We are not just an e-shop, we are the group of enthusiasts, lovers of high quality sound systems. During several years we have been learning different Hi-Fi components. We have touched such pearls of industry which can be found only at the collections. And now we have decided to apply our experience in listening and feeling music at work.
We have got experience in listening and hearing, used objective measurements in work, learnt language of graphs and schemes and now decided to apply our know-how.
We are helping to choose the most suitable component parts for upgrading your systems. If you can’t find in our e-shop what you are searching for - contact us and we’ll offer you the best prices for them.
On basis of our knowledge and experience we have opened a new department – service and upgrading of the legendary SAEC products. Besides we provide original and modern Japan accessories for tonearms SAEC, which are made on the best standards on CNC.
Thank you for visiting our website!
I. Product development policy
● Necessity of product development
SAEC specializes even within the field of audio technology on a very specific genre of magnetic pickups. This approach stems from a clear policy – an effort to deliver only highly distinguished products which can be developed independently by SAEC. It is our sincere wish and pride that our customers can appreciate the entire SAEC brand based on structural concepts, used materials and the “sound” we imprint onto every individual product.
● Concept equals “sound”
Products lacking conceptual solution are inevitably lacking also in their sound. The only possible way to account for the existence of a conceptually imperfect product with a perfect sound is that the concept itself is faulty. A faultless concept is sometimes surprisingly simple and always elegantly clear.
SAEC obviously cannot offer products accommodating for factors such as warping or eccentricity of records which inevitably bring about sound quality deterioration. Warping and eccentricity of each record is unique and that is why there can be no definite solution for it. Moreover any measures addressing such issues would inevitably become gate ajar for retarding the performance of the product. In other words, solution of problematic aspects of records is a task for record producers; SAEC is a specialized brand devoted to magnetic pickup reproduction equipment and has to draw a line there.
II. SAEC concept of rigid body
“Rigid body” is the pivotal part of SAEC concept. The SAEC rigid body must simultaneously fulfill two basic (1)(2) and three detailed conditions (a)(b)(c). That is:
(1) does not deform due to an external impact
(a) limitless spring-like resiliency (imagine strong spring)
(b) no internal loss (imagine the opposite of a muddy swamp)
(2) does not move due to an external impact
(c) quantity of matter is unlimited (imagine a mass resembling an enormous rock)
This is what SAEC takes to be the ultimate rigid body. Also, an objects presenting high degree of qualities described above are thought of as having a high degree of bodily rigidity. However, general understanding of high bodily rigidity seems to impose only one of SAEC conditions, i.e. (a) limitless spring-like resiliency. Consequently, the pursuit of high bodily rigidity turns into searching for light and hard material (internal loss is welcome).
● Does light and hard equal rigid?
From the point of view of SAEC concept, a light thing cannot be a rigid body. Let’s take the diamond chip of a cartridge needle tip as an example. It has indeed almost limitless resiliency and the internal loss is extremely low (does not deform due to an external impact) but the diamond chip readily responds to even the slightest waves of disc sound groove. That is to say, the diamond chip itself definitely cannot restrict vibrations. It follows that light objects, even if they are hard and show almost no internal loss, cannot be classified as a rigid body. However, if the diamond chip was fixed onto a rigid body with its unlimited quantity of matter, the rigid body material could be considered a part of the diamond chip and so this particular diamond chip would be a rigid body.
● What are the grounds for damping resonance approach?
When an object is affected by an external impact, first, it deforms, then as a reaction to the deformation it heaves upward and then as a reaction to this reaction it heaves the other way. Such sequence when repeated is in general called vibration. However, if the object had sufficiently high internal loss the deformation brought about by the impact would not exceed one half of one wave of the sine curve; the rest of the impact would turn into heat energy which would be absorbed. This is a traditional idea of damping through an internal loss. However, this approach has a blind spot, i.e. the external impact (cantilever vibration, air vibration from the speakers) during music reproduction comes continually. Even if the player cabinet and turntable mat were able to limit each impact to a half a wave each, there still would be impact after impact coming; and repeated half-wave deformations eventually do not differ from a regular vibration. In other words, this solution does not use what SAEC calls the rigid body. Just a marginal note: it would still be somehow acceptable if the object with an internal loss capacity were able to absorb all frequencies (number of waves) by heat exchange equally but there is a general tendency toward the selective absorption of particular specific frequencies (number of waves). For example, a part of the signal picked up by the needle tip of cartridge is lost in form of heat absorption and since the absorption is selective, sounds corresponding to some frequencies are emphasized and sounds corresponding to others are attenuated which is obviously not desirable. This solution does not strive even at reaching 100% correct electric generation and the result is that the sound tends to be clouded and warped.
There are three principles applying to the amplifier power supply 1) the capacity of condenser should be as large as possible 2)the internal resistance should be as low as possible 3)the inductance of the line should be as low as possible. If we replace capacitance by spring-like resiliency, resistance by inner loss, inductance by lightness (amount of material); we will notice an astonishing match with the three principles of SAEC concept rigid body.
