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TECHNIQUE | A GUIDE FINE-TUNNING |2|
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A press add from mid-1950ties with McIntosh 50W-2 Of course, the work aimed at improving its quality continued, but such actions were undertaken by engineers, people in "white coats", and not audiophiles - these were none yet. It seems that the „explosion” of the audio market related to music reproduction happened shortly after the end of the World War II, when a lot of well-educated engineers returned to the civilian life, and shops filled with a lot of devices that armies did not need anymore, including amplifiers, speakers and sound sources. Passion plus opportunities have together created what we today call the "perfectionist audio market" or , in short, "audiophilism". Ken Kessler wrote about it in the McIntosh monograph in this way: This is a most common opening of a discussion: the founders of every large company from the so-called Golden Age of Audio - 1950s - to some extent were involved with electronic devices during the Second World War. [...] The very foundations of the hi-fi industry can thus be found in a military conflict, but its birth was possible only due to the conditions of the time of peace. The common feature of all early audio products from that time is their utilitarian design. Have a look at the first-ever McIntosh amplifier, the 1949 model 50W-2. Its design is almost iconic and it is truly beautiful in its simplicity: there are two metal boxes with electronics and transformers in them, with tubes protruding on top. Nobody cared about aesthetics - today tubes are often treated as a decoration – but the point was a proper cooling. The 50W-2 power supply module was connected with the amplifier module using a cable that could have as well power the bedside lamp. The connection between speakers and amplifiers, not only in the case of this company, also many years later - see the MC270 model - was realized by inserting the bare end of a cable under a screw, which was then tightened - as it is still done today inside an electrical socket. It was a simple and functional solution, and therefore beautiful. This beauty, however, had a flaw. Today we know that every smallest detail contributes to the sound and therefore matters. At the time, when these solutions were developed, the distortions were just so high, and the coloration of the sound so significant that all these things we are talking about this time, were of little importance. The more so, because it was difficult to measure them. And, let me remind you, hi-fi's fathers were highly educated engineers. For them, whatever they are not able to measure, does not exist. The problem actually is not, that they were not able to perform measurements, but rather that there was nothing to measure... Micro-tunning | As I mentioned in the first part of this micro-cycle, in the part discussing loudspeakers setup, my goal is to "infect you with enthusiasm and tease your curiosity." Let me repeat one more time: although I shall point out many small things you can do to improve the sound, the results can be staggering. I am writing just about the basics, we will not even go to the issue of upgrades. I hope that systematizing the means of sound improvement and providing them in the most accessible form possible will help you to open up to the "new". And that's what we do in audio hobby, right? 
This is a diagram representing my reference system, that is included in every review – each element is described with a number. You can clearly see all three elements that I am talking about: anti-vibration rack, anti-vibration platforms and anti-vibration feet We are in a comfortable situation today considering the fact, that a large part of the work has already been done by our predecessors. So we know more. However, the knowledge is still "dispersed", not entirely consistent and not fully accepted. I try to use it as often as possible because it delivers amazing results. They might not be as spectacular as ones achieved with proper speakers setup, they're also not so intuitive. But in the long run they seem even more important. Setting the speakers up in the right way, with sensitivity and love, immediately gets us clearly positive results, also because they aline with our expectations. Micro-tuning of electronic devices is not intuitive and it is necessary to suppress the reflex of negation only because we have not heard about such a thing and because according to "deniers", with many engineers among them, it is nothing more but a "quirk". You should try at least a few of the following tips, especially because many of them in the basic form won't cost you a dime, they are just free upgrades. Lets experiment - just like the first people who created the audio industry! What you need to protect and why | Historically, the first audio systems were made in a form of a something similar to a commode and a turntable, tuner and amplifier were mounted inside it. As a result, today there is a habit of placing audio components on a shelf or on/in specially designed furniture. 
