We are pleased to be able to reintroduce to the market the famous "IKEDA" branded tonearms and cartridges now being supplied by the "Original Manufacturer" for the. Source at Schulmerich Handbells (11/11/98) Adobe Acrobat File - (25 Apr 02) Schulmerich Handbells. Care & Maintenance. SCHULMERICH BELLS CARILLON HILL, PO. Case DC Yesterday's Tractors for sale at discount prices. Same-day shipping and easy returns. We have the right parts for your old tractor. Facebook Claims It's Going to Stop Spamming You. Your Facebook News Feed is about to change, yet again, and it’s because the social media giant wants you to be better informed. Facebook announced Wednesday that it is rolling out a new update over coming months to ensure users stop seeing posts and ads on their News Feed linking out to “low- quality web experiences.” A low- quality website is subjective, but Facebook has set a clear definition for this purpose: it’s “misleading, sensational and spammy” pages “containing little substantive content” or are littered with ads. Facebook and Whats. App announced a new data sharing plan that’ll improve targeted advertising and. Then, they used artificial intelligence to spot similar pages on the platform. Once identified to be a low- quality web page, the new News Feed algorithm places the page lower in a user’s feed and disqualifies it from being an ad. It’s essentially a ranking system that creates a hierarchy based on a web page’s quality, sparing users from being bombarded with obnoxious or NSFW ads the moment they head over. They’ve done this before. Sound familiar? That’s because Facebook has used this tactic before to tackle clickbait. Last year, the company announced it had analyzed thousands of article headlines to determine whether or not they were clickbait (Think: “How To Lose 9. Pounds In Less Than One Week”). Using this data, they developed a software algorithm that effectively scores web domains and Pages on their clickbait violations and this score determines their status in a News Feed — much like the new algorithm.“This is one of the first times we’re actually using information from the experience that people will have once they click something to help inform the ranking in News Feed,” product manager Greg Marra told Recode. But how will it affect fake news? One practical result of this change is how it will affect the prevalence of “fake news” on the social networking site. It’s no secret that Facebook has a fake news problem — the issue was spotlighted amid the 2. While Facebook CEO Mark Zuckerberg denied allegations — he claimed 9. Gizmodo reported the company was aware of the problem and even had access to a tool that could block false content. Back to TV Repair FAQ Table of Contents. Introduction Television at the crossroads Television in substantially its present form has been with us for nearly 50 years. We’re all familiar with ICON’s Derelict series of cars, right? They take ratty old vintage cars and modernize the crap out of them while leaving the charming. The functional diving cylinder consists of a pressure vessel and a cylinder valve. There are usually one or more optional accessories depending on the specific. Fake news has been a big talking point the last few weeks, and today, Facebook’s finally rolling. Facebook also created a new, easier method for taking down false news posts: users can easily report a fake story by clicking on the upper right corner of the post and when enough reports are made, a third- party fact- checker evaluates the link to determine its authenticity. Now, with the new AI algorithm update, the Facebook is taking another stab at fake news sites from a different angle. Since many of the sites dishing inaccurate information are also low- quality websites, they are at risk of being lowly ranked. And, as Tech. Crunch notes, the creators behind false news are largely driven by financial incentives and fill their content in ads. Just remember: Facebook is making it less likely you’ll encounter fake content; they’re not eliminating it. It’s easier than ever for someone to create a website and post completely made up stories that. Ikeda tonearms & cartridges ! David Price gets into the groove.. Jozef. Bubbling with enthusiasm for this, her company’s first (but not last, I am assured) high end turntable, she exudes confidence despite the time not being quite right for the launch of such an esoteric, luxury product. I wasn’t happy about the turntables on the market, so I decided to do this..”Ebullient she may be, because the new E. A. T. Forte isn’t just another derivative design – another . It shows some interesting thinking – certainly in its unique combination of clever techniques used by various other designs – and the reappearance of a seminal tonearm from a past master of the art – Ikeda. It is a fixed subchassis “mass design”, in the tradition of the great nineteen seventies direct drives. Indeed, featuring a separate motor unit, massive platter and string belt drive, it actually reminds me very much of Marantz’s fabled TT- 1. Micros of that period.
