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Alan Songer�s dirty vinyl


artto

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Allan,

I'd much rather be a nitwit than a self-serving liar.

Who knows what kind of contaminants you had on that vinyl. I wouldn't want to hazard a guess. Whatever it was would have got on the stylus. You may not understand how these contraptions work, but the stylus actually makes physical contact with the vinyl and any foreign material on the vinyl as well. Run a search on Google and you should be able to find some illustrations to help you.

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YOU have never purchased a record from me. YOU didn't see the record in question. YOU have no idea what you are talking about. I sell EVERY record with a FULL money-back guarantee. So what is self-serving here? If Scott doesn't like the record at this point (he bought it about 8 months ago for about 20 dollars) he can STILL send it back to me for a full refund.

The record was CLEAN and with a PROPERLY set up rig I'm sure that there is VERY little surface noise if any and nary a click or pop. How about I pay for the postage to SEND the record to you for your EXPERT evaluation. Oh that's right! You don't even OWN a decent vinyl rig . . . .

You are THE most obnoxious a$$hole I have ever encountered on any board. I left here for a while because of jerks like you and I guess I'm out of here again. Have fun without me, you immature little troll (I'm sure you will!).

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*****

YOU have never purchased a record from me. YOU didn't see the record in question. YOU have no idea what you are talking about. I sell EVERY record with a FULL money-back guarantee. So what is self-serving here? If Scott doesn't like the record at this point (he bought it about 8 months ago for about 20 dollars) he can STILL send it back to me for a full refund.

The record was CLEAN and with a PROPERLY set up rig I'm sure that there is VERY little surface noise if any and nary a click or pop. How about I pay for the postage to SEND the record to you for your EXPERT evaluation. Oh that's right! You don't even OWN a decent vinyl rig . . . .

You are THE most obnoxious a$$hole I have ever encountered on any board. I left here for a while because of jerks like you and I guess I'm out of here again. Have fun without me, you immature little troll (I'm sure you will!).

*****

How rude. I think you owe me an apology. Plus you owe apologies to Boomac and Artto for essentially calling them liars.

And please don't be so dramatic about leaving. You are lurking even now, and everyone knows you'll keep monitoring this thread to see what happens.

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I usually stay away from these but.....

Paul,

C'mon now. I've found filthy lps that cleaned up like brand new. Best to just stay away from certain topics, especially when questioning/insulting the resident guru.

Back to the EQ. Tape loop all the way. Flip of a switch to a/b. To me it didn't matter though. There was no recording that the EQ could improve over a direct connect to the Blueberry. I may have found one had I spent more time experimenting but I got bored. Maybe with a better EQ the results would have been different.

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To Paul and anybody else that might not read posts in their entirety.

It has all been explained and there are no issues between Allan and me. I have purchased several LPs from Allan and have always been 100% satisfied with each transaction. He has offered LPs to me at a price well under what he could get on eBay. Speaking of eBay, Allan has over 900 transactions and his rating is 100%. Not one negative. Good Lord - that says it all.

Allan and I disagree politically. We even yell at each other once in a while but please know this; I have great respect for him as a human being and consider him a friend. I'd like to consider all of you friends so let's debate and even argue about audio but let's cool the baiting, disrespect and personal attacks.

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On 9/15/2004 1:07:07 PM ChrisK wrote:

Mark/Griffinator,

I did some research on the EQ's you mentioned and they all have about a zillion knobs. It makes my pea-brain spin just looking at them. Is there something a tad bit more, shall we say, consumer friendly that you guys can recommend? Or is it possible that the units you speak of are much easier to operate than they appear? I'm guessing they would work well for EQ'ing someones listening room not to mention individual recordings.

Thanks,

Chris

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Sadly, as I've scoped around, the Furman I mentioned is no longer available. Seems they've gotten away from the mid-to-high-end EQ market and gone cheap Taiwanese crap.

Let me instead recommend another unit:

http://www.sweetwater.com/store/detail/FCS966/ - BSS FCS966 - I know several top-shelf live sound engineers that employ these units - a fine piece of equipment for the money. The Constant Q is a real plus - but the most important feature you'll ever use in your listening environment is the room contouring function - a full-sloping parametric function that works in conjunction with the GEQ to make broad adjustments (such as correcting your bass-heavy LP's) that you can then tweak to taste with the 1/3 octave faders.

As far as operating this type of unit goes, it's not nearly as hard as it looks. The basics of a GEQ are nothing more than a set of sliders for each channel, each slider representing a specific frequency. You cut (preferably) or boost (only if necessary) the frequencies you wish to adjust - learning the bands is a simple matter of listening to the behavior of the sound as you play with the sliders.

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On 9/15/2004 10:41:23 PM garymd wrote:

To me it didn't matter though. There was no recording that the EQ could improve over a direct connect to the Blueberry. I may have found one had I spent more time experimenting but I got bored. Maybe with a better EQ the results would have been different.

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What kind of EQ did you employ? Make/Model?

The cheaper units (<$500) are cheaper for a reason - the quality of the internal parts. With pro sound gear, this is unquestionably the rule. Any tweaker on this forum can tell you there's a world of difference between RS brand caps and resistors and the higher quality parts they spend the extra money for. In addition, the higher end units typically feature a lot more discrete circuitry, where the cheaper stuff leans heavily on IC's. It's all about construction in the pro audio world, and every engineer worth their salt will tell you that the difference is not only audible, but painfully so.

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On 9/16/2004 12:40:38 AM Griffinator wrote:

(such as correcting your bass-heavy LP's)

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I'd submit that too much bass on an LP is a rarity. It's almost a rule to shave off the lower end during mastering. If someone has too much bass generally on LPs, there's something else wrong.

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On 9/16/2004 7:27:56 AM paulparrot wrote:

I'd submit that too much bass on an LP is a rarity. It's almost a rule to shave off the lower end during mastering. If someone has too much bass generally on LPs, there's something else wrong.

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The roll-off of which you speak, Paul, is performed at around 40-50Hz, to contain the subsonic information (and prevent it from jumping the needle around)

The "bass-heaviness" of which I speak is the tendency for some (particularly late-70's and early 80's rock) LP's to sound a touch "boomy" - because of a mastering fad that went on for a few years during that period - a lot of artificial 80Hz boosting was going on, with the intent of "compensating" for that lost subsonic information...

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BOC's early stuff actually has an improvisational flavor to it. I was a fanatic through Club Ninja, believe it or not. Man, I used to catch a lot of s4it for being a BOC fan in high school. Had a back patch and everything. Heh. Times change, but I'll still reach for that volume control when old (real) Metallica comes on the radio on my home from work. And, yes, I mean to turn it up, not down...

cliff-1.jpg

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