|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
63.111.2.217
Basement organization brought me upon this issue. not in my regular box of audio mags, I probably pulled it for a Heyser reference (Rosetta Stone) I used in a paper a dozen years ago.
This has to be the heyday of audio, we were interested in digital, and technically obsessed. So let's thumb through the pages:
$175 Pioneer PL518 Turntable in the fold out inside front cover. That in itself is noteworthy, considering the market implications - the cost of the add and the amount of technology built into the turntable. The same year I bought a Mazda RX-7 Rotary Engine Sports car for $12K -- For twice that today - how much better is the MX5 (Miata). Could we get a better TT for $400 today?
Page 4 and 5. Adds for Allison (Used Loudspeakers)and APT Holman Preamplifier (Reliably good Sonics) on either side of the publishers credits, flanked by a full page Technics RS-1506 "Isolated Loop" transport Reel to Reel. Who didnt want one of those - or still do? I raise my hand.
On Page 6, the Audio Clinic addresses a question about a Electromagnetic (Field coil) Loudspeaker. I still think it is a good idea for a loudspeaker, and is still in use by my company today in our electro-dynamic shakers) Electro-Voice "Interface-B" bookshelf ad on the margin. The wonderful Empire 698 Turntable is on the facing page.
Following is an article by Edward Canby, discussing the historical advancement in (Vinyl) disc technology. His tone reflect a bit of lament as well - bracing for technological leaps at the dawn of the digital era.
Space in the article are Ads for TDK SA Cassette Tape, a rare today Harmon Kardon 3500 Cassette Deck, the Crown "Straight Line Amp and preamp, the PS Audio PSIII pre-amplifier, and Wisconsin Discount Stereo (remember mail order?). On finishing the Canby's eloquence, your eyes fall - and jaw drops - upon the stunning Phase Linear 700 Series Two Power Amplifier.
Only through page 18 of 150 pages and I'm pausing to take my breath.
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
Follow Ups:
I probably have the same Audio magazine too.
I recall everyone at college had big receivers or even component systems. Kenwood, Pioneer, and Sansui where ones I remember. Everyone had turntables and a few had reel to reels.
Speakers ranged from Bose 301s to HP100s to JBL100s. The rich guy had cornwalls (don't remember the amps).
When my kids went to college I tried to *give* them a decent stereo system but ipods and ear buds were enough. I thought part of college was going to a buddy's room and listen to music.
I gave one son a Marantz system for his house but it has never been set up. The TV speakers must be good enough.
looking for some jazz and a little libations - joe strummer
My son has my Advent 300 Receiver - a pair of Boston A40's - I've had forever (and repaired a few times) and a nice Yamaha subwoofer that sounds better than what would cost me double to make. He used to play video games - but gosh - he built a computer - got rid of the xBox and sometimes listens to music. There is hope in the world.
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
I did have one son take a DIY pre (kind of a DH-101), DH-200 and Klipsch somethings (KG2?). I bet that was loud.
I did set up a Audionics pre, Adcom 535 and ADS speakers in one of the boys bedrooms but not sure if he is using them. I think the computer game he is playing would sound great.
looking for some jazz and a little libations - joe strummer
The experiences that those who're over 40 are having with today's youth is opposite from what the generation of parents had with their youth in the 60's and 70's.
While there were, of course, exceptions, most parents tried to disuade their boys from falling into a loud music/stereo system trap. The whole thing looked suspicious to parents.
2015 - and parents [at least some] would love for their kids to show some interest in actual stereo systems; and actually sit down and listen to music, instead of using nothing but earbuds and laptops.
Bureau of Labor Statistics says that $12,000 in 1979 is equivalent to $39,000 today. So you gets a Miata and some change...
That exactly what I want to buy a used Boxster for!
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
!
The Mind has No Firewall~ U.S. Army War College.
I thought it was a great car. Worth the money? Hmmmm......your call. Never drove an RX 7.
or a 911 Cabriolet
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
It's mid-engine handling is both phenomenal and predictable. Wifey's is fun to drive.
But, I am having trouble scraping up the extra $40K that my local dealer wants for a new one.
the previous generation can be found on the used market for a more reasonable number.
I drive an '01 S2000 which will put a grin on your face.
I have seen a couple of internet reviewers complain that it's uncomfortable after an hour or so in the drivers seat. How is it working for you?
