Travis In Austin

Have Another Hit, great song. Paul Butterfield, The Grateful Dead, early Journey, Days on the Green, we had it si good

Saw the Tubes anout 25 times, in very small bars. The Dead Kennedys and remember when Jello ran for mayor. Saw Boz Scaggs in several small bars, and Van Morrison lived in the Bay Area in the 70s. Par Simmons' father was the Principal at my Elementary School. Dont forget, It's A Beautiful Day

That is some pretty wild stuff. "SETI researchers have long suggested that we might be able to detect distant extraterrestrial civilizations, by looking for enormous technological artifacts orbiting other stars. Wright and his co-authors say the unusual star’s light pattern is consistent with a “swarm of megastructures,” perhaps stellar-light collectors, technology designed to catch energy from the star." It is over 1,500 light years away. So if SETI does pick up technical signatures, what then? We start broadcasting? So that is over 3,000 years to get a response. This just boggles the mind. Wait a minute, is this a publicity stunt for the new Star Wars movie thought up by astrophysicists with nothing to do?

Wasn't there a little McIntosh musuem a guy set up somewhere, in a old house, and his wife auctioned off the whole thing in one lot? About 10 years ago? Or was I just dreaming that. THEBES, did you make our hotel reservations and buy the spirit gum?

There will be joy in music again for you, but it will take some time, I pray ot returns soon, and I know it will.

Best wishes to both parties on the transaction. New Jub's in a new house with a nice big room........ Awesome! Thanks Tasdom! Jubes were picked up two weekends ago. Thanks Cornman for the easy transaction! Thanks Travis! I know they are great. Will have to see how they compare against the incumbent Klipschorns. You dont have em hooked up yet? That should all be plug and play with Cornmans settings. Let us know if you need help with anything. Looking forward to a review with photos soon.

He is probably going to want you to shave your back for a movie. But I hear he has an awesome new HT set up.

There were three hi-fi shops in Berkeley and Oakland that were run by engineers. All carried horn loudspeakers. Magico is in the Bay Area. Super high-end horns. In the South Bay area in the 70s there were at least 3 full line Klipsch dealers within 10 miles of each other, all with giant rooms and all 5 speakers on display.

Thumbs up on Tomales Bay, just don't swim there, Point Reyes, and Cambria is awesome.

I've got no interest in smoking the stuff. I just don't want to be driving on the highways there if and or when others have legally smoked in Washington State. I learned pretty quickly not to be on the road after sunset in New Mexico a few years back. It was not weed there that was an issue, it was grog. Yeah big difference. New Mexico has a big problem with Native Americans and driving under the influence. You sure don't eant to be on the road in Gallup on a Friday or Saturday night. But pot is ok, they just drive too slow is all. Medicinal os legal in CA, has been for years. Less than an oz has been a traffic ticket since '77.

Back in the 70s...Columbian Gold was good stuff...so i've heard people say. You stoner. It was $10 an oz for regular. Acapulco GOLD was 15, Panama Red was 20. Then it was Maui Wowie from kids returning from Christmas Vacation, and then an older brother or sister would come back from Humboldt for Spring Break. A Bay Area radio station would announce the weekly cost of living report which included, among other things, a six pack of beer, a bag of pot, and an lp from Tower Records.

This is more troubling. I saw a photo of Lake Shasta that looked more than 2/3 down.

A few months old, but descriptive.

I think Dave or Carl posted a before and after map, the entire state was in red before, and half the state was still red after. Lake Travis went up 10' in 48 hours, but it was 50' down. So far just a trickle here.

At least John understands the difference between "sensitivity" and "efficiency." You would think that would be important to a designer who designs with impedance curves in mind.

Yes we arenready, had to cancel some things.

Another article from C/Net, talks more about pro/con of High Res. http://www.cnet.com/news/sound-bite-despite-ponos-promise-experts-pan-hd-audio/

Here is an article, I am not sure I have seen it before on Klipsch forums, but it sounds familiar. It explains why CD quality is enough, and going up can actually degrade quality. I can only understand about every other point he is trying to make (if that) and so I cannot judge whether there is any merit to his arguments or not. The author is well respected by his peers, that much I could find. https://xiph.org/~xiphmont/demo/neil-young.html Chris and Arrto have both posted that they find that sound quality for them is derived more significantly through either remastering, or all digital signal path (DSD using HDMI connection) rather than the bit depth or sampling rate. That article support those impressions, if I am reading it right.

Ok, here is the process. Multitrack tape for tracking instruments and vocals. Generally speaking, two tracks per instrument, and two tracks per boice. That alows person mixint the tape to pan intruments and voices left and right. Limiting and compression can, and if often, utilized as part of tracking. EQ is in the entire tracking chain. Microphones are selected for their sound, so are amps for electric instruments. Sometimes no amp/microphone is used and they go DI because of that sound. High pass filters are used at various points for each instrument with an 8 to 12 db slope. They typically use anout 40 Hz for an electric bass. This eliminates some are all of the line noise if done properly, along with an inaudible noise floor. Particular studios are used because of their sound (room EQ). Mixing boards have a signature sound, or at least perceived that way by artists. Famous boards have been bought from old studios and placed in new studios. The multitrack tape is the Original Multitrack tape. Relatively very few still exist. There is, usually, one multitrack tape for each song. After a band becomes big, they start hanging onto those multitrack tapes and they sit in vaults. Most are lost forever. If an original multitrack tape exists it can be remixed, if it doesn't exist, it cannot be remixed. For stereo, that multitrack tape is mixed down to a two-track "mix down" tape. In reality it is actually mixed down to an intermediate mix down tape, where it can be copied onto the "final mix down" tape. Compression, mixing and EQ can be added at the mix down level. The EQ can be active, right from the mixing board, and/or passive by what preamps are used, what recorder is used, and what tape is used. The individual song tracks on the final mix down tape are"raw", they end abruptly, they are not sound level balanced, they are not in the order they will necessarily be on the finished tape. They typically have a 1K test tone at the beginning of each track. In a lot of cases there was a primary recorder and a second recorder was going which was recording the backup "safety tape." Those 2 track final mix down tapes, usually 1 for each side of an lp, which now have at least two levels of limiting, compression and EQ is sent for "mastering" either internally, or to an external mastering facility. That 2 track mix down tape then goes through the "mastering" process which, at a minimum, includes sequencing of the songs, making them have a uniform loudness level so that so you should not have to turn some songs up, and some down as you listen, fade outs, or abrupt endings. That process is done in all cases. This can be done by recording to a seperate tape, or by cutting and splicing, or both. Each song is then evaluated for what it needs in terms of EQ, limiting or compression. If it is going onto vinyl that can be done in one or two steps. They can apply any of those things and record it to another tape, or they can apply those things, "on the fly" as they are cutting the lacquer with the cutting lathe. Whichever they do it, they put that tape on a repro deck and run the outputs into a preamp with RIAA EQ (which is referred to as "de-emphasis", not encoding or decoding) and that goes into the amps for the cutting head. There are also two outputs from those amps that were hooked up to a recorder that recorded the signal coming out of those amps. This was done at all of the larger studios. You can only make so many stampers from that original lacquer. If the lp was a huge hit, like multi-platinum, they can cut another lacquer from that tape and pressings will sound relatively uniform regardless of which plant it was pressed in, or which lacquer was used to make the stamper. The tape that was made from the cutring head amps is typically called the "EQ Limited Master Tape." This tape was almost always retained by the record company so that could be ready to pump out more albums quickly if they needed to. The 2 track mix down tape that left the studio was returned in accordance with the directions on where to return it, if they thought to include instructions. If not, it could end up anywhere, and if there were instructions, they could still end up anywhere. There are numerous stories about whete 2 track mix down tapes have been "discovered." In the early days of CD, they needed the mix down tapes, and they needed them fast to pump out product. Remember the AAD designation on those early CDs? Well frequently the only tape available was the EQ Limited Master Tapenwith the RIAA EQ. I have never heard of a cd being released that came from an RIAA EQ Master Tape without at least some attempt to boost the bass and cut back the treble. I am sure that is possible. However, there are many articles written about the early CD mastering guys at the major labels, Atlantic in particular, where they had equipment that was limited in how much bass they could put back in, along with other technical issues they had to confront. I have seen one or two of Chris' Audicty pre-eq graphs where it looked to me that it tracked a RIAA EQ, but to a much, much lesser extent, like the emphasis to the bass being applied was 5 db too short to get it back to "normal." "Remastered from the original Master Tapes" is label hype. The "master tapes" can be any of the 2 track tapes that are created in the process from the 2 track mix down tape forward. They tend to specify now which tapes they used to remaster. Beatles remastered, the ones from about 2010 had a lot of documentation about the process. What tapes, the A/D process, that some stereo mixes were lost forever, etc. This process is pretty much the same for CD except instead of going through RIAA EQ it had to go from tape onto a umatic video recorder that had the A/D converter, and that was sent to have a glass madter made from which the CDs were produced. Travis

Redwood National Park webpage, Northern Ca, near Oregon border has spectacular senic drives. http://www.nps.gov/redw/planyourvisit/drives.htm

Ft. Bragg. Cabrillo Lighthouse Park south of Ft Bragg was alway cool, and Mendocino is worth a half a day.

No, not 101, Hwy 1. There arenat least 40 bridges just like this one all down the Coast Hwy, I would not want to be on one when the next big one hits.

No, not 101, Hwy 1.

Is Al an engineer? Always wondered about that, given his company name is ALK Engineering? He stiil think Klipsch designs are "bad."

There is probably a statistically greater chance of being wiped out by a tsunami than having an issue with slope stability. I would worry more about the big one hitting while on a concrete bridge on Hwy 1. I don't think they are smoking any more weed, or any less weed,in CA, WA or Oregon. You want to check out Coastal Sequoias, tallest tress on Earth. I always loked areas around Ft. Bragg and surrounding towns.