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About hsosdrummer

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  1. Sir Ringo

    If you look anything like the man featured in your avatar I would advise that your appearance provides you with no basis upon which to cast aspersions on the appearance of others.
  2. Diffusers placed in the sidewall 1st-reflection locations will usually produce better-sounding results than absorbers will. However, if the room is fairly reflective, absorbers will likely improve things over doing nothing at all.
  3. Anti- Intellectualism

    Simple: The ones who make the most sense. It is the person receiving the information who bestows equality or inequality on the information they receive, not the people transmitting it. If a receiver of information cannot tell the difference between an opinion or thought that is based on a knowledge of the facts and an understanding of history versus one that is based on fear, hysteria and an ignorance of history (willful or not), the problem lies with the person receiving the information, not with those transmitting it. Just because there are twenty voices loudly shouting doesn't mean that all (or any) of them deserve our attention. It is up to each of us to exercise critical thinking when deciding what information to consume.
  4. The Latest in High End Audio

    Around 1982 when Dave Wilson first premiered the Wilson WAMM (Series 2) speakers at CES I managed to secure a seat (right in the sweet spot) at one of their invitation-only demos (limited to around a dozen people at a time). After a lengthy spiel about the speakers, Dave played one of their Wilson Audiophile recordings through the system. As the rest of the audience reacted to the sound by seeming to acknowledge the coming of the Audio Messiah, all I could think to myself was "What the f**k have these people been smoking?" To put it plainly, the speakers sounded like huge... (wait for it)... speakers. At no time did they produce an illusion that real human beings were playing and singing (the recording featured Dave's wife on vocals) in the room with us. It was simply a giant stereo system. My most charitable explanation for what I experienced was that Dave Wilson and the rest of those attendees were seeking (and satisfied by) a very different audio illusion than I am. I have no doubt that I would be similarly underwhelmed by the current incarnation of the WAMM. (The cost of which has evolved to be equivalent to the current value of my home.) Just ridiculous. If you have to spend nearly three-quarters of a million dollars to find a satisfying audio illusion you really need to re-evaluate your life's priorities.
  5. Legends You Have Seen Live?

    Rock Musicians: The Who (1967, 1969, 1970, 1982) The Animals (1967, same personnel that played at Monterey) The Everly Brothers (1967) The Association (1967) Cream (2X in 1968) James Cotton Blues Band (1968) Jimi Hendrix (1968, 2X in 1969) Led Zeppelin (1969, 1970, 1971) Deep Purple (1968, 1969, 1970, 1973) Jeff Beck (1968, 1971, 1980, 1999) Ten Years After (1968, 1969) Moody Blues (1968) Jethro Tull (1968) Savoy Brown (1968, 1969) Procol Harum (1969, w/Robin Trower on guitar) Richie Havens (1969) Lee Michaels (2X in 1969) Vanilla Fudge (1968, 2X in 1969) Soft Machine (1968) John Mayall (1969, w/Mick Taylor on guitar) Ike & Tina Turner Review (1969) Canned Heat (1969) Paul Butterfield (1969, w/Elvin Bishop on guitar) Chicago (1969 — as CTA, 1970) Joe Cocker (1969, before he played at Woodstock) Spirit (1969) Emerson, Lake & Palmer (1971, 1972, 1977) Humble Pie (1971, w/Peter Frampton on guitar) Edgar Winter's White Trash (1971) Mahavishnu Orchestra (2X in 1972) Yes (1971, 1972, 1999) King Crimson (1971, the "Islands" tour) Fairport Convention (1971) Argent (1972, my band opened for them) REO Speedwagon (1973, my band opened for them) The Grassroots (1974, my band opened for them) Sugarloaf (1977, my band opened for them) Boston (1976, free tickets) Starcastle (1976, free tickets) UK (1978, original personnel w/Bill Bruford) Bruford (1978) Monty Python Live at the Hollywood Bowl (1980) Jack Bruce and Friends (1980) Gentle Giant (1980, their last ever live performance) Devo (1982) Rush (1986) Frank Zappa (1986) Jack Bruce & Ginger Baker (1990 & 1991) Masters of Reality (1992, w/Ginger Baker on drums) Doobie Brothers (1996, private concert) Alan Parsons Project (1999) Robin Trower Band (2000) Steve Vai (2000) Crosby, Stills, Nash & Young (2000) Edgar Winter Group (1999, private concert) Styx (2000, private concert) Return to Forever (2012) Zappa Plays Zappa (2012) plus lots of opening acts that have faded into oblivion (like Mint Tattoo, The Collectors, etc.) Jazz Musicians: Buddy Rich (over two dozen times between 1967 and 1980) Louie Bellson (over two dozen times between 1967 and 2000) Count Basie (1967, 1970) Duke Ellington (1970) Don Ellis Orchestra (over a dozen times in 1970; I was also a member of one of his 'training' bands in 1970) Shelley Manne (1971) The Great Jazz Trio (1978 — Hank Jones, Ron Carter, Tony Williams) Ella Fitzgerald (1970, 1980) Joe Pass (1980) Bill Bruford's Earthworks (1987, 1999) Elvin Jones Jazz Machine (1991) Simon Phillips Quintet (1998) and many more that I can't remember.
  6. JBL is on the Vintage wagon now?

