Travis In Austin

Buy them a vintage 3 wheel ATC, probably safer. Or bowling, miniture golf. Better yet, buy them an ipad and let them play video games, then they can hire more Chinese workers for less than 15 a month, to build them. Seriously, there are many exceptions, typically an under 18 exception to minimim wage, and a 90 day exemption, and a farm worker exemption, etc. I don't think the trampoline workers of America have anything to worry about. School Districts and Police Departments on the other hand are probably freaking out, they might actualky have to start out paying people $20 an hour plus benefits.

Wrong. I never said that or even implied it. It boils down to a simple economic concept, which has repercussions for our society. Do we pay as little as possible while then subsidizing through taxes the difference? Or do we remove the subsidization which brings its own consequences, one of which is that now workers will refuse to work for the little being offered? Why should some companies who pay many very little get subsidized over other companies which cannot due to the nature of their businesses? Part of the issue here is lifestyle choices. Again, two people, works for the same company:1. My wife, who worked at Wal-Mart for $4.25 an hour. She put herself through law school doing this, unloading tractor trailers full of junk all night. 2. My ex, a single mother who has multiple kids from multiple fathers out of wedlock who she needs to support. She's not really a go-getter, and doesn't want more hours because she'd lose her earned income credit and who knows what else. On a good year she might make 5 figures. Maybe. One of these was subsidized by the government. The other wasn't. Both are lumped into the same class for some reason, when liberals try to justify this stuff. Just because a low'ish paying job is available and somebody agrees to do it, doesn't automatically mean they're making up the difference by leaning on the government. Unfortunately this is a little worse now because of inflation. The Obama economy has diluted everyone's spending power somewhat. Really? You were doing better under Bush? Well here's your chance, you can bring in his brother. Wait, do you even know the inflation rates for the last 7 years, and the 8 years before that? I guess you can juat google "inflation"

Type in the basic questions like "how many employees does McDonalds have" and Google displays an answer in the top left. I just didn't feel the need to study it in more depth. Than use qualifiers or cite your source. Your lack of interest in being in depth is already apparent.

What happens when the rate of new wealth creation goes down? Do newly hired young people take a pay cut from the previous years new hires? And then what if it goes up the next year? Do newly hired young people make more than the previous years new hires? I think you have aptly pointed out that is an unworkable yardstick. Where a wage is as a percentage of poverty level seems much more workable to me.

Whatever another human is willing to pay because they themselves are unwilling and/or unable to do that job. You have no understanding of labor economics. What you have stated only occurs occurs in theory, that being from the greatest Scottish economist of all time. In reality it only occurs with collective bargining or civil service.

Where is it out of control? I must have missed that.

History of the minimum wage law. This ine is from the DOL and is pretty accurate in describing the Supreme Court's actions and the response. The "switch in time" that saved nine. http://www.dol.gov/dol/aboutdol/history/flsa1938.htm

Done

It depends on what you mean by "old" and it also depends on which brand and type of tape as to whether it will require baking. Hoever, if a tape does need baking, 150F is too hot and an hour isn't long enough. The heat isn't to soften the back-coating, it is to dry the tape out. The problem with SSS tapes is that they absorb excessive moisture by hydrolysis. The brands and types of tapes are well documented as well as the reccomended baking procedures from Ampex, Library of Congress, and the National Media Lab. The oldest tapes are mylar and acetate and you dont want to be baking those.

Ay Carumba! These are not the same. One has a 2 conductor cable the other 3. The 2 conductor will force the inter chassis ground current and signal ground current to travel down the cable in the same wire. This MAY or MAY NOT cause audible artifacts(length of cable, noisiness of environment, magnitude of impedance mismatch, luck, etc....). The 3 conductor will give seperate paths for chassis currents and signal currents and ideally the chassis connection will be the shield of the cable. Yes it is still unbalanced but should yield the quietest possible connection. One must always think: 'where is the current going to flow?' This is for an unbalanced output feeding a balanced input.As I alluded to in my earlier post the balanced output to unbalanced input requires more data to implement correctly. Which is why I said go adapters, not cables. Some people had to mod their DX-38, I am looking for the mod but can't seem to find it. I cannot recall who had issues and why: current at house, types of amps and grounding, etc.

