质和它的实用性是不可分割的，因为产品每天都在使用，对人们和他们的幸福都有影响。

4. 好的设计使产品可以理解: 它能够自己解释自己。

5.好的设计是谨慎克制的: 履行某种功能的产品具有工具属性，它们既不是装饰物也不是艺术品。

6.好的设计是诚实的: 产品不应该看起来比实际上更创新、更高效和更有价值，它不试图通过无法兑现的承诺来操纵消费者。

7.好的设计是经久永恒的: 它避免迎合时尚，也因此不会过时。

8.好的设计在细枝末节处也维持一致: 不要容忍随意和偶然。设计的逻辑性和准确性，最终都是表达对消费者的尊重。

9.好的设计是环保的:设计是要为保护环境作出重要贡献。

10.好的设计是尽可能少的设计: 少，但更好。回到纯净，回到简单。

恢复前输出功率板
恢复前后
两个板恢复
MPX解码器
底面
新的整流器和电容器的供电器
匹配的NOS功率管
调频振荡器修改: 达到104兆赫
FM调频转换器的校准
对中频变压器调谐
接近示波器
FM调频检波调谐
很完美! 在探测器10、7 MHz的电流为零
这是正确的比率曲线
Braun裸机运作中
在重组前改造木箱的情况
木箱组合
更接近，看到完美
装配新的唱片机
新的唱片机几乎准备就绪
唱片机的第一次测试
新的玻璃面板。您可以看到各种透明度如同原来的。

saba - cn

Saba meer…

30th 1 月 201715th 12 月 2017
by giovanni

源自SABA最好的单端接收器--- A级放大器

SABA MEERSBURG W4创建于1953年。Saba挑选德国的城市名称用于各种机型上。依据推拉功率而论，FREIBURG一直是SABA中的顶级机型。但若依据单端A级功率而论，顶级机型则属MEERSBURG。
然而MEERSBURG W2（将要探讨的机型）和MEERSBURG W4，从某种角度来说，因为各种原因及特点，MEERSBURG会比FRIBURG更有趣。
这篇评论也有点特别。事实上，我们将这个收音机做了一些变化并显着的将性能提高至最大。它将公布于公众，2016年十月于罗马和十二月于台北，未来其他城市也将公布。
由于我们的做法，这些变化是完全可逆的。但我们来到这个设备最有趣的原始功能。
音频部分：最后阶段是A级。如同现代最好的Hi-End放大器。一个真正的配置-同心扬声器组合。就像Goodmams，Altec，Jensen等高知名度的精制Hi-End音箱。
只有这样才能同时得到一个真实的和详细的声音意向。巴克森德尔在音调控制电路。如在接下来的几年中最好的Hi-End放大器。其他制造商也使用这个最简单和成本控制的配置。
无线部分：调频放大五极管。这种建设性的选择比后来的三极管放大器的灵敏度更高。不幸的是，此类型的放大管伴随着较高的内在噪声，这是需要细心的选择放大管。
-具有可变频率耦合的媒体转换器。这中频斜率和延伸校准非常准确的。通常情况下，从工厂到一平均值，这种控制是不存在的。
双中频级。这种昂贵的选择保证了高灵敏度和选择性。
结论：这收音机是美丽的，比例和圆形的尺寸。木材纹理是智慧和品味的选择。镜面处理光进一步提高了它的美丽。对于扬声器的布局，它是适合于放置在书架或墙上。这种类型的设备的音质是真的不可想象的。由于该设备配备了内置的蓝牙，它特别适合于听流音乐。在我看来，我尽我所能将它做到最好了。