Whilst the outward appearance may ring bells, so to speak, the inside engineering is quite different. The plinth is a metal filled, MDF box of backbreaking weight, with beautiful gloss lacquered wood veneer. Debates rage hard on online forums about the merits of this, but suffice to say that just as the sprung subchassis approach works best when the springs are as unintrusive as possible (a la Avid), so the high mass approach works better the higher the mass is – and the Forte is certainly heavy.. The platter is the next most noticeable thing, largely on account of its huge 4. It weighs 1. 9. 9kg, and is a two part affair with the inner section of the platter made from soft alloy, and the outer part made of a harder material. As you might expect, the main bearing (in the Forte’s case inverted with a ceramic ball mating to a Teflon cup) needed to handle this sort of weight and resultant pressure is vast, but it is given a helping hand by magnetism no less – with the be bottom half of the platter incorporating neodymium magnets to lower the pressure on the bearing. Finally, the platter comes with sorbothane damping, and the matt is made from recycled vinyl records; a massy record clamp is supplied. Interestingly, the Forte is a twin motor design, the designers choosing to specify two low torque AC motors generating 2,7. Kj of torque via twin pulleys and long diamond cut string belts. This is coupled with an active speed controller, and located in a separate enclosure which is made of sandwiched metal and MDF. This has two speeds, switchable by a push button, and there’s a digital display offering stepped speed increase or decrease (if you so wish). One particular fun feature is the way this speed display counts its way up to 3. RPM (or 4. 5RPM) when you switch on, steadily climbing to normal operating speed. As you might expect, Technics SL1. RPM in half a second starts are not available from a turntable with a platter that weighs more than most turntables. But this is of course to miss the point; the designers of the Forte assert that the higher the torque to the motor, the more intrusive it can be. By using twin motors, only gently connected to the platter which itself is so heavy it resists the short- term, momentary dynamic wow imposed by the stylus, the idea is that the motors spin the platter up to speed in a reasonable time and momentum does the rest. The motors then don’t engage with the playback loop directly, that 2. The twin motors seem to work as twin turbochargers on car engines, supplying unstressed lazy torque rather than delivering needlessly (and possibly intrusively) high amounts. Regular readers will know I personally am a big fan of direct drives, but I do find E. A. T.’s approach interesting and very thorough. They have obviously designed the Forte well aware of the vagaries of belt drives, and all the problems it imposes, and would contend – I am sure – that it ain’t what you do, it’s the way that you do it! This is reflected in remarkably fine speed stability . Once located (which given its size and mass is easier said than done), you – ermm – just switch it on and off and that’s your lot. No suspension springs to twiddle, no fine speed to set, no intricate assembly of umpteen bits from a kit before it works. Essentially, the EAT Forte is a plug and play turntable – but for millionaires! It is, of course, immaculately finished, and whilst I may prefer functional, machine- like looks of the Avid Acutus or the arresting geometric grace of the Michell Gyro. Dec, I can see that it is an attractive thing to have in your house – providing you’ve got one big enough, of course.. Another key part of the Forte is of course the tonearm. Although notionally badged as an EAT product, Jozef. Indeed it is a chrome finished Ikeda IT4. If you’re not a Japanese hi- fi nut, you might be shrugging and saying so what – so think of it as being a bit like Lexus getting Bristol to supply engines for their top limousine . More remarkable is that Osamu Ikeda was reputed to be in semi retirement, and extremely unlikely to ever make any tonearm for anybody ever again.. Originally launched in 2. IT4. 