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[黑膠系統] 德國Dr. Feickert Firebird 唱盤

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發表於 2016-10-5 15:22:54 | 顯示全部樓層 |閱讀模式
Dr. Feickert Analogue's top-of-the line turntable, the Firebird, is a generously sized record player designed to easily accommodate two 12" tonearms. Its three brushless, three-phase DC motors, arranged around the platter in an equilateral triangle, are connected to a proprietary controller in a phase-locked loop (PLL); according to the Firebird's designer, Dr. Christian Feickert, a reference signal from just one of the motors drives all three—thus one motor is the master while the other two are slaves. (Man, today that is politically incorrect, however descriptively accurate.) Feickert says that the key to this drive system is the motor design, which was done in close consultation with its manufacturer, Pabst. The result is a feedback-based system in which the controller produces the very low jitter levels claimed by Feickert.
A complete redesign of the inverted platter bearing used in the Firebird and in Feickert's two other turntables, the Woodpecker and Blackbird, is claimed to reduce the contact area between spindle and bearing well by 80%, in order to reduce friction and, in turn, rumble, wow, and flutter. (Good thing: The original Blackbird, which I reviewed in my September 2011 column, wasn't the quietest bird on the block.) Riding on the inverted bearing is a 13.23-lb platter of polyoxymethylene (POM), which is said to have resonance characteristics similar to those of vinyl itself; embedded within that platter, close to its outer edge, are eight solid brass cylinders. Feickert says that his three-motor arrangement, in which the platter is evenly driven by a thick, precision-ground belt made of nitrile butadiene rubber (NBR), results in a more stable bearing and platter by canceling out "virtually all acting forces," to effectively eliminate bearing and platter wobble. 316firebird_promo_.jpg


The Firebird weighs 68.5 lbs, and its plinth is large: 22" wide by 6.25" high by 18.25" deep. Its thin upper and lower aluminum-alloy plates sandwich a block of treated MDF, and it sits on (newly designed) adjustable feet. The plinth is available in natural or black-anodized alloy, with side panels of zebrawood or piano-black lacquer.
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Feickert's arm-mounting system makes installing, adjusting, and swapping out tonearms more convenient than on many turntables. In each rear corner of the plinth is a large, oval, diagonally oriented cutout; the one on the right can accommodate arms with effective lengths of from 9" to 14", the one on the left arms of 9" to 12". Each cutout can be fitted with a circular armboard that bolts to a pair of sliding, captured nuts, one nut on each side of each cutout. A notch in the rim of the armboard aligns with a scale calibrated in millimeters and silkscreened on the plinth, for measuring the distance from the tonearm's pivot to the center of the platter's spindle—obviating, in most cases, any need for a pivot-to-spindle protractor. This makes swapping tonearms easy, assuming you've already mounted your other arms on Firebird armboards and that their pivots coincide with the centers of those armboards.

Dimensions: 22" wide by 6.25" high by 18.25" deep. Weight: 68.5 lbs.

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 樓主| 發表於 2016-10-14 16:00:25 | 顯示全部樓層
美國著名發燒音響雜誌TAS(The Absolute Sound,國內稱為「發燒天書」)近期揭曉了2016年編輯選擇獎(Editors』 Choice)獲獎產品名單.  據稱這些產品是該雜誌編輯願意購買,或者願意推薦給朋友和家人購買的好產品(原文:These are the components we ourselves would buy—or recommend to friends and family),當然也值得您在購買之前作為參考。裹面包括 Dr. Feickert Analogue 的 NG Protractor 及 Adjust+調較唱片. Protractor.jpg 0Cp2Lt06.jpeg.jpg
原文網址:https://read01.com/Ko08jP.html
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 樓主| 發表於 2016-10-17 16:23:11 | 顯示全部樓層
TAS review Dr. Feickert Analogue Woodpecker by Andre Jennings

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The Feickert Woodpecker was first introduced in 2008 and has gone through some performance upgrades and refinements over the past few years. In 2012–2013 the Woodpecker received a bearing update, a motor/controller/hardware/software update, and a user interface update. In the U.S., VANA acquired the distributorship for Feickert Analogue midway through 2013.
The Feickert Woodpecker is a belt-driven turntable with a proprietary-software-controlled DC motor. The design includes a quick-release sliding-armboard system capable of supporting a variety of 205–300 mm (9"–12") tonearms. The chassis is 18.9" wide and 15" deep, and weighs 29.7 pounds. With its 13.2-pound platter the total turntable weighs in at approximately 43 pounds without tonearm. There are five pushbuttons on the front left top of the turntable near the platter. Three buttons allow speed selection (33/45/78), while the other two are for speed adjustments.