Although it does not look like it, what you can see is a complete CD Player, The Stream from the Italian company Omega Audio Concept: a suspended "bowl" is a CD transport, under there is a D/A converter and power supply, all placed on a unique stand. An anti-vibration rack, that I'm talking about, acts as a mechanical interface between the floor and devices placed on the rack, as well as between all these devices themselves. It separates them from the vibrations generated by loudspeakers and from vibrations generated by other devices. It is obvious that tubes are sensitive to vibrations, that's why the designers of this type of amplifiers have long paid particular attention to their decoupling inside the device itself, as well as to the use of tubes that would be resistant to microphonics. However, these are half-measures and such a device and still must be protected against external vibrations. It is also commonly agreed, that a second group of devices that needs protection against vibrations, is that of signal sources using optical discs, such as CD (HDCD), SACD, DVD and Blu-ray players. The optical system reading the data uses error correction system and theoretically should deal with even serious shocks. The reality is different though - this system interpolates the lost data, that is, changes the signal. You must do everything you can to avoid it. It turns out, however, that vibrations also affect devices that nobody thought they would – solid-state amplifiers. This is an interesting and quite poorly researched matter, however, even a simple experiment in a good system proves that devices of this type sound differently depending on what they are placed on and even what chassis they utilize. It is often the case that it is a solid-state device that benefits mostly from proper decoupling. It causes any 'nervousness' in the sound to disappears, it deepens the timbre, the imaging improves, which results in a more stable acoustic environment for instruments. Usually, bass quality is also improved, as it is more focused, and often also better differentiated. | ANTY-VIBRATION RACKS Recordings | For this part I selected recordings offering more „general” impressions, ones that do not go deep into the details. For example a debut album of Enya (mastered by Nimbus), with beautifully presented layers of music, harmony and timbre, and on the other hand some classic jazz such as Johna Coltrane’s Ballads released as Platinum SHM-CD; (Enya, Enya, BBC Entertainment BBC CD 605, CD, 1987 | John Coltrane Quartet, Ballads, Impulse!/Universal Music LLC (Japan) UCCU-40001, Platinum SHM-CD, 962/2013). Each audio component has to be placed on something. Even if it is "suspended" using some decoupling system, the element it is suspended on still is placed on something. In the room these elements are: floor, then a rack (shelf) and ultimately feet. Let's assume that we can't do anything about the floor, so the first element to take care about is the rack (shelf). The simplest solution is to place a system on some furniture. It can be a commode, a bookshelf, etc. The important thing is, that this piece of furniture is stable, heavy and filled with something - with clothes or books. However, it is always better to choose a specialized anti-vibration rack. Such rack does not have to be expensive - see the modular model prepared by the Franc Audio Accessories. Some other cool-looking, inexpensive racks are also offered by the Rogoz Audio. What matters is that such a piece of furniture is designed and manufactured by an expert who knows which elements and solutions actually influence sound, a which ones don't. The higher up the price list we go, the more solutions and technologies are involved to minimize vibrations. There are also furniture that are based not on an idea of vibration dampening but rather its controlled dispersal. There are two main "schools" - one says that you should dampen vibrations at any cost, and the second one that claims it is impossible, so you need to choose such parameters of a rack so that the vibrations are properly controlled. Types of racks | An example of the first group are the heavy, robust racks made by the American company Harmonic Resolution Systems, which combine aluminum, granite, two types of elastomers, with a selected size and weight. An opposite example is the lineup of the German Finite Elemente, the Pagode series, in which vibrations are somewhat suppressed in a rigid frame and by special anti-vibration elements, but part of it is dispersed in wood - shelves are "tuned" to specific devices through special resonators. I would place the Artesania somewhere between those two, with their shelves suspended on a rigid, heavy main frame, and the extraordinary racks of the German Keiser Acoustics, the Leading Edge series, prepared jointly with VertexQ. Also in this case the main frame is rigid, but the shelves are light and filled with specially selected lossy materials. These are ones of the most expensive anti-vibration racks on the market, but also ones of the best. 
