I was going through my notes on the final round of cable prototypes. This was the group of cables that pointed toward the production cable, and I invited Lynn Olson over for a listen.
Since Lynn has been an advocate of cotton for longer than I, I knew he’d welcome the opportunity for a comparison.
What do polyester leisure suits have to do with hi-fi cables, why are people returning to cotton underwear, and most importantly how could anyone wear such an ugly suit?
With the number of design changes we’ve made to the NiWatt over the past 18 months, its initial release might well be called the NiWatt Mk-IV.
All of this is to say, that the design is stable and mature, and there will be no need for first year revisions (all too common with some manufacturers).
Our customers like stable, mature designs …
This morning, we mounted a customers’ van den Hul Crimson XGW Stradivarius cartridge onto a Kuzma 4Point-9 tonearm.
The agenda was to verify compatibility of this combination. Read more …
It dawns on me that we haven’t had any NiWatt updates in a while, and as we near production, it’s time to bring you up to date (stay tuned for news).
I went through photos taken at various stages of prototyping and have a bit more of the story to tell.
In part 1, we laid out a strategy for auditioning multiple tonearms and cartridges on both a Galibier Eiger prototype and our customer’s turntable (from another manufacturer).
In this post, we finalize how we adapted the customer’s existing armboard to work correctly with his mis-specified Reed 2A tonearm.
Mis-specified tonearm? Strong words, I know.
RMAF 2018 – a time to meet up with old and new friends.
With the exception of the Devore speaker and the photo I took of Lynn Olson, all photos were taken by Lynn. Click photos for a full screen view.
Shown here are the ESD Dragon horns.
Some random thoughts and photos follow …
We’re remounting a Reed 2P tonearm for a good customer of ours. The ‘table is from another manufacturer and the individual who mounted it apparently didn’t understand the Reed’s many quirks which I describe in part-2.
I can’t begin to tell you how many $30k to $60K turntable mounts I’ve had to correct – mounts which were off by several millimeters!
The last of the Summer updates – adapting a first generation Gavia platter to TPI© / Carbon.
Our Customers are the pickiest, nicest, and most creative people.
We like it that way.
The more attention you pay to detail, the more you’ll come to appreciate Galibier’s offerings.
