 |
| |
|
Inevitably
users, potential users, reviewers and many
other people have questions they want to ask
us. We keep a list of these and our answers
too. They are shown here. We anticipate adding
to this list from time to time.
|
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
Our full range is on permanent
demonstration at Pinsh Demo rooms in London. |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
No, except for the original
Pinsh 1.0 which has now reached the end of
it’s production line. We are selling
off the last remaining pairs. You can find
out more about the bargain prices on the few
remaining pairs by contacting us. |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
Currently where we don’t
have an official importer we export direct
to the customer in that country. Once we have
an importer in place in a country, we immediately
cease direct exports to that country. |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
We have been involved in
loudspeaker design since 1968 and built our
first ribbon tweeter design in 1982. Over
3,000 prototype ribbon drivers, several hundred
working models and in excess of 30,000 hours
were necessary to achieve our objectives.
In 1987 we released our first ribbon bass
panel. Our first domestic product, the Pinsh-1
speaker was released in 2004 |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
The traditional ribbon
driver consists of a small aluminium strip
(Pinsh don’t use aluminium) that is
placed between two pole plates which are attached
to a magnet. A current is fed through the
ribbon and thus the ribbon functions like
the coil in a dynamic loudspeaker. At the
same time the ribbon performs the function
of a cone (though it doesn’t look like
a cone) because it moves and thus brings the
air into motion. Its efficiency (maximum sound
pressure level) depends mainly on the strength
of the magnetic system. |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
It is a single strip of
pure metal (very much more expensive and musically
satisfying than aluminium) moving in a magnetic
field. The mass of this strip is 0.006 gram
i.e. 167 times lighter than the most expensive
dome tweeter, moving mass of our midrange
is 0.024 grams i.e. 125 times lighter than
the most expensive dome midrange. The ribbon
is immersed in a powerful magnetic field which
exerts a vice-like grip control over it so
that the ribbon stops and starts precisely
in time with the signal from the amplifier. |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
Rather than us trying to
explain this, bearing in mind we are biased,
we will leave it to reviewers. Here are some
extracts from reviews in the UK Hi-Fi press:
“ Ribbons do shimmer. This is
easily heard on the decay of a xylophone
or vibraphone note or cymbals. It simply
shimmers. There’s no other word for
it. Was it accurate though? Who knows? Who
cares? It’s just magical, compelling,
entrancing. Pinsh are going for listenability
first and foremost,”
|
|
| |
|
|
|
| |
|
|
| |
|
|
|
| |
|
Hi-Fi NReview of the Pinsh1.0
bookshelf speaker in Hi-fi News
|
|
| |
|
|
|
| |
|
|
|
| |
|
“ The Pinsh 1
, even though second costliest, consistently
proved its superiority in cohesion in all
frequency ranges. Where it combined bass dexterity
and extension stunningly well, and boasted
excellent high-frequency ability too.”
|
|
| |
|
|
|
| |
|
|
| |
|
|
|
| |
|
Review of the Pinsh1.0
bookshelf speaker in Hi-fi World
|
|
| |
|
|
|
| |
|
|
|
| |
|
“ It’s
their astonishing performance, their ability
to punch above their weight and the remarkable
value that tips the balance for me. All the
more extraordinary given that these are at
the very bottom of their range.” |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
Distortion is exceptionally
low to almost zero and not ordinarily audible.
This means that the other components in the
audio chain become the primary sources of
signal distortion. The frequency response
is linear and the upper limits are 100khz,
although the human ear can hear up to 20,000hz
there are super harmonics called formants
of the lower frequencies that when present
gives you the sense of completeness of the
sound. Or put differently, when absent, the
sound feels more hi-fi and less natural. As
with an electrostatic design, the diaphragm
is driven over its entire area, giving an
even dipole response above low frequencies,
where the back wave will cancel that from
the front, and the lack of cabinet implies
the absence of a major source of colouration.
