Travis In Austin

Mike, I know now what you were trying to say, I just read it the wrong way and took it as being flipent about hearing and I know now that was not your point at all. After seeing Parrot's chart last night I thought about disconnecting the tweeters, but now after seeing your post I am going to go ahead and do it for sure, if not tonight, real soon. RWP's hearing test shows him to have a great deal more upper end hearing then I do, mine is almost nil above 4k whereas he still had some, as I recall, all the way up to 7K. He said he noted a small difference, which tells me that I am not going to be able to tell much of anything. It will be interesting to see. Travis

Story of my life, a day late and a dollar short.They are apparently sold: I got a prompt response from William as follows: Hi Travis, Unfortunately, I had a gentleman commit to a purchase earlier today; he is supposed to be sending me a check tomorrow. If for some reason he decides to back out, I will definitely give you a shout and see if you still want them. Either way, I will keep you posted. Thanks for inquiring. If anything goes wrong with the sale, and I hope it doesn't, I told William that I was ready to step in and get them. So we will see but it does not look very likely. Travis

Cool chart Parrot, I have seen it on here before but I don't think it looked as nice as that one. So I guess this means I am basically hearing a two way speaker and can't hear anything that the tweeter is producing. :It does not look near that bad on your chart, but I am having a difficult time hearing differences in equipment that I could hear before. Travis

Pipe down KJ. (Just kidding of course)

Good job, way to pick up on the slang [Y] The irony is that my use of the word still fits within dictionary definitions...but to each his own. I would have agreed with you if you had said "deaf" but you said "completely deaf." That term only has one meaning. I don't think there has ever been a totally deaf recording engineer, or a partially deaf one for that matter. If there was such I thing I would think they would probably working for the government doing transcription and restoration work. Somewhere where they did not have to listen to something and get feedback from a producer or band member as what they can to to achieve a certain sound or effect on tape. Nevermind, you are right, it does not matter whether you have good hearing or not. You win. But please do me this one favor, protect your hearing so that you can have a long and sucsessful career. If not to hear your work as you are doing it, so you can hear the producer tell you how much he is going to pay you to do the work because you have a great reputation in the industry. Travis

Yes and the amplifier is called Gasoline Good2Bhome, Where are you located? Are you in Austin? Travis

And you and Luther can drive them up for me and enjoy so great BBQ while you are here. Travis

I'm trying, who owns a pair? Travis You'll want to be talking to Dtel then! Naw, that bum appendix was probably throwing off his listening acuity so he would be no good to ask. Besides, he is in recovery. But maybe detel's wife, or detel's daughter, or dtel's niece, or detel's______ can help. Travis

I'm trying, who owns a pair? Travis

I was napping, did someone say "lawyer"?[li] However, that does raise a couple of questions. What about mercury vapor tubes like mil spec 211's? They are toxic, and lethal if broken. But they sure sound darn good, well worth the risk. I thought I read last year in TAS an article or interview about a manufac. in the UK that was complaining about a new law there about what could be contained in certain audio components. It was driving up the price of their gear, and there was no reasonable substitute. They pointed out that other industries were able to get waivers but not high end audio. It is probably not too far away. Travis

Good eye, I thought the nickname looked familar. Travis

William, I sent you an email on these through audiogon, if you did not get it you can contact m by email through here.

Travis, I think Dr. Who is talking about all the recording engineers who have taught him everything he knows, that they are deaf. I guess that is why they are teaching. However, this did cause me to recall the post in the pro-recording forum about the guy who mixed a tune without any speakers. It of course ignores the question about deaf engineers. The famous ones that come to mind, RVG, Martin, Wilson, Parsons, Hoffman, etc., etc. all could hear fine. Still, I think the point of the original post is the hearing is precious, hearing damage is permanent, and you should protect it especaily if you are in an industry where hearing is essential. Here is the quote about the speakerless mix. Notice it was the mixing guy, not the engineer, that did it sans sound. About five years ago, I was mixing an album here at Compass Point for Capitol Records. I was in our Studio B, on an SSL 4048. The group's material was totally unknown to me, and I would only hear each song for the first time just as we started to mix each one. The producer (and engineer) of the material was an acquaintance whom I had known for some time; he was also an excellent studio musician, and an actual member of this group. Because he was an engineer and producer as well as I, with his own 24 track studio, we would often discuss various aspects of tracking, mixing and production; one day while we were talking about mixing, I made certain comments about the way I approached a mix, which my friend found to be slightly off base relative to the way he approached that task. One thing led to another, and before long, for whatever reason, I had made several statements which he believed to be exaggerations. So I went even a bit further, and stated to him that I was so well practiced in mixing, having done so many for so long, that I didn't even need to hear the song to get a decent mix. When he snorted that this was ridiculous, how could this be possible, I said I could tell what to do by just looking at the meters, and that I could do it in a mere fifteen minutes! (Of course I was exaggerating by this time, to try to push him a bit over the edge.) But he took it to heart, and was outraged at the thought that I, or anyone, could properly mix without hearing what one was doing. Well, having gone this far into the absurd conversation, I couldn't back down. He insisted that I take back what I had said, or prove it; he made a bet with me that it was impossible. So I had no choice but to follow through. I told him to pick any song he wanted to, of the ones still left to mix. He knew full well that I had not heard these songs in any form before. We disconnected all monitor speakers and had them removed from the room. All track charts were likewise taken away. I promised that I would perform a decent mix, with levels and panning properly placed, and equalisation, compression, and reverb alloted where needed to the correct instruments or vocals in a reasonable manner; I was to record this mix to a Dat tape for playback. I did insist that he leave the room so as not to distract me; TOTAL CONCENTRATION was going to be required! So our technician and assistant engineer, Osie Bowe, was stationed in the room to police the situation, to make sure that I did not cheat in any way (such as by using headphones). Since everyone trusts Osie, this was totally acceptable to him. Of course, by now word had spread, and the whole band was anxiously awaiting the outcome. The clock was started, and off I went. (It was only later that I found out that he had purposely chosen a song which he felt was different than any other on the album, and on which the tracking [what sound was on what track] was different than any I had previously mixed for them. Using the meters only, I deduced what instruments or vocals were what, and placed levels and panning according to what I thought they might be. I added reverb to certain things, as well as a bit of EQ and compression. I did level changes based on what the meters told me, and what section of the song I thought we were in. I was ready to "go to tape" in just under 12 minutes, which was a good thing, as the song was just over 3 minutes long. The final chord went to tape exactly at the fifteen minute mark, as I carefully lowered the master fader for a smooth ending (I hoped!) Oh, I also had made a total recall save. Everyone filed in to hear the results. The Genelec monitors were returned, and the tape replay chosen on the monitor matrix. Then for the first time, I heard the actual song I had just mixed! Fortunately, so did everyone else. Because after one listen, we made about two tiny changes, and printed it to 1/2' so we could go on to the next song.

