FM ACOUSTICS NEWSVolume 2, Summer 1989

Reactions to the first issue of FM ACOUSTICS NEWSwere very positive, so here is another issue with furtherinformation.

INTRODUCTION

15 Years of FM ACOUSTICS

15 years of product integrity and continuous progress.15 years without succumbing to compromise.15 years of striving to create the ultimate.15 years of developing new methods of componentselection and tolerance reduction. 15 years of sometimes very exhausting research anddevelopment at the leading edge of technology.

But also 15 years of gratitude from satisfied clients,professionals and audiophiles alike. The basis of FMACOUSTICS' long-term success comes from the selfmotivation of the FM ACOUSTICS team and their spiritfor creating the absolute best without any concessions.This dedication has given us the ability to design productsthat truly stand the test of time. In fact, every single FMACOUSTICS product that has been manufactured duringthe past 15 years is still being produced today! This showsthat precision audio technology evolves continuously andnot in "giant steps" as some people would have youbelieve. But while today many companies claim toproduce "high class" products, it is in reality only ahandful of dedicated people who adhere to the truephilosophy of precision audio. All too often only stronglypromoted and highly visible products are given praise andrecognition, despite the fact that most of these actually dolittle or nothing to help the cause of accurate soundreproduction. Fashion and false promises, however, arealways shortlived. Looking back on product evolutionover the past 15 years, it is rewarding to see that manyinnovations that produced definite improvements

were first introduced by the FM ACOUSTICS researchteam and later copied in simplified form by othermanufacturers. Some of these are now accepted asstandard. Those select few companies and personalitieswho have assisted in substantially advancing the cause ofprecision audio reproduction are now receiving their duerecognition.

Praise must also go to our faithful distributors and clients,whose constructive criticism and field reports haveconsistently helped us to stay far ahead. Without thisfeedback FM ACOUSTICS could never have achieved itspresent status. We extend our gratitude to all those whohave contributed and continue to do so.

However, looking forward is much more interesting thanlooking back! During its fifteenth year FM ACOUSTICSLTD will introduce more innovations than ever before.Some are announced in this issue of FM ACOUSTICSNEWS; others will be covered in subsequent issues.

The RESOLUTION SERIES opens new horizons inaccuracy of sound reproduction at home.

A GLIMPSE INTO THE FUTURE THE

RESOLUTION SERIES

Long-term tests of a new generation of precision audioelectronics - electronics with magical performance anddesigned for the most demanding domestic applications -have been completed. The RESOLUTION SERIES isdesigned and crafted for those few individuals who requirethe ultimate in musicality and can afford the privilege ofowning the absolute best. With the RESOLUTION SERIESthe absolute standard in precision audiophile amplificationis set.The RESOLUTION SERIES, the world's most expensiveline of precision audio electronics, is the quintessence of aState-of-the-Art development program. The engineeringteam at FM ACOUSTICS completely re-analyzed theentire concept of precision amplification. With theadvantage of no limits on research time or funds, a line ofamplifiers and preamplifiers was created which willdetermine the future of audio technology. With totaldedication to achieving the absolute Non-Plus-Ultra,utilization of the most advanced proprietary selectionprocedures, the use of MIL-, DIN- and IEC-specifiedparts, and a standard of manufacturing unseen anywherebefore, a precedent for ultimate sound reproductionaccuracy has been set.

"...If there is one singular expression which best describesthe experience of listening to the RESOLUTION SERIES,it is realism. There is a simply arresting quality of realismwith a concomitant phenomenal reproduction of emotionalcontent which suddenly appears after connecting theseunits..." comments one of the world's most experiencedreviewers.

The secret behind the singular performanceaccuracy of the RESOLUTION SERIES?

"...We have utilized numerous proprietary technologiesand production methods, the details of which cannot befully disclosed; but there is no single characteristic whichalone explains such reproduction accuracy. A vast numberof crucial details, many of them unique to FMACOUSTICS products, receive the most careful attention.Combined they result in a quantum leap forward inperformance..." explains Alan Solomon, head of researchat FM ACOUSTICS.

These units combine unlimited output current drivecapability (above 200A, the output current is limited bythe mains supply only) and absolute stability when drivingany load, even the lowest impedances. Their unique,correctly designed and true balanced symmetrical inputcircuitry

guarantees pristine reproduction of even the most complexinput signals. One must be aware of the fact that most so-called "balanced" circuits are not truly symmetricallybalanced, and with most of those, compromises such asnon-satisfactory common-mode rejection are accepted.The RESOLUTION SERIES power amplifiers are capableof driving any speaker available with unparalleledperformance and accuracy - by controlling the diaphragmsin a way never before possible.

Setting new standards worldwide: THE RESOLUTIONSERIES 244 precision preamplifier.