Mike,If the musicians that created the music wanted it to sound more compressed, my guess is that they'd perform it that way. The musicians that I know that submit to their recordings being compressed and processed into oblivion in the name of commercialization are typically more interested in the music selling more copies, but they all--to a person--believe that the sound itself suffers greatly after mastering with compression. Audio mastering isn't an art form for me - in fact, it always has been and will be an engineering function--"first, do no harm". I've never heard compressed recordings that "sounded better" than the original tracks...but I have heard tracks that were re-EQed and mixed differently that sounded better. YMMV. Compression is used in every link in the recording chain, for a variety of reasons, many of which have nothing to do with loudness. Compression has been around almost as long as tecording. If you take the maximum DR lp you can think of, live recording of a symphony, about 100db DR lets say, and you have to get that on tape with a DR of 70 you have to you compression. So that is the limit of the media that requires compression. Then you had the limits of the broadcast source. What is the DR of AM radio? About 25db? FM? Mastering for vinyl requires usually requires, but not always, some compression to get it within the bandwith of that medium. Mastering for vinyl is most certainly an blend of art with science and technology. That is why they give grammys out for achievement in that art form. Here is the key, one can tell whether excessive compression is in the recording chain. Here are a some reasons why compression is used to make a better recording that all occur prior to a mix down tape ever reaching the mastering process: Reduce the dynamic range of a vocal to enable it to remain present and audible in a mix when competing with other amplified instruments. Used when mixing both live and recorded material. Reduce dynamic range of vocalists and other musical instruments that exceed the recording or reproduction capability. Prevent clipping and distortion in live sound systems or recording chains. Smooth and balance instruments such as bass guitars with wide dynamic range and large string-to-string level variations, or equalize different brass instrument volume levels. Reduce sibilance (de-essing). Produce louder recordings for broadcast. Even out paging loudness variations due to different announcing voices. Control the creation of sound. When used in conjunction with microphones and instrument pick-ups, compressors help determine the final timbre by selectively compressing specific frequencies and waveforms. Common examples are fattening drum sounds, increasing guitar sustain, vocal smoothing, and bringing up (punching) specific sounds in the mix. Believe it or not, there are plenty of recordings that are cut "flat" at mastering because they were recorded and mixed properly. There are some mastering masterpieces and plenty of mastering mistakes, but mastering isn't the beginning and end of compression.

Canyonman has that same deck and can tell you what his specific thoughts are on what setting is nest for which brand and type of tape. That deck has NAB and IEC EQ, tape project tapes are done with IEC so you select that setting for playback with those tapes. As Gil mentioned, US stuff is typically recorded with NAB eq. The flix settings are for which type of tape you are using, like +9,.+6 (Ampex 456 for example), or standard. The pots are for setting the azmuth (calibrating the deck). I wouldn't mess with those at this point. You need a calabratoon tape, and other equipment to use those. The are for both playback and recording. If Jay is unavailable to answer right away, I can chime in with more info. I would also suggest that you join tapeheads forum, there are a lot of Otari owners over there. Travis

Happy Birthday Roger!

Great find, very hard to find.

It was still there a couple of weeks ago when we drove past, and your right the city of Hope really did wrong by PWK. What else do they have , PWK, Bill C and the watermelon festival, they should be taking advantage of the PWK legacy after all the years he spent in Hope and what he built. imo The childhood home of Bill Clinton (x2), birthplace of Huckabee, Over a light bill?

Last quote from the interview, but I thought this was mighty interesting. Dickson: There is a general misconception in some circles about differential vs absolute phase effects in speakers. Recently, I've heard about some well-meaning but misinformed retailers who arbitrarily reverse the polarity of either the tweeter or midrange hookup wires in all of the speakers they sell that are designed with high-order crossovers, in an attempt to make them "in-phase" -- much to the horror of the original designer. Perhaps you could shed some light on this issue. Linkwitz: If someone were to arbitrarily change the polarity between drivers in a good Linkwitz-Riley crossover, they should get a strong null at the crossover point on-axis. In fact, this is a test I use to see how well I have executed the acoustic crossover. However, making such a change with the idea of somehow making a "phase-coherent" speaker is not correct. It will certainly change the sound, mind you, but is definitely not recommended.

