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Islander last won the day on July 27

Islander had the most liked content!

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  • Gender
  • Location
    Vancouver Island, BC, Canada
  • Interests
    Audio, Music, Photography
  • My System
    402/K-691 JubScala IIs + Paradigm Seismic 110 x 2, powered by Yamaha MX-D1 x 2, EQ'd by Electro-Voice Dx38, controlled by Yamaha RX-A2060, fed by Technics SL-1210M5G, Panasonic DMP-UB900 & Yamaha DVD-S550

    6.2 Surround: above plus Belle (centre front), La Scalas (left and right surround), Heresy III (centre rear)

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  1. No, my daughter and I do share some favourite bands, and we've been to concerts together, including The Cure and Pink Floyd. She just doesn't seem to appreciate music played what just seems like medium loud volume to me, at home or in my van. I get the impression that many of the Gen X kids feel that way for some reason.
  2. That’s become kind of inverted now, in that our adult kids are likely to ask us to turn down the volume. They don’t seem to be accustomed to or comfortable with “electric music, solid walls of sound” like we are.
  3. "Songs will be sung of his adventures, that he may be remembered through the ages."
  4. Yes and yes. Mister Stanley will be remembered for a long time.
  5. Well, maybe 4 per musician. The Wall of Sound could send clear and clean music for half a mile. Those are big shoes to fill.
  6. And not a horn to be seen. The Wall of Sound could have been so much lighter and more compact with horns, plus they wouldn't have needed so many amplifiers.
  7. Noel at Skylan is very knowledgeable about audio resonances. I use one of his 4-shelf stands for my electronics stack. It’s well-made, adjustable in how you can assemble it, and the back looks as good as the front, so that if the front gets marked up, you can just turn it around. His stuff is well thought out.
  8. As I understand it, B stock speakers have minor cosmetic flaws that are discovered during quality control checks or even earlier, like mismatched veneer panels or the like. They operate perfectly, as no operational flaws are permitted. They’re not returned or refurbished speakers. They’re marked as B stock at the factory and sold at a discount.
  9. The Quadraphonic LPs had frequency content all the way up to 45 kHz. The problem was that the top frequency limit would gradually become lower due to wear from being played. I’m not sure how many plays would reduce the limit down to below 30 kHz, or if there’s a frequency below which the grooves would be safe if the record was played on good quality equipment. The other extreme, of course, was the old gramophones, with steel styli that looked like nails and tracking forces measured in ounces, not grams. Their 78 rpm records only contained content to 14 kHz or so, and after 20 or 30 plays, it would be down to 12k, and so on, until a 78 with lots of plays would be down to 8 or 9 kHz. Music reproduction equipment and media has really come a long way.
  10. That's horrible! Any way to get them back? At least the driver is hard to attack, if she's revenge-motivated.
  11. In reference to The Beatles, the CD 1 is an ear-opener. It’s the 27 #1 hit songs by the band, selected by Paul, George, and Ringo. When listening to the whole CD, in addition to the great songs, what I heard was the development of George Martin as a producer. To put it simply, the first songs are so-so quality mono, which moves to better and better mono, then switches to so-so stereo, then George Martin finally gets the hang of recording and mixing in stereo, with Sgt. Pepper being pretty much the first superbly produced LP. If you have a listen to the CD (there’s also a cassette, but the LP(s) was only available in the UK), I think you’ll agree on the gradual improvement, although where you judge “so-so” became “much better” is up to you.
  12. Yes, generally concert sounds seems to be mono, with the exception of Pink Floyd when I saw them at Maple Leaf Gardens in Toronto in 1973. They used 4-channel sound to great effect, and one of the channels was deep in the audience on the right side of the room, that is, on the right as you’re facing the stage. It was odd to see an asymmetrical setup, but maybe there were features of the arena that made it necessary to set up like that. Or maybe that’s just how Pink Floyd wanted it. That was the concert tour with the airplane crashing onto the stage. Amazing visual and audio on that event. Anyway, as I see it, a concert has two information channels for us: the visual and the aural. When we’re there, we can see how the musicians are placed around the stage, even if the sound is in mono. However, when we’re at home listening to a recording, unless it has the video component, like with a DVD, Blu-ray, etc, we have only the aural part. Accordingly, this is where the stereo imaging comes in: it enables us to visualize the stage and all the performers on it. With some recordings, you can even get some sense of the performance space, like is it big or small, reverberant or hushed, etc. One visitor who was listening to my system commented that she could tell that the pianist was facing us, because the bass notes came from near centre stage, while the treble notes came from a little further to the left, toward the edge of the stage. The piano didn’t seem to be unnaturally wide, just the width of an 88-key keyboard. That certainly added to the realism of the listening experience. Since the purpose of sound recordings is to give the feeling that you’re at the concert, the imaging is a crucial part of that. If you can close your eyes and visualize the singer at the centre, and maybe walking around it (okay, that one could be a challenge), with the drummer behind and maybe a bit to one side, the bassist at one side and the guitarist on the other side, to give a generic example, your listening experience can be enriched. Then a bit of surrealism can be added, like with drums that seem to be able to travel across the stage and back. In the days of psychedelia, with Jimi Hendrix, for example, you might hear the guitar part leaping from the left speaker to the right speaker and back again. Sure, you probably wouldn’t (but just maybe you would) have heard that at the concert, but it enhances the experience of listening to the recording, or at least Jimi thought so, and who are we to argue with Jimi? And that’s my opinion.
  13. Perhaps I used the wrong term. That makes me think of something that Herman Hesse wrote, maybe in Steppenwolf. However, for people born after WW II, like most of us, the coolness was not terribly obvious, and the music of our parents, or I should say, of the parents of most of us, was not too cool. Of course, we were kids, so our musical tastes were mostly still unformed, so silly pop music caught our ears, while more serious music just seemed old-fashioned.
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