The precision preamplifier of the RESOLUTION SERIEScomes in 3 distinct versions: the 244 Version "A" has abuilt-in MC stage; Version "B" has a built-in MM stage;and in Version "C" the phono input becomes a high-levelinput as well. Featured on this preamplifier is a uniquesystem of cartridge loading and frequency responselinearising. This system is active with MM (movingmagnet) as well as MC (moving coil) cartridges. Thanksto an FM ACOUSTICS exclusive module system limitlessresistance-capacitance combinations are available.Another point that makes the FM 244 absolutelyoutstanding is the fact that there is absolutely 0 (zero)feedback or feedforward. Coupled with FM ACOUSTICS'pure discrete enhanced Class A circuitry, a performancestandard is achieved that never before has been possible.Also featured are superb precision Volume and highestresolution "spread" Balance controls (another FMACOUSTICS exclusive); these are carefully isolated fromthe gain stages by pure Class A buffers (something whichis not done in most other designs and which isconsequently one of their inherent weaknesses).The RESOLUTION SERIES 244 is indeed fully loadedwith unique features which, combined with FMACOUSTICS' discrete enhanced Class A circuitry, createa quality of sound reproduction which is simplyunparalleled.

PHILOSOPHY OF MANUFACTURING

"We have never made a compromise and we never will,"states Manuel Huber, President of FM ACOUSTICS."Over all these years we have repeatedly been requested tocut down a little bit on our extreme perfection in order tomake our products available to a larger audience. Butcompromises do not fit into our way of thinking, nor arethey compatible with our way of manufacturing. Acraftsperson who is motivated and wants to create the verybest will be frustrated when he or she is asked to "cutdown a little bit" on quality and perfection. Motivationwill automatically suffer, as will the quality ofworkmanship. The resulting loss of pride in craftsmanshipmost certainly will lead to mediocrity."There are ample other reasons for avoiding compromises.As a matter of principle it is annoying to be asked toaccept compromise. The world is full of products withflashy front-panels that beneath the surface showdisturbing signs of extensive compromising. For FMACOUSTICS only the absolute best is acceptable. Wemust consistently disappoint those who expect a "cheap"FM ACOUSTICS product. Upon close examination onerealises that our products - while admittedly the mostexpensive - do provide astonishingly high value for themoney. The second-hand prices of FM ACOUSTICSproducts speak for themselves. Often units which are 10and more years old are sold at prices which are above(!)the original cost, something only a handful of componentsin the audio field have ever achieved. FM ACOUSTICSproducts truly stand the test of time.

Considering that the FM 800A power amplifier, firstintroduced in 1975 and still manufactured today, continuesto be one of the ten best power amplifiers on the worldmarkets, one can easily appreciate how advanced FMACOUSTICS products actually are. This also clearlyillustrates just how far ahead research and developmentare planned. It is precisely this kind of long-term thinkingand planning that contribute to the uniqueness of FMACOUSTICS products. By avoiding superficial trends anddesigning for the future, a product is obtained which notonly has unmatched longevity but also avoids earlyobsolescence - something which is all too common withproducts manufactured nowadays.

The first FM 800A power amplifier manufactured in 1975. Regularly updated and improved the FM 800A is still inproduction today!

THE IMPORTANCE OF AN ACCURATEMONITOR SYSTEM

Low resolution monitoring systems quite literally destroythe entire production environment built around them. It isimpossible to calculate the monetary loss from repetitiveerror correction and lost production time that results fromthe use of low-resolution monitoring systems. Over aperiod of a few months these losses will certainly farexceed any savings realized at the time of initialacquisition. Consequently, there are few items in themodern recording studio which are as important as themonitor system. Far too little attention is given to the factthat the monitor chain is a system which is not justcomprised of the speakers alone. Too often the poweramplifiers and crossovers are regarded as secondary,without adequate consideration being given to theextremely important function these units play in the studioenvironment. World renowned studio designer TomHidley explains it quite clearly:

"...The room can sound no better than the completemonitoring system selected for the installation. A budgetallocation of 10% of the total studio equipmentexpenditure is not out of line for the monitor chain. If themonitor is weak, the room's potential cannot be realized.Would you put a garden hose nozzle on a fire hose? Onlyif you wanted to restrict and negate the purpose of the firehose. Restrict the monitor budget and you lose the studio'sfull potential for sonic performance. Restrictions at themonitor level is false economy, as this limits theremaining 90% equipment investment and the investmentin the room itself..."

In fact, in film or video production no one would suggestthat picture quality be evaluated using cheap little TV sets.To the contrary, every effort is made to see as much aspossible in order to get the picture right, and this is onlypossible with highest resolution monitors. Precisely thesame applies for audio monitors.