    Don't blame the hardware for operator errors. Those large JBL Vertec arrays are a 4-way quad-amped system that requires specific Crown amplification that is running specific iterations of DSP programming, and the whole thing needs to be properly tuned for the venue. When powered and run with the specified amps and DSP, arrayed properly and properly tuned for the venue (JBL provides multi-day training sessions for all of this) Vertec systems can sound stunningly real, and can provide that sense of reality for thousands of listeners. When the speakers are improperly set up and being run by non-specified amplification and DSP it's anybody's guess as to whether or not the results will be good, but it they aren't it's certainly not JBL's fault. If you went to someone's house to hear their Jubilees and found them running inadequate amplification with an incorrectly set up electronic crossover and incorrectly deployed DSP, you would rightly blame the owner for the speakers' lousy performance, and not the speakers.
  7. JBL is on the Vintage wagon now?

    Gary: Since the 604E had a separate network it would have been a simple matter to experiment with the relative polarity of the horn and woofer and then run the speaker however it sounded best to the individual. I never had a chance to hear the 604E at all, only the 604-8G in the Stonehenge III home speaker. I also heard whatever version of the 604 was used in the Mastering Labs "Super Red" speaker, the one with the additional 15" woofer. THOSE sounded huge and were impressive. But they had a crossover built by Mastering Labs and so weren't representative of how any stock 604 model would sound. The 4310/L100 stories above came to me from archives that I read and conversations with engineers that I had while I worked at Harman between 2009 and 2013.
  8. JBL is on the Vintage wagon now?

