February 20, 2013
Are FM ACOUSTICS products available ex stock now?
Delivery terms change by the day and our stock and backorder situation changes accordingly. On some products delivery terms have been increasing, e.g. FM 222-MKIII, FM266-MKII,
FM 268, FM 1811 etc.
Our way of crafting a unit is very different so it is not possible to "ramp up" production like others can do. The actual delivery situation changes with order influx and production schedules.
While we are backordered for months with some models, several products are available within a few weeks (and not "years" like some claim on the web...).
Some specific units, however, have a waiting list until Winter 2013/14. On these products patience is needed - which most of our clients are willingly providing. They will reap the rewards.
For 17 years in a row FM ACOUSTICS has continuously operated at 100% of capacity. As each unit is fully hand-crafted it is impossible to just "crank up" production.
Elaborate methods using time consuming and complex selection and calibration
processes are used by crafts-women and crafts-men who have been with
FM ACOUSTICS for many years. It is not possible to just hire additional
personnel and rapidly increase production. Hundreds of small details need
special knowledge and attention. Even experienced senior personnel needs a year
or two before they understand FM ACOUSTICS standards and start to be
This may sound overstated but it is a fact that only those who have thorough
"hands-on" experience of the production methods can understand how time consuming and demanding the crafting of an FM ACOUSTICS unit actually is.
For accurate information on availability of specific products do not rely on
rumours. Write us so we can advise our official representative in your area
to contact you with accurate information.
Due to high order influx and the extensive production times the following
products are subjected to a country-specific quota:
- FM 268
- FM 1811
This is not a sales tactic; the market-dependent quota assures a fair distribution of these rare instruments.
Thanks for understanding and thanks to those who have a unit on order. For your patience you will be rewarded with singular musicality.
February 26, 2012:
Recently, several rather blunt frauds have been reported, mostly on internet auction sites. A couple of nice pictures and the promise of a "great deal" make some people dismiss basic caution.
NEVER purchase electronics unheard and unseen. Do not consider offers that come from people who remain anonymus.
Get the serial number of the product offered, contact the local FM ACOUSTICS distributor and see if there is any history on the specific unit.
Get some form of security b e f o r e you send funds in advance. There have been reports of prepaid units never arriving and even of sellers who suddenly disappeared once the funds were transferred.
The high value of used FM ACOUSTICS equipment is attractive for unscrupulous characters that take advantage of the situation and target unsuspecting music lovers.
Remember: when an offer sounds to good to be true, it usually " IS " too good to be true!!!
For those, whose budget is not sufficient for a new FM ACOUSTICS it is recommended to contact FM ACOUSTICS' official distributor in their area. He is the one who know best what is - or may become - available in decent condition. To get details of your allocated distributor contact FM ACOUSTICS.
September 30, 2011:
There have been rumours, so, yes: it can be confirmed that FM ACOUSTICS has won a large tender to supply precision power amplifiers for a prestigious concert hall and further multiple orders in world leading studios.
Astonishing is that these orders were won despite the fact that there was no way that FM ACOUSTICS could compete on strictly monetary terms (our prices were far above the other competitors - 220% - 700% higher...).
These wins are beautiful testimonies to the singular quality of reproduction that is achieved when using FM ACOUSTICS equipment.
But they are also great examples proving that professionals who really do appreciate quality are going out of their way with investments to receive a product that assures them of ultimate resolution and accuracy.
As one engineer remarks: "the moment I insert the FM ACOUSTICS the insecurity is gone. With other units we are not really sure - the result is like listening to a variety of colourations - different in their nature. It is not assured if one of them may or may not work out.
With the FM's the guesswork is gone, everything immediately becomes defined and obvious. The result is much more efficient work. Thanks to this we are saving hours every day and that convinced the management that this is a good investment".
This is a great success for all involved.
I just read about the new FM 223 Phono Master. Is this the replacement of the FM 222? When is it available?
The FM 222 series is a tremendous success story that continues unabated since
its introduction in 1992. It is justly world-famous and shares most - but not
all - features and circuits with the FM 223.