The statement sometimes heard - that the usual smallernear-field monitors are sufficiently accurate forrecording, video, film and post-production studios - iscomplete nonsense. Such speakers are compromiseddesigns and cannot possibly reveal the subtleties anddistinctions that make the difference between a bland, ill-defined recording and one that accurately captures finedetail. In truly professional applications a high-resolutionmonitoring system is mandatory. The world's top videoand post production studios, as well as film screeningand scoring studios, are now realising the importance ofprecision monitoring;and consequently the need for truly accurate poweramplifiers is greater than ever. Every day more and moreFM ACOUSTICS precision audio electronics are beinginstalled.

Inside view of the FM 801 Precision High Power amplifier. Superiorcraftsmanship is evident. Very advanced technology and proprietaryselection processes are used throughout resulting in an absolutelyincomparable performance.

PRODUCTION METHODS AND MANUFACTURINGTECHNOLOGY

FM ACOUSTICS maintains a large and costly stock ofcomponents in order to assure the continuous availabilityof parts and service for a guaranteed minimum period of10 years. In fact even today there are spare partsavailable for every product

that FM ACOUSTICS has ever manufactured. Many ofthese components are not readily available, being non-standard, MIL (military) parts or parts speciallymanufactured for FM ACOUSTICS. Suppliers of some ofthese specialized components quote us delivery terms ofup to 60 weeks! And when they are finally received theymust be selected to comply with the even more stringentstandards required by FM ACOUSTICS. Therefore,careful long-term planning and exacting inventory controlis necessary to guarantee smooth and continuousproduction. It must also be realised that to a large extentthe long-term accuracy and performance of a productdepends on the quality of the components used. Allcomponents inside FM ACOUSTICS equipment are ofthe highest quality and conform to IEC, DIN and/or MILstandards. Each and every incoming part is carefullyinspected. In addition, capacitors, transistors, diodes andother components, are also checked for variousparameters using methods proprietary to FMACOUSTICS. Most of these components are selected byhand on specially-built testing machines. For instance, alltransistors go through a gain and beta check and thereaftera linearity check. Then every single transistor isindividually analyzed, statically as well as dynamically, atvarious power levels and temperatures. Another example:all critical capacitors are selected for tolerance to anaccuracy of 0.25%! There are various additional selectionprocedures which are proprietary to FM ACOUSTICSand which will be described in future issues of FMACOUSTICS NEWS.

SPOTLIGHT

FORCELINES, FM ACOUSTICS' precision high-energysignal transfer cables, are now being employed in manycritical applications where they are consistentlyoutperforming every other cable available on the worldmarket, including the most exotic and expensive brands.There are no unsupportable claims made forFORCELINES. The physical laws governing signaltransfer are well-known. A variety of criteria have to beobserved, and the ideal cable has an optimal mix of thesecriteria. Reactions to the performance of FORCELINEShave been emphatically positive. Reports from all overthe world relate the same thing: a definite improvement,termed anything from "remarkable" to "totallyincredible". For instance, in carefully controlled tests atthe reference installation located at Masterfonics Studiosin Nashville, Tennessee, FORCELINES positivelyoutperformed the other contenders. Among the numerouscomments made were the following:

Glenn Meadows, President of Masterfonics:

"...The cables were exactly the same length and perfectlyterminated. Great care was taken that everything wasidentical, so that a true A-B comparison would be possible.The difference between FORCELINES and the othercables was not subtle. That is quite an accomplishment forFORCELINES, as so far the other cable was the mosthighly regarded speaker cable on the market..."

Another comment from the same listening session:

"...There was absolutely no contest. The other cablesclearly exhibited current saturation. At low levels theywere just acceptable, but at middle and high levels itsounded like the source had gone into tapecompression...."

Listeners were simply knocked out by the accuracy ofMasterfonics' room, where FM 1000's are drivingKinoshita/Hidley monitors through FORCELINES 5

Another comment on FORCELINES which was receivedrecently:

"...I would like to confirm how much I have been satisfiedwith your FORCELINES 5 cables. Since installing them Iget a much more detailed bass and the high frequencies areincredibly improved. It also sounds like the cables'propagation time is shorter. The timbre is definitely farmore natural. This result is very surprising, as I was usinga famous first grade cable before. I thank you for yourvaluable advice..."The new FORCELINES 7 are now available. All of theunique features of FORCELINES 5 are incorporated.FORCELINES 7 have a somewhat smaller cross-section(they feature a pure copper cross-section of 10.3 mm2corresponding to AWG 7, rather than the AWG 5 size ofFORCELINES 5, which have a 16.5 mm2 cross-section).The main applications for FORCELINES 7 are:

- for medium length (up to about 15mt hookups ofhome speakers- for wiring mid- and high-frequency drivers inmulti-way applications- for connecting medium and smaller speakersystems in professional applications and for near-field monitor systems- for use in automotive systems

Yes, in car installations cable quality is very important!Because of the low impedances of car speakers, very highcurrents must be conducted with the lowest possibleresistance and interference. In these applicationsenvironmental effects are of great concern, and fullstability

combined with lowest-loss signal transfer is required.Throughout the entire audio band FORCELINES providebetter signal transfer than any other speaker cable.

