The design of our turntables in the mid and high range relies on a very unique geometry that’s mathematically defined as the catenary curve, a shape that is found across nature (from spider webs to rope statistics) and firstly described by Galileo Galilei in the 17th century. The curve was first leveraged to design load-bearing structures such as arches and bridges since it offers the best rigidity/mass ratio. For turntables, it's an optimal as it provides really high rigidity with minimal mass giving the turntable great stability and resilience while minimising the amount of mass that could store potential energy (such as vibration). As a side effect, it creates a beautiful shape that elevates the design — this is a very Italian approach, developing creative solutions that serve boh performance and aesthetics. 

Another key feature is the electric control of the motor leveraging a built-in power conditioning stage with a triple AC-DC-AC conversion to feed the motor with ultra-clean current, which is crucial as our turntables feature synchronous motors (calibrated on the AC).

Lastly, the design of the bearing/spindle is developed to achieve the strictest of tolerance with higher quality materials, and you won’t find similar designs on any turntables in the same price range since it’s extremely expensive to manufacture — it’s a core feature of our turntables that enables superior sound quality even though it’s completely hidden from the eye.  

We have a dedicated inbox for customer support [email protected] that is monitored 24/7 and a response time of around 24h. Customer should always contact Gold Note directly, our customer support will then manage their enquiry appropriately and put them in touch with the relevant contacts (such as our local distributor) if needed. 

We used to rely primarily on our local partners in the past to provide quick support, however we have recently moved to a more centralised approach since we wish to establish a direct contact with our customers and ensure they get all the information directly from the source. 

Today we can in fact guarantee fast response time and - since we are the manufacturer - more precise information to determine whether the product needs a simple firmware update, a hardware fix or a replacement.

Since we manufacture all sorts of sources — from turntable to streamers — we usually to suggest a mix of genres and it’s really hard to narrow it down to just three tracks:

For classical, we love "Dance of the Tumblers" from the Snow Maiden by the Minnesota Orchestra conducted by Eiji Oue (Reference Recordings,1998).

For electronic, our go to is "The Expert" by Yello (Polydor, 2021).

For jazz and vocals, it’s hard to pick between Cassandra Wilson’s "Strange Fruit" (Blue Note, 1995) and "Blues in My Heart” by Fiona Boyes (Reference Recordings, 2020).

As a system manufacturer, we design our products to be part of a Gold Note system and therefore that’s the highest degree of synergy you can reach. The idea of designing full systems is generally frowned upon as the main objection inevitably is: if you design all sorts of products, how can you beat a specialist that only makes amplifiers?

The answer is somewhat counterintuitive and I believe it’s not fully understood by the public yet so I’ll briefly summarise it here — engineering audio systems is fundamentally to design ways to manage signals, whether digital or analogue. The knowledge compounds by researching all areas of signal transmission and amplification, and can then be used to improve on designing electronics, loudspeakers or tonearms. 

For example: researching and designing a cable leads to gaining insights that can then be deployed when designing PCBs; R&D on phono stages where dealing with low voltage signals and ultra-low noise components will inform the design of amplifiers. This positive loop goes on affecting all areas and increasing the knowhow of the team, leading to better products.