One must be realistic: not everyone needs an FM 223. Many collectors have
scratch- and crackle-free LP's and/or listen to reissues. In such a case the FM 222 will
be the right choice.
The FM 222 remains in full production. "Never change a winning
horse..." a time proven proverb says.
Within months of its introduction the FM 223 has proved to be quite a success and we are completing the second series.
Due to continuous order influx a third series of FM 223 has been started in May and a fourth series is planned for November 2012 as orders are flowing in regularly. It IS a great product and a milestone achievement for our engineers. Our thanks to all who have contributed to this instant success!
Can I visit FM ACOUSTICS? Can products be purchased directly from the factory?
Neither one is possible. FM ACOUSTICS is a production company and has no
capability of demonstrating, giving specific advice or selling. That is the
strength of our appointed distributors who have the required knowledge and
can optimally advise you.
I cannot afford a new unit. Where can I get a pre-owned FM ACOUSTICS?
Before acquiring used FM ACOUSTICS equipment have it checked thoroughly.
Plenty of sharks swim in "audiophile waters".
Check before you buy. If there are any lingering doubts do not
Be careful; e.g.: some used equipment dealers purchase run down amps of the
70ies and 80ies' professional series, do a quick repainting job and then
resell them on the internet or elsewhere for quite princely sums (sometimes
such dealers pose as private individuals).
Well cared for FM 600A's, FM 800A's and early FM 801's are indeed valuable
but their number is limited. When they are cared for (and used correctly -
not with ultra low impedance loads that some of todays speakers present) they
are superbly musical.
In the professional world products have sometimes been mistreated which is
why some run-down examples of these amplifiers are floating around. It's the
inside of an amp that counts - and where problems could appear.
Units that come out of P.A. systems or discotheques may (but not always...)
have been mistreated badly. Mistreated units are bound to be a poor
investment as repair and refurbishment can be extremely time consuming and
sometimes not viable economically. Only an experienced factory-trained
engineer has a chance to evaluate the real condition inside a unit and that
can be a tiresome task.
However, it is a fact indeed that older units in good technical condition can
provide a wonderful musical experience, the reason for their extremely high
value - surpassing the original price - sometimes by 100-200%.
If a new product is out of your budget a good solution is to contact FM
ACOUSTICS' official distributor in your area. They are the ones who know best
what is - or may become - available in decent condition. To get details of
your allocated distributor please contact FM ACOUSTICS.
New equipment is ONLY available from our selected official distributors.
Should you get offered "New" units by other sources better be
careful and contact your local distributor for verification.
Why are Resolution Series amplifiers only available with FORCELINES?
It has been assumed that the reason is financial gain for FM ACOUSTICS.
This is not correct. FORCELINES cables are not very expensive.
Contrary to what is often claimed, a speaker cable is N O T "a matter of
taste", it is N O T something "to play with" (this is an area
that some manufacturers and dealers love to exploit as it can be almost as good as
"selling snake oil" - for near magic prices...).
with some other power amps certain cables may work fine, they will be unacceptable
when using an FM ACOUSTICS amplifier. There are technical reasons for this;
one of these is that the output current capability of FM ACOUSTICS amplifiers
is much higher than usual - which consequently increased demand on the speaker
cable. A further difference is the output impedance which on FM ACOUSTICS
amplifiers is lower than in other amplifiers. A lower output impedance means
that the corresponding requirements on the cable increase in proportion. The
reason why the Resolution Series was designed including FORCELINES
is that the optimum must be available at the speaker terminals, not just at the
output of the amplifier. Therefore, every order for a Resolution Series
amplifier must include an order for FORCELINES.
CLASSIC SERIES amplifiers are slightly less demanding on the speaker cables
and - while for optimal performance FORCELINES are recommended - it is not
absolutely mandatory to order FORCELINES with the CLASSIC SERIES.
For more in-depth information on this subject please refer to our Technical
Bulletin Nr. 23.
