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PostPosted: Wed Oct 17, 2018 7:46 pm 
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edd wrote:
Good read X1. Ever considered being a Rock journo? ;)

I transfer my LPs and CDs onto cassette to play in my car. My Clio was last model fitted with a tape player, and it was a good one! I have a matching Renault Disc spinner, but with a large tape collection l feel no need to swap! 8-)

I had to look up what a Clio is. We don't have Renault in the states or it's sister companies. But it reminded me I still haven't ordered replacement X1 injectors that were also used in the Renaults.

I'm surprised you don't have a CD Walkman and cassette adapter so you can have track skipping convenience and also none of the shortcomings of tape materials. Bypassing the tape materials allow for all the better specs like separation, S/N, frequency response, dynamic range, reduced wow and flutter...

I have only 5 or 6 cassettes left to replace, however they're local bands that are long extinct and no CD was ever available. I replaced the hundred or so tapes with CDs years ago and sold off my 2 tape players perhaps 15 or so years ago. I'm sure my leftover tapes are useless now from electrons passing from the overlapping layers, making nothing but high pitches squeals.

I only have about 40ish LPs left too. While I find a nostalgic comfort in the ritual of lifting the dust lid, cleaning the grooves and placing the tone arm in position, I simply don't get around to listening to any of it because of lack of portability.

Can't even get a car with a CD player over here anymore. If you're not one of those "Car Play" people or spend nearly $200/yr for satellite (XM/Sirius) you're traveling to the tune in your own crazy head.

I lucked out with the Jeeps my wife and I own. The UConnect system in it is Windows based and would play WMA lossless files off the lot. As an Apple anything hater, this was my prefered pseudo lossless format. But being Windows OS based, the UConnect is also hackable. As such, a group on the internet had access to a guy who could send you a file to put on a USB stick with the UConnect passcode for your vehicle's infotainment system which had a new file that will read the FLAC codec. So, now anything new I do is done in FLAC.

Now if only we could find a guy savvy enough to modify the EQ section of our UConnects. It comes stock with a 3 band EQ (low, mid, high) with poorly selected frequency centers not tailored to a specific vehicle. No reason to not have a 9 band in there focused more on the low end to clean up the mud from the vehicle cabin's resonant peak. That's been my only beef, the poor EQ.

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PostPosted: Thu Oct 18, 2018 9:41 pm 
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OOps! Hi-fi thread looming? lOl

Would love all that tech talk, if I understood a word of it. My works van is 2016 so only has a socket to plug in your MP3 and devices. My car is 2001 so is still 'old skool'. Got my Renault CD player and a spare tape deck for £8 each ($5) at a car breakers.

I tape my records on a Nakamichi DR2 3x descreet head tape deck. I don't understand the science, but these load up the tapes with a higher signal strength than normal decks and need head demagnitising regularly. Playback is almost indistinguishable from source (Roksan Xerxes, or Marantz CD10), although you can hear the subtle difference between vinyl and CD via the cassette in the car. I almost bought a 'Nak' car tape player once, but didn't have the spare dosh at the time. These are RARE now!

Most amazing dynamic demo tape I have was made on DR with TDK 'AR' Superferric was the album 'Baby' by Yellow on vinyl; that Germanic dude who also did 'Flag'. Freaked them out when I took my DR2 down the local hi-fi emporium to try out some Ruark compact speakers. So I don't care much about convenience. ;)

Best stuff to drive to is ambient electronic in my view. 8-) What are your drive tunes?


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PostPosted: Thu Oct 18, 2018 9:47 pm 
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'Sky High'

https://www.youtube.com/watch?v=PxMQR5aJVWI

8-)


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PostPosted: Fri Oct 19, 2018 11:34 am 
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https://www.youtube.com/watch?v=r9aN5_GNsMk

https://www.youtube.com/watch?v=ZNzuW5LzI6c


First one, a variation on the original



Churchill


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PostPosted: Fri Oct 19, 2018 2:40 pm 
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edd wrote:
...was the album 'Baby' by Yellow on vinyl; that Germanic dude who also did 'Flag'.