FORCELINES, without doubt the most musical andaccurate high-resolution cable for connecting speakers.

Here are some specifications for FORCELINES:

Single conductor precision high-energytransfer cables Conductors individuallyidentified as + or - FORCELINES Specialhigh-purity, linearised, low-oxide copper,highly flexible, high-temperature resistantand flame retardant insulation1.5/3/5/10 mt. (Any other length onspecial order) FORCEPLUG 200,FORCELUG 25 -25° C to +80° Coperating, max. continuous: 95° CPrecision cable spacers included. Re-usable foam lined thermo plastic case.

FORCELINES 7 FORCELINES 5

1 Ohm/kmAWG5(16.5mm2)200A RMS,1200Ap500V RMS22 kg (p. lOOmt)17 kg (p. lOOmt)

10mm

Most of today's sophisticated speakers resemble actualdynamic impedances in the region of 1 Ohm and lower!Such real-world impedances demand huge output currentsfrom the amplifier, and this current must be transferred tothe speaker with minimum loss and interference. Peakoutput current requirements in excess of 100A are notuncommon! Every bit of improved transfer and every m-Ohm (milliohm) of lower resistance makes a difference.

To guarantee ultimate sound reproduction throughout theoverall system, FM ACOUSTICS has considered thewhole system interface, not just the cable. FORCELINESincorporate the specially developed FORCELUG 25 andthe unique FORCEPLUG 200 - highest-performance/lowest-loss connectors that can handlecontinuous currents of 200A RMS and voltages of 500V.Precision terminated and hand-soldered toFORCELINES, this combination sets the world standardin lowest-loss, highest-precision amplifier-speaker inter-facing. To guarantee non-compromised performance, FMACOUSTICS power amplifiers are only available inconjunction with FORCELINES.FORCELINES are ready for installation without any needof soldering or crimping. They are available in a varietyof configurations with various connector combinations.They come in sets, with a re-usable carrying case.Standard lengths

are 1.5/3/5/10 mt, but any length is available upon request.For further detailed information ask for the data-sheet andTechnical Bulletin 23:"Selecting The Correct Speaker Cable."

Wherever FORCELINES are installed an astoundingimprovement over any other cable is guaranteed. Evenwith small speakers and low-power amplifiers theimprovement is immense. The time has come to replaceexisting cables with FORCELINES and experience thedifference. There is no better way to obtain such a markedimprovement with such a minimal investment.FORCELINES are the ultimate solution for quality systeminterfacing, and they will reward you with definiteimprovements in system accuracy.

Backpanel of FM ACOUSTICS FM 801 Precision High-Power amplifier. Clearly visible are FM ACOUSTICS'precision lowest-loss 200A FORCEPL.UG connectorreceptables. In conjunction with FORCELINES thesehigh-performance connectors guarantee absolutelyunparalleled highest-precision signal transfer.

NEW PRODUCTS

The updated version of the FM 1000, called the FM 1000-1, is now available. Keeping all of the well-provenfeatures of the FM 1000, a signal presence LED has beenincluded - a feature which has been repeatedly requested.In all other respects the exterior appearance has remainedidentical. Inside certain parts which have just becomeavailable and some slight modifications now bringmeasurable and very audible improvements. The moredifficult the load, the more massive the improvement insound quality. R&D never stops at

Type:

Identification:

Conductors:

Std. Lengths:

Connectors:Temperature:

Accessory:Packing:

Resistance:Wire size:

Current:

Voltage:Net weight:

1.7 Ohms/kmAWG7(10.3mm2)100A RMS,600Ap500V RMS13 kg (p. lOOmt)

Pure copper wt: 11 kg (p. lOOmt)Diameter: 7.9mm

FM ACOUSTICS, and if some development will bring adefinite improvement (and it has passed all required trialsand long-term tests) it is incorporated - whatever the cost.

A 19" rack adapter that can hold up to three units of theFM 214 and/or FM 216 is now available. Order No: FL20150. This precision machined mounting plate is 1 unithigh (44.1mm) and has a satin anodised finish. For clientswho use only one or two FM 214's or FM 216's with thisrack mounting panel, there are hand-polished blank panelplates available which cover the unused cutouts. OrderNo. FL 20153.

New level potentiometer damping grommets are nowavailable. The precision level potentiometers on FMACOUSTICS power amplifiers are not detented, as thereare no detented pots available that meet our qualitystandards. But now there is an easy way to protect againstaccidentally touching the level controls: special rubbergrommets can be installed between the front-panel and thelevel knobs. The turning resistance can be adjusted fromvery light to strong by exerting a corresponding pressurewhen tightening the Alien screws on the knobs.Installation is a snap, as the only tool required is an 0.05"Alien key. Your distributor has these rubber grommets instock and will assist you in mounting them.

