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EMRR

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About EMRR

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  1. PINK FLOYD

    That may be my favorite Floyd performance for many reasons, great era, first boot vinyl I had, I recall being impressed by this footage when I saw a poor VHS of it in the '80's. They were still playing out the original vision to great effect, and coming to mastery of the raw tools they used from DSOTM on.
  2. PINK FLOYD

    Saw Chicago and Milwaukee in '87. Dark Side and later, I've mostly landed on Animals. I tend to like '67-'72 the most in live world, 1st album and then Meddle in album world. Mostly, I've listened to them so much I don't listen to them much anymore.....
  3. It's a shame most Rock is recorded badly!

    Many times you submit mixes to mastering, and mastering does the damage. I've rejected acoustic recording masters sent back from major mastering houses like Sterling Sound because they jacked levels up into distortion. Unless ordered otherwise, pop music mastering assumes 'as loud as possible'. I sit in on mastering sessions as much as I can, and push for sane dynamic interpretations. Virtually everyone I work with is self-financed, and their tens of dollars don't go far in the first place. My preferred local mastering facility always gives me a hi-res version lacking final limiting, and only one artist to date has used it. It exists, but unheard by all but myself when I delve into the archives. That hi-res version is what would be used as the basis for vinyl pressings, which few can afford to make.
  4. Thanks for pointing that out, interesting read. I've wondered about their tubes for a long time, haven't heard any. Their 45 is the only reproduction I'm aware of.
  5. Western Electric...

    Some of the old equipment, would be accurate. They made things in various plants all over the country. The original goal in the 1990's was reissuing the 300B, which they did. I don't know how long those have been gone, quite a while I think.
  6. Western Electric...

    This all reads like the same re-boot of a re-boot of a re-boot that's been doing various things since the mid 1990's. They surface, they disappear, they surface. Lots of 'new things coming' promises, very few making it across the line. I've been curious the whole time.
  7. we274b/5ar4

    Are the sonics of a 274 worth the expense at this point? It's hard to imagine, but I haven't heard one apples to apples either.
  8. Scott 299C ringing when tapped

    I'm not Maynard, but will add that in general the phono input should be higher gain than the others, so more prone to amplification of vibration.
  9. Typical to see larger gauge wire on low frequency drivers versus mids or highs. Power used by an amplifier is greater for lows.
  10. How much voltage in a preamp?

    It's about the combo of voltage and current, not just voltage. A preamp compared to a power amp is a lower current device, though here we have a fairly high amount of potential current stored in the filter caps. If I were tech-ing around inside there, I'd probably add a bleeder, but I'm not advising you do so if it is at all out of your element to sort out. Follow the 'one-arm-behind-back' rule, and don't touch inside and outside the open unit with both hands if in doubt of what you're touching; prevents a path through the body. I wouldn't expect any difficulty if you are just cleaning pots.
  11. Deoxit on a Crown K2 pot...

    Downside is you may flush the remaining lubricants out, ideally you follow it with their fader lube. If washed totally clean, contact may be better but scratchiness may increase without a re-lube.
  12. Tube amp on top of LaScallas

    I've had tubes in some stage performance amps for over a decade, no problems. A few have seen regular 2.5 hour gigs at fairly high volume. If you hear the effect of the amp sitting on the speaker, then there's a definite problem. Compare, it may require that. EL84 filaments are particularly bad for 'singing' audibly with vibration, many an instrument combo amp with EL84's have 'extra sonics'.
  13. Never said close to a 255A. Not sure where you get that. They rebranded that entire line of Langevin pro audio preamps and power amps. The 660/670 limiter info, also pro audio, comes from the guy who designed it, brought it into Fairchild after the fact, then went on the be an exec at Ampex. Anyway, I got us really off topic here. I'll bring more evidence as I find it. It may be more within the pro audio realm, which is what I pay most attention to.
  14. There's an enormous amount of stuff that can't be found with Google. Fairchild 621 is a Langevin 116A with a Fairchild sticker on it. Simple as it gets. an ad: Langevin 116A / Fairchild 621 shown
  15. Hi Sam, I may be wrong, quoting sources from memory that I can't dig up at the moment. I'll keep digging. Here's a few things: The Langevin 116A / 117A amps were rebranded as Fairchild products with their own model numbers, a simple Fairchild decal overlay. The 660/670 limiters were designed and licensed by Rein Narma who came on board afterwards, I believe somewhere in an interview he stated that at the time Fairchild Recording was more of a licensing house than a design/manufacture house. That may be a reference to earlier eras, and not representative of later eras, as Fairchild existed for many decades. Memory (possibly faulty) says one of the 50's consumer mono block amps was a rebrand, I can't recall the originating company. We have George Alexandrovich Sr who tells us he worked for Fairchild over 20 years and designed a lot of equipment, so that may indicate a turning point in the mission of the company.
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