III. Componential concept
SAEC is definitely not a supporter of the idea that it is necessary to work on improving overall characteristics of the tonearm, turntable, player cabinet, cartridge, etc. as total. We strive at perfecting each single component, and subsequently at faultless assembly to enable perfect disc reproduction. That is why we feel it is necessary to theoretically identify the fundamental function of each component. Fundamentals of each SAEC product stand on this clearly established concept.
1) Tonearm (it is necessary to increase the rigidity of the tonearm as much as possible - hard, heavy and without internal loss).
As was mentioned above, SAEC is, despite the current situation where light and hard materials are considered ideal, convinced that it is necessary to increase the rigidity of tonearm - low and high compliance alike - as much as is practically possible. Making the arm a rigid body obviously results in it being rather heavyweight. SAEC arm may feel heavy when compared to other products. But if asked, we would have to admit that we would like it to be heavier still. The reason why it is necessary for the arm to be a rigid body as defined by SAEC is the need to fulfill the condition that all parts apart from cantilever must not move in any moment. If there were an arm with the mass of 100kg and if its bearing were ideal, it would be in principle possible to achieve 100% trace with a high compliance cartridge.
The majority of mainstream solutions for bearing part take free play of the bearing for granted. We are confident that our no diameter, no resistance SAEC double knife edge - consisting of two knife edges - which in principle does not develop any free play is the only solution of the kind.
Thanks to the bearing structure of double knife edge and use of super high rigidity materials, it is possible to damp low frequency unwanted vibrations sufficiently even with high compliance cartridge (high internal resistance). Even if fo is decreased Q does not increase.
In this way SAEC is persistent in putting the sound as its topmost priority. Design and convenience are of secondary importance. For example, anxious about the sound deterioration, we decided to use construction dividing the body; arm lifter and arm rest when designing our highest class WE-506/30.
2) Time constant equalizer (T.C.E.) (as long as the record reproduction keeps RIAA specifications T.C.E. is an indispensable piece of equipment).
We believe that before long, it will be a standard apparatus used in audio systems all over the world. There is a current difference as high as 30dB between low frequencies and high frequencies during the electromagnetic generation when reproducing which is consequence of RIAA specifications. This cause of inevitable sound deterioration was neglected up to now. But time constant equalizer is equipment which can eliminate the cause of such a significant sound deterioration. Phase and frequency characteristics are orderly corrected and the cause of sound abnormalities which was generally overlooked is plucked out at the root. As long as records follow RIAA specification, the time constant equalizer is an indispensable item.
3) Turntable mat (the mat should be rigid and have no-resonance structure).
When SAEC introduced its original metal turntable mat SS-300 it created somewhat of a sensation. Nowadays hard turntable mats are becoming a common practice. Record vibration brought about as a reaction to cantilever vibration was received by the conventional soft mat but it was not damped. The rigid material use was born out of the idea to eliminate the vibration at the source. The unwanted vibrations occurring in turntable are eliminated using an effect peculiar to metal - two layers of different metal are used and vibrations canceled out on the critical surface.
4) Turntable deck (unwanted vibrations prevented by coming as close as possible to the rigid body structure).
The rigid body is an object which does not allow any vibration. SAEC has, based on the ridiculously simple idea that any part of the audio system where vibration is undesirable should be turned into a rigid body, developed SBX-3 turntable deck. SAEC has turned three principles of rigid body: as unlimited quantity of matter as possible, as limitless spring-like resiliency as possible, and a minimal internal loss, into an actual product - SBX-3 turntable deck - which can be used in real-world conditions of a listening room. Nevertheless, no matter how rigid the material is, when it is subject to a strong external impact, any non-ideal metal element vibrates (natural vibration). As a countermeasure SBX-3 has a non-resonant block (de-resonator) installed in a specific location which eliminates the resonance.
About howling: As is well known, howling is a phenomenon occurring when the sound energy from the speaker affects via air the player board, record and cantilever and the specific frequency causes resonance which is amplified. If the difference between the turntable deck material density and the air density was enormous, deck would repulse the air vibration and maintain the non-vibrating status.
About the vibration coming from cantilever: the cantilever vibration is transmitted proportionately to the size of ratio of the turntable deck mechanical impedance and the cantilever damper mechanical impedance. When cartridge unit →tonearm→turntable deck are ideally assembled as one body (rigid body) the deck mechanical impedance is enormous and thus the cantilever vibration does not transmit to the cartridge unit, tonearm or deck at all. (The same applies to the motor vibration).
5) Peak up code and line code (impedance matching should be strived even in case of transmission system).
The qualities of used audio code can influence the quality of sound more than might be expected. Since there is either an output impedance difference depending on the cartridge type (MM, low output MC, mid-to-high output MC), or marked output impedance difference between the preamplifier, tape deck, etc. (less than 15Ω, 100-600Ω,1000-2000Ω) the specification of the code used between the equipment should come out naturally. In SAEC we use in total six types of PU code and line code depending on the output impedance. We commercialized the product only after recognizing the substantial sound quality improvements ascertained by repeated meticulous listening tests. We named them acoustic codes for the sake of music reproduction.
SAEC Saec commerce, ltd.
Audio ingineering, ltd.
Omorikita 3 – 12 – 3, Ota-ku, Tokyo 143
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