TECHNICAL TIPS

EQUALIZATION:When changing from another brand to FM ACOUSTICSpower amplifiers and/or crossovers, it is of utmostimportance that the monitoring system be re-equalized. Inmost installations one will be able to soften theequalization considerably, and frequently when installingFM ACOUSTICS amplifiers the equalizers can beeliminated entirely, resulting in a correspondingimprovement in accuracy. Equalizers introduceconsiderable phase shift and ripple, thereby appreciablydegrading the accuracy of the audio signal. Whereverpossible the equalizers should be eliminated. Obviouslythis is not always feasible, and in certain situationscontrolled phase shift is less obstructive than sharpresonances. It should be noted that equalizing is a staticcorrection only and will not necessarily yield accurateresults when playing complex dynamic material such asmusic. Even systems that seem perfectly equalized maystill sound unacceptable because the typical l/3rd octaveanalysers and equalizers can only correct broader-banderrors. The final judging must always be done by ear. If asystem measures o.k. but consistently soundsdisappointing, trust the listening evaluation rather than themeasurement.

SWITCH-ON:

An important point that is sometimes neglected is therecommendation concerning switch-on sequence. It ismandatory that the power amplifiers are turned on onlyafter all ancillary equipment has been switched on. Whileone may never actually hear a turn-on transient frompreceding equipment, this does not mean that there is noturn-on transient. All FM ACOUSTICS power amplifiersemploy relays with heavy-duty, multiple paralleledcontacts for delayed turn-on and various other functions ofthe protection circuits. This way speakers are fullyprotected from possible turn-on transients. However, thisstill does not protect the amplifier's input from turn-ontransients from preceding equipment. And while a switch-on surge from preceding equipment may actually not beheard, it can still heavily upset the audio circuitry. Inextreme cases and with extremely heavy surges, anamplifier can get damaged -especially if very heavy surgeshappen repeatedly.

FAN FILTER CLEANING:In the heat of daily activities things that are not soprominent often get easily overlooked. The FM 800, FM801, FM 1000 and the RESOLUTION SERIES 810 poweramplifiers need no maintenance - with one exception: theyuse many stages of discrete class A circuitry and requirelarge amounts of fresh air. There must be as littleobstruction to air flow as possible, so that the fan canefficiently control the operating temperature. Cleaning ofthe fan filter is often put aside until later or simplyforgotten. It is astonishing how fast a fan filter gets filledup with dust and dirt, and this happens even in rooms withfiltered high-performance air conditioning. However,when considering that in a typical operating day theamplifier's fan moves between 500'000 and 2'000'OQOliters of air, it becomes quite clear that the fan filter needsregular attendance. If the fan filter is not cleaned orreplaced the parts inside the amplifier will get too hot.Even a fan filter that "looks ok" can be filled with finedust-particles which are too small to be detected by thehuman eye. For example, in a typical studio installationwhere the amplifier is running 24 hours per day, if thefilter has not been cleaned for 6 weeks the temperatureinside the amplifier can rise more than 20°C just becauseof dust accumulation! In the long-term this will putunnecessary strain on parts and result in a shorter thannormal lifetime. In your own interest make sure that thefan filter is cleaned or replaced about once a month. Newhigh performance fan filters are available in a packagecontaining ten pieces. Order No: FL 20154.

APPLICATIONS FOR THE FM 214 PRECISIONLINE DRIVER

A popular application for the FM 214 Precision LineDriver is to use it at the output of a mixing desk andgenerally at the output of line level equipment. At first onemight be inclined to say:"But that's an additional stage!" Yes, this is an additionalstage, but a perfect one that improves the overallperformance. How does it do this? With very fewexceptions the design and execution of output and bufferstages leave a lot to be desired. Quite often insufficientattention is given to these stages, probably because thereare so many other work-intensive design aspects. This,however, limits the performance capability of the wholeunit. The difference that is possible when using a perfectline-level stage is only realised once the FM 214 is added!Practically every time a FM 214 precision buffer isconnected to the output, a definite improvement isobtained. Even famous console makes and mostprofessional and consumer equipment do not employreally clean output buffer stages. This is also true withbalanced circuitry. Therefore, these units can benefitremarkably from the addition of an FM 214. One of thereasons for these improvements is that practically allstandard output stages employ ICs and the usual feedbackcircuits described in design textbooks. These circuits wereneither designed for real world situations nor withconsideration for the capacitance and inductance of theinterconnect cables and the input load of the followingunits. The capacitance and inductance of the cable and theinput stage of the following equipment form a filter circuitwhich - together with the output circuitry - changes theperformance of this output circuitry. At worst it canbecome an oscillator which endangers the followingcircuits and seriously detracts from performance. Inaddition the output impedance of such stages is generallyfar too high, so that the subsequent cables and input stagesare not driven accurately and can have a negative influenceon signal transfer.