Finite Elemente Master Reference Pagode Edition rack – my personal reference. As you can see it is placed exactly how it shouldn't be, between the speakers and close to a wall. Only its depth compared to speakers' is quite reasonable. That's a real life situation… Which solution is better? There is no one answer to this question – they are simply different. It all depends on the particular design of a rack and on the devices placed on it. Generally, however, one may say that heavy, massive tables add some weight to the sound and at the same time they take some away from the lower midrange. The sound is faster, more precise and better defined with them. Lighter racks, on the other hand, tend to create sound slightly more focused on midrange, slightly warmer. They are also usually more "musical", especially if they are made of wood. They also offer a better depth of sound. Designers try to balance these features by choosing the right materials for the shelves, frame and decoupling points. Where to put a rack | Apart for the rack's design, also its placement is important. It is affected by vibrations transmitted by the floor - whether from speakers or from other rooms - but also by sound waves that influence devices directly, bypassing the rack. There are several rules. Above all, it's better if the rack is placed on the side of the room, on your left or right side, not in the middle, between the speakers. It is there, where so called nodes of standing waves are located, additionally strengthened by the proximity of the proximity of a wall – you've probably noticed, that usually you can hear the bass best when you're close to a wall, haven't you? This setting is preferred by Americans and some Japanese. This is how the "Stereo Sound" magazine's reference system is set up, and so is the one of our friend, the editor-in-chief of the hifistatement.net magazine Dirk Sommer. The downside of placing the system on the side of a room is the need to use long runs of speaker cables, and generally one should try to use cable between 2 and 5 m long (I will return to this topic in the third part of the Micro-tunning, dedicated to audio cables). Some owners of the absolutely top systems go even as far, as placing the rack in another room. Quite often, however, we have to make some kind of a compromise, that is, sound sources and preamplifiers, so the devices potentially most exposed to vibrations, are placed on the side of the room, while amplifiers, on anti-vibration platforms, are placed between the speakers. 
A system prepared by Kharma for the Munich High End Show 2018 – you can see a „hybrid” setup – monoblocks are placed between speakers, and all other components are placed on the side As always, you have to choose the version that suits you best and that one that is actually feasible in your listening room (living room). However, if I had to point out the best solution, it would probably be the "hybrid" one, with amplifiers between speakers and other components on a rack at the side. It requires using long interconnects between the preamplifier and power amplifier(s), but you just have to accept it :) Let me add still, that the already mentioned Keizer Acoustics has its own idea for how to eliminate interaction between components and sound-waves, offering for Leading Edge racks special acoustic "inserts" closing the rack's structure on the sides. However, the reality is that in small apartments/rooms one does not have enough space to place a rack at the side, and so it is placed in the space between speakers. That's what I had to do and that's how most systems I know are placed. If that's a case, you can at least try to move the rack away from the wall behind it. It will make an access to cables easier, but it will also minimize the impact of the sound waves. There is one „but” - the front edge of the rack should still be further away from you then the line connecting speakers. You have seen a perfect solution to this problem in Janusz room, the host of the Krakow Sonic Society meetings . | ANTI-VIBRATION PLATFORMS Recordings | This part requires more thought and focus. So let's listen to the debut of the King Crimson, but in the Platinum SHM-CD version, where there is plenty of air and analog noise, as well as the re-edition of Horowitz's recordings with Met (King Crimson, In The Court of the Crimson King, Atlantic/WOWOW Entertainment [Japan] IEDG-01, 7” Platinum SHM-CD + DVD-Audio, 1969/2016 | Vladimir Horowitz, Horowitz at the Met, RCA Red Seal/BMG Classics 633142, „High Performance”, CD (1982/1990) So, the rack has been set up. A high quality one, tailored to our needs, in the place where it is least exposed to vibrations. Its shelves are usually decoupled, which should be enough. But it is not so - many years of experimenting proved that even the best anti-vibration rack can be "improved" in this way. Same as with the racks, in the case of platforms, two main schools a light-weight and heavy platforms. There is an additional element though, the decoupling method - rigid and "floating" one. And again, as in the case of the rack, the heavy platforms are offered by Harmonic Resolution Systems (for example: the M3X-1921 RD Isolation Base, HF | No. 111), and light-weight by Finite Elemente (for example: Master Reference Pagode Edition HD-09, HF | No. 111). 