It is a compact cabin to be sure like the Miata. The seats are quite comfortable if you fit. Six footers, however, need not apply. I'm 5'6" / 155 lbs.
It will, however, out run any stock Miata since its two liter motor puts out 240 HP. I once had one attempt it. :)
Might be tight for me (6'1", 185 lbs) but I did feel comfortable in the Miata, which is not particularly spacious. Then again, 240 hp would probably be more fun than 167. In any event, the car would not be my daily driver, currently a 2008 Honda Accord Coupe, V6, 6-speed manual. Which is, by the way, a pretty hot item; the acceleration performance specs on the Coupe are actually better than those for my old long-gone 66 Pontiac GTO.
Well, give it a try as it will be snug.
I used to have an '04 TL A SPEC with 6 speed which is pretty similar to your Accord. Plenty of power and great cornering, but not nearly as "tossable".
And, deeply in the audio business, working for a division of CBS [an audio retailer].
I remember the days very well, along with the audio aspirations of the day - both low and high.
Most people still spent lots of time and money listening to music on mid-fi Japanese audio systems - this was pre-video age.
In the average person's world, the focus was on the super powered receiver race - more watts per receiver. Pioneer SX-1980. Hundreds of transistor watts.
That, and making sure that the speakers you bought were 12" 3-ways.
Jensens and the Pioneer HPM-100's sold widely.
Before you get too dewey eyed, allow me to tell you that at the time, we all looked forward to progress. Vinyl records were universally disparaged as inadaquate, both by the high enders [The Absolute Sound, Stereophile], the mid-fi press [sort of, and oliquely - Stereo Review, High Fidelity, Audio Magazine], and every day people, who hated using a Diskwasher brush all the time; hated the pops and clicks that appeared anyway; and the inner grove distortion; and the inconvenience [and they flocked to cassettes once those took hold of the market in the 80s].
A tiny, tyny percentage of the huge baby boomers who had come of age and now had disposable income and independence were aware of high end audio and read The Absolute Sound.
The biggest audio problems of the day were:
*Figering out how to hook up the stereo system you just bought
*Blowing your woofers
*Blowing your tweeters
*Blowing your super powered Japanese receiver by having the positive and negative wires touch
*Getting enough bass and volume in your car system [pre-super powered car system days (Jensen Tri-axles were the king]
Other problems of the day were:
*Disco
*Sexual Herpes
*Ayatollah Khomeini, American hostiges and the impotence of the United States of America
*Inflation
*No lemon laws for cars
Working in a steel mill, buying audio gear.
Those 12-inch 3-ways were laughably bad, the receivers about as stable as Lindsey Lohan.
Lot of folks didn't even bother with mid-fi Japanese systems just bought something at Penney's that looked like Japanese mid-fi.
Every time I read a post where someone bitches about how nobody cares about sound quality anymore I just smile quietly to myself.
___
The little old ladies wait in wild anticipation for the meetings of the Double-A-C-ASSN...
In 79 I was in college, with a Sansui turntable, SS Scott receiver, and ADS L500 speakers. I was listening to the Who, the Beatles, Yes, CSNY, Grateful Dead, Dylan, Janis Joplin, Steppenwolf, King Crimson, Pink Floyd, and others along those lines, with a smattering of classical thrown in. I was very aware of high end equipment, but could not afford it. Then as it is now, it was more about the music for me. I knew how to properly operate my stereo, so blow woofers and tweeters were not a problem. I know not to cross the wires. I didn't have a car, but I really didn't need one in Philadelphia. So most of my problems centered around women, but they were good problems to have!
Dave
Vinyl records were universally disparaged as inadaquate, both by the high enders [The Absolute Sound, Stereophile]...
You must be thinking of TAS reviewers other than JWC or HP. I knew both at that time and clearly that was not their perspective. Both had huge vinyl libraries. When I would visit either, it wasn't just, I'd like to hear The Planets . It would be, "Which version on which label? I have five." Hearing vinyl on Harry's Goldmund T3 with Koetsu cartridge sounded pretty darn good to me through CJ electronics and the IRS. As a straight line arm, it didn't suffer from inner groove distortion (which is one reason I purchased a Souther TQ-1 in the early 80s). As for clicks and pops, the solution was using a RCM. Similarly, both started with KMAL machines and later moved to VPI models. I purchased my HW-16 in 1982 and have thirty year old records that remain pristine. Are you familiar with the Keith Monks or any of the VPI cleaning machines? They work.
