MerkinMuffley
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Posts posted by MerkinMuffley
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May 1, 1918
Dear Customers,
With the advent and rapid growth of the new automobile industry, demand for our fine products has plummeted below the profitable threshold, and we are sad to announce we will discontinue the manufacture of all models of the Flegglehouser and Sons buggy whips immediately. Remaing stocks of finely crafted buggy whips can be found at your local general store.
Sincerely,
Mortimer Flegglehouser
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Analog IS continuous. Maybe the whole world is wrong. But I really doubt it.
http://www.answers.com/Q/What_is_difference_between_analog_signals_and_continuous_signals
If there is going to be an effective rebuttal, it will need to me more than a simple declaration that it's wrong. There has to be a counter-argument.
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"High Resolution" - -
...is a special term applied to DIGITAL recording(s). Analog recordings are infinitely continuous, which is to say, you can zoom in infinitely with no break in the slope. The demon of analog is noise, not resolution.
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Probably do just fine by replacing the one bad tube.
(Always have a spare!)
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How much off was it from biasing? A few mills will make little difference.
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"Format" seems to be the wrong word. Maybe it's just simply another SKU? Suppose we have....("My Song" - a bundle of bits from the original session), and then, ("My Song" a Bundle of Bits With MQA Applied). Aren't those two different SKUs for SONY or MCA?
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Excellent read Josh..........thanks. Too bad MQA didn't reply.
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I think this chart is largely explained by changes in the commercial food system.
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PTP Solid 9 Turntable Origin Live Encounter tonearm with supernal cryo'ed rewire.
Grado Statement V2
Volti Audio Rival Loudspeakers
Current Issue McIntosh MC75 X 2
Silenzio by E music server
Benchmark DAC3
McIntosh C-22 re-issue Pre-amp
Wow - - never heard of "Volti" speakers before......something new every day.
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The Benchmark post certainly EXPLAINS MQA in a mostly (to me) understandable way. Clearly though, hardware makers are not going to want to be paying more license fees, or possibly hog-tying their own developments to a grand third party somewhat like Dolby. I'm pretty sure music producers also have no interest in adding a license to their cost roillup either.
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12 hours ago, mikebse2a3 said:
I thought this was interesting from Schiit about MQA. Note: this was from 2016 but still seems to be a lot of confusion about MQA still today.
http://www.schiit.com/about/news/why-we-wont-be-supporting-mqa
miketn
Very interesting comments there, which do seem to indicate that this is a new "format" that requires a listener to re-pay for music they own that isn't MQA.
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So, it's just an adjunct process, then? How do the MQA owners get paid then? By having a site like Spotify with 30M songs processed for MQA - charging some premium? Just trying to see how the money flows.
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If so, then MQA is a new medium, and will result in very limited releases, I would imagine. So, let's see.....I've bought the LP, then the cassette, then the CD, then bought the remastered LP....arghhh.
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The central question regarding food is: Health or Entertainment?
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Natural vs. Unnatural (Re: J. Matthews)
I would propose that when the discussion is "food" most dieticians and health experts use "natural" to imply whole food stuffs that (usually) occur throughout the world without assitance from man and machine and processing. An orange is an orange is an orange, whereas "bread" exists as the creation of men. Many of the ingredients in grocery store bread requiring massive chemical plant infrastructure to obtain. See photo.
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How is Mr. Comey any different than all the other career political creatures of the top layers of power? Which is to say, working for self interest, representing an institution with no credibility and concerned only with advancing personal political power. (Ref: botched cases, vindictive prosecution, total bumbling, etc.). Guys write their own hagiographies when no one else will.
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I tried to search out how MQA works. After an hour of reading nothing but non-technical metaphors and gibberish like "oragami" I gave up.
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20 years? There are some tiny rubber parts inside the body which the cantilever rides on/in. Time is wickedly unkind to rubber. These things you can't see are very likely more of a problem than the grundge on the stylus. Might be time for a new cart.
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Example of how Tone Controls can cause troube. Refer to the diagram attached.
The two pots RV1 and RV2 control the amount of bass and treble cut or boost applied to the signal. Surrounding both pots are several caps. If you want FLAT response, the two pots would have to be electrically centered AND the surrounding caps would have to be very precise in value. Any variation in the caps, or centering of the pots will yield a non-flat response. In budget prodicts, these pots are probably 10% tolerance and the caps could be 20%, 10%, 5%, or even 2%, but how do you know? By centering the pots, I don't mean the DETENT they probably employ, but whether or not that detent EXACTLY divides the pot?
The solution to these inexpensive style tone controls is to have a bypass switch that circumvents the signal around ALL those pots and caps. Without a bypass, there is very little chance of getting a flat response.
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On 4/8/2018 at 12:31 PM, LarryC said:
With K-horn efficiency, I've had to work at minimizing noise audibility. For example, selecting a preamp with lower gain in the line-stage section, to minimize amplifying noise traveling from circuitry prior to the pre-amp volume control. (I once had a preamp with an excessive 26 db gain in the line stage, which could only exaggerate pre-VC noise from the phono stage. My current preamp has only 4 db line stage gain!) Or, for another example, choosing a power amplifier with a low gain figure, that does not have a very high (numerically low) "sensitivity" figure for full power out. This means being careful NOT to select an amplifier that produces several hundred watts out for only 0.5 v. in -- a sure noise producer on K-horns IMO. My amp eliminated one stage of gain and probably requires 2.5 v. in for 100 watts out, a very low gain that minimizes pre-amp noise
Good comments. Most of the classic separates were designed in the era of PHONO, TAPE heads and FM sources, which had very low outputs in the mV range. So, preamps needed 40+dB gains in the phono and tape and as much as 22dB for FM and integrated tape in the line stages. In the classic era, 2V in for full power was standard and reasonable. Tben came sources like CD. DVD, TV and all the other very high output devices which have no need whatever of a preamp.
If not using phono or tape, preamps offer little benefit. If you do (still) use phono, the old (classic) separate preamps (Fisher, Mc, Marantz, Scott, Dyna, ARC and dozens of small brands) had vastly superior "phono sections" than any modern integrated amp. Modern amps work best for the new world of digitial sources. And, listeners who dumped vinyl for digitial almost universally freak out over "noise" making it almost mandatory to have modern SS gear.
For playing records in 2018, it would be hard at any cost of modern gear to top the luscious sound of a Marantz 7 and 8b combination. But that would do bupkis for CDs.
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JMON,
Wonderful photos. We like the same kinds of subjects. I agree with your comment that great photos are everywhere once you look. You don't have to go far. Some of my best photos were taken in a small town. Most of mine are paper prints (from film) so I can't share, but I am enjoying yours! The "Blue ship with porthole" was my fave in that group. It's like a besutiful artwork waiting for someone to find it.
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Cody, Wy.
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A grab shot of strangers.
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Have You MQA'd?
in 2-Channel Home Audio
Posted
And then there is the never ending loudness problem in streaming.
http://productionadvice.co.uk/online-loudness/