The Finite Elemente Pagode Edition HD-09 platform featuring Cerabase Compact feet and 1000 Hz Resonator – as the shelf has been taken off you can see the details of the design (HF | No. 111) Also other already mentioned brands offer such platforms, as well as the Japanese Acoustic Revive, Polish Rogoz Audio, Divine Acoustics, Franc Audio Accessories and others. On the other hand „floating” designs are offered by Acoustic Revive (pneumatic), Pro Audio Bono (using proprietary solution), Avatar Audio, Tewo Audio, Townsend Audio and Stacore (a reference application of decoupling featuring balls). Also the WK Audio platform called Pure is a „floating” design, even though you can't see it at first. |
Which of them are best? As you already have realized, it depends on the devices you want to place on them and on your own preferences. The general rule is the same though as with racks: the mass-platforms increase focus, and how detailed and fast sound is, while the light-weight ones are more musical. The rigid platforms improve sound definition, the floating ones improve the depth of the sound and make it more relaxed. But the rigid (non-decoupled) made of wood – a specialty of Japanese brands – may have a similar effect on the sound. They usually use wood that also instruments are made of. For example, the Acoustic Revive uses wood called hickory (American white walnut), which is used to build guitars. A good option is simply a thick plywood. Everything depends of course on the device and the rack, but you can experiment on your own with an ordinary board of some soft or medium soft wood. The above mentioned Acoustic Revive offers such a "board", the RHB-20 model, which really nicely modifies the sound of devices. Just go on and experiment! | ANTI-VIBRATION FEET The anti-vibration feet are the last element of the whole anti-vibration system. Often, however, it is the most important part of it, because it is the easiest to check their influence and try different ones out. The classic arrangement of feet in audio devices is a reflection of their "home" character - they are screwed in four corners of the housing. However, in order for the anti-vibration feet to work in optimal conditions, i.e. for them to work as well as possible, one must think about rearranging them. How many feet? | First of all, try out a three feet setup. A tripod is the best support in audio, for both speakers and electronic components. Companies producing such elements meet this kind of thinking, because often you can buy sets of three feet. You can then decide on one of two settings - with one foot in the front of the device and two supporting its back and the other way around. Such devices. This former solution is the most popular one, it is preferred by - for example - the French company YBA and I use it myself too. But it does not mean that it is always the best solution, one should try also the latter solution that is advocated by the Japanese company Soul Note. 
Three feet, with one in the front is a preferred solution of the French company YBA – the photo presents the Passion CDT 450 player and the Passion IA 350 integrated amplifier Both option are, however, a kind of simplification. The ideal solution would be determining the center of gravity of a given device. If we succeed, we need to set up the feet at equal distances from it and it does not matter where they end up. It is not easy, but it can be done even "by eye", with some approximation. This is exactly the way Divine Acoustics suggests to set up its Kepler feet (more on the philosophy of this company in the article by Piotr Gałkowski, entitled Why anti-vibration accessories affect the sound?). Where to place them | When buying anti-vibration feet, we do it to place devices on them. It's just that these usually have already their own feet, don't they? So what do you have to do? One thing is sure never place new feet under old once, - this is a mistake. The simplest option is to slide the new feet under the device and support it next to the old feet or, if we have three at our disposal, place two near the old ones and the third in another spot. The device should be supported by new feet while the old one should be elevated about the surface. This solution will yield the best sonic results. However, it is problematic, because each time we move the device, we have to remember to set the feet correctly again. Therefore, another way is simply to remove the old ones and replace them with the new. The problem you may encounter are too small threads in the bottom of the devices. In this case, you need to buy the appropriate adapters, or enlarge the holes in the device. In this way, the feet in the Ayon Audio CD-35 HF Edition player were screwed on - their replacement was one of the elements of modification of the basic version of this device. 
The Ayon Audio CD-35 HF Edition features Franc Audio Accessories feet – they are screwed on in four corners (HF | No. 164) Which feet to use? | In short – good ones. Truism, but still true. You can of course use the affordable, really great working rubber discs made by Vibrapod, and they will do a fine job. There are various version suited best for devices of certain weight, so you can select the best ones for a particular device. Optionally, you can buy also rubber cones with a steel ball at the end - and it is a very cool and inexpensive solution. Vibrapods modify the sound towards warmth, softness and delicacy. The second option is presented by Japanese systems, where wooden stands are placed under devices, speakers and cables - remember what I said about Japanese and wood? Some companies, such as SPEC, simply equip their amplifiers with wooden platforms integrated with the chassis, and then they fix wooden feet underneath. You can make such feet yourself – you just need to make sure they are stable. What material should you use? - As in the case of platforms, I suggest rather soft and medium-soft wood, preferably those kinds that are used for musical instruments. Ready-made elements of this type are available on the market, for example, from Cardas (Myrtle Wood Block) and Acoustic Revive (HQ4). Interestingly, myrtle (myrtle) is a hard wood, which will translate into a different sound than hickory used by the AR. 