The next question and answer in the interview: Dickson: How about the phase relationship outside of the crossover region? Linkwitz: As it turns out, that same phase relationship is maintained at other frequencies as well. This is very much in contrast to the classical Butterworth crossovers that people use in a number of speakers. An inherent property of the Butterworth design, whether these are first-order, third-order, fifth-order, etc., is that the crossovers are always in phase quadrature. In other words, the acoustical signals coming from the midrange and tweeter are phase-shifted by 90o relative to each other. At its -3dB point, each driver has an amplitude of 0.7, and if you add two 90o phase-shifted vectors of 0.7, you get unity -- the outputs of the two drivers add to unity on-axis. However, as you move farther away off-axis, one or the other driver will experience more phase-shift as the path-length difference becomes longer, and you'll have either a dip or a peak in the amplitude response off-axis. In any event, the true maximum output of the two drivers will occur someplace off-axis, and this is an audibly bad thing. The peak off-axis response can then reflect from the nearest boundary and combine with the direct sound as added coloration. Now, a first-order crossover can be made phase-perfect at one point in space, but I feel quite strongly that you cannot just look at a speaker's performance at one single point in space. The off-axis response is also very important to a speaker's overall performance in a real room, because the radiation in these other directions will add, through reflected and reverberant interactions, to what you hear. Typically, we don't listen to speakers outdoors or in anechoic chambers. For an ideal Linkwitz-Riley crossover, the amplitude is flat on-axis or at unity, just as it would be for an ideal Butterworth. However, the Butterworth response will have its peak off-axis. In contrast, the amplitude of the L-R crossover will be down in level off-axis, and will never be higher than the on-axis response. The crossover point of a Linkwitz-Riley will also be at the -6dB point, equivalent to an amplitude of 0.5, and only when you add vectors with amplitudes of 0.5 that are in-phase will you get unity. If there is any phase angle between these half-amplitude vectors, their sum will be less than unity. A very important point that people sometimes miss in this discussion is that when we are speaking of a given crossover, we are talking about an acoustic crossover, or what happens acoustically. Now, what I have to do electrically to achieve the correct acoustic response may not look anything at all like a textbook filter design. The actual filter often looks very little like the drawings I may show to explain any given example. This is also true for a Butterworth filter. It is highly unlikely that a textbook electrical Butterworth crossover will produce an acoustic Butterworth response, because the driver's response enters into the picture as well. END OF QUOTE Chris, Mike B and many other have been preaching here for years that the room, and room treatments are as important as the speaker, the quotes above explains why that can be the case. In addition, this quote echos what others have said about the crossover being just one piece of a complex puzzle when it comes to speaker design. He also explains that there is a big difference between the actual acoustic crossover and what is on paper. Have crossover calculators/programs gotten beyond that, or are they still just getting you in the ball park? At times it seems that it is easier to build a new generation fighter jet than a hi-fidelity loudspeaker.

From an interview of Linkwitz 20 years ago: Dickson: You're most widely known as the developer of the Linkwitz-Riley crossover. Could you explain a few of the characteristics of this crossover? Linkwitz: To answer your question, we need to go back to when I started out exploring the whole speaker issue in the early '70s. Then you could take the grille-clothe off many of the available speakers and see a strange, almost haphazard arrangement of the drivers on the baffle. It really puzzled me and I wondered what was going on. So I asked some of the designers why they were doing this and they said, "Because we've found it sounds better." As I looked further into this issue, I realized that two principal things were not well-understood. First, very little was known at that time about the effects of diffraction from the cabinet edges. Second, and more importantly, very little was understood about how phase-shift with respect to the current passing through the voice-coils of different drivers affected the polar radiation pattern of a speaker. In other words, the interaction between the electrical side of a driver and the acoustical response was not clear at the time. For example, the phase-shift between the current in the tweeter and midrange voice-coils, relative to the placement of these drivers on the baffle, affects the speaker's radiation pattern. Basically, since few drivers are really coaxial, with the difference in physical placement -- that is, if the path lengths between the drivers and the listening point are different, or even if they are the same -- you get a vector addition which is a function of the phase-shift between the different voice-coil currents and the distance between each driver and the listener. So Russ Riley and I began our work, in earnest, to be sure that the drivers were in-phase in the crossover region. This, in essence, is what the Linkwitz-Riley crossover is all about; making sure that you have the same acoustic phase between the midrange/woofer and the tweeter at the crossover.

I forgot to add one thing. all of this assumes that you are listening to a recording that was recorded in phase, many are not. Some preamps have phase shifting for that very reason (Nagra for example). So buy a pink nouse generator to test some of this stuff out.

No you would have mud. That your 2 way jubes, reverse just one of the tweeter connections, listen, switch, listen. The sound stage will snap into focus. Do the same with the woofer, you should notice a bigger difference, depending on the song. What active crossover are you running these days? Some will allow you to change phase in 90 degree increments. Roy can tell if the left channel is in phase with the right just by steping back and listening. I believe he does that by noticing a lack of bass response. If left is out of phase with right, they are canceling each other out to a degree, which is perceived as either impaired bass extension, or lack of center sound stage with stereo. Of course, I have just the most basic understanding of this stuff from playing around mixing boards where you can shift phase

I think it is a great question posed by Richard. So keeping it simple, two way speaker. You could go 4th order. 360 phase, so no phase problem? Could you go 2nd order, 180 out of phase, but reverse polarity on either the woofer or tweeter to get them back in phase?

So the 90 degree shift per order is true with alo passive filters? How is this accounted for/ corrected with a properly designed speaker?

360 would cancel the 0 phase. If you want to hear 180 out of phase, reverse the + and - wires on the back of one of your speakers in a two speaker system. 90 out of phase creates time alignment issues. http://www.prosoundweb.com/article/polarity_and_phase_explained/

Where's the vinyl? J/K, interested in hearing the reviews.

My favorite Maron thread. Post numbers 30 to about 57, he discusses his recording of the St. Louis Symphony. He sent me a master tape and lp he recorded. I miss you Maron, I will try to convert some of your recording to High Rez digital so your legacy will survive in that regard. Your character will always be remembered as long as this place exists. Travis