While I find that 96 or 192/24 has bridged the gap in sound quality, the very best vinyl today can sound phenomenal with commensurate playback gear. Fast forward to my last visit to Sea Cliff a couple of years ago. HP was using the Clearaudio Statement, Goldfinger cartridge, VTL electronics, Nordost cabling and Scaena speakers. EMM Labs digital source. Simply breathtaking realism you just didn't find in 1979.
In 1979, I was using my first electrostats, a pair of the Acoustat X with a Frank Van Alstine modified Dyna PAT-5 and a turntable combination I still use today in the garage: Ariston RD-11s with SME 3009. I went through a number of cartridges and arms in that era, but I'm thinking I was using a Grace F9.
Your gear sounds really great. What're you doing here in vintage world, where guys extol the virtues of radio/TV consoles and Webcor phonographs?
You're right about HP's vinyl collection. But, I think you're missing a subtle point. HP, and everyone in the highend, hated the state of vinyl [until digital came along]. Without getting into a long discussion here, let's just say that the perspective on vinyl shifted almost over night in the early 80s.
I've got most of TAS from #4 on. The whole idea of HP's super disk list was a reaction to the crummy sound, recording philosophies [multi-mike, multi-trac], and bad surface quality, that were common during those days. HP came out with his super disk idea as combat against the common practices of big record companies. The whole idea of the list was to tell you which records, in a vast sea of mediocrity, were actually really great. Otherwise, if records were all commonly great, or even mostly great, the list would be unnessesary.
In TAS, EMI were constantly praised [and their Angel record counterparts panned]. I was so inculcated with that, that to this day, when I see a British EMI record, I reflexively feel I've just spotted something wonderous.
At about the same time, but not with the same emphasis at first, HP also extolled the virtues of Mercury. By issue #22, Mercury Living Presence and RCA Living Stereo began to take center stage. The digital era, at first starting with digital vinyl in the early 80s [not CD's], hastened the desire for old, out of print Shaded Dogs and Mercury FR plums. At the same time, the proliferation of used record stores fascilitated the audiophile old record collector habit.
But, generally, we all decried the general state of vinyl. That's why the appearence of super disks, which had started early in the 70s with direct to disk recording on the label Sheffield, and ended with major companies such as Columbia and RCA releasing half-speed remasters of their catalog, were so embraced by a quality hungry market. The average record was perceived to be crap. Super disks were perceived to be [mostly, but always] super. Direct to disk records, though with sometimes questionable musical content, were the best sound we'd ever heard, short of live musicians.
What're you doing here in vintage world, where guys extol the virtues of radio/TV consoles and Webcor phonographs?Vintage is a relative term and the question as to what constitutes such has been discussed before. It seems the most common answer was 25 years. Using that yardstick, my garage system components (except of course for the Touch digital player) fall into that category. The turntable is one of the oldest possessions of any sort that I have having purchased it as a teenager.
I originally used double New Advents there and made a number of tweaks with assistance from other inmates like Bold Eagle. About two years ago, I found a deal on mid 80s Acoustat 1+1s, purchased and restored them.
HP came out with his super disk idea as combat against the common practices of big record companies.
It served another important reason: a reference by which others could compare his comments about various components. While many think his approach was that of a "golden eared" guru who passed down declarations of what was good to the masses, he truly believed that anyone could replicate what he did and make the same observations. While we may all agree as to what we hear, naturally individual preferences and priorities then take over. Of those two mentors, I was more closely aligned speaker wise with Dr. Cooledge who turned me onto the beauty of Dayton-Wright electrostats when I was 19. I have clear memories (and copies today) of several works that sealed my enthusiasm and love for the coherency of full range stats.
In TAS, EMI were constantly praised [and their Angel record counterparts panned].
The owner of a hi-fi shop I frequented (and later worked for part time in college) also loved EMI recordings and easily had a hundred or so. Like JWC, he filed them by pressing number ! Truly, those British pressings were of higher quality than most of the Angel versions. He also liked Deccas as well.
The digital era, at first starting with digital vinyl in the early 80s [not CD's], hastened the desire for old, out of print Shaded Dogs and Mercury FR plums.