I bought some P.I.T. interconnect cable over the internet but the performance
is disappointing compared to the ones I had bought previously from your
distributor here. This is lack of quality control!
Enquiries have shown that you are a victim of one of the unscrupulous
wheeler-dealers that offer fake copies of P.I.T cables. As they look similar
to the originals some users have been tricked into believing that these are
The fake copies of P.I.T. and FORCELINE cables that are being offered in
certain countries often lack the identification number, a tag around the
cable near one of the connectors. There are other signs that can only be
analyzed by official distributors. Also, do not accept the cable if it does
not come in the blue velvet pouch printed "Precision Interface
Technology" in dark gold lettering.
Actually, it was interesting that since the time the first fakes copies have
appeared the order influx for our cables has increased considerably...
Since May 2007 all cables have been specially coded - to help distinguish the
originals from fake copies. Show the cables to the official representative and
he will assist you in ascerting that the cables are genuine (or not...).
The performance difference is large; for instance the copyists - who would
have thought??? - fail to understand why 3 different "balanced"
line level cables are required (and that only one type can be correct for a
given interface). All three versions look exactly the same. Only by correctly
understanding a circuit's requirements can optimal system interfacing be
Buying similar looking cheaper cables one can end up with non-optimal system
interfacing and less than optimal performance.
Fake P.I.T.'s are not worth the initial "savings". The old saying
"you get what you pay for" applies here too.
What is the difference between the FM 222 and the FM 222-MKII?
The FM 222-MKII was introduces in the year 2000 as the newer version of the
world-famous FM 222.
The principle and function were precisely the same, of course. All the
features of the MKI version were included in the MKII. The development of
advanced transistors allowed the MKII version to reach a new height of
Furthermore, the FM 222-MKII featured a unique notch filter that allows the
elimination of hum which is present on some otherwise fine and precious
recordings (often from the golden aera of Classical and Jazz records of 1950
The FM 222 is not upgradeable to a MKII version because everything except the
backpanel, top and bottom is different.
What is the difference between the FM 222-MKII and the FM 222-MKIII?
The FM 222 MKIII is the new version of the world-renown FM 222.
The principle and function is precisely the same as the previous FM 222's.
All the features of the MKI and the MKII versions are included in the MKIII.
The FM 222-MKIII also features the unique hum filter that allows the
elimination of hum which is present on some otherwise fine recordings. This
elimination of hum is possible for recordings on 50Hz and 60HZ mains.
The change from MKI to MKII made especially good sense for serious collectors
and libraries because of the added features. Externally the change from MKII
to MKIII version is not obvious as the MKIII looks almost identical as the
Internally however, it is rather different. Recently, new parts have become
available that - together with results from continuous research - allow
excellent ameliorations. The refinements manifest themselves in some smaller
modifications but also some more substantial improvements.
FM ACOUSTICS is very pleased to be able to offer these improvements with the
introduction of the MKIII version.
The MKIII achieves a new reference standard in hum, noise and interference
rejection in addition to the absolute standard of balancing. This absolutely
singular standard of balancing, however, can only be achieved if the
dedicated phono cables are used - which is why these are part of the MKIII
system performance and must be ordered together with an FM 222 MKIII.
The FM 222-MKII is not upgradeable to a MKIII version because, with the
exception of the back panel, the side and top plate, everything is different.
For a description and pictures please go to: PRODUCTS - AUDIOPHILE - FM
Some phono stages use an additional HF filter in the de-emphasis correction
as it is said that Neumann included such a filter in their cutting lathes.
Is this filter included in the FM ACOUSTICS phono linearizers?
On later versions of cutting lathes, Neumann did indeed incorporate an HF
shelving filter (as a protection for the very expensive cutterhead). Some
phono stage designers now just fix this compensation into their RIAA
de-emphasis circuits in the belief that this is the way all LP's were
Well, that is not correct: while by far not everyone used Neumann cutting
lathes, those that did often disliked this filter. Todays phono stage designers
(and other "experts") just do not know that many experienced mastering
engineers of the golden aera did not like this filter and just disabled it!
