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EMRR

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About EMRR

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  1. Cathode Bypass

    I have the suspicion that as electrolytics degrade with age, a paralleled film cap comes further into play for maintaining linear response in the upper frequency range. Much less noticeable, if at all, when both are new. Try it with a 20-50 year old electrolytic that otherwise measures and functions fine.
  2. Brook 12A Clones

    Amen!
  3. You aren't forcing the amp to put out double power, that is nonsense. Why, let's see, if it did, shouldn't that pop the fuse? Immediately?
  4. OK, they are covering them, but as a tech who mainly works on tube gear, I call complete BS on their claim here. You can be 100% off in impedance match with pretty much any tube amp with not much consequence other than diminished power transfer. An amp like this with higher negative feedback and damping is less susceptible than the average Fender guitar amp mismatch which may do 300 road gigs with no problem. To me this reads like the transformer was faulty from the get-go and causing excessive current draw in the tubes, which would wear them prematurely. You certainly wouldn't have the tube faults described from an impedance mismatch. ....but I don't really know, at a distance with second hand information......
  5. My high school music teacher friend tells me the kids NEVER listen to an entire song when it's music appreciation day, and if it's not their thing, they immediately have their earbuds in masking the 'offending' track with something that is 'their thing'. Heavy channel surfing, and a disinterest in anything outside their normal box. As players of instruments, it's not about playing them in front of people either, it's about posting videos. Many also have no idea why anyone would leave home to hear live music, when it's available online so freely. It's a new universe.....
  6. R.I.P. Ray Thomas / Moody Blues

    RIP Ray!
  7. lascalas very little bass

    Yes, but! It's also rare with most instruments for that fundamental frequency to be very strong, frequently the 2nd harmonic 82Hz is predominate. If you really want to freak out, put an analyzer on single low piano notes coming from an upright, it's more like 3rd harmonic that's predominate, yet you still get the sense of the proper note.
  8. lascalas very little bass

    Yeah, again, it's the physics of a horn loaded system at play. I'm not sure how much I agree with comments about equalization, so long as you aren't listening at very high volumes. I can get earsplitting levels with a 10W tube amp, which means I have quite a bit of headroom for equalization. My house is 1930, so small square rooms, not the best for this type speaker, but they're still far better than my small boxes. I get a lot of 200-300 Hz buildup that needs to be reduced, and can add 60Hz or lower to good effect, feel the impact of those woofers through the floor and walls. When I'm doing critical listening in front of them, they don't run all that loud. In fact, I'd say bass heavy modern music has an opposite effect; it needs LESS EQ and sounds more even.
  9. I probably already said it....I turn on dozens of tubes every day at my recording studio, most of them are tubes I put in equipment as I got it restored and online, most of it online 15+ years at this point. Tubes that have died or been replaced for any reason? Less the 6 probably. The Fender Bassman I rebuilt in 1997 has EL34's in it....used Mullards that came out of a retired Altec PA amp. That Fender was used for many years of rehearsals and gigs, still gets used in the studio regularly, same tubes. Must have 40+ years on them. But a 90 day warranty on tubes is another thing, it speaks to the reliability of modern tubes.
  10. Led Zeppelin remaster

    Only one I have is II. Feels the closest to listening to an original master tape than to any other I've heard, and I have 1st gen American vinyl in the mix. Yeah, you hear the distortions in the master better than ever, because it's clearer than ever. That's the sound of the mix console going crunchy, it's always been there. It's not slammed, in fact I don't think it ever touches 0dBFS, it's a bit down overall. Seems clearer/wider/fatter/more dimensional overall. I need to check out the others.
  11. good k55m values

    They can measure fine and be bad. I have a K55V that has obvious distortion with piano or acoustic guitar recordings, hard to hear with a pumped up rock mix. Do some sort of listening test to the raw parts if you can.
  12. Balanced Interconnects

    Well, AES/EBU can be used for analog audio, as I said, it's superior with very long runs because of the lower capacitance. I'm gonna go out on a limb and guess from what I read that all the DMX I encounter in the field can't be used for audio because of shield wiring differences. It appears common for DMX to connect shield at one end only, which is good practice in many cases, though definitely not for microphone runs. But I'm the audio guy, not the lighting guy. Anyway, I've never seen that combo version cable before now. Thanks for the explanation.
  13. Balanced Interconnects

    Now that's a strange one, those as a combo. All the DMX wire I've used can't be used for audio.
  14. How loud can Klipsch speakers get?

    When I was first checking out some La Scala, I had a single speaker hooked up to a 10W tube amp, and it would go louder than was comfortable. The horn sensitivity allowing low power tube amps was what got me in the club.
  15. Balanced Interconnects

    Depends on what you need. Canare is the best I've encountered for live events, and I have a lot of it I've been using for 20+ years, all of it still coils and uncoils perfectly, in fact handling is so much better than any other portable cable I'd put money on it cutting labor costs over time. The woven shield has rejection advantages too. I've run 600-1000 feet of it through basketball arenas during broadcast events, under bleachers and down the side of the floor, through 100's of electrical connections and tons of RF. It's never failed to deliver in that hostile environment. Home use; easily no benefit from those aspects. Grimm balanced wire gets some great reviews, and I can see where it would have benefits with low level microphone signals, especially passives such as ribbon microphones with very weak signals and huge sensitivity to cable and amplifier loads. It has an additional encasing like a coax cable, which is there to lower microphonics (don't laugh, envision the wire in a remote recording that's run next to a subwoofer or walked on constantly, under gaffe tape). It's lower capacitance than most too. I think it may be braid shield too, not the easiest stuff to work overall. The other wire in favor many places for balanced analog audio is to instead use 110Ω digital wire, which has greater bandwidth due to lower capacitance. Not really any more expensive. There are testimonials about Hollywood film production places with many miles of wire finding clear benefit from this type of wire in those situations. Me; I got some Grimm for select ribbon microphone paths in recording, and the wire from wall panel to patchbay is 110Ω digital stuff. That covers the part with very low signal levels that could be most impacted be environmental aspects and wire length. Whether a balanced interconnect has advantages is going to depend on the send/receive circuitry along with the hostility of the environment in terms of induced noise. The flip side of this, I believe it's Bernie Grundman Mastering which at one point had removed the additional balancing circuitry (audio transformers) from a bunch of equipment, and ran all connections unbalanced for better sound, with less stuff in the way. In that case we have a facility with very careful electrical planning and appropriate shielding, doubtless a lot of Audio Precision test set analysis of paths aiding decisions outside of what the ears say. I have plenty of paths in my studio control room that are 20-30 feet unbalanced, with no problems. In those cases, it'd take additional stand alone balancing amplifiers to change the situation, which would be more circuitry in the paths. YMMV....
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