Very true and for many reasons. If you recall, the pioneer with the digital recording process was Dr. Tom Stockham who developed the Soundstream recorder used by Telarc. Coincidentally. Jack Renner was very much a believer in the use of minimal miking. As audiophile and member of the board of the Atlanta Symphony Orchestra (and baritone in the chorus), Dr. Cooledge was involved with getting Telarc to record the ASO. I played a very minor role in the 1978 recording enjoying watching and hearing the process. I think Renner used only five microphones. Three up front and two ambience mics out in the hall. After each take, we would go downstairs while Shaw would review the sound and critique the results. Dr. Stockham was there supervising the use of his recorder. Since the AC was turned off during the sessions, Shaw carried a towel around his neck!
That's why the appearance of super disks, which had started early in the 70s with direct to disk recording on the label Sheffield, and ended with major companies such as Columbia and RCA releasing half-speed remasters of their catalog, were so embraced by a quality hungry market.
Oh, yes. I have quite a few Mobile Sound Fidelity pressings of various pop recordings that sounded much better than the original versions. Stan Ricker mastered them using a custom Studer tape system.
Direct to disk records, though with sometimes questionable musical content, were the best sound we'd ever heard, short of live musicians.
I have a couple of Sheffield disks and agree although most of the content was a bit dry. The Harry James disk being an exception. My wife's favorite is "Growing Up In Hollywood Town" with Amanda McBroom and in particular, the Amanda track. It is wonderfully dynamic and clean. I also have some Reference Recordings pressings in 45 RPM that are pretty darn good too. Don't laugh, but some of the cleanest, most dynamic vinyl I have is a series of 12" 45 RPM "dance" singles by Madonna. They were extended remixes lasting about ten minutes which seem to have no compression at all. Groove spacing is wide enough where you can easily count the grooves. Dynamics and punch are like direct-to-disk.
Sorry for the long ramblings. :)
Edits: 01/08/15 01/08/15
Friends with HP and JWC. Took part in Telarc recordings.
How many people can say that?
Most impressive. I hope that you'll find time to post recollections of your experiences, from time to time. It's valuable audio history, and it's all receding into the past. Since HP left no memoir, all of it may vanish into the mists of time.
after wandering into a new audio store in Atlanta when I was 17. The rest followed...
I had great mentors. :)
Yes, you are sooo right. I lusted for a click and pop remover - The KLH Burwen was reviewed is that specific issue. And all the problems you say were true - though as an audio enthusiast and a geek that had knowledge and no fear that brought me attention, and the attention of girls and dates! Ah.... the good old days! LOL. Married in 1982.
The "Big Receiver" push started in 1979 and made for mostly ugly and complicated face plates. Not the clean look of the "green light era".
This was also when the integrated Ampifier came of age - really good Japanese ones - Sansui AU919 (black! who would buy that?), Kenwood, Luxman, Accuphase, and of course Yamaha, Pioneer, Technics and others. These - and the receivers offered useful tone controls with variable "turnovers" and some mid-range "presence" controls as well. JVC offered reasonably placed 7 band equalizers - intelligent engineering design. Completely - or almost completely gone today.
Because we new the limitations on the source material - and rooms and loudspeakers, EQ was and is necessary - even today! DBX was there to address dynamic range issues in the source material and the recording process. dynamic range (Compressing in recordings) is an even bigger issue today. When was the last time an audiophile magazine reviewed devices or dsp processers that help these anomalies!
I yearn for the 3BX I sold in 1990 because cds "did away with the need" for dynamic expansion - that was until music was distributed online and listened to with ear buds!
I just dropped $500 on an Isotope software package that will give me live tick and pop and dynamic control over signals in my main system - even if it mean i'll have a PC in my rack!
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
I spent a lot of time at audio stores, kinda on the outside looking in. Listened in when others auditioned gear; the decent salesmen noticed I was discreet, stayed out of the way, and didn't waste their time and they welcomed me. I'll always be grateful for that.
That said, most of it wasn't worth listening to. I was in the 'burbs so really good gear was really pretty thin, but most shops had bits and pieces that could add up to good sound.
there were some gear heads on the outer periphery of my circle of friends that got some VERY good sound from cheap (in 1979!) old beater tube gear and reel to reel. One guy even had some salvaged Altec theatre horns (popular for parties). They were a bit older and graduated to wrenching beater cars before I really learned anything from them, but it left a big impression.
