Kid Punch

 As striking in appearance as it is in performance, with a suspended double-layer plinth, identical to the one on the top model, Kid Thomas.

A turntable for the serious audiophile who demands high performance sound quality.

Kid Punch Review in image hifi 03-2015

"Dabei war quasi von der ersten Platte an, die ich auflegte,klar, dass der Kid Punch zu den absoluten Top-Drehern gehörte, die ich kennenlernen durfte. Wie sanft, fließend und detailverliebt er agiert, das ist schon erste Sahne. Der Kid Punch spielt wie aus einem

Guss, ohne einen Frequenzbereich zu bevorzugen – mit ausgezeich-netem Timing. In Sachen Feindynamik ist er definitiv Weltklasse, in puncto Musikalität auch."

-Autor: Amré Ibrahim

History

Peter Mezek is a passionate music lover, who’s been professionally involved with music, hi-fi equipment and turntables for nearly 40 years. Analogue turntables were always his passion, whether it was the famous Linn Lp 12, which Peter distributed until the late 80s, or Well Tempered turntables, which he also distributed for many years.

In 1985, Peter developed his own first product, Rational Audio TT, designed by Jiri Janda, with a parallel tracking tonearm, which received a lot of attention and got very enthusiastic reviews. The turntable was build in Czechoslovakia exclusively for Peter’s company and featured many interesting and innovative technical solutions.

Since the 80s, Peter Mezek have handled literally thousands of turntables from top manufacturers, discovering the secrets behind the designs and hearing how minute improvements, or tiny tweaks, might improve the performance of a turntable.

However, it was Tom Fletcher and his approach to turntable design that most influenced Peter. On Tom Fletcher's turntables, Peter discovered previously unheard layers in the music, which no other deck could reveal, and with such amazing musicality and realism.

When Well Tempered was sold to new owners and spare parts became unavailable, Tom Fletcher stepped in to help Peter. Tom Fletcher designed and built a turntable for Peter, and thus Pear Audio Blue was born. At that time, it was still produced at the old Nottingham Analogue factory. Working closely together for many years, Tom Fletcher shared his design secrets and technology with Peter. Before Tom died, he passed the torch to Peter so that Tom Fletcher’s design ideas and ideology would continue.

The latest generation of Pear Audio Blue, designed by Tom Fletcher, is the triumphant culmination of Tom’s continuing development of turntables and tonearms. Each model is hand-built, one-by-one, by Peter Mezek in Slovenia and undergoes extensive quality control before leaving his artisan shop.

Design Philosophy

Pear Audio's friend Tom Fletcher likened most modern audio products to a brass violin: "Pretty to look at but not something you'd want to try to play music on! We don't want to make brass violins, no matter how many we could sell.“

With this simple phrase, Tom’s philosophy about music and audio design is crystalised.

At Pear Audio Analogue have a passionate commitment to hand-build fine instruments for the playback of recorded music. They're not interested in the quick and easy answer, but believe objects of real worth take time to create.

First and foremost, their team never forgets that what they’re trying to capture is - music. Without music there is no purpose. All aspects, from the size and shape of the parts to the materials they are made from, are subservient to the music. Even the finish applied to various parts is carefully considered with respect to the effect it would have on the music. If making something shinier results in poorer sound, Pear Audio will find a different finish.

Every last detail, down to the type of rubber used in the feet on the plinth, has been tested for resonance characteristics and is then listened to by trained ears. Nothing is left to whim.

The design of our turntables and tonearms follow a key philosophy - achieve a magnificent marriage of materials. Each material, on its own, might be common and unremarkable, but the way materials perform together, to maintain the proper phase of energy throughout the system, is how the magic begins. No frequency is overly diminished or amplified. No frequency is overly damped or allowed to sustain. Every bit of energy is carefully managed across the spectrum, from the motor itself, through the tone-arm and in the stylus as it is driven by the grooves on the record. Thus a turntable where the whole is worth more than the sum of its parts is created.

From the ultra-low torque motor, to the mechanically damped unipivot tone-arms, these seemingly simple-looking turntables have loads of clever engineering skill concealed within them.

Give a Blue a spin today!

Fletcherism...

My friend Tom Fletcher likened most modern audio products to a brass violin: "Pretty to look at but not something you'd want to try to play music on! We don't want to make brass violins, no matter how many

we could sell.“With this simple phrase, Tom’s philosophy about music and audio design is crystalised.

At Pear Audio Analogue we have a passionate commitment to hand-build fine instruments for the playback of recorded music.

We’re not interested in the quick and easy answer, but believe objects of real worth take time to create.

First and foremost, our team never forgets that what we’re trying to capture is - music.   

Without music there is no purpose.

All aspects, from the size and shape of the parts to the materials they are made from, are subservient to the music.

Even the finish applied to various parts is carefully considered with respect to the effect it would have on the music. If making

something shinier results in poorer sound, we will find a different finish.

Every last detail, down to the type of rubber used in the feet on the plinth, has been tested for resonance characteristics and is then listened

to by trained ears.        Nothing is left to whim.

The design of our turntables and tonearms follow a key philosophy - achieve a magnificent marriage of materials. Each material, on its own, might be common and unremarkable, but the way materials perform together, to maintain the proper phase of energy throughout the system, is how the magic begins.

No frequency is overly diminished or amplified. No frequency is overly damped or allowed to sustain. Every bit of energy is carefully managed across the spectrum, from the motor itself, through the tone-arm and in the stylus as it is driven by the grooves on the record.

Thus  a turntable where the whole is worth more than the sum of its parts is created.

From the ultra-low torque motor, to the mechanically damped unipivot tone-arms, these seemingly simple-looking turntables have loads of clever engineering skill concealed within them.

Give a Blue a spin today!

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