Mytek DAC placed on small Acoustic Revive HQ4 feet made of hickory wood However, if you want something more, if you do not want the feet to simply mask problems of your system, but to emphasize its advantages, you will have to pay a lot more. One of the options are feet that feature a spike and properly prepared bed. Spikes are the oldest known mechanical interface that has been used in audio for years. It is popular because it is cheap and works well. However, if it is to offer a truly sophisticated sound, the entire decoupling system must be sophisticated, and that means - expensive. The above mentioned Keplers from Divine Acoustics are an example of such a design, where the bed is made of a few ruby elements, but another similar solution is is used in the very popular feet made by the American company Stillpoints. Blade-based feet add order to the sound, improving focus and definition. Usually, they also help to bring out the depth of the stage and emphasize the sound attack. Tonal saturation and liquidity on the other hand are not their forte. Therefore, they will work best there where these sonic qualities have been already achieved or are present in excess. The interface can also be formed using a ball that combined with two surfaces form a rolling bearing. This is how the iconic Finite Elemente feet, or Franc Audio Accessories ones are built, but also the extremely sophisticated feet made by the Korean company HiFiStay. Symposium Audio and Avatar Audio also offer their versions of this solution. What do they bring to the table? Above all, saturation, resolution and palpability of the sound. They „calm down” the sound, without sharpening it. Products of each manufacturer have their own "sonic signature", but all of them share the goal of deepening the sound, even at the expense of how detailed it is. They should work well in systems that already are highly detailed and where there are no problems with dynamics. 
Finite Elemente feet – you can see the coupling element, a ceramic ball (HF | No. 114) To finish this part of our guide, let me add that there are also feet with a magnetic cushion, hybrid ones, combining a soft, lossy element and balls, and some others. They all adjust the sound in a different ways, which is why - as always - I encourage you to run your independent trials. GROUND FILTERS | EMI/RFI FILTERS | FUSES In this part I gathered three techniques to improve the sound of electronic devices, which even experienced audiophiles have their doubts about. Everything requires time before it is widely accepted. I write about them not because I heard about them from others, but because I tested many of them and some I use every day in my system. This is the ultimate "touch" that makes sense only when all the devices are properly protected against vibrations. With one caveat, that I'll leave for later. Recordings | In this part you could use one more the Diana Krall from Wildflower - the opening track. The second album is particularly refined and it will allows you to hear dynamics, resolution and tone shifts – it's The Dialogue (Diana Krall, Wallflower, Verve/Universal Music LLC UCCV-9577, “Deluxe Edition”, SHM-CD + DVD, 2015 | Takeshi Inomata, The Dialogue, Audio Lab. Record/Octavia Records OVXA-00008, SACD/CD, 1977/2001) Ground filters | Passive ground filters (ground/mass conditioners) and EMI / RFI filters are products that have been discovered for hi-fi only recently, despite the fact they have been used in industry for years. The problem was that audio designers did not know about their existence, and if they did, they didn't know how to transfer these experiences to audio – it's not that simple. I have talked about these issues to the owners of the Verictum, a company that specializes in this type of products, and they clearly implied that a mechanical translation of ideas that work in the industry to audio is a scenario for failure (see A Magic of a system: VERICTUM). It turns out that combining the grounds of devices at one point, preferably with such an artificial ground, results in significantly lower noise. It is easy to measure and to hear. The sound is simply deeper, the background is blacker and more velvety. And products of this type are easy to connect to the system - it's usually something like a can, a small housing (like the QAR),with a connecting cable protruding from it. You need to connect it with device's ground or its housing. 
QAR S-15 ground conditioner (HF | No. 161) They can be placed next to the device or in a completely different place - the connection cable should not be too long, though because it will then act like an antenna. A good solution is also to connect all the masses to the same point. It is often called a "star ground", also used inside devices. Ground conditioners that I know operate in a similar way, although they differ in the intensity of the effect. It takes some time before they operate at their full potential - after connecting them to the system one has to wait a day, maybe two, and only then begin critical listening sessions. EMI/RFI filters | Same as with the artificial ground, passive EMI / RFI filters has been known for their industrial applications. In audio, they come in two forms - large elements placed on top of devices, or below them, as well as in the form of "plugs" for unused signal connectors. 