I had Jensen triax's in my Chevy Impala. Stupid girlfriend cranked the volume all the way up and blew them.
Your mention of that brings back memories of 1973-1974 when I was living in a once grand apartment building in the city. The top floor (8th or 9th) apartment included a ballroom that was once occupied by a wealthy Jewish family (the whole building was upscale from the time it opened in 1918 until after the Great Depression).
By the early 1970s, the top floor apartment was occupied by college students who set up a pair of Altec Voice of the Theater speakers. I can't recall the electronics behind them but these guys had great dance parties up there. The sound, as you can guess, filled the entire room and then some.
This has to be the heyday of audio
What is your criteria for stating that?
I confess that I find that today is the golden age. The level of available performance is considerably beyond anything found in that issue. The cost of getting a really good system today is far cheaper in equivalent dollars. You tout the Pioneer player and ask if we can find a better player today for $400? I believe the answer is a resounding yes. In fact, let's use the same $175 dollar amount today (okay $179). Ever hear of a U Turn Orbit ?
Used gear can be found aplenty. We figured out why early digital sounded dreadful and fixed it. Convenience has never been higher using devices like the Squeezebox Touch or Sonos players among other pricier models.
And, you can get a Maggie delivered to your door with a 60 day money back guarantee along with an upgrade path for $599! My '76 MG-IIs would cost $2600 today adjusted for inflation.
More people had interest in audio equipment, and more dollars were spent on it from about 1975 through 1980, or so, then any other period. Once the video boom hit in the 80s, the interest in just sitting listnening to music began to decline. The Walkman contributed, by freeing people from having to even own systems. That thread may be followed to today's zero audio system ownership among young people. Listening's done by earbuds, streaming, and/or downloads. [You may've heard of digital music files. Or, maybe not].
has to do with enjoyment of today's gear as opposed to what I used as a teenager. Honestly, I couldn't care less how the cassette format evolved decades ago. It never was a high resolution source and is effectively dead.
You may've heard of digital music files. Or, maybe not.
At the expense of confusing the issue with facts, all of my digital content - be it free MP3s, ripped CDs or downloaded 96/24 music lives on a quad core music server feeding two Touch players and an iPad using the iPeng app. They offer access to hundreds of internet based radio stations and services like Pandora, Spotify and XM Radio. System details found in my profile.
Don't know about you, but I find that to be a beautiful thing. I have instant access to anything in my digital library across several systems controlled by iPhone or iPad. No shuttling disks in and out of players or ferrying disks about multiple locations or burning hundreds of CD-Rs (like I once did).
The U-Turn Orbit is a piece of MDF board and crappy non-damped no dynamically balanced tone arm. The Pioneer would walk rings around it.
Don't get me wrong, there are great things today in music. Streaming MP3's CD and a bunch of technology at your fingertips. The things we were beginning to wrap our heads around at this time.
I say it is the HeyDay because markey was expanding frenetically. Companies were being formed - existing companies growing. The compact disc was just moving out of the rumor stage. Canby wrote about the stream of R&D money being pumped into audio quality - and formats exploration as well. Audio Research had Ads on 10 consecutive pages! (72-81)
The Vinyl format was moving to higher quality - Direct to disk, thicker and better chemicals, cutting lathes impressively improving with a lot more dynamic analysis. There were prototype in Laser grove playback devices, servo analysis linear tracking turntables, The Direct Drive Turntable systems were improving in performance and design and the Belt drive companies were attacking back with their own innovations.
Tape formats both Reel to reel and Cassette were making the highest performance products ever. Auto bias cassette players were introduced in 1979. Technics, Revox, Teac, Akai and Tandberg all introduced new flagship RTR's in the 1978-1979 era. Nakamichi, Aiwa, Sony, Eumeg were coming up with new levels of Cassette perfomance and the tape formulation battle between TDK, Maxell, and others were providing higher quality products and reducing prices.
Loudspeakers designer were finally embracing T-S design parameters, looking as cabinet resonances, and time aligning crossovers. Some of this was driven my the test companies, with the first TDS systems becoming available from my company (Bruel & Kjaer) and others. and the magazines.
This was also the era of the boom in reviewers and magazines about audio.
Yes - the HeyDay No doubt about it - before the non-sense of "everything effects the sound" before the "cables makes sound" marketing silliness. Before audiophiles and audio engineers were antagonistic to each other. Definately the heyDay - I long for those days.