Recently Michael Fay, editor of REP magazine, stated:"The true heart and soul of any board lays in the input,equalization and output stages." He is correct. The simpleaddition of an FM 214 at the balanced or unbalancedoutputs helps a great deal. The unmatched drive capabilityimproves the output stages of practically all equipmentworking at line levels. This in turn dramatically improvesthe interface between the output stage and the succeedingload and produces a correspondingly better overall signaltransfer. The addition of an FM 214 is a small investmentwhich pays off in terms of greatly improved systemperformance.

TESTS

Today's speaker loads are getting more and more difficultto drive. For instance, a well-known middle-sized 3-waystudio monitor system requires considerably more than100A of peak current capability from the amplifier! Andthis is despite the supplier's impedance rating of 8 Ohms(which would indicate a maximum current in the region ofaround just 20A peak!). With such current demands otheramplifiers will clamp the signal down, seriously limit,switch off or even self-destruct, as such requirements putan incredible strain on the power amplifier. It is preciselyunder such conditions, with real-world loads and signals(and not just resistors and static signals like sine waves orsquare waves), that FM ACOUSTICS power amplifiersshow their true capabilities and outperform all otheramplifiers.For instance, the power that the FM 1000-1 delivers into awell-regarded large studio monitor speaker is no less than7000 Wpp - corresponding to 2500 RMS! - when drivenwith a demanding signal, a bass drum. FM ACOUSTICSrates the FM 1000-1 at 750W into a 4 Ohm load. Thisshows the immense reserve capabilities inherent in an FMACOUSTICS product and explains the much moredynamic rendering of signal levels, something for whichFM ACOUSTICS power amplifiers are world-famous. Italso demonstrates that the usual power output ratings intoresistive loads do not accurately portray actual real-worldsituations;nor do they give an accurate indication of true poweroutput.At the above power levels a single mono FM 1000-1draws over 40A from a 220V mains (and over 80A from a117V mains)! For a pair of FM 1000-1's this figure mustbe doubled! This explains why the stability and quality ofthe mains is of prime importance. Standard power outletswill often not provide the required power levels andperformance consequently suffers. Occasionally this hasnot been realised, and when clients performed tests theamplifier's full performance could not be attained. In orderto be certain that you are obtaining optimal performance,have the mains voltage of your installation checked whilein actual use. In critical applications separate high-powermains lines for each amplifier must be installed. Acollapsing mains reduces a top class amplifier'sperformance dramatically. For instance, a mains voltagedrop of 10% (not uncommon in certain countries) reducesthe amplifier's power output by almost 20%.

PERPETUAL MOTION

Yet another company has discovered perpetual motion! Aclient recently sent us copies of the

specifications for a series of US made so-called "pure"class A amplifiers. On the phone the client mentioned thatsome of the specifications were "rather strange." That wasputting it mildly! For instance, one of the models is ratedas follows:

100W RMS into 8 Ohms

200W RMS into 4 Ohms

400W RMS into 2 Ohms

800W RMS into 1 Ohms

2000W RMS into 0.1 Ohms

And it provides these power levels with a powerconsumption of 500W continuous! No comment.

AGENCIES, DISTRIBUTORS AND CONTRACTS

After visiting Korean distributors and clients, FMACOUSTICS appointed Seoul Sound Technology as itsexclusive agent for the Korean market. Extensivepresentations were made and various lectures were given.Shortly thereafter FM ACOUSTICS power amplifierswere installed in various leading studios in Korea:CBS/Jigu Records, EMI/Jeil Recording Studios, MunhwaBroadcasting Corp., Daedo (Donam Recording Studios),Seoul Recording Studios, etc. After initial hesitationCBS/Jigu Records also replaced all of their crossoverswith FM ACOUSTICS' unique FM 236 linear-phaseelectronic crossovers. Their initial hesitation was due tothe considerably higher price of the FM 236 as comparedto the other electronic crossovers on the market. But afterauditioning the improved system, the engineers atCBS/Jigu Records were thrilled! One remark received in afax from Korea: "FM ACOUSTICS' sound is great! Thankyou very much for recommending the FM 236...".

Combining proprietary filters that guarantee 36dB/octaveattenuation, precise linear-phase response, discreteenhanced Class A circuitry .with entirely hand-selectedtransistors and extremely narrow manufacturingtolerances, the FM 236 series of linear-phase electroniccrossover improves system performance dramatically

In all music centres of the world there is a continuoustrend toward FM ACOUSTICS precision electronics. In1988 no fewer than 14% of the European top 50 hits camefrom one single studio in London: PWL. PWL uses 4 FM1000 Precision Ultra-High Power Amplifiers. Afterinstalling the first pair of FM 1000's together withFORCEUNES and making a total re-check of the wholesystem and grounding arrangement, Mike Picking of PWLmentioned that they experienced a dramatic improvementin reproduction accuracy. By following therecommendations given in FM ACOUSTICS' TechnicalBulletin No. 5 they were also able to considerably reducethe hum and noise level of the mixing desk and the entireinstallation. After auditioning the completed installation,Mike Picking called and said just four words: "Theysound just marvelous."

