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thebes last won the day on July 11 2020

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    Main System: Anthem Pre1 preamp; Marantz8b amp; Thorens TD/125 table and/or SonyPS6750; or Technics SP25, Tjoeb 99 tubed cd player; black Decorator Khorns.

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  1. To my mind the company should have been honest with its recording chain. I'm a vinyl guy and while I love the detail in most cd's the vinyl gets me grooving. It's often easier on the ears yet somehow brings more to the table than digital. However, that's a great generalization. After all many records were recorded for vinyl using digital methods, particularly from, say the late 80's on when you had multiple formats, cd, cassette, eight track and vinyl. You had vinyl releases recorded using digital methods and digital releases made using tape. One telling point in the article is that Mo-Fi is able to do bigger runs on a "One- Step"using the digital technology, thus increasing their profit. The article indicates that master tapes could take a beating on those larger runs without that cheating, something the holders of the tape (ie record companies) would not want happening. This is a classic case of greed ruining an iconic brand or product. New Coke anyone? It's particularly stupid because the people that buy these pressing are fanatics about their music, not some casual buyer.
  2. Mo-Fi, one of the vinyl industries purveyors of top quality-top pricey record re-issues has been nailed for putting out records with the use of digital, rather than, analogue, files in its pressings. No telling how long they have been doing this but they were outed by a record store owner who also has an online audio talk show. Big names, such has Michael Fremmer, who took Mo-Fi's side have also weighed in. My feeling is that it was wrong and will probably affect re-sale value on those particular pressings, and anger their numerous vinyl junky fans. Following is a link to the article, but if you can't access it I'll post some excerpts below. https://www.washingtonpost.com/music/2022/08/05/mofi-records-analog-digital-scandal/ How a Phoenix record store owner set the audiophile world on fire MoFi claimed its expensive reissues were purely analog reproductions. It had been deceiving its customer base for years. Mike Esposito still won’t say who gave him the tip about the records. But on July 14, he went public with an explosive claim. In a sometimes halting video posted to the YouTube channel of his Phoenix record shop, the ‘In’ Groove, Esposito said that “pretty reliable sources” told him that MoFi (Mobile Fidelity), the Sebastopol, Calif., company that has prided itself on using original master tapes for its pricey reissues, had actually been using digital files in its production chain. In the world of audiophiles — where provenance is everything and the quest is to get as close to the sound of an album’s original recording as possible — digital is considered almost unholy. And using digital while claiming not to is the gravest sin a manufacturer can commit. There was immediate pushback to Esposito’s video, including from some of the bigger names in the passionate audio community. Shane Buettner, owner of Intervention Records, another company in the reissue business, defended MoFi on the popular message board moderated by mastering engineer Steve Hoffman. He remembered running into one of the company’s engineers at a recording studio working with a master tape. “I know their process and it’s legit,” he wrote. Michael Fremer, the dean of audiophile writing, was less measured. He slammed Esposito for irresponsibly spreading rumors and said his own unnamed source told him the record store owner was wrong. “Will speculative click bait YouTube videos claiming otherwise be taken down after reading this?” he tweeted. But at MoFi’s headquarters in Sebastopol, John Wood knew the truth. The company’s executive vice president of product development felt crushed as he watched Esposito’s video. He has worked at the company for more than 26 years and, like most of his colleagues, championed its much lauded direct-from-master chain. Wood could hear the disappointment as Esposito, while delivering his report, also said that some of MoFi’s albums were among his favorites. So Wood picked up the phone, called Esposito and suggested he fly to California for a tour. It’s an invite he would later regret. That visit resulted in a second video, published July 20, in which MoFi’s engineers confirmed, with a kind of awkward casualness, that Esposito was correct with his claims. The company that made its name on authenticity had been deceptive about its practices. The episode is part of a crisis MoFi now concedes was mishandled. “It’s the biggest debacle I’ve ever seen in the vinyl realm,” says Kevin Gray, a mastering engineer who has not worked with MoFi but has produced reissues of musicians such as John Coltrane and Marvin Gaye. “They were completely deceitful,” says Richard Drutman, 50, a New York City filmmaker who has purchased more than 50 of MoFi’s albums over the years. “I never would have ordered a single Mobile Fidelity product if I had known it was sourced from a digital master.” Record labels use digital files to make albums all the time: It’s been the industry norm for more than a decade. But a few specialty houses — the Kansas-based Analogue Productions, London’s Electric Recording Co. and MoFi among them — have long advocated for the warmth of analog. “Not that you can’t make good records with digital, but it just isn’t as natural as when you use the original tape,” says Bernie Grundman, 78, the mastering engineer who worked on the original recordings of Steely Dan’s “Aja,” Michael Jackson’s “Thriller” and Dr. Dre’s “The Chronic.” Mobile Fidelity and its parent company, Music Direct, were slow to respond to the revelation. But last week, the company began updating the sourcing information on its website and also agreed to its first interview, with The Washington Post. The company says it first used DSD, or Direct Stream Digital technology, on a 2011 reissue of Tony Bennett’s “I Left My Heart in San Francisco.” By the end of 2011, 60 percent of its vinyl releases incorporated DSD. All but one of the reissues as part of its One-Step series, which include $125 box-set editions of Santana, Carole King and the Eagles, have used that technology. Going forward, all MoFi cutting will incorporate DSD. Syd Schwartz, Mobile Fidelity’s chief marketing officer, made an apology. “Mobile Fidelity makes great records, the best-sounding records that you can buy,” he said. “There had been choices made over the years and choices in marketing that have led to confusion and anger and a lot of questions, and there were narratives that had been propagating for a while that were untrue or false or myths. We were wrong not to have addressed this sooner.”