Dr., I think we are getting into that shocked vs. electrocuted thing again. Deaf means you can't hear. Name one great recording engineer who is or was deaf. Do you mean hearing impaired? Someone how can hear with hearing aids is not deaf. Travis

There is a set of Cornwall III's for sale an hour south of me in San Antonio. Here is the link to the audiogon ad. http://cls.audiogon.com/cgi-bin/cls.pl?spkrfull&1177018752 I have sent the seller some questions about them and I think I am going to pull the trigger on these but was wondering who on the forum has CWIII's and what you thought about them? I would really like to know if anyone that has them had the II or the 1's? Thanks , Travis

RFP, A very timely post. Last week I was doing some tube rolling in my preamp. It had just come back from Criag and I wanted to kind of get it set up with tubes I had always like having in it. I have a 3 songs I always play in the exact same order, one minute each, for making reference tests. I was switiching tubes but unable to make out any differences in tubes I know I heard differences in not long ago. So I thought I would make a more drastic change, I had new crossovers from Dean that I was planning on switching out in my Khorns so I thought I would make those changes and see what differences I noted. NOTHING. It was very depressing to say that least, paying a lot of money for tubes that at one time made an enjoyable difference to me now sound exactly alike. New crossovers make no difference whatsoever. I knew it was my hearing so I went and got tested last week. I am over 26 db down at 3k, 40 db down at 4k and cannot hear above that. Our kitten has a toy with a small sliegh bell type thing on it, I can jingle that thing and cannot hear it. My wife hears it fine in the next room. So I am in big need of hearing aids at 46. I wish I had taken better safeguards on my hearing. Rock concerts have made their toll there is no doubt. Funny thing is when I started flying at age 16 I always used hearing protection. I don't know why I was so stupid not to take better care when going to concerts. Well it has caught up with me. SO I WOULD SAY THAT YOU ARE IN GREAT SHAPE as far as your hearing goes. I wish mine was that good! I guess, trying to look on the bright side of things, I can sell all of this expensive stuff and get an ipod and a klipsch docking system to go with it or some cool Bose speakers, and it will all sound the same. I never try to lecture anyone about anything, just about everyone I see professionally has done someting pretty stupid and does not need a lecture from me. But for those guys who brag about listening abouve 100 db, or taking it up to 120 db is what I think I read recently, you are all idiots. Take it from me, the biggest one of them all. At least I can say that I was in an enviornment that I did not have control over, I was stupid for not taking precautions. It will lead to hearing loss, there is no question. It is only a matter of how much and how soon. THen you will be like me and hearing everything through a digital amplifier (hearing aid). Oh the best part, if you want in the ear so you can't see em state of the art digital aids, they are only 4 to 6K. You will be able to add it to your other list of cool equipment. So my one word of advice for the young: Ear plugs Travis P.S. For those wondering how DeanG's crossovers sound: Don't know, couldn't tell ya. But they look real nice.

I will contact him tomorrow and let you know what I find out, Travis

Get two, I will pay you for mine and 1/2 the shipping to you, and also for the shipping out to me. Travis

Travis

Glad they made it ok, sound like you will need them to get a fire started in the fireplace. Or I suppose you could rub to twins ... er sticks together. Whatever works. Travis

great job. WOW

Allan, Did you recently pick up a pair of ECF 802 (pink lettering) from ebay? I bought a pair, and if you did also I was hoping to get your thoughts. Travis

Do you know the s/n's? If you can put them on here we can tell you what components they should be, what the finish should be, and what year they were made. Travis

Hmmm... looks like I'm using too much of the stuff. I don't use the liquid on every play (generally every 2 or 3), but it appears I am using too much when I do apply it on the brush. I also have a dry brush that came with the DL-103 that I use in between liquid applications. Thanks for the advice... I'll take it easy on the stuff. Mike Mike, That Zerodust previously mentioned is a great way to go. It will last almost forever, and what is great about it the stuff is you can see the crud that was on your stylus that gets left behind in the goo. The other good thing about it is that you are supposed to use a stylus brush after you apply the stylus cleaner. Everytime you do this you have the risk of causeing some kind of damage to the cantalever. You avoid this with the zerodust because you simply lover the stylus into it and then lift up. The other stuff I use is the RRL No. 9, has been highly touted for years. Comes with stylus brush, and like Allan said, even with a clean after every lp, it will last a long time. Travis

Sorry to hear that. I think what usually happens is that when they go real low like that the seller gets contacted and is offered 1500, 1750 or even 2000. If it was an ebay deal I would compain everyway I know how, and I would send a letter to the seller requesting specific performance. Travis