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All items are meticulously serviced and restored to meet factory specifications
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Cerwin Vega
Cerwin-Vega, best known for musical-instrument and sound-reinforcement speakers, recently introduced a line of five speaker systems for the home market. Called the Select Edition Series, the speakers combine the smooth response and wide dispersion of home hi-fi speaker designs with the high power-handling capability and high sensitivity of professional models.
The Model 250SE, at the midpoint of the Select Edition 200 Series, is a floor-standing three-way system based on a 10-inch woofer operating in a vented enclosure (the vent opening is in the rear of the cabinet). The nominal system impedance is 6 ohms, and the rated frequency response is 32 to 20,000 Hz ± 3 dB. The system’s sensitivity is specified as 95 dB sound-pressure level (SPL) at 1 meter with a 1-watt input. At 550 Hz, there is a 12-dB-per-octave crossover to a 6-inch cone midrange driver, and at 3,500 Hz there is a similar crossover to a 1-inch dome tweeter.
The tweeter’s voice coil is both cooled and damped by a silicone compound, and its dome is loaded by a horn that Cerwin-Vega calls an Elliptical Acoustical Transformer. While any horn can be described as an acoustical transformer, this one has an elliptical cross section (with the longer axis oriented horizontally) that is said to give it better directional properties than those of a dome radiator alone.
Although it is not a part of the 250SE, or required for its proper operation, Cerwin-Vega also manufactures a special bass equalizer, the DB-10 Bass Turbocharger, that can be connected in the amplifier’s signal path to increase the drive level by either 5 or 10 dB at 32 Hz. The equalizer has no effect above 60 or 70 Hz and attenuates signals below 20 Hz. It is intended to restore deep-bass response to speakers whose output falls off below 40 Hz or so (a category that includes most home speakers).
Lab Tests
We experimented with several combinations of control settings when measuring the room response of the Cerwin-Vega 250SE’s. The flattest response was obtained with the high-frequency control set at its minimum and the midrange control at its midpoint, so these settings were used throughout our subsequent measurements.
When we combined the room response with the close-miked woofer response, the composite frequency-response curve of the 250SE was flat within 7.5 dB from 24 to 15,000 Hz. Although the response shape could be altered to suit almost any taste with the speaker’s controls, the high-frequency output dropped rapidly above 15,000 Hz. Our quasi-anechoic FFT response measurements confirmed the general nature of the response curve, including the high-frequency rolloff above 15,000 Hz. It also showed a periodic response variation, with peaks occurring at intervals of about 1,500 Hz over the entire frequency range. This characteristic was also visible on the FFT response plots supplied by the manufacturer. It was not apparent in the room-response curves, however.
The difference in frequency response between the on-axis and 45-degree off-axis measurements was less than 6 dB over the full range up to about 15,000 Hz. The phase linearity of the system was good, with an overall group-delay variation of about 0.4 millisecond from about 500 Hz to beyond 20,000 Hz.
During our pulse-power tests, the 250SE’s woofer “bottomed” with a loud rasp at 100 Hz with an input of 100 watts into its 4.3-ohm impedance. At 1,000 Hz, the amplifier clipped at 240 watts into the speaker’s 15-ohm impedance, and at 10,000 Hz it clipped at 270 watts into 15 ohms.
Comments
As received, the Cerwin-Vega 250SE speakers had their level controls set to their maximum limits. Lacking any instructions or suggestions for their adjustment, we initially listened to the speakers at these settings. The sound quality was very bright and “forward,” but it was greatly improved when we reduced both control settings.
Because of the variable midrange and treble response adjustments, it is difficult to describe the frequency response of the Cerwin-Vega 250SE. Within wide limits, it can have almost any response you wish it to have if you have the patience to experiment with the control settings. Although our test settings yielded the flattest measured response, the resulting sound was too subdued for our taste, and we eventually increased the treble control to its midpoint and the midrange to its maximum. To our ears the sound was much improved, but obviously each user will have to establish his own preferred settings.
We connected the DB-10 equalizer to our playback system and found, as we expected, that it had no audible effect on most program material. Only the deepest bass frequencies are boosted by this device, and such frequencies (under 40 or 50 Hz) are rare in most recorded music. When these frequencies were present, however, the effect was clearly audible.
The woofer of the 250SE was the only one of its drivers that we were able to drive into nonlinearity on musical program material with our amplifier (the 15-ohm impedance of the midrange and high-frequency drivers is not ideal for drawing high power from a transistor amplifier). We could hear the onset of a woofer-suspension rattle while playing a recording of bass drums at a high volume with the DB-10 set to a 10-dB boost, and sometimes at the 5-dB setting, but not when the equalization was switched out.
Like almost any product, the Cerwin-Vega 250SE must be viewed in the context of its price. These days, $300 speakers are often small- to moderate-sized bookshelf units, whereas the 250SE is a husky floor-standing system that is considerably more muscular than most speakers in its price range. In addition, its high sensitivity makes it usable with amplifiers having one-quarter the rated power output that would be needed for a typical small speaker selling at a comparable price. If you take the time to adjust the balance controls to your taste, the 250SE can be a very cost-effective addition to your system.
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There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.
Why Vintage Audio Still Matters
In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.
Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.
The Philosophy of Refurbishment
Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.
Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.
The Turntable Store refurbishing process.. step by step
Step 1: The Initial Encounter
When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.
Instead:
Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.
Step 2: Deep Cleaning & Control Detox
Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.
The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.
Step 3: Electrical Resurrection
This is where science meets art:
Step 4: Cosmetic Glory
Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.
Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.
Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.
Step 5: Calibration & Sonic Check
After the repair and cleaning, it’s time to dial in the performance:
When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.
Our promise for Audiophile-Level Results
Why It’s Worth It
The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.
And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.
We have a 14-day return policy, which means you have 14 days after receiving your item to request a return.
To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.
To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address:
The Turntable Store
45 Market Square
Manheim PA 17545
If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.
You can always contact us for any return question at theturntablestore@gmail.com.
Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.
Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item.
Unfortunately, we cannot accept returns on sale items or gift cards.
Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.
European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.
Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.
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