  3. Yes you could be correct, don't know for sure. However, there is no mid-horn which, in my personal opinion, is where the magic lies. Of, and obviously no folded horn for the bottom end.
  4. A used in good shape pair of KG 1.5's would fit the bill. Great sound, for their size but not horn loaded.
  5. Sounds like a lot of my dates back in the day. For things that bounce around so much you'd think they'd be easier to grab ahold of.
  6. LaScalas: https://washingtondc.craigslist.org/doc/ele/d/richmond-high-end-audiophile-stereo/7492090456.html Heresy II's: https://washingtondc.craigslist.org/nva/ele/d/alexandria-vintage-klipsch-heresy-ii/7494433186.html Heresy IV's: https://washingtondc.craigslist.org/nva/ele/d/alexandria-klipsch-heritage-heresy-iv/7498132837.html Hersey II's: https://baltimore.craigslist.org/ele/d/elm-pair-vintage-klipsch-heresy-ii/7503715070.html More Heresy 11's: https://baltimore.craigslist.org/ele/d/baltimore-klipsch-heresy-ii/7503282025.html Khorns!!!!!! https://baltimore.craigslist.org/ele/d/glyndon-klipsch-klipschorn/7490393924.html
  7. Yup. 78's. Perhaps the greatest source of Americana music. Almost totally abandoned, even by audiophools, collectors, artists and historians of the roots of much of American, and other cultures, early recorded music. I admit, I only have a few, and can play them, but do not have dedicated needle, which is what you really need. But then in the Washington Post this week there is article about this guy whihc I've excerpted here: Joe Bussard "Since the early 1950s, Bussard (“Everybody thinks it’s pronounced ‘buzzard,’ but it’s Boosard,” he says) has been acquiring 78 rpm recordings of the earliest and rarest examples of blues, bluegrass, jazz, country and gospel music. The collection of discs he has amassed is considered by many fellow collectors as one of the finest and most eclectic of early American roots music in the country. In the basement of his unassuming home, some 15,000 records fill the shelves. In the world that pays attention to these things, Bussard’s treasure is legendary. Filmmakers have made documentaries about him. Writers have paid homage. Fans and musicians from all over the country have journeyed here just to see the records and listen to Bussard tell how he traveled the back roads of Appalachia and the South to find them. And they come to hear the songs. In his basement, time has stopped. There are no computers, no flat-screen televisions. Other than two newer turntables, there’s almost nothing that looks like it was made in the past 50 years. There’s a 300-pound speaker cabinet he bought in 1960, photos on the wall from the ’50s, and rows and rows of records from the ’40s, ’30s and ’20s. Bussard’s collection “is almost mystical,” says Ken Brooks, a fellow 78 collector who first learned about Bussard when he watched “Desperate Man Blues,” a 2003 BBC documentary about him. “It’s so deep and wide. He has blues records that nobody else has. Country records that no one else has. Jazz records that no one else has.” In the book of Bussard, the spirit and soul and depth of American music can only be heard on the oldest 78s. Modern music, he’ll tell you often, is “awwful, just awwful.” And by modern, he means anything since Elvis Presley, and the Beatles and “all that crap” destroyed music altogether. For Bussard, real jazz ended in 1933. And the last good country song was Jimmy Murphy’s “I’m Looking for a Mustard Patch” in 1955. In his basement redoubt, Bussard walks over to his wall of records to make another selection. The records are all in identical faded green sleeves with no marking to differentiate them. They are not ordered alphabetically or by year or by label. Only he knows the system. “If I get Alzheimer’s, I’m really in trouble,” Bussard says. He pulls another record from the shelf — “Death May Be Your Paycheck,” by F.W. McGee, recorded in 1928 on Victor — and flashes a wicked smile. “Wait till you hear this.” What he wants, more than anything, is for people to listen to the far-flung, wild, beautiful music found in America before recordings became commonplace and swallowed up regional idiosyncrasies. He wants people to hear the music created before vinyl, before 8-tracks, before cassettes, before CDs, before one-stop shopping on Spotify. “Wait till you hear this,” he