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Dr. Feickert Analogue Woodpecker Turntable
According to Feickert, the new bearing is inverted, designed to reduce contact area by 80% without reducing stiffness compared to the previous design, and has a flattened out area to reduce rumble significantly. According to the manufacturer and distributor, additional features of the bearing include spiral grooves to pump oil up into the bearing, and an included oil-release grub screw that allows excess oil to flow through, resulting in better motor/bearing interaction with tighter tolerances.
The High Inertia Platter is made of POM (Delrin) with eight precision-machined MS58 brass inserts along the outer portion of the platter to balance it and eliminate eccentricity. This additional mass also improves speed stability. The manufacturer states that the Delrin platters are pre-dyed before extrusion and double-tempered to reduce tension, then cut to 60mm (2.36") in height and double-tempered again before machining to ensure the resulting platter (approximately 1.8" high according to my calipers) is flat, round, balanced, and smooth-running. feickert table 3.png

The Woodpecker package arrived in a double-boxed carton. After quickly checking the box for damage (there was none), I set it aside, unopened, until Stirling Trayle of VANA arrived a few weeks later to assist in setup. Assembly went rather quickly. Stirling has a system for alignment he’s been fine-tuning for some time that uses the Acoustical Systems SMARTractor protractor. He set up a custom UNI-DIN alignment that I could compare to a Baerwald alignment later when I changed cartridges. When the setup was completed and Stirling was happy with the sound, we declared it done.
Since I had an additional Arché headshell for the review, Stirling wanted to hear one of my cartridges before leaving, so we quickly and roughly mounted my van den Hul Colibri. (I said roughly because we ran into a snag that I’ll get to later.) Even with this rough mounting, I could clearly hear the characteristics of the Colibri through the Woodpecker, which gave me an early indication that the ’table seemed capable of providing a solid foundation to build an analog system around. feickert table 4.png

After a few weeks of listening to the Woodpecker/Cadenza Bronze combination, I changed the alignment for Baerwald instead of the UNI-DIN set during initial installation. This gave me the opportunity to take a close look at the SRA and adjust the headshell closer to the setting I prefer as a base starting  point when installing cartridges. To get to that starting point I needed to raise the SRA of the tonearm. As the Arché headshell only allowed near-level-and-lower SRA settings, I literally had to “raise” the rear of the tonearm (easy to do with the Jelco) to get the increased SRA I desired. With the Jelco tonearm raised several millimeters, I was able to set my new baseline.
With this new ’arm height and alignment, sonic results were surprisingly good. Looking back, I wondered what the UNI-DIN alignment might have sounded like with my new SRA setting, but I couldn’t go back to the original setup since I didn’t have a SMARTractor on hand. With this SRA-adjusted Baerwald setting, the Cadenza Bronze began to show traces of the richer tone color that only the MC Anna has prominently displayed in the Ortofon lineup. I listened to this combination playing back a variety of jazz, classical, pop, blues, and rock for several weeks. During this time, the Cadenza Bronze in the Woodpecker package proved to be quite enjoyable.
After putting the Woodpecker package through its paces with the turnkey cartridge/tonearm/cable option provided by VANA, I tried a series of tonearm cables I had on hand, and ended up preferring a Graham IC-70. This cable opened up the presentation and exposed more inner detail without any added harshness that I could detect. Most instruments took on a speed and clarity that proved the turnkey cable had been somewhat sluggish on initial attacks. With the Graham tonearm cable, the Woodpecker package, including the Cadenza Bronze cartridge, moved forward in performance by a noticeable margin.

