LarryC

Great correction, Tom. I wasn't sensitive to SACD vs. DVD-A when I looked it up on the website. Thanks for the comment. Did you ever get to remove the bass-killer inserts from your other K-horn? Larry

---------------- On 7/13/2004 2:38:16 AM maxg wrote: ...I guess they are working their way through all the composers - and you hit on "R". That is assuming that the Holst references were not from the same show. If my guess is correct next week will be "S" - good ground S - lots of great composers there - from Stravinsky to Strauss to Schubert and so on. Schubert's violin compositions are amongst my favorites and they too demand huge degrees of virtuosity. As for the ones you covered - Ravel's Bolero is a peculiar piece - some people love it - some hate it. I am firmly in the former camp on that one. I find Bolero to be a wonderfully relaxing piece to listen to and have several copies on vinyl. ---------------- That's not quite the plan, the "Rs" were a concidence. We've also watched great videos of pieces by Rossini, Wagner, Weber, and others. Bolero's imaginative orchestration is responsible for a lot of its expressiveness IMO, and I used it to demo instrumental sound. I'm not familiar with Schubert violin works, may look into that. My belated thanks to Picky for help in adjusting the score page to the right file and picture size. Larry

Over the past few weeks, GaryMD and I have watched and listened to videos of two classical works, Maurice Ravels Tzigane (French for gypsy) for violin and orchestra, and Nicolai Rimsky-Korsakovs Cappricio Espagnole. In Tzigane, the violin initially plays solo for some minutes as the orchestra only watches. Then, a harp surprises by entering, followed by other instruments almost one-by-one, while the violin displays more and more in astonishing pyrotechincs and virtuosity. In places, the violinist (Maxim Vengarov, a twenties-something Russian) plays an amazingly rapid succession of bow strokes, pizzicato (plucking the strings) with the fingers of the right (bowing) hand, and pizzicato with the LEFT hand, which also nearly simultaneously forms notes for the bowing and pizzicato by the right all faster than the eye can see. As in other compositions by Ravel, only fragments of his gypsy melodies emerge, soon interrupted by multiple, distorted fragments of the subject, as if viewing a cubist painting. The filming gives the viewer a remarkable close-up of the bowing and fingering that could not possibly be seen in ordinary concert viewing. The equally remarkable orchestral effects(Ravel also composed Bolero, same deal) are clearly seen as the cameras dart masterfully from instrument to instrument and to and from the violinist. We then watched a Berlin Philharmonic performance of the closing part of Rimsky-Korsakovs Cappricio Espagnole, a brilliant orchestral showpiece that requires great virtuosity by all players, especially the violins. Once again, great camera work provides swift, almost instrument-by-instrument close-ups of what is happening in the orchestra, a most privileged viewing that is simply not available from most audience seating . These videos were taped from the ARTS Channel (http://www.classicartsshowcase.org/), a national cable TV channel provided to cable broadcasters free of charge. It features videos, about 5 to 15 minutes long, of well-selected examples of opera, orchestra, choral, and chamber music, animation, film, architecture, and theatre. Local stations that carry the ARTS channel can be found by state and city under Channels on the above website, although one may have to call stations in their locale for exact times and other information (many areas do not have it). ARTS is supported by a foundation started by two individuals now deceased, Lloyd Rigler and Lawrence Deutsch (who made their fortunes in Adolphs Meat Tenderizer!), and provided free to broadcasters. However, it does not permit advertising; with such little incentive, its carried mostly by college and public school system TV. For example, in the Montgomery County, MD, Comcast cable franchise, its carried by the Montgomery County Public Schools channel, 24 hrs/day on weekends and holidays and the wee hours of weekdays. Unfortunately, ARTS publishes no schedule, so you never know what youre going to see. It can take lots and lots of watching to see musical gems like what we saw. I mention all this because of how difficult it can be to learn classical music. One big reason: a lot goes on in classical that takes close listening to hear and enjoy! Watching a musical score while the music unfolds is one way to appreciate this, although, clearly, few have the opportunity to see a score and probably need some ability to read music, as Gary has. This approach can show and reinforce what the composer did in writing his (or her) work, and enhance ones ability to pick up on subtle, sometimes fast-moving details. To illustrate, below is a pic of the first page of the score of Mars, the Bringer of War in Holsts The Planets. Some heard this extraordinary work at Indy, which brought a round of applause from very intent listeners. As you can see, the score usually initially lays out all instruments to be played in a particular movement, though many are often silent at first, as here. I hope the pic is large enough for important details to be visible. Marss exceptional orchestral power is signaled by the unusually large brass complement: 6 french horns, 4 trumpets, 3 trombones, a bass tuba, and the unusual tenor tuba. Two players on 6 kettledrums and a raft of other percussion instruments stand ready to add to the impending melee. You can see the irregular, hammering, gunfire-like 5 beats per measure (5/4"), and that all strings are instructed by the col legno to beat the wood of upside-down bows on the strings instead of the usual horsehair surface, to create an angry, mystifying sound at the opening. The score gets far more complicated as it goes on! Garys fine CD, incidentally, is: Gustave Holst: The Planets, Royal Scottish National Orchestra, David Lloyd-Jones, conductor, Naxos 5.110004. We also listened to the totally fabulous Reiner/Chicago Symphony recording of Rimsky-Korsakov's Scheherazade, on RCA LSC-2446, a 200-gm LP reissue available at Acoustic Sounds and other outlets. This classic performance of this fascinating work has won a great, well deserved, reputation among music lovers and audiophiles. Reiner's interpretation and very careful balancing and shading is a thing of wonder, while the Chicago outdoes itself in the performance. To write this kind of music with such exceptional mastery, composers really have to know and understand the instruments they write for! Ravel had to have a very intimate knowledge of how to write his complex violin passages, and Rimsky-Korsakov had to have a similar expert knowledge of all the instruments, again including the violin (he wrote a renowned book on orchestration). It surprises some that classical composers wrote every last note for every last instrument of their compositions -- there is almost no arranging by someone else in mainstream classical music. Perhaps the largest barrier to enjoying classical music is that the literature can be daunting to those who are almost entirely unfamiliar with it. There is no easy answer to this, other than taking any available opportunities to listen regularly, and perhaps accumulating CDs that interest one. One forum member has a large windfall collection of classical CDs, and is beginning to work his way through them with a bit of guidance. Knowing someone knowledgeable to share in the interest can help. Anyway happy listening! Larry