says and puts on Jesse Stone’s “Starvation Blues” from 1927. And then it’s “Florida Rhythm” by the Ross De Luxe Syncopaters. And “It’s a Good Thing” by the Beale Street Sheiks. And “Original Stack O’ Lee Blues” by Long Cleve Reed and Little Harvey Hull. And on and on and on. But whenever Bussard had free time, he jumped in his Ford sedan and went in search of shellac gold. He bought from dealers and at estate sales, but mostly he drove on twisty back roads through the hollers of West Virginia and Virginia’s Shenandoah Valley and down through the Deep South of Georgia, the Carolinas and Mississippi. He asked everyone he met if they had “any of them old records,” and they’d point him up to an attic or down the road to their cousin’s house or to an abandoned five-and-dime in town. After a while, Bussard could smell them. He found the old 78s in outhouses and spring houses, pulled them from broom closets and travel trunks. Many of the records were ordinary, dime-a-dozen discs with grooves so worn the record sounded like a slow-motion train wreck. But then, every so often, eureka! “Oh boy, oh boy, oh boy,” is what Bussard remembers thinking when he came across a rare, unblemished gem. “I had to hold my hands down to keep them from shaking.” Bussard sometimes forgets what he ate for breakfast, but he can provide detailed background on his records, the year they were made, who played on them and how many are still known to exist. He can tell you how much they’re worth, too, but he likes to keep that part quiet. He says he has never spent more than $500 on a record. But he has sold a few for much more than that. The collection grew, and so did Bussard’s obsession. He didn’t want to trade records; he wanted only to keep getting more. It took over everything.
  8. Good stuff. Keep'em coming. Here's a classic:
  9. Sorry this thread is is only open to those who work with their hands, their backs and, oh those aching, aching feet. Desk jockeys need not apply. One of the good things, but at the same time, one of the bad things, is just how many musicians have had to do manual labor to put food on the table, shoes for the kids and a shawl for the missus. One of the positive side effects of the precarious nature of playing in a band, is a lot of good songs telling us about the workingman's life. So tell me which song helps you celebrate the end of the work week? Check this one out. You know he knew all about drudgery, but still had time to have...
  10. Thanks for sharing that Marvel. Gonna have to watch it. I hope Allen is doing well. Somebody in Hollywood should do a new jazz movie and hire him to lay down the soundtrack, in mono, of course. A couple of days ago, a Jack Daniels tv commercial comes on. I've got the tube on mute so I'd don't catch the dialogue, but there is a pretty impressive looking tt on display. It's appearance was too brief to figure out what brand (not to mention cart, loading etc.)and it's far from the only commercial I've seen with a tt in it. Heck, a few years ago there was a Jason Stratham movie with a nice audiophile system in his house. He had to make a run for it, dropped a needle and the house exploded when the album got to the end. I'm guessing it was the B side.
  11. Now that's a catty name.
  12. One thing you can always count on, when there is a buck to be made people will pile on. Take the vinyl revival. There's the usual actors: record companies, distributors, manufacturers, the media in all it's various forms, and then the mega corps. Yup the big guys, the people with no shame, no morals, no game but to play the game and with their faithful servants on Madison Avenue, no need to actually understand anything about it, nor derive any pleasure from it. So what's got you pissed off now Thebes? Well a picture is worth a thousand words, or so they say:
  13. Well slap my head! Duh. It's official, I am senile.
  14. Somebody finally got around to making a documentary on the vinyl revival called Vinyl Nation. Starts streaming this weekend I think on something called TV-14. I have no idea what this is or if there are other ways to view it but I thought I'd pass it along. Here's a link to the trailer: tv-14
  15. Friday night at the historic Lincoln Theater for Cat Power. Great concert.
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