No blame on those "experts" and designers - most of them were not
born yet when this happened...)
Less experienced mastering engineers were told to use the non-modified
Neumann machines (as there was a danger of burning the tremendously expensive
- over USD 10000, which was a lot of money in those days... - cutterhead with
No worries: the FM 122 and FM 222 provide the ultimate solution:
Thanks to the continuously variable "HF attenuation" control on the
frontpanel it is possible to fine tune the HF response and thereby optimize
the reproduction for each individual record and both "styles" of
When will FM ACOUSTICS supply source components such as turntables, download servers, CD players, converters etc.?
The reason that certain product types - like the ones mentioned - are
not manufactured by FM ACOUSTICS is quite simple: FM ACOUSTICS only
introduces a product when it brings massive improvements over the current
State of the Art.
It just makes no sense to introduce a product if it is only slightly better
than the current best. While it would be attractive from a financial
standpoint (a converter, for instance, contains only a couple of chips and a
power supply housed in a chassis, so it’s easy to manufacture as no selection
or special tuning or attention is needed).
FM ACOUSTICS never introduced a 'me too' product and we will not do it just for
the sake of financial gain.
Why is there no MKII version of certain FM ACOUSTICS products, like e.g. the
We do not adhere to the more or less regular "upgrade" game or
"a new product update every year" philosophy. Once an FM ACOUSTICS
becomes available it has undergone countless tests "down to the
bone" in critical situations in different parts of the world - before !
- it is made available. This assures that bugs or problems show up in the
pre-series and in the "0"-series and can be ironed out before (and
not after...) the unit becomes available.
As an example: since its introduction 15 years ago the FM 266 did not need a
single modification. It was - and is - just right. This is good for the users
and it is good for us; stable long-term production. So no need for a
"MKII" in the past 15 years.
Recently, new parts have become available that - together with advanced
insights due to long-term research - allow the first amelioration in 15
years. The refinement manifests itself in some smaller but also some more
substantial improvements. These certainly warrant a designation of
"MKII" and such is actually needed to differentiate the two as
parts, pcb etc. are different.
Newer units incorporate such ameliorations, so on any unit where there is no
"MKII" it just means that these already incorporate the
ameliorations and are at top performance level.
Can the MKI units like e.g. the FM 411 or the FM 255 be upgraded to MKII
The differences are so large that in most cases an upgrade is not possible or
may cost more than a new product. FM ACOUSTICS only introduce a new version
of a product when clear improvements have been possible. We do not follow the
idea of an "upgrading spiral" (that can be costly and is often just
a remedy of errors that should not have occurred in the first place...).
If a product is mature, tested and has no flaws it will take many years
before a documentable improvement is possible. As an example: the original FM
411 was manufactured the same way for 12 years, the FM 266 for 15 years
before it became possible to introduce the MKII version.
Can old FM 600A or FM 800A's be updated to MKII or III? And what is the cost?
There are no "MKII" versions fo these units.
On these amplifiers two separate distinctions were made: the first was the
Series: either "Standard", "Series II" or "Series
III" (the indication on the series is located on the backpanel and by small
visual clues). A few additions and ameliorations can be included in the old units,
but complete changes are not possible.
The second distinction was the version: either "standard",
"LI" or "ULI".
The "LI" ("Low Impedance") and then the "ULI"
("Ultra Low Impedance") versions were specifically designed to
allow driving more contemporary speakers and monitors that often use parallel
drivers resulting in much lower load impedance. The "LI" and
"ULI" versions required very elaborate selection of transistors and
other circuit modifications.
A change from standard to "LI version or from "LI" to
"ULI" version is not possible (contrary to what is advised by some
wheeler-dealers and "engineers").
FM 600A's and FM 800A's with silver handles on the frontpanel are always
Series I and have standard drive capability (a few later "Series I"
were made as "LI" but not "ULI" Version). Series II and
Series III amplifiers had black anodized handles. However, some unscrupulous
dealers now just paint the handles black and claim they have a "MKII or Series
II" unit. To know if a version is standard, "LI" or
"ULI" the Serial Number of the unit is required.
