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Johnny Wonder with a MIXER fetish!

The point I'm trying to make is underlined in my statement: the best sounding recordings on my system are recordings made in a window of time between 1950 and 1967 on electron tube Ampex 300s and a few 35mm full coat 3 track masters. The second point I'm trying to make is that the average CD coming on the market from the major labels is OVERPROCESSED. It is processed for the ghetto blaster crowd not the serious audiophile. What we basically have is re-mixed mono if all the instruments are picked up by a single microphone and recorded on a single track and then re-mixed, re-equalized, de-essed, reverberated, limited, compressed and overdubbed ad nauseum. To have natural ambient 3D field it would have to be picked up by two microphones or a Blunleim pair and those two signals whould have to remain untouched and separate throughout the mixing process. The average audio engineer is a mindless blevit who has to have a mixer in front of him that has 64 channels and lites up like a christmas tree. This THING is the most offending device in the whole chain full of op-amps that some right brain empirical engineer is impressing on the rest of us. It is interesting to note that the op-amp was originally designed as a dc amplifier and its universal application to audio is a another sad backward step. This mindless blevit in front of this mixer is impressing his idea of what the music should sound like on the rest of us. He is an uneducated GATEKEPPER that is following the edicts of his boss or his company or his wild hair at the time They are selling something. And in most instances its a BIG LIE. There a few good engineers and many mediocre engineers and a few bad engineers. You know, the bell curve. The engineers I respect are Armin Steiner, Robert Fine, Kenneth G. Wilkinson. Most of the rest judging from the sonic product they are putting out are mediocre WAGS. Cordially, James


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