In Japan more and more recording studios are replacingtheir power amplifiers with FM ACOUSTICS units. TheFM 801 Precision High Power amplifier has virtuallybecome standard power amplifier for all criticalapplications where accuracy of sound reproduction is ofprime importance. Recently the following studios movedup to FM ACOUSTICS power amplifiers:

Cherry Island Studios, TokyoCMS StudiosFreedom Studios, TokyoKawaguchiko, KawaguchikoMiyoshi Listening RoomNational Broadcasting Corp. "NHK", TokyoStudio Pan, YokohamaTaihei StudiosTerra Studios (Toshiba-EMI), TokyoWamer-Pioneer Studios, TokyoZero Studios, Tokyo

Unicus, FM ACOUSTICS' Japanese distributor, also wonthe tender for installing amplifiers at Tomakomai CityHall near Sapporo, thus prevailing against strongestcompetition from various American and Japanesemanufacturers. Six FM 1000's and two FM 801's wereinstalled in this State-of-the-Art system where they aredriving a speaker system composed of Electro-Voice"Thunderbolts". Initially a different brand of poweramplifiers was used. When the system was set up andtried, various engineers and users commented on a certainlack of bass punch and definition in the lower frequencies.All of the traditional ways of enhancing bass reproductionwere tried, but a major improvement in performance wasnot attained. Someone finally suggested trying variouspower amplifiers. After the FM 1000's were connected,engineers were amazed at the perceptible improvementsachieved by just replacing the power amplifiers. "Theeffect was as

if we had added a series of extremely clean and powerfulsubwoofer systems," was one comment. Because of therather dramatic differences observed, the management ofthe hall decided to use FM ACOUSTICS poweramplifiers exclusively.

FM 1000 and FM 801 Precision High-Power Amplifiersat Tomakomai City Hall near Sapporo

"Terra", the brand-new Toshiba/EMI studio complex inTokyo, one of the largest and most advanced in Japan, isexclusively using FM 1000 precision power amplifiers forthe main monitoring in all studios. 6 FM 1000's are beingused in the three top-notch facilities which have beenbuilt without compromise.

Shozo Kinoshita, famous for his design work on the TADdrivers, and now manufacturing the remarkableKinoshita/Hidley studio monitors that are being installedin top-class studios around the world, recently visited FMACOUSTICS with his family. Impressed by the precisionstandards, the dedication of the workforce and theircraftsmanship, Mr. Kinoshita confirmed that after manyyears of the most intensive experience with poweramplifiers there remains no doubt that the FM 1000-1 andthe FM 801 are the absolutely most accurate of allprofessional power amplifiers available on the worldmarket.

Tsuneo Mazumoto, a highly experienced producer andengineer working at Pan Studios in Yokohama, Japan,mentioned that he recently took the FM 600A that henormally uses in his home system to the studio andhooked it up to a set of Yamaha NS10 mini monitors. Hestates that the FM 600A never left the studio again. Thegreat difference in sound quality when compared with theother amplifiers in the studio - even when using thesesmall and relatively inexpensive monitors - was sodramatic that he now "has to" acquire another FM 600Afor his home system.Again and again clients simply do not expect that suchdramatic differences are possible by replacing the poweramplifiers. The unique technology and proprietarycircuitry utilized in FM ACOUSTICS power amplifierscontinue to surprise even the most sophisticated listeners.

The large control room in Terra Studio A in Tokyo.Pictured between the Kinoshita monitor and the Nevedesk are (from left to right): Shozo Kinoshita, designer ofthe Kinoshita/Hidley monitors, Victor Lu of TaishengTrading Corporation, Taipei, Manuel Huber, president ofFM ACOUSTICS, Switzerland, and Hiro Kimoto,president of Unicus International Corporation, theJapanese distributor for FM ACOUSTICS' professionalproducts line.

Famous producer Phil Ramone has been using a pair ofFM 1000 power amplifiers on a recent project with BillyJoel. Phil Ramone remarked that "...this system givesdefinitely the best monitor-sound I have ever heard."

During the recent Interbee exhibition in Tokyo,Unicus International Corp., FM ACOUSTICS' Japanesedistributor, staged a most staggering display of FMACOUSTICS' products. Manuel Huber, who flew toTokyo for the show, was rather pleased:

"...I have seen the whole show, and this was definitelyOne of the most attractive booths. It caught your eyeimmediately, but it also provided a rational backgroundfor in-depth discussions and lecturing about the uniquefeatures and performance of FM ACOUSTICS products.It was also satisfying to see the FM 801 being used onvarious booths of other manufacturers, some of whichmake power amplifiers themselves..."