35 years ago these amplifiers were the epitome of musicality and drive
capability but in 30+ years, technology does advance and so do parts.
The FM 600A and FM 800A were designed for accurate monitoring in music
recording studios. These amplifiers built FM ACOUSTICS reputation of
unmatched musicality. While even today they outperform other amplifiers (when
driven correctly - they need a stable preamplifier stage with an output impedance
of below 600 Ohm - 600 Ohm is a professional standard) they, of course,
cannot seriously be compared with the much higher definition of the Resolution
The Resolution Series amplifiers have much greater capabilities, use highly
advanced circuitry and achieve higher resolution than these nice vintage music makers.
Comments on the internet say that the "FM 600A is a professional version
of the FM 611 series" and achieves the same performance. Is this so?
Some of the comments on the web must be taken with a grain of salt... When
the FM 611 series was introduced the FM 600 series had been discontinued.
Now, that does not make the FM 600A series a non-desirable amplifier! For
many speakers and applications it is a very musical amplifier indeed (that is
why it became a studio standard).
However, the Resolution Series technology - which is the base of the
FM 611 series - just has totally different capabilities. With the Resolution
Series a tremendous performance jump is possible thanks to new
high-performance components, topology, elaborate circuits and advanced
Some dubious second hand dealers just advertise a hypothetical price of a
Resolution Series amplifier and claim that an FM 600A or FM 800A or
FM 801 is practically "the same for less money..."
When introducing the FM 600A's and FM 800A's their prices were indeed too
low (we actually lost money on each amplifier sold in the first years...).
It is correct that units in decent condition (not just repainted as some
offered on the net) are indeed worth considerably more than the original
price, the value and performance cannot seriously be compared to a Resolution
On the web some absurd prices have appeared, just to make a "deal"
look attractive. Be careful and - or have checked - the unit offered.
What is the realistic value of second hand FM ACOUSTICS units?
That depends on the type of product, on how and where it was used, on the
vintage, on the unit's condition and more. If an FM ACOUSTICS is in good
shape without major scratches and has not been totally abused, it is often
valued above the original price - and sometimes several times above - and
this even with units that are 30 years and older. So it also makes
commercial sense to be careful with an FM ACOUSTICS to better preserve
the units' value.
The FM 122, FM 133 and FM 155 have a small power supply. Is there no bigger
Size is not a quality factor. The days when people believed that bigger and
heavier was better than smaller and lighter are pretty much gone.
And rather important: the FM 102 is N O T a power supply. It houses a low
noise transformer that converts the 117 or 230V from the mains to a lower
voltage, nothing more. All the rectification and multi-stage stabilization is
done inside the FM 122.
Don't get misled by its size and by false promises of some tinkerers and
gurus that the FM 102 "power supply" can be improved. The FM 102
must not do anything else than transform the mains voltage to the level
required by the power supply that is built inside the FM 122, FM 133 and FM
155, and this it does perfectly.
Which power amplifiers are more recommendable: the Resolution Series
or the Classic Series?
This depends the associated components, some other variables and on the
Both series will provide superb linear reproduction. With most speakers the
results will be identical. As a general tendency the Resolution Series
would find use with monitor type speakers that are linear and are demanding
loads. The Classic Series would have almost the same drive capability (far
above any other amplifier) and they would have an additional benefit with
speakers that tend to have a bit of a pronounced high frequency response.
While the Classic series is more economical due to a less expensive chassis,
no compromises are made. They are manufactured by the same craftsmen using
the same components and with the same care.
In certain applications remote switch on of the power amplifiers is required.
How can this be accomplished with FM ACOUSTICS units?
The amplifiers can be placed next to a speaker or in any remote location. All
of FM ACOUSTICS products, the power amplifiers, the preamplifiers, the
crossovers etc. keep their unique features such as delayed turn-on, all
protection circuitry intelligence etc. even when power is switched on
remotely. Within ten seconds they are fully operational and sound optimal
(unlike some other audio electronics that need long warm up times).