I've been told that aluminum foil can shield against RFI, and I was able to reduce a bad RFI problem in my system by wrapping the back of the preamp and the base of my tonearm with AL foil. It took extensive trial and error to learn just where to place it, though. The DC area is loaded with RFI, and I could never find out where it came from. Larry

---------------- On 7/10/2004 11:13:29 PM HornPenguin wrote: One of my favorite topics to discuss is music. I would post more often if there was a section devoted to music, without having to look through the movie posts. I'm sure the movie guys would prefer thier own section as well? ---------------- Horn, my initial concern (and Thebes') was that music posts in this forum were being seen by a minimal no. of members, and perhaps it should be moved. However, it looks like movie and DVD fans really like it where it is, and it should be left alone. Even suggestions that it be left as a forum but moved up to just below Home Audio, haven't attracted any interest. Then, by contrast, music posts in 2-Channel usually get a HUGE response. It appears that some of the most musically knowledgeable members regularly view that forum. Realistically, 2-Channel is the de facto home for music posts. I would be concerned if a separate music forum took threads that many members including 2-Channel regulars won't see. That in fact was the case when a recent fine thread on pizzicato was posted in this forum -- and only three members responded! Music threads in 2-Channel draw many more than that. In sum, I now kind of think the situation overall is not broke enough to fix. Larry

---------------- On 7/8/2004 8:34:23 AM rosypup wrote: ...I had some more recent tube p-p amplifiers, and I had an otl. The set is way better. ---------------- Which OTL did you have? The comparison with SET is interesting....