Equally as important is the lack of colouration
from diaphragm resonance. Apart from the one
low-frequency resonance due to its suspension
– and this will be very low if the ribbon
is suspended floppily enough – there
is hardly anything to colour the sound. |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
The large number of magnets
required and the labour-intensive production
of the large diaphragms means that mass production
is ruled out. Ribbons don’t generate
much sound unless the magnets are very powerful.
Powerful is another word for expensive and
the more power, the more expensive it becomes.
Most loudspeaker manufacturers in reality
are run by bean-counters (accountants) and
we suspect that they have taken the view that
the sheer hassle of production and the consequential
poor return on investment make it commercially
unattractive. Bean-counters are not usually
preoccupied with quality, unless it’s
the quality of the profit!
|
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
Soundstage is, in any practical
sense impossible to measure. Fortunately a
properly functioning pair of human ears can
detect slight variations in soundstage. Some
users and reviewers have noted that under
certain conditions, the image gets "bigger"
as it gets louder with Pinsh speakers. Some
reviewers have commented privately that as
the volume increased, there was an enhanced
sense of freedom. Given the unpredictability
of this effect due to variations in room acoustics
and ancillary equipment we don’t give
undue publicity to this performance aspect
|
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
Well, we can only answer
this in general terms because we don’t
know your room acoustic properties nor your
source equipment or amplification. However
having said this. There are some characteristics
that are immediately apparent.
You’ll be impressed (we hope) by the
immediacy of sound. Depth will be first-rate;
when properly set up. This is because dipoles
in general are noted for their ability to
generate a sense of three-dimensionality.
As you progress up through the Pinsh range
this depth will progressively move towards
being perfectly natural and part of the recording.
It sounds a cliché now because the
phrase has been so over-used elsewhere, but
the plain fact of the matter is that when
you close your eyes, and even to a lesser
extent with them open, Pinsh speakers just
don’t seem to be there. The music hangs
in 3-dimensional holographic magnificence
both between the speakers and way outside
of them and of course that soundstage is correct
in both height and depth too.
|
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
The simple answer is that
currently it’s easier not to! Having
said this, getting the balance right between
cone and ribbon drivers is quite tricky. Actually,
very tricky. A more considered response though
is the fact that all ribbons, including bass
ribbons are bipolar i.e. they radiate sound
energy both forwards and backwards. To a large
extent, the manner in which a bass bipolar
speaker couples to the room determines the
ultimate low-frequency performance which can
be expected. We have for some years now been
thinking how to address this. Numerous prototypes
are taking us towards a practical solution. |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
Yes, by which we mean that
your choice of speaker cable will influence
to some degree the amount of detail and transparency
you achieve. All speaker cables are filters,
to a greater of lesser extent. Some people
even opine that cables are a sort of tone
control. It’s an interesting thought.
cables do of course have an influence on our
bass too. We don’t recommend any specific
cable. We suggest that in collaboration with
a co-operative retailer, you experiment. Try
speaker cables first, then buy; not the other
way around.
|
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
We and others have achieved
outstanding results with both valve and solid-state
amplification. The choice is down to personal
preference and budget of course. What we can
tell you is that to sound their very best,
Pinsh ribbons need a good power amp with lots
of current-sourcing capability. If in doubt,
don't buy our speakers without first hearing
them with your own amplifier. Interestingly
not many high high-end manufacturers encourage
this procedure. In contrast, part of becoming
a Pinsh specialist retailer is an enthusiasm
to always encourage potential buyers to do
this! |
|
| |
|
|
|
| |
|
| |
|
|
|
| |
|
All the usual advice and
precautions re placement to avoid bass bloat
apply e.g. not too far into corners and so
on. However when it comes to the characteristics
of the ribbon in our hybrid speakers, our
experience is that even though they are not
room-placement-sensitive, it’s very
rare where there isn't a place where they
will sound satisfactory. Be prepared to experiment
though
|
|
| |
|
|
|