When I listen at reasonable levels the output level control of the FM
ACOUSTICS preamp is about at the 9 o'clock position. It gets too loud when I
turn it up. What can I do about this?
If this is the case with all types of sources your audio system has too much
If your power amplifier has gain controls that do not affect sound quality
(unfortunately some indeed do degrade the quality of the audio signal) reduce
the level on the power amp by lowering its volume control.
If there are no gain controls on the power amp or there is an audible change
when turning the amplifier's level control, push the -20dB "mute"
switch on the FM ACOUSTICS preamplifier.
If this excessive gain is only apparent with one source, say the CD-SACD
player/converter, while it is not with other sources, the converter does not
adhere to the professional standards of line level signals and produces
higher than usual output.
In other preamplifiers/line stages this can provoke overload of the input
stages. All FM ACOUSTICS line inputs have very high overload margin so this
is not of concern. However, the fact remains that there is too much overall
gain and "the volume control is in the 'wrong' position".
An optimal gain setting is - if at maximum acceptable volume level - the
preamplifier's volume control is close to full level (around the 5 o'clock
position) - which will result in an 11 o'clock to 2 o'clock position at more
normal volume levels. Such a setting will also help protect against an
accidental heavy peak impulse that might destroy the speakers.
Do not think that there is "less reserve" when adjusting the gain
as indicated above. The moment an amplifier clips it reached its limit
whatever the Volume control position of the preamplifier is.
It is NOT a good idea to have excessive overall gain in the system and then
run the volume control at low levels (say below 9 or 10 o'clock position).
If this excessive gain is only apparent with one source (say the CD/SACD
converter) one solution is to reduce the output level of the converter but
this may have a negative influence on sound quality (digital volume control
In the new FM 255-MKII and FM 266-MKII the gain of certain inputs as well as
the overall gain can be programmed internally. If you own these units contact
your distributor if your level control setting at normal listening levels is
below around 10 o'clock.
If you use a phono section that has excessive gain you may be able to reduce
the gain setting on the phono preamp (as featured in the FM 122 and FM 222 phono
As only few manufacturers of "hifi" equipment adhere to standards,
different output level and gain is employed - which is what leads to such
effects. In the professional world such problems hardly occur (only with some
Why does FM ACOUSTICS not use detachable mains cables?
The main reason is that the cable is an integral part of these products. By
fixing it we can assure the quality of reproduction is optimized and no
deterioration can occur.
Also, with a detachable mains cable three additional contacts are added in
the mains line. These are unnecessary and wherever possible contacts must be
avoided as they are a weak link and it is always better to have as few
contacts as possible.
This is also the fact with the widely used "Euro" plugs which are
not suitable at all for high currents. While their ratings suggest that they
can handle high power, practical experience shows that the contacts of these
plugs are not optimal and often there is quite a bit of "play"
between the plug and the socket. Due to this, the actual area making contact
is rather small, clearly too small for high current demands. As the contact
is not perfect, micro-arcing makes these contacts loose their initially more
or less reasonably smooth surface within a short time. Thereby additional
resistance is added into the mains line, certainly not what is wanted in
The lower the impedance, the better - the fewer contacts in a product the
better it will perform and the better will be reliability.
In your cables, why do you not use silver as conducting material?
Just because silver is a bit more costly a raw material than copper does not
mean that it gives better performance.
The usual reason quoted for using silver is that silver's conductivity is
better. Correct, but the difference to copper is a mere 2%. Therefore, by
adding 2% more copper in the cables the improved conductivity attributable to
silver is effectively negated. By increasing the pure copper content up to
the optimum, performance will surpass that of the best silver cable
(incidentally, there is no speaker cable with a satisfactory square section
made out of pure silver). Other characteristics (such as e.g. shore hardness,
oxidation etc.) make silver definitely less desirable than copper.