---------------- On 7/6/2004 9:49:31 PM DaddyDee wrote: Daddy's little girl is going to be a high school senior this fall taking photography. She needs a 35mm camera for the class and I understand that auto-focus is o.k. Funny thing, haven't been able to locate any real reviews of these cameras. Everybody on the net is in to video or digital. ---------------- I think issues are: (1) Will one fixed-focus lens do it; while a small number of fixed-focus lenses be OK, it's a fuss to be changing them very much; a zoom covering a moderate, functional range is more convenient. (2) I think one should learn the differences in using a normal, wide, and, especially, a portrait-length (90-105) and telephoto (over 100/105). If a zoom, it should have at least a 3:1 zoom ratio (e.g. 28-80 or 85 -- no 2:1's like 35-70!). (3) Auto-focus vs. manual; either way, be sure to look through the viewfinder to see how bright and how clear the field of view is with the camera and lens being chosen. (4) Is it to be strictly film, or is digital being taught? While I prefer film myself, digital is more and more widely used. (5) Is flash contemplated? Expertise in understanding and using flash is valuable. (6) Is macro contemplated? True close-up macro is more difficult, probably will require a tripod. A good macro lens, which will be better than a zoom lens's "macro," is very expensive if bought new. If a less expensive used lens is found, 100 mm is much better than 50 mm. I used to find reviews in "Photography" and other glossies useful, but haven't looked for those mags for years and don't know if they still exist. Never thought much of Consumer mag reviews. Larry

---------------- On 7/5/2004 8:43:38 AM thebes wrote: See Larry, that wasn't so bad was it. Bethesda's not very far away at all. Yeah, let's hook up, maybe even with Gary. Maybe even play a little Ludwig B. (kudos to Kubrick's "A Clockwork Orange"-wished they'd remaster that soundtrack) I've got a little Panasonic SS amp I'd like to bring by that might actually suprise you. ---------------- Thebes, There just wasn't any response to my post, which I kinda expected. I'll be posting something bigger in the next day or two that will include some of it, but I'm going to put it into into 2-channel, where classical usually gets pretty good discussion. Of course, no one may pay attention to it there, either! Just let me know when a trip this way is convenient (I'm in the last stages of a leg cast, can't drive myself for another 2-3 weeks), and we can see when it's convenient for Gary to join in. Most of my stuff is tightly packed into the upper shelves of a bookcase, except for the amps which are in another room near the speakers, so it depends on whether the Panasonic is a separate amp, which would be easy to plug in, or an integrated amp, which would be difficult to link to both sources and speakers. FYI, my amps are a tube OTL model, a rather transparent type of amp. Thanks! Larry

---------------- On 7/4/2004 8:31:27 AM tillmbil wrote: Has anyone uesd this to restore the finish on their speakers? There are no onstructions on the can I am using so I was looking for somew advice. How to apply Rub on or not Etc ---------------- Bill, hopefully Andy or some other real expert will come on here, but these are the rules I've seen so far: 1. Do NOT use on a lacquer surface -- only on oil surfaces. I didn't go near my laquer K-horns with it! 2. Apply, not in a thin coat, let stand (?how long? -- I dunno). I believe you should rub it in. 3. Wipe off. 4. BLO IS DANGEROUS!! Do NOT wad up the towels or rags, because they'll burst into flame (spontaneous comubstion). I've seen advice to spread them out and let them air dry outside. I've only used BLO on a walnut oil table, and it was the best thing by far that I've ever used on it. Far better than wax, Old English, Formby's lemon oil, etc. etc. Oh BTW, I rubbed. I still think you should wait until Andy or one of the Greg(g)s or some other expert chimes in. Larry