After some time had passed, I installed my Lyra Skala on the second Arché headshell using the new baseline tonearm height I set for the Cadenza Bronze. With both cartridges in individual Arché headshells, I could easily switch between the two and maintain all set-up parameters except for quick tracking-force adjustments. This Lyra combination turned out to be a sweet spot in value because the cost of the cartridge didn’t exceed half the cost of the Woodpecker package but provided an increase in performance. With this setup I settled into a routine of long, nightly listening sessions without feeling the need to make any changes, enjoying the heightened performance of the Woodpecker package with the Skala in the system.
Continuing the cartridge set-up bonanza, I returned to the Colibri. With the initial setup, overhang of the Colibri couldn’t be set perfectly using the original pivot-to-spindle distance setting because of the relatively short cartridge-mounting slots of the Arché. (There is no standard for cartridge-stylus-tip-to-mounting-hole distance. This is why most cartridge headshells have longish mounting slots, in order to compensate in effective length for a given pivot-to-spindle distance. The effective length of certain tonearms can also be adjusted if the tonearm itself is mounted on a sliding base that allows adjustment of pivot-to-spindle distance. S.M.E. tonearms take this approach. And so does the Woodpecker.)
With the longer cartridge-mounting slots of the Jelco headshell, there was room to move the cartridge further back and achieve proper overhang. With the Arché there wasn’t. But because this is the Woodpecker and it has a quick-release sliding tonearm mount that allows adjustment of effective length, I simply increased the pivot-to-spindle distance another 2mm, which also increased the effective length required for setting overhang. I could now use the Colibri in the Arché headshell and complete a full alignment. The quick-release sliding-tonearm mounting feature of the Woodpecker adds both pivot-to-spindle and effective-length adjustability when used with a slotted headshell. feickert table 5.png

Once the ’table is set up properly, the Colibri’s sound character came through marvelously. Transients were very speedy with clarity that followed every note on any instrument. The Colibri’s slight reticence on instrumental decay—made more apparent by its surprisingly quick starts and stops—was easily heard along with the warmth (although softer and reduced in level when compared to other cartridges) of its low-frequency output. The Woodpecker package didn’t appear to impart any sonic signature that took away from the cartrdige’s strengths. I just sat and absorbed the lightning fast and near-limitless sense of speed the combination produced.
What was consistent after this round of cartridge swapping? Well, words like timing, drive, and pacing come to mind. On my not-so-special copy of Dire Straits’ Love Over Gold, “Telegraph Road” had good musical drive and foot-tapping timing throughout. The dynamics and togetherness of the performance were also excellent and cartridge-dependent. Moving on to the Mercury Living Presence recording of Chabrier’s España, the opening string pizzicatos and bowing were clean and clear with consistent reproduction of orchestral timing. Soft-to-loud passages were crisp, the soundstage expansive. Finally Herbie Hancock’s River: The Joni Letters provided an example of the Woodpecker’s ability to reproduce piano. On the title song, piano notes and lingering decays were solid and unwavering.
Although the performance of the Woodpecker had been really impressive throughout all of my listening sessions, I was also aware of the unit’s slightly higher noise floor vis-à-vis my own (much more expensive) reference turntables and ’arms. The rise in noise was subtle but noticeable, and is one difference that comes into focus when systems are designed to a price point. I believe the bearing design in the Woodpecker is remarkably quiet, so I would guess that the small increase in noise is most likely from the motor coupling to the single chassis plinth. I don’t really want to a make big deal about this, save to say that the difference can be heard (vis-à-vis more expensive analog source components) on really quiet passages at high volume on high-resolution systems. I should say that the higher noise floor never really interfered with my enjoyment of the music if I wasn’t listening for it.
This brings me to another area of focus. The Woodpecker is a solid one-piece design without built-in isolation from the listening-room environment. The manufacturer and distributor believe that design dollars, at this price point, are best spent on maximizing parameters they deem more important to playback. They feel that turntable isolation should be left to the user to address for his own situation. Speaking for myself, I ended up placing the turntable on a corner shelf that is effectively supported by the floor and two load-bearing walls. The Woodpecker sat on that shelf on a Neuance Isolation Platform that proved to be a near perfect fit. This approach provided enough isolation for my situation.
The Woodpecker Package has proven itself to be a very capable platform for vinyl playback. Its High Inertia Platter, updated drive system, redesigned bearing, quick-release sliding-tonearm mounting system, and Acoustical Systems Arché headshell combine to give the turntable solid and steady playback capabilities. The gorgeous VANA-specified finish adds beauty to solid baseline performance. If you are in the market for a turntable in this price range, you owe it to yourself to include the Woodpecker in that search. Given the Woodpecker’s ability to work well with cartridges far more expensive and capable than what would normally be installed, it could possibly serve its owner far into the future.