However, one must be aware that considerable quality differences exist
between the different copper cables. It is very important what kind of copper
is used, how it is purified, how it is drawn, how the strands are prepared,
etc. These differences can be audible.
What is the difference between the FM 611 and the FM 611X?
Technically the amplifiers are the same; this includes all circuitry, drive
capability, protection systems etc. The difference is that the FM 611X has an
extended chassis with increased cooling area. This also allows the
transformer to be mounted farther away from the circuitry. In addition it
also boosts special damping techniques and shields. This improves signal to
noise by 2 db and power output very slightly. Due to above the FM 611X is at
an advantage over the FM 611 when continuous high level operation with
speakers having very low impedance is demanded.
The FM 611X is considerably longer than the 611 which may be the deciding
factor when space is an issue.
Why do you keep manufacturing everything in Switzerland - one of the most
expensive places in the world - rather than move production to a country with
Good question to which there are many answers. On one or two we will
elaborate a bit:
Why are true Swiss top quality products still mostly made in Switzerland
while the manufacturing of the less demanding items indeed has been moved
abroad? Why are we still experiencing quality differences and are sourcing many
components from not exactly cheap suppliers in Switzerland?
If one only thinks of quick profits we are clearly not doing the right thing.
If, however, one analyzes the situation more thoroughly one becomes aware of
certain advantages despite the high wages: the higher accuracy of the
specialized mostly smaller Swiss suppliers who take pride in what they do,
the long term stability and parts availability, the preservation of exclusive
know-how and the dignified and fair treatment of employees most of whom have
remained with us for dozens of years. Due to their vast experience and
knowledge these craftsmen can be more efficient and they avoid potentially
costly mishaps a cheaper (and less experienced) worker might not even
recognise. In usual standard products this may not matter so much. With
units of ultimate standard, know-how and long-term experience is of highest
importance and is what leads to unmatched results. Those who are looking for
something cheap have plenty of choice elsewhere.
When analysing the entire situation the decision NOT to rush and relocate a
very well organised "setup" that is efficient and has been running
smoothly for almost 40 years just because of cheaper wages is quite reasonable.
Today's Switzerland may indeed have more problems than 10-20 years ago and
smaller companies have to cope with similar excessive bureaucracy as in other
countries but that has not deterred those who are instilled with the spirit
to create the absolute best.
Why are older persons still able to hear music details even when their high
frequency hearing is limited?
Indeed, it is often claimed that older persons cannot "hear as
well" as the younger. This may well be so in certain noisy environments
and when simply checking the hearing with steady state sine waves. However,
it has been proven that when music is used as a source signal, older people -
even those whose hearing of high frequencies is limited according to the
orthodox measurements - are often acute listeners. They can discern very well
and are able to point out fine details and characteristics in the music
despite having a hearing that is less extended in high frequencies.
While at first baffling, these results can be explained: many older people
have not abused their hearing by being exposed to the extreme sound levels
present by mobile personal audio devices and many of today's discotheque
and P.A. systems. Also, many older people have been subjected to unamplified
- or reasonably amplified - live music pretty much all through their lives.
This keeps the ears well trained and sharpens the acuity that comes with
A recent example proves the case in point: a senior person whose hearing was
clearly limited to 11 kHz according to conventional medical checks turned out
to be the most sensitive of a group of thirty experienced listeners. In a
number of piano recording he was the most astute in pointing out details like
small pitch variations between adjacent strings, the non-perfect intonation
of a certain piano register and faint resonances.
Where does the name FM ACOUSTICS originate from?
Initially "For Music and Acoustics" was applied for. However, a law
was enacted during that time that prohibited most "descriptive"
company names in Switzerland and so a non-registered name had to be found
quickly. The resulting name became the brand name of the product range for
accurate recording and reproduction of music.
Which companies is FM ACOUSTICS affiliated with, in Switzerland and internationally?
FM ACOUSTICS is not affiliated with any other company. Of course, other
manufacturers use our equipment for demonstration, at exhibitions, in their
laboratories, as their reference etc. but all of this is entirely discretionary.
This page is updated from time to time...