Verictum X Block EMI/RFI filter – it's latest version The former are known, for example, in the form of wooden elements with a soft bottom, which we put on the device - this is how the X Bulk filter by Verictum looks like. It can also be placed under the device, but it is important that is it as close to the chassis as possible. The active version of such a filter is, for example, the product by Synergistic Research, which is an anti-vibration platform at the same time. There is something else | For a quite some time now, all my devices have been looking like hedgehogs, because their backs are not flat as their feature lots of "spikes". These are actually soft of "plugs", serving either to minimize noise - by shorting inputs or shielding outputs - or to create a local artificial ground. These are analogous solutions to the described previously, noise filters and ground conditioners, only in a miniature version. Shielding unused inputs is a standard procedure in industry. This protects fragile electronic circuits against high-frequency interference - and any opening in the chassis-screen is the point these can get inside through. That's how plugs inserted in to the inputs and outputs work. These placed in inputs additionally shortcut the "hot" pin (pins) to the ground. Acoustic Revive believes that their role of vibration damping is equally important, so it pays special attention to the material they use to make these elements. Additionally they glued small elements made of mountain crystal to them. I've been using them for years and they allowed me to be “there”. Changes introduced by these elements will only be audible after all previously described elements of fine-tuning have already been done. But they are worth it, really worth it! By themselves, they do not add anything new, but they deepen the changes introduced by anti-vibration elements and filters. They "sneak" into our perception “by osmosis”, unnoticed. Don't expect that after you plug them in there will be some huge wow effect. No, it does not work like that! They only complement the performance we have worked for, they further smoothen and deepen it. Fuses | I could end this part of the micro-tuning guide, if not for one sensitive subject: fuses. These little devils are found in every electronic device, because they protect them from damage. It is sort of a "fifth column" or saboteurs placed behind your defense lines. You see - the fuse is a non-linear element, highly imperfect, which is sort of a sudden break in the voltage path - usually the supply voltage. It is difficult to measure their impact on the sonic performance, and even more difficult to properly interpret such measurements. Apparently, we still have to wait for the right tools. But already today one can say it is easy to hear - replacing a classic fuse with one that has been prepared by a specialist company, changes the sound to no lesser extend then operation of placing a device on a good anti-vibration platform! Such fuses have better contacts, the "safety" wire is made of higher quality material, and materials for the casing are also better. On the one hand, it is about improving conductivity and, on the other hand, about reducing vibrations. 
Quantum Blue fuses by Synergistic Research. photo: Synergistic Research Fuses of this type are offered by a large number of manufacturers and each of them sounds a bit different. But all improve the sound. The resolution changes with them, which is the basis for good performance. The frequency response is also widening. This is really a big improvement and it's also cumulative, meaning that the more fuses we replace in a device, the better. You can start with the main fuse - it is usually the one placed in the IEC power inlet or - less often - in a separate element on the back panel. The next step should be replacing the fuses inside the device. Beware! - while all previous modifications were absolutely safe, in this case you should consult some specialist, or - even better – have such operation performed by one. The new fuses should have similar parameters/values and be of the same type (fast / slow). | MINI-MAX, OR A SUMMARY OF PART TWO Esoteric? Absolutely not - just real life. Everything I have described has been confirmed by many listening sessions, both by me and by other people I respect, and most of these things are also confirmed by measurements. Although each of the stages of the MICRO-TUNNING process I wrote about, has its own specificity, together they allow to extract so much music from the audio devices that it is sometimes hard to believe. These changes are not dependent on the price of the device, but only on its quality, or its potential. Equally spectacular changes can be achieved by placing on a cool platform and feet an amplifier that costs 2000 or 20,000 PLN. The replacement of the fuse in a 20,000 and 100,000 PLN players will be just as shocking. And what about those that cost as little as 1000? You will not believe how the sound of such a device can change – what do you have to loose if you try it out? Nothing, except maybe for your skepticism. A hierarchy of these changes/improvements is simple, although different from the order in which I discussed them: | 1 | anti-vibration platform, | 2 | anti-vibration feet, | 3 fuses, | 4 | anti-vibration rack, | 5 ground filter, | 6 | EMI / RFI filter, | 7 | elements plugged into sockets of the devices. Take this road and - I guarantee – you will find yourselves in a completely different place than at the beginning of this process. In the place called MUSIC. ■ |
hen the audio industry was born, in the 1920s and 1930s, it was developed by research laboratories with virtually unlimited budgets. After all, the point was to develop inventions that would revolutionize the world - most of all radio and cinema industries. Nobody talked about "high fidelity", "high-end", or "audiophilism" at the time, and whenever as a result of their work they could actually hear some sound it was considered a miracle. With time, the sound was getting better. We are still using fruits of that research and development today.
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