SPECS & PRICING
Type: Belt-driven turntable
Armboard: 205–300mm pivot-spindle (9"–12" effective length)
Dimensions: 19" x 5.5" x 15"
Weight: 40 lbs.
Price: Woodpecker in pianoblack, US$6500 (US$7000 in rosewood); Woodpecker package in piano-black, US$8000 (US$8500, rosewood); Woodpecker package w/ Ortofon Cadenza Bronze and tonearm cable in piano-black, US$10,000 (US$10,500, rosewood)

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發表於 2016-10-22 14:20:13 | 顯示全部樓層
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綱上看到很多人用Reed 來配Dr.Feickert. 我估應該是很不錯的組合。
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 樓主| 發表於 2016-11-1 13:38:12 | 顯示全部樓層
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原廠CLEAN電池power supply, 另電源更純更穩定
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發表於 2016-11-11 14:27:11 | 顯示全部樓層
勁!

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 樓主| 發表於 2016-11-22 17:44:46 | 顯示全部樓層
Firebird 內置servo speed control.  微調幅度非常細緻,準確.
316firebird_edgedetial.jpg
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 樓主| 發表於 2016-12-8 16:45:53 | 顯示全部樓層
Dr. Feickert Firebird + acoustical systems Axiom

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 樓主| 發表於 2016-12-23 14:31:49 | 顯示全部樓層
Firebird + Morch , Reed

316firebird_3.jpg
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 樓主| 發表於 2017-2-9 14:57:00 | 顯示全部樓層
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Blackbird + Ortofon tonearm
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 樓主| 發表於 2017-3-14 17:31:53 | 顯示全部樓層
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Woodpecker with AS Aquilar tonearm
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 樓主| 發表於 2017-6-15 17:52:20 | 顯示全部樓層

Feickert Audio, Dr Feickert Analogue, Firebird Turntable
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發表於 2018-1-5 14:13:40 | 顯示全部樓層
Avantgarde-HK 發表於 2017-6-15 17:52
Feickert Audio, Dr Feickert Analogue, Firebird Turntable

How does Firebird sound compare with TW Raven AC?
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發表於 2018-1-6 00:01:43 | 顯示全部樓層
問Firebird Turntable 幾多$ ,  適合新手用?
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 樓主| 發表於 2018-1-9 12:31:35 | 顯示全部樓層
PM sent
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發表於 2018-1-9 22:16:16 | 顯示全部樓層

Please also send to me, thank you
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 樓主| 發表於 2018-1-10 11:55:56 | 顯示全部樓層
ken01010 發表於 2018-1-9 22:16
Please also send to me, thank you

PM sent!
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 樓主| 發表於 2018-1-12 12:39:36 | 顯示全部樓層
本帖最後由 Avantgarde-HK 於 2018-1-12 12:43 編輯

Dr. Feickert 操作容易, 穩定, 極少維修紀錄.  適合新手.

內置高級伺服控速,又可裝2支臂, 仲有最新 Linear 線性電源 (LPS) 可以升級.  

真係唔錯嘅選擇!

p2343699473-3.jpg image.jpg Linear.jpg
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發表於 2018-1-12 14:45:52 | 顯示全部樓層
本帖最後由 morechoices 於 2018-1-18 14:00 編輯

CLEAN電池power supply, 電源更純更穩定 ,  穩定電源只惠合機械操作方面 ,  不明白對唱針拾音又有何影向? 請指點

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發表於 2018-1-22 01:58:11 | 顯示全部樓層
Avantgarde-HK 發表於 2018-1-12 12:39
Dr. Feickert 操作容易, 穩定, 極少維修紀錄.  適合新手.

內置高級伺服控速,又可裝2支臂, 仲有最新 Linear ...

Lps有没不同角度和内部的图片,Thanks.
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