The classic booth in black velvet and mirroredglass was an ideal display for the full range of FMACOUSTICS' products. Hiro Kimoto, director ofUnicus International, remarked that never beforehad there been such an overwhelming interest inFM ACOUSTICS products.

The elegant Unicus booth at the Interbeeexhibition, Tokyo. The crowded booth confirms thepronounced interest of Japanese professionals inFM ACOUSTICS’ precision electronics.

Kazu Nakajima of Unicus International Corp./ AtlanticAudio explaining the unique virtues of the FM 236 series ofLinear-Phase Electronic Crossovers.

Some time ago a letter from internationally acclaimed bassvirtuoso Anthony Jackson was received. Jackson'samplification system consists of a 4-way Turbosoundspeaker system with the FM ACOUSTICS FM 236/4Linear Phase Electronic Crossover employed to guaranteeperfect sound reproduction. The FM 236/4 drives two FM1000's for bass and low/mid and an FM 600A for the high-mid and high frequencies. The whole system is assembledto a standard of craftsmanship that has never before beenencountered in musical instrument amplification.Jackson's letter is self-explanatory:

"...Anything I might say about your amplifiers you havealready heard before, since I cannot claim to be the first touse FM ACOUSTICS amps. My usage, however, isperhaps rather unique - precision amplification of thecontrabass guitar. This instrument is perhaps moredemanding on a sound system than any other instrument,and your model 1000 is nothing short of awesome in itsability to handle low frequency transients. There is nodetectable sound of stress nor any sense of thermal stress.Although the amp always runs warm, it doesn't get muchwarmer when working hard. I've owned many poweramps, and I've heard and played through many more. Asfar as I'm concerned the search for the ultimate stops here.Let me also add a word about pride of ownership: There isnothing that compares to lifting the lid on a piece ofequipment and realizing that it has been designed andconstructed with no regard for cost. After 15 years as aprofessional musician I must say that my standardsregarding musicianship are as high as yours are regardingaccuracy of sound. Therefore, it seems sensible thatsooner or later I was bound to come over to FMACOUSTICS. Thanks for your most inspiringperformance!..."

because these people are comprehensively researchingeach and every stage with due respect for real-lifeapplications; they do not just succumb to the usualstraightforward A-B testing and inherently limited test-bench designing. FM ACOUSTICS' combination of suchsuccessively optimised stages yields unsurpassed results."

FM ACOUSTICS also received an order from JerusalemMusic Center. The FM 600A/ULI will be used in theirstudio, where primarily classical music is recorded.Jerusalem Music Center is sponsored by Isaac Stern, andmany world-famous musicians are using these studios fortheir recordings.After hearing the FM 600A/ULI driving the B+W 801monitors at Jerusalem Music Center, Israel BroadcastingAuthority also ordered an FM 600A/ULI for their ownrecording studios.

Crossover/amplifier rack for bass virtuoso AnthonyJackson. The 4-way active system consists of an FM236/4-4L driving a pair of FM 1000's for low and low-middle frequencies and an FM 600A/LJ for high-mid andhigh frequencies.

A. German client, who has the opportunity to evaluate andreview practically every new audiophile product comingonto the market,reports:"...For one thing it is extremely satisfying to have asystem that you know is an absolute reference. The bassresponse of my FM ACOUSTICS system -to which Icompare all of the equipment that I receive - is far (and Imean far) more realistic than with any other system. Withmost of these systems the bass drum dies away much tooquickly - which is totally unrealistic. With FMACOUSTICS electronics the attack and the sustain of thebass drum are precisely preserved. And the dynamics aremuch more realistic! But every time a single one of theFM ACOUSTICS components is replaced with anothermake, definite losses in performance are observed. Assoon as you go back to the entire FM ACOUSTICS chain,the reproduction again becomes startlingly realistic. Ithink that FM ACOUSTICS products provide such uniqueresults

In France most of the leading studios have now moved upto FM ACOUSTICS, including world-renowned studiossuch as:

AB Productions, Paris,Davout Studios, ParisDolphine Studios, ParisGuillaume Tell Studios, ParisPolygone Studios, ToulouseSociete de la Cordee "Les Amandines", SeteStudio Mega, ParisStudios Des Dames, Paris

These facilities have acknowledged that there is noalternative to the unmatched reproduction accuracy of FMACOUSTICS precision electronics.

LITERATURE

Since the last issue of FM ACOUSTICS NEWS thefollowing information has become available:

Technical Bulletin No. 20: "Importance OfRegular Cleaning Of Fan Filter".Technical Bulletin No. 22: "New Fan FilterType".Technical Bulletin No. 23: "Selecting thecorrect speaker cable".

FM ACOUSTICS LTD.

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