---------------- On 7/2/2004 3:43:17 PM thebes wrote: Larry, don't give up yet! I say "build it and they will come". Collectively we must have, oh say, 8 or 9 billion differemt tunes in our Member's combined record collections. I'm hoping after it runs a few weeks, more people will stop by. ---------------- OK, OK, let me try this one: Today, GaryMD and I finished listening to the totally fabulous Reiner/Chicago Symphony recording of Rimsky-Korsakov's Scheherazade on RCA LSC-2446, a 200-gm reissue available through places like Acoustic Sounds. This classic performance of this fascinating work has won a great reputation among music lovers and audiophiles -- and well deserved, too! Reiner's interpretation and very careful balancing and shading is a thing of wonder, and the Chicago outdoes itself in the performance. As always, Gary and I looked at the score page-by-page as we went through the piece, and we both marveled at Rimsky's many amazing and inspired orchestral touches. It's too bad that most cannot discover these easily, because, after all, who would ever own a score but a rare nutcase like me? Thebes, if you ever get out Bethesda way, please look me up. Larry

Thebes --- Nice Try!!! I'm beginning to think that this is a cozy, active place for movies and DVD enthusiasts, and it might be a shame to move it. Kind of like companies whose telephone numbers are changed. Music seems to be the only castaway here. At this point, I'd suggest that any visiting moderator leave the section as a whole unchanged, but consider moving it up to just beneath Home Audio. That way, it would be familiar and all that to regular users but might get more attention from Home Audio, Aragon, and Pro scrollers. And, second, I'd suggest that music threads be posted in 2-channel, where they will get lots of attention. You were right -- here, they mostly die way too soon. Larry

A nut driver is great for removing and reinstalling nuts if that's what you're dealing with.

---------------- I figure a long screwdriver will be a requirement regardless of how it goes. ---------------- I've found an electric easy to hold in place in tight spots.

If you choose to remove the tweeters without removing the baffle (the way I've done it), I suggest an electric screwdriver using a long shank Phillips bit. It makes it easier to reach all the way in there and still keep the driver seated in the screw head. Larry

My respectfully different POV is that, while the wood part of the Hartsfield looks fine, though perhaps not subdued enough, I'm not sure I'd want to see those horizontal "fangs" every time I looked in their direction. In fact, they really draw the eye to themselves, and not to advantage. Klipsch's great design genius included not having metal parts visible, whether decorative or functional. Larry

---------------- On 6/28/2004 11:16:29 PM wheelman wrote: Keep it here! This place used to rock! ---------------- What do you think changed so that it no longer rocks? Larry

Artto, see if you can check out the Ormandy, too -- I'd be interested in your opinion. I am really understating how dynamic and exciting I feel it is.

A very good recording IMO was Ormandy's 1960 recording, on Columbia LP No. MS 6163. It's been available on CD for less than $8.00. Elusive disc and Acoustic Sounds sell SACD-only versions of the same recording for $17.00. Larry

If you still don't get a deserved response, maybe we should recommend splitting movies and music. Myself, I've had mixed reactions in the past to Vivaldi concertos for other than strings. Larry

You know, my focus in this thread has been on classical music, but now I'm wondering now if pop music and movie fans would just as soon keep this forum here? Larry

After initial concerns with my own painting, I also came to realize how much a great frame adds to the room. Larry

While the webmaster calls this an "off-topic" forum in the above link, this thread presents some pretty good arguments that music is central to our interest in the equipment, and music threads in 2-Channel are frequently extensive and have many views and responses. In contrast, few forum members seem to even find exposure to music threads in this forum. The fact is, music threads have to be posted in 2-channel to get much attention and response. Larry

Thebes -- This thread has created almost unprecedented excitement in the "DVD's, Music and Movies" forum! It has the third highest number of posts after "Childhood Music You Hated That You Now Love" and "T3" (a thyroid test?). Congratulations! Larry

Trey, Any chance of putting in names like Picky did in the group pic? It looks like you need to add the specific file names in your "img src"'s after the first two. Larry

Isn't this the Heritage Room? Larry