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About artto

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  • My System
    Main Listening Room:

    Dedicated purpose built acoustically tuned room approximately 550 sq.ft / 4400 cu. ft. Additional soundproofing with multiple layers of 5/8” OSB & Green Glue in progress.
    Speakers: Danley Sound Labs SH50
    Subwoofers: Epik Empire (four)
    Subwoofer Processor: Behringer DEQ2496
    Main Source: Toshiba C855-S5350 Laptop. J River Media Center, 192Khz/24bit HDMI output
    Main Amplifier: NAD C390DD using HDMI input.
    Tuner: NAD C446 Digital Media Tuner toslink output
    Thorens TD126 MKII, SME III arm, Shure V15mr Type 5
    Linn LP-12, Origin Live PS & motor upgrade, Moerch UP4 arm, Decca Jubilee
    Phono Preamp: Audio Research SP6B
    SACD Player: Sony SCD-XA5400ES HDMI
    Tape Decks: Nakamici Dragon, *Tascam CC-222SL MK II, *Sony A7 DAT (*toslink)
    Headphones: AKG K270
    Other: Various vintage Crown, McIntosh MX135 & MC7205, Luxman MB3045 , Wright Sound Lab 3.5 Mono

    Home Theater:
    UHDTV: Samsung HU7200 55”
    Receiver: Onkyo TX-NR838
    Speakers: Klipsch RF-7 II mains, RC-64 II center, RC-7 rear/surround (vertical with horns turned 90d)
    Subwoofer: SVS PC-2000
    DVD/BluRay Player: Sony Playstation 3

    Model Railroad Room:
    Speakers: Klipschorns (1976)
    Reciever: Harman Kardon AVR130
    CD Player: Denon D-600F

    Office: Klipsch ProMedia 2.1 desktop, LG Flatron M237WD

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  1. My question was absolutely NOT rhetorical. Many Forum veterans are well aware of my "credentials". While I've never intended to make a living at this, I have plenty of "professional" experience, as a musician and recording. And I wouldn't just post it here on the Forum for listening. I would distribute the real thing as I have done for a few Forum friends. Or, of course you could purchase it directly from my client's website. The experimental stuff is in my personal possession and would need to be listened to in my listening room. There is more to playing recorded music than vinyl. There is so much wrong with the "phonograph" record I could write a book about it. If we had only stuck with Edison's cylinder phonograph, using today's technology we would have a truly wonderful analog sound reproducer, albeit with all of analog's drawbacks such as easily damaged (and not repairable), continuous degradation with every play, it's lousy signal to noise ratio (dynamic range), degradation over time from simply "sitting there". The list goes on and on and on. Seriously, even if you were lucky enough to get the very first vinyl pressing of a recording, between the original analog tapes, the mixing and mastered tapes and the LP production process itself, you are at BEST, 8 to 10 generations away from the "original". In the analog world every successive copy carries with it the cumulative distortions and noise from the preceding copies. Vinyl? LOL. Vinyl was always considered the "poor man's HiFi". Back in the day no self respecting "audiophile" was without a reel to reel tape deck. And what do you think you're going to get from vinyl using the 4000th pressing from the same stamper? The 50,000th? The 1,000,000th? (yes, the major record companies would produce that many copies from one stamper)
  2. So, are you moving from a 2-channel "stereo" to multi-channel? Is this going to be primarily for music or home theater?
  3. I have to ask, how many of you have any experience recording live music and/or natural sounds? And how often have you done this? How many of you have recorded the same source, in analog and digital simultaneously? How many of you have recorded live music, and played it back in the same room, and fooled everyone upon playback? (in other words it was the recording playing, not the live performer) You know, in live verses recorded demonstrations, the recorded sound is what the majority of listeners consistently identify as the one they think is "live". It's been that way for decades.
  4. The universe is made of all kinds of tiny bits of things. We are bits. Rivers are bits. The planets are made of bits. Even your precious vinyl is made of bits, but mostly space. So, what universe are you from? (it doesn't have to be parallel)
  5. AXPONA is held just a few miles from me. I'm sure someone there will have a BluOS equipped M32 for me to report back on. By then the 60 day free Tidal trial will have expired and the BluOS returned to Crutchfield. I definitely won't upgrade if this is a problem on the M32 too. But I can tell you this. Several recordings that I'm extremely familiar with, when streamed from Tidal directly into the C390DD/BluOS, definitely have better resolution/definition than playing the same (ripped from CD) from the laptop/JRiver via USB or HDMI to the C390. And these were CD quality streams, not 96/24, 192/24 or MQA encoding. OTOH there were a number of 96/24 and 192/24 MQA titles that needed some adjustment in the bass department. So, as usual, the recording engineer is king. And what (equipment) he's listening to, and the room he's listening in, as well as personal preference is still influencing the final result.
  6. I'm using a C390DD with a recently installed BluOS. The BluOS module (nor it's app) appear to not be functioning properly. NAD says it is. But no bass treble or balance controls like all the other sources. I'm not upgrading to a M32 without knowing if the same will happen. No dealers around the Chicago area have M32 available for comparison.
  7. Oh Really? Clearly you have no idea where the analog on the vinyl came from.
  8. W H A T ? I'm supposed to clean that s***? ROTFLMAO z e r o s a n d o n e s n e e d n o c l e a n i n g z e r o s a n d o n e s n e e d n o c l e a n i n g z e r o s a n d o n e s n e e d n o c l e a n i n g z e r o s a n d o n e s n e e d n o c l e a n i n g z e r o s a n d o n e s n e e d n o c l e a n i n g z e r o s a n d o n e s n e e d n o c l e a n i n g z e r o s a n d o n e s n e e d n o c l e a n i n g (that's the scratch in the vinyl that can never be cleaned)
  9. The best "sounding" preamp I ever heard with Khorns was an Audio Research SP6. I sold that and bought an Audio Research SP6A. Mistake. I had that upgraded to a SP6B (still a mistake) which I still have and use for phono only. To this day I wish I had the ARC SP back. Definitely not "accurate", but boy could it make the Khorns "sing" (with Luxman MB3045 (still have those too)
  10. The miracle is that we humans can tolerate so much distortion still think it can sound "real". Kinda reinforces what Einstein said. "Imagination is more important" (than knowledge)
  11. As far as I know you'll need a JBL L-100 and some Maxell cassette tape to do that.....................🙄
  12. Anyone have this particular combination up and running?
  13. Very true. One of the most gross examples I've seen is a remastered Iggy Pop album. It's not just the "industry". It's sometimes the artist themselves. On the Iggy Pop recording, Iggy made the remaster so "L O U D" sounding the LP sounds much better, aesthetically speaking (IMO). But his objective was to use current technology to fight, be competitive in the loudness wars when played back over-the-air.
  14. "Passionate"? That may be a little strong. Fascinated is more like it. As I said, I'm sort of "in the business". Not just an audiophile. To me the sound reproduction starts with the recording engineer (me) and ends not with the equipment used for playback, but the room that contains the playback equipment, including the air between me & the speakers. MQA starts with that same premise. What is the loss of musical information between the instrument and microphone? Please read the documentation and patent application. If you're as incompetent as I am, it will probably take quite a few re-reads to start wrapping your head around it. What I heard from McGrath's recordings at AXPONA fascinated me because I heard, and measured, some things that probably should not be. I don't want to get into that now because I don't want to influence anyone's response, nor start making this discussion overly complicated. I'll "spill the beans" at some point in the future.
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