Two-Door Credenza with Baffles

[Watanabehi]

I agree with you, OrthoFan, 100%. That is what I intended. I have not compared the sounds between without baffles and with baffles, but I will do it later. I appreciate your explanation. Thank you.

Hideki

[Watanabehi]

I compared the sound of the Two-door Credenza with the baffles and without the baffles under the same condition, which means using the same reproducer and the same fiber needle and the same record. What I heard is that the sound with the baffles seemed to have a bit more kicks and volumes compared to the sound without baffles. If I have some equipment to measure the sound, it would be nice to see the differences.

Hideki

[ChuckA]

I do not have any equipment to measure the differences of the sound. If you have the same model of Credenza in good condition and do the same thing like I did, you can test the sound differences using any equipments you have. I use Susudake fiber needles which I make for all of my collections. This two-door Credenza can compete with HMV 202 Gramophone I have quite well in terms of volume and sound quality.

Hideki

I wish I could make the measurements, but I only have a 4 door unit. Never really cared for the 2 door versions.
I'll keep an eye out for one that I can haul home and test on.

Chuck

[Watanabehi]

I have two 4-door Credenzas, and I know two-door Credenza has more open horn compared to 4-door ones, since their horns are partially blocked by the two doors. My 2-door Credenza sounds better than 4-door ones I have.

Hideki

[Inigo]

This is all very logic, for there is some back reflection of the sound emerging from the horn, and if the record shelves are empty, some sound enters there and gets still more reflected, etc, si there could be cancellation. With the boxes flush with the horn opening surface, this doesn't occur, and all the sound is going to the front of the horn. The doors also act as extensions of the horn, and it is easily audible the difference in sound among different positions of the doors: perpendicular to the front, more opened at, say, 135 degrees, or fully opened. You notice this when listening seated, in front of the horn at, say, 2 or 3 meters distance from the horn. I fully agree with Hideki. I neither have measurement equipment, but I've tested this things many times with an HMV 194, which has also a good big horn. Not the record compartments, which this doesn't have, but the effects of doors in different positions. I would bet the best is 135 degrees, something like your last photo.

[Watanabehi]

Thank you for your information about the door angle and other important descriptions, Inigo.

Hideki

[Inigo]

Hideki, these are only subjective appreciations, but I'm sure you will notice differences, and you'll be able to find what is best for your machine and the place where it's located and where you are usually when listening to it. All factors modify the sound. Glad to give you ideas to try to find the best sound in your particular circumstances.

[Watanabehi]

Here is the photo comparing HMV 194 and 4-door Orthophonic Credenza. As you can see, the horn of the 4-door Credenza is partially blocked by the two doors. HMV 194's horn is not blocked by the doors. Also, the two-door Credenza is totally open. If you can find the two-door earlier model of Credenza with an original brass orthophonic reproducer in excellent condition in Europe or UK, you might appreciate how amazing sound it can produce.

Hideki

[Watanabehi]

Hi Orthophonic Lovers,

Here are videos of two-door Credenza. I hope they work.

Hideki

[Inigo]

It sounds marvelous!