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
I enjoyed that period of time as my awareness of just how good a system could sound skyrocketed. It was a relatively short journey from Advents to Tympani IIIs. :)
I miss having audio shops being main stream and easily found around any major city.Back in the '70's most kids in my high school that I knew had decent stereos.Now it is more esoteric.
1978-1982 - the last two years of those I worked there along with my full-time engineering gig @ McDonald Douglas. From 9-11AM there were two groups that wandered in - not always the same folks every weeekend - but "Regulars" if you know what I mean. There were the HAM radio guys and the Audio Guys - they'd rib us "young guys". Most were 45 or older - but they also had a lot to share. Sort of a "barbershop" atmosphere. I learned about electrostatics, and tube bias, and infinite baffle loudspeakers the size of a Beetle. Before that - in my midwest college - it was the "biggest" (loudspeaker, woofer, Amplifier, Receiver) that won - until you found the guy from Chicago (Jim B.) or New York (Kevin S.) or my Dorm Director from Boston (John T.) that listened to jazz or blues or Classical on a Rectilinear, Acoustic Research or BOSE 901's - and things just sounded better - and those that cared became a community.
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
Ahhh there you go. All of the audio gear I grew up with came from Henry Radio. Dad had a really nice mono Leak rig that was powerful enough to turn a speaker cone inside out ( A JBL LE-8T that ALSO came from Henry Radio!) My college Scott integrated came from there as well. I still have a very nice 3 way B%O speaker system from those days, now doing TV sound duty.
Always felt welcomed there, even as a 17 year old.
Good memories!
I met a number of folks who became quite influential during my teens through spending time at a shop in the Atlanta area.
There were a number of nearby enthusiasts (one is another inmate here) along with a couple of audio reviewers who shared their passion for music and audio. Access to really good stuff today is far more challenging.
I still feel the old community to some extent when @ AES each year. Though the younger <45 years old "kids" don't know about "Listening to records" as a social activity. My kids do share music between themselves and occasionally me. But the necessity of a live experience needs a refresh. I personally think it is a good time for this. Seeing "cans" on heads instead of buds, means they are sensing, no desiring, a better quality - dare I say "High Fidelity" playback.
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
Seeing "cans" on heads instead of buds, means they are sensing, no desiring, a better quality - dare I say "High Fidelity" playback.
True.
As for me, I prefer higher quality IEMs for portable use. Shure SE535s are pretty darn good and are far more compact. One of the these days, I'll get the earpieces formed to my ears.
Continuing,
Bert White "Behind the Scenes" uses on several "Bits and Pieces", Consumer and Pro Digital Sampling rates (pun obviously intended), The New York Hi-fi show, with falling attendance of the "Big names" Pioneer, Kenwood, Technics perhaps due to an emphasis on Winter CES. M&K Volkswoofer (My first Subwoofer), Bendini, B&W DM7 and some other equipment mentioned, and White expresses the frustration of dealing with phonograph cartridge leads, and the complete non-standardization of connectors in general. (Would he embrace HDMI?) Soundcraftsman and Fuji Tape advertisements follow with a Quad Ad "Artistic License" where the shape of their RIAA response accuracy is discussed.
What's New. Pioneer CT-F900 Cassette, Mitsubishi DA-C20 "Docking Preamp/Tuner are described along with the previously mentioned APT-Holman Preamp and M&K Subwoofer. Tape Guide Q&A (losing Treble response and tape head wear) and The Bookshelf ("Honkers & Shouters"/"Walk Away Rene" Section follow. The Ad under the Bookshelf is for MicroAcoustics Cartridges. I still have one today, and I swear it does (good) things a MM or MC cartidge have never done translating a groove.
The Addendum to the marvelloud Equipment Directory follows. Revox Integrated Amp and Turntable, Nikko Recievers, Pickering and Stanton Cartridges and the very nice sounding and different looking Custom Craft loudspeakers - must have missed the filing deadline by a Skoosh.
Someone looking like Bruce Lee is holding a Yamaha NS10 loudspeaker. Sorry to end this section on a downer. (How many good recordings were mastered on an NS10?)
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
Post a Followup:
FAQ |
Post a Message! |
Forgot Password? |
|
||||||||||||||
|
This post is made possible by the generous support of people like you and our sponsors: