Travis In Austin

Sorry for the major, major, major bump on this thread but there is some new news on this subject that I think will cause many here to rethink there decision on this matter. There has been a question among the men of my generation that heretofore has been the subject of considerable debate and, occasionally, downright fist fights and mashing of teeth. As evidenced by this thread, It is such a fundamental question that it needs no set up, no background, no explanation of the question, or the reason it is being asked. You can gain more insight into a male, born between the years 1950 to 1970 (maybe beyond given syndication) by simply asking the question. Psychologists would like to be able to ask the question but can’t because it would reveal them for what they really are, overpaid and not nearly as good as an experienced bartender. Until now, I thought I knew the answer. It was a no-brainer. I digress, as I was thinking about this I suddenly realized that my friend Guy, who is the nephew of Ms. Wells, did not get a choice. If he didn’t go with “the movie star” they would have subjected him to all kinds of testing and probing, his family is from Reno, not Arkansas after all. So my friend Guy is the only guy (as in male, not the only person named Guy) I know who gets a legitimate pass on the question as he has to go with Ginger. Back to the story, any hoooooo, you all know what the arguments are for each one, and why going for one or the other says so much about you. Since I was 5 years old, 1965, I have been “Ginger.” I never wavered, never faltered, and never hesitated, not even one time. Over time the reasons for being a Ginger obviously change, and for some cause them to jump ship and go over to “and the rest.” Not me, once a Ginger always a Ginger. I can’t remember the reasons but I am sure they had to be different when I was 5 as compared to when I was 14, but whatever they were, they were always Ginger. Later in life I came to realize that with Ginger it was going to cost every red cent I made and surely lead to an early bypass, that didn’t matter because you just knew it was going to be worth the ride. To me I never understood why there was even a question. It was so fundamental it would be like asking “Ginger or Mrs. Howell” (although she had big bucks I could see some going that way, she never made it into the question). I understand there are those that take exactly the opposite view, and have feelings just as strong about Mary Ann, but that’s why the question is so revealing, so fundamental, and, at least until now, impossible to answer definitively. All of that changed today, my world has been shattered. I am here now, in public, bearing my soul and confessing that I am switching to Mary Ann. After 40 years of being “a Ginger” I saw the light when I came across this article today: Dawn Wells, who played Mary Ann on "Gilligan's Island," is serving six months' unsupervised probation View Full Story Mary Ann is COOL, and that beats out anything Ginger ever could be. Ginger, I’m sorry, but you just can’t beat COOL. Good looks, sex appeal, charm, a body built for sin, etc., etc. only go so far and only last so long. COOL never goes out of style, COOL never diminishes, COOL never dims. Mary Ann, I’m sorry I did not see the light earlier. All I can say is that I will try to recompense for the error in my ways. Where ever and whenever the question is raised I will be the standard bearer for Mary Ann. Travis P.S. Marsha, Jan or Cindy?

I'm a huge fan, since '78. Someone gave me Exciteable Boy b/c they said I looked a bit like him at the time. Saw him several times. He was a great great songwriter that everyone in the LA. music business loved but wanted to see out front. His touring band was pretty much Linda Ronstadt's band, at least it was when I saw him, including Waddy Wachtel. He ran in the Jackson Browne, Eagles, Ronstadt, Buckingham Nicks crowd of L.A. They all recorded his songs. Pick up his Transverse LP, he gets some help from some unheard of's like Neil Young, Jerry Garcia, and David Gilmour. Now I'm hungery, guess I'll need to head over to a place called Lee Ho Fooks. (The chow mein is to die for) Travis

What you need to do is skip that bunker, and store your valuable vinyl collection in Austin at Casa de Williamson. The bunker is going to give you a false sense of security when the hurricanes come when you should be evaucating. What you need to do is store everything up here and that way you have good incentive to evacuate and stay with us everytime a hurricane comes. With that bunker is it a sealed steel floor? If not, it is obviously going to leak, if so how do you keep it from floating up, Are you going to sink concrete piers under the bunker and anchor it to the piers? Travis

What you need is one of these, a hurricane proof, monolithic dome.

I want one. What did you figure the parts where going to run? Travis

Well the intitial impressions are: Holy Cow, this is the set to own. Hands down, no comparison, with the exception of DCC and R2R prerecorded. They blow away the tan and butterfly labels in every respect. The Jap. Imp. of The Doors is good, but with the Morrison way more out front, I would say it is preference on that one, but I much prefer the Rhino. Toss the MSFL The Doors. The 71/2 IPS tape is vitrually identical to the S/T Rhino stereo, but the Rhino is slightly clearer on the symbols. The best version of The End I have every heard which is saying A LOT for the Rhino vinyl. It is very tought to beat the 7.5 IPS tapes. I got a good number because I ordered direct from Rhino, the day it was announced that they were doing a CD and LP reissued. The Rhino CD issue is something worth getting as well. Three of the lp's covers have that damage, almost a split at the top, not quite and have a 1" white area. That was a bummer. The lead in between songs have a lot of noise in places, but nothing during the song itself, even in a quite passage of the song. I still have to compare the Rhino Mono The Doors, with my original issue mono. That is goning to be a big one for me to compare. I'm with Gary, you can sell the red labels, the MFSL, the imports, and go with this set and you are going to be more then happy. I still have to listen to the DCC's and the Mono and will update on that. Travis

Well it has all been said before. He not only is great with repair/restoration, including vintage Mac, he really stands behind his own stuff as well. I bought VRD's from a forum member and he offered to go through them, no charge, to make sure everything was a ok.. He stands behind his stuff 100% His only drawback is that he is bit shy and very unopinionated. I am hoping that shows like AK Fest draw him out of his shell and he tells us all what he really thinks on a variety of topics.[:|] Happy Birthday Craig. Travis

Try calling Mark, he is happy to answer the phone on the weekends. I have "waited 'til Monday" myself to call only to be scolded by Mark saying he had nothing to do all weekend, why didn't I call on Saturday. If the machine answers and he doesn't get back to you it means he is unavailable, but don't be surprised to get a call over the weekend. I would email him your phone number as well and he will get back to you. The ONLY time I had to wait to hear from him was when he was on the road to Rocky Mountain Audio fest, and he still found time to check his emails and get back to me in the middle of all of that. You obviously had a bad rectifier, and you may have another one. But like Wooly Tom says, there could be some problem upstream that is causing probs with that rectifier. Don't rely on your fuses anymore, talk to mark. Travis

Tha't's Roger, always a smile on his face. Sorry I missed it again this year, I was almost there, talked to Luther (Wardsweb) on Wed, go this flight info and was hoping I could get something moved on Friday and I couldn't. So next year for sure. Did y'all run into Luther at the Show? Travis

Hey, thanks for thinking of me Gary and Luther, Yes been battling the giants at City Hall trying to keep a cop from losing his job. My set arrived day before yesterday, have not unwraped it, but it is No. 239. I'm really looking forward to listening to these based on what I have read from Gary. The Doors are one of my all time favorite bands, I have an original pressing of every LP in Stereo, I have an original mono pressing of The Doors and Waiting for the Son, Japan Import ala Gary of The Doors, the MFSL The Doors, a couple of Gemma LP's, some of the red lable second issues, and prerecorded R2R of every LP. The people involved in this project are all top notch and so I was really hoping for great things when I preordered this about a years ago, the day Rhino announced it. Based on what Gary has heard so far it sounds like this one is well worth the wait, even if it is to have a stereo version of The Doors at proper speed. Can't wait to let 'er rip, now the only decision is to decide which one start with. Travis

Larry Claire tried to explain this to me once, and I did some reading up on it, and got even more confused, so maybe he will jump in here. According to Larry, 2nd and 3rd harmonics go way, way above 20hz. And even though you may be limited in that range, the brain can still pick up the differences. Travis

Sam Tellig, the reviewer in Stereophile, bought the review pair of LaScalas he was loaned to audition. From there he gave them an "A" rating in their anual list of reccomended products. He listed that he added super-tweeters to his set up, but I cannot remember which brand. He said it was a dramatic and nice improvement. Travis

Mine is showing as shipping but I will believe it when I see it. Travis

Anyone order the limited edition box set of The Doors? It is due out on 4/22, but the date has kept moving back for about a year now. The vinyl is supposedly all ready pressed at RTI, and is ready to be boxed or has already been boxed. The issue started off being a run of 2,500 I believe, then they said that was for US and because of demand they were doing going to do a world wide issue of 12,500, numbered, limited edition. During the last couple of weeks the price has risen from 150.00 to between 180 and 200 per box at Acoustic Sounds, Elusive and Direct Music. The last time I checked today you could still get it on Amazon for 150. Just wondered who else may have ordered this. Travis

I think it is a great idea. I agree, check out Mapleshade. I always wanted to ask Renee, I think his name is, why he records on analog and goes to redbook? You have to be very careful on the budgeting because in your example above you have painted with some very broad strokes. Your costs would be true assuming that you record a work that it is the public domain and there is no arguable copyright. It also assumes that you get signed contracts from the "session" musicians that makes it clear they are being paid for their time as performers and they waive any and all rights in the final product. Maron on this forum would be a good source. He was a recording engineer on a fair number of classical recordings he did for University orchestras, etc. He might be able to tell you what barriers may come up. For example, there is no way you would be able to get permission to record the U of H Chamber Sting Quartet, if there is such a thing, because you could not use there name without getting the school's approval, and you are not going to get that unless you pay a royalty, which means you are going to have to sell that many more cd's to brake even. That does not mean that you cannot hire several of U of H music students, some or all of which might be in the String Quartet, to play some selected works for you, it just can't be marketed as the U of H string quartet. The thing of it comes down to what in the business they call the "talent." In other words the draw, the demand. Even in the classical genre there are certain SO's and certain conductors that sold. Regardless of how good the composition is, how good the recording was, some conductors sell better then others. It of course all feeds off of itself. A conductor that sold well on his last lp could demand a certain engineer or might not even have to. The company made sure they had the best. Here is an idea, you could advertise in Craig's list in Austin, that you, an experienced recording engineer, will do "demo tapes" for free for select bands. They get a high quality demo out of it, you negoiate some sort of deal that you get the exclusive rights to the high resolution stuff you sell on your site. Then all that is at risk is gas and your time. Travis

That is, for the most part true. HOWEVER, when it comes to the value of a record the answer really is always going to be the same: "It depends." Different record companies designated "promo" copies in different ways. A promo copy was for anything other then retail sales. So it could be for a radio station, some of these have timing strips on the front, or they could have simply been made to be given away. The most common way for record companies to designate them was to use a white label instead of their normal colored label wiith some wording such as "demonstration - not for sale" or "For Radio Use Only." Others, like Mercury, would use a special prefix like MK. Sometimes regular stock copies have a "Not for Sale . . ." rubber stamped on them or stamped in gold foil. These are known as "designate promos." These are not true promos and they are valued as a stock copy that has been DEFACED, like having a cut-out or hole punched. What you are describing sound like desinate promos and are actually of less value then a stock lp in the same condition. Now the "it depends" part. If you have a real white label promo copy of a particular lp, it can add significant value over a stock copy. There are too many examples of this to list, but here are a couple off the top of my head: Doors, LA Woman, white label dj promo is worth at least ten times more then stock copy. Beach Boys - Holland If the promo copy is colored vinyl vs. black, it can also add significant value. The famous exception to this is Elvis' Moody Blue. If you have a blue copy, not worth much, but if you have a stock or promo in black then it is worth big buck. The only way to know is to do some research on each lp and they you begin to develop a feel for it after some time. The only way to know for sure is to research it to double check. Travis

Need more axioms with regard to the twins Now, back to my tea. T

Thanks Shawn. Do you agree that the soap plays a much more pivotal role when using the straight compared to a disposable? Travis

Kind of the pot calling the kettle black, don’t you think? You criticize him espousing his views on gun control but then take a stab at trying to advocate the death penalty.Fortunately, we have a Constitution that would never allow your social experiment of “putting ‘em down” to even get off the ground. One of the principal backbones of our Constitution was to prevent a mob mentality being able to enact and enforce laws. I agree with your initial premise, however, that this should be about what Glen and his family are going through, and not what may or may not have prevented it (gun control, death penalty, or "putting 'em down) as nothing can undo the stress and horror to Glen’s family and community. Our thoughts need to be with him , his mother, family and neighbors. Glen, God’s speed to you and yours. I am so thankful that they all escaped harms way and hope this is not too stressful on y’all, especially your mom. Travis

The big question is what brand of soap or cream do you prefer with the straight razor? I like Kiehls and Trumppers, but was wondering what other folks liked. To me, they go hand in hand, you have to have the right cream/soap to go with that cold steal or you might as well forget it. Travis

DD, That is a very good question. The only way someone would know about these kind of companies is if they have a trademark or copyrights that are worth substantal value. You are actually aware of the business niche, you just didn't know it. ASCAP and RIAA are businesses that try to stop unauthorized violations of copyrighted material and collect royalties on things that are authorized. In the more traditional business sense, they either have an in-house department that does it, or they hire a company. You are required to do this if you want your trademarks to stand. If a trademark owner is aware of infringement and does nothing, they risk losing the trademark. In order to continue to hold the trademark you have to enforce it or risk losing it to the public domain. These companies that enforce trademarks and copyrights on behalf of others have been around a long time, however, the internet has created a much greater need/demand for them. Travis

Very sorry to hear about your loss. Dog person, cat person, does not matter, they become family and there is just no denying that fact. Have a photo you can post? I understand if it is still too soon for that. Travis

Goodness gracious sakes alive. The only other time I heard of that happening is when LarryC sent a pair of Klipschorn tops to the factory, they were 10 or so years old at the time I beleive, and they just switched everything out. I am not sure if he was original owner or not. Travis

That is for sure a question you are going to want to ask Mark. Does it have the Cream option (MC phono input), if so there may not be much difference. I recall mark saying at some point that Cream option may be more difficult or not possible on early models, but that may have also been with reference to the peach. Of course the Extreame came out since then, with beefier power supply and upgraded caps, amoung other things, and you would have to ask Mark what is available in terms of an upgrade. I would say if it has the cream option, or if you don't plan on using a turntable with a MC cart there is not going to be much difference. You will want to ask what tubes are with it. If they have upgraded tube this can be a significant bargin in itself, although the tubes that Mark supplys are just fine. Wish I could be of more help. Travis

Looking good as usual Luther, Can't wait for a new listen in the new digs. Travis