07 is a fairly high mass dynamically balanced design that traces its lineage all the way back to Fidelity Research days. Precision radial ball bearings are used along with a thread linked, weighted bias compensator and there’s a locking counterweight at one end of J- shaped polished arm tube, and a detachable headshell at the other. The build quality and finish of this arm is equal to the SME Series V, which really needs no more explanation – but suffice to say it is absolutely exquisite to hand cue, feeling as silky as the top SME in use. My only gripe would be the slightly fiddly arm rest lock, which isn’t the best ever devised, even if it does the job. Once again, the debates around tonearms are manifold; everyone . The Ikeda arm brings no innovation, no fancy tonearm materials, no special damping systems or clever . Put a decent moving coil in (in my case a van den Hul Frog), dial in the tracking force, bias and vertical tracking angle (all very easy and elegantly done) and you’re off! SOUND QUALITYHaving just spent a long and most enjoyable period with Avid’s Acutus, and of course my own Sony TT- S8. Japanese direct drive that makes most moderns look like Fisher- Price playthings), it was a sobering experience to see the E. A. T. Forte in my equipment rack, let alone hear it. It is massive; bigger I would say than two Technics SL1. The sound is concomitantly large, as imposing as the deck’s physical bulk. I was fascinated, as in my system I haven’t come across anything quite like it.. First then, a little bit of perspective. I found the Avid Acutus (at a mere . Put on some power pop like Simple Minds, or heavy electronica like The Prodigy and it was time to fasten your seatbelt for – as they say – the ride of your life. Immense and cowering as the Forte may be sonically, it is not like the Avid. It is an altogether less intense experience. Don’t take this to be in any way disparaging, as actually it is more versatile. Slip on some John Coltrane and you can sip a snifter of Scotch, light up a Silk Cut and tap your toes just as the Right Honourable Ken Clarke would his Hush Puppies. You can relax into the music, think about next weekend’s visit to the in- laws or what colour you’re going to paint the front door when the weather gets better. With the Avid, you’d have the vagaries of the recording etched into your cranium, and may well be thinking, “a great piece of music, but this early sixties cross- paired mic recording isn’t ideal”. My point is simple; the Forte takes you into the music as far as you want to go, yet demands nothing from you. On the very surface of things, it is less detailed than the Avid. It doesn’t put a magic marker under every attack transient, underlining when the note starts, and yet it is no less fast and no more unstable – indeed it seems even more speed- stable than the Acutus, which is really saying something. The TT- S8. 00. 0 is utterly exceptional in this respect, and a little ahead of the Avid, whereas the E. A. T. But whilst the lithe direct drive with its light platter and clever quartz lock speed control servo system could just about inch ahead on leading notes, it lacked the E. A. T.’s immense stability. It was as solid as the proverbial lump of granite sticking out of the briny. The scale, the epic expanse of its soundstage and the utter unflappability of its performance beat the Sony into a cocked hat. Peter Gabriel’s . Brilliant of course as the song is, it’s a slightly murky mid- seventies analogue recording and one that doesn’t flatter a turntable of any size, price or weight. I found the Forte was able to unpeel the song, rather like an onion skin, giving me great insight into every layer of the production, yet without sounding in any way forced or strained. I remember the Avid doing this too, albeit with more drama and seemingly more detail, although I still found the E. A. T’s presentation more naturally . Its dynamics were formidable, and yet less explicit. With such innate power, it was able to deliver the contrasts in a more effortless way, like a slumbering giant waking up to brush away an irritation without bothering to raise an eyelid. Again, by contrast, the Sony seemed a tad breathless – which is not something you ever say about it in less illustrious company.. Tonally, the Forte was superb. Its bass is immense, unflappable and without fault – save for being fractionally slower to switch on than the Sony. Alternatively, it may be right and the Sony is simply a little 'nervous' with the leading edges, etching them artificially hard in a characteristically direct drive way? It’s the sort of bass that doesn’t need to make any apologies – there’s no issue with the recording, or the rest of the replay equipment, it’s just there like the elephant in the room.
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