    Well, the 4310 that the L100 was the home version of was originally voiced to mimic the sound of an Altec 604E mounted inside of a 620 utility cabinet, which was the standard studio control room monitor of the day (around 1970). This was JBL's "foot-in-the-door" with studio engineers, all of whom were plenty familiar with the sound of the 604E/620 combo. For all practical purposes, the original 4310/L100 were 2-way speakers. There was no low-pass filter whatsoever on the 12" woofer; it was allowed to put out audio as far up in frequency as it could, and it had strong output well past 2kHz. This wasn't much of a problem if you were sitting right in front of the speaker, but I'm sure it caused the speaker to beam like a sumbitch above 1kHz. The 5" midrange driver was added more for sales & marketing reasons than for sonic ones. JBL figured that a 12" 2-way studio monitor wouldn't be taken as seriously by recording engineers as would a 12" 3-way with a 5" midrange. Plus, adding the midrange (and it's level pot on the crossover) gave engineers more of a feeling of control over the speaker's performance. I've never heard a 4310 or L100 with the midrange and its attendant crossover components removed, but I bet it probably sounded a lot smoother than the 3-way versions that went into production. (I think around that time JBL made a home speaker based on the L100 that you could buy as a 2-way and then later add a midrange and new crossover to upgrade it to a 3-way. If it was indeed based on the L100 I would bet that it sounded better if left in the 2-way configuration.) P.S.: When I bought my 4312Es (brand-new engineering samples at a price so ridiculously low that I just couldn't pass them up) Greg Timbers (JBL's chief engineer) told me that they sound best with the midrange level potentiometer turned all the way down, which shuts off the driver. I tried that and while it does sound smoother, the dome tweeter in the 4312E doesn't seem to go quite low enough without having to put just a little juice into the midrange driver. (The originals had a mini-cone tweeter that I think probably did better at its lower end than the metal dome in the 4312E.) But no combination of mid/tweeter level control settings turns that speaker into one I would trust as a primary monitor for tracking and mixing. There's just too much weird sh*t going on in the midrange. Maybe they improved that in this new L100 version; it shares nothing with my 4312Es.
  9. Southern Barbeque? Fooled Again

    I've tried that stuff too. WAAAAY too sweet; WAAAAY too much sauce.
  10. JBL is on the Vintage wagon now?

    When I was a retail audio salesman back between 1977 and 1981 our store had L300s and Cornwalls in the same demo room. The Cornwalls bested the L300s in all musical attributes (dynamic impact, freedom from coloration, lack of distortion, realistic soundstaging) no matter what kind of music you played through them and no matter the volume at which you played them (the L300 was particularly weak when playing orchestral music at lower volumes). The comparison wasn't even close. I couldn't make the same direct comparison between the L100s and Heresys because the L100s were in another demo room, but the Heresys blew-away the L166 and L65 Jubal in every attribute except bass extension. And since the Jubal cost what a Cornwall cost, a dollar-for-dollar comparison was particularly devastating for JBL. I currently own a pair of JBL 4312E studio monitors and if these new L100s sound anything like them, they're not even worth a serious listen. (I finally removed the 4312Es from my studio about 8 months ago because they were so tonally colored, especially throughout the midrange, that I simply couldn't trust that they were telling me what I was really putting on my recordings. Mixing and mastering on my 1980s vintage Cornwall IIs has proven to be much more successful — the mixes I create using the CWs translate extremely well to just about any other type of device: small 2-channel stereos, Bluetooth speakers, car stereos and home theater systems.)
  11. This is it Guys

    Work is indeed overrated, but the money you receive in exchange for it is not. Congrats on having enough of the latter to be able to discontinue performing the former.
  12. Meaningful music

    As a listener of music, music's greatest power is its ability to allow me to travel through time: Back to where and who I was when I first made a lifelong emotional connection with a given piece of music, Back to the time and place the musicians were when they were creating music that was captured live and in-the-moment, Ahead to times and places not yet imagined, when I let myself be carried away by music's spell, or simply to any time and any place that are not right here and right now. Music's other great power for us as listeners is that it can provide a direct emotional pathway between us and other people whom we've never met, from performers on the other side of the world to composers who are centuries dead. Music has the power to allow us to share these people's inner thoughts and feelings; to allow us to experience life through their eyes, ears and flesh. As a player of music, music's greatest power is it's ability to let me express feelings and thoughts that I cannot express in any other way. Had I not made such a powerful connection with a musical instrument when I was 10 years old, I can't imagine that my life would have been as meaningful for me as it has been for the past 55 years.
  13. The last Blu-ray you watched.

    My new favorite Christmas movie.
  14. Best US music city

    New Orleans. Without New Orleans's contributions to American music starting around 110 years ago you'd all still be listening to polkas...
  15. Yes

    What year was that?