Yello is not just one person
"You gotta say yes to another excess"
Quote:
Best stuff to drive to is ambient electronic in my view. 8-)

Jarre rules 😎

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PostPosted: Fri Oct 19, 2018 3:52 pm 
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edd wrote:
OOps! Hi-fi thread looming? lOl

Would love all that tech talk, if I understood a word of it. My works van is 2016 so only has a socket to plug in your MP3 and devices. My car is 2001 so is still 'old skool'. Got my Renault CD player and a spare tape deck for £8 each ($5) at a car breakers.

I tape my records on a Nakamichi DR2 3x descreet head tape deck. I don't understand the science, but these load up the tapes with a higher signal strength than normal decks and need head demagnitising regularly. Playback is almost indistinguishable from source (Roksan Xerxes, or Marantz CD10), although you can hear the subtle difference between vinyl and CD via the cassette in the car. I almost bought a 'Nak' car tape player once, but didn't have the spare dosh at the time. These are RARE now!

Most amazing dynamic demo tape I have was made on DR with TDK 'AR' Superferric was the album 'Baby' by Yellow on vinyl; that Germanic dude who also did 'Flag'. Freaked them out when I took my DR2 down the local hi-fi emporium to try out some Ruark compact speakers. So I don't care much about convenience. ;)

Best stuff to drive to is ambient electronic in my view. 8-) What are your drive tunes?


I wouldn't mind a hi-fi thread, I can go nuts on that. Too bad I no longer own any hi-fi, or even mid-fi anymore.

You have a good tape deck IMO and can easily make good recordings with little fuss. The problem with the super snob "Dragon" and all it's bells and whistles is that in the right hands it can make stellar recordings and playback. In the wrong hands, it can really sound like shit. Kinda like why they don't put fully adjustable suspension on a Harley....the owners don't have a damn clue what to do with it, and would likely adjust it in a manner that would be unsafe and crash. In a nutshell, the high frequencies get boosted during recording, if it didn't the highs get lost on the tape and you'd never hear them again on playback. It's done to make sure the highs actually get on there. Then the Dolby knocks that boosted signal back down, reducing hiss in the process but also allowing you to distinguish between soft and loud passages.

Regarding tape, be careful with metal IV tape. Over time, it wears the heads badly. The ever so slight benefits of IV over CrO2 II just isn't worth it if you have an expensive deck. This is why the industry actually quit putting type IV in their decks, including Nakamichi.

I generally don't drive anywhere long enough to listen to anything in my vehicle, which is weird as I have a hard drive with over 12,000 lossless songs on it. And as the Jeep only has a USB 2.0 to plug into, I'm practically at work by the time the unit recognizes and assembles all the files into a menu for me to access.

I ride the bike pretty much every day anyway. But when I do take the Jeep, it's anything from golden oldies, classic rock, blues, old school R&B, metal and local rock between the 1950s and current. Not a fan of electronica as I'm a musician that plays an analog instrument (guitar and bass). So I just don't "get it". But I do have a station programmed on the satellite called "Spa" that plays mood/ambient stuff that's pretty relaxing that would be good for keeping road rage at bay on a bad traffic day. But I need something lively to keep me awake in a car. Driving bores me to sleep as it just isn't interactive enough to keep me awake.

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PostPosted: Fri Oct 19, 2018 4:02 pm 
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That "Belfast Child" video makes Iraq look like a friendly place to holiday.

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PostPosted: Fri Oct 19, 2018 6:35 pm 
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x1glider wrote:

I just don't "get it". But I do have a station programmed on the satellite called "Spa" that plays mood/ambient stuff that's pretty relaxing that would be good for keeping road rage at bay on a bad traffic day. But I need something lively to keep me awake in a car. Driving bores me to sleep as it just isn't interactive enough to keep me awake.


I like this outfit, from your side of the pond?

https://www.youtube.com/watch?v=ahDrl8beirA

I have some TDK MAXGs a dealer was selling off. Just love the bi, or is it tri metal compound and the smell of the tape after playing........like a gearbox that's just run out of oil! lOl

Agreed all that is probably unnecessary, especially as basic ARs and AFs gave the best results on the DR2 in a test report I read. SAs are ok, but were thought to get better with use as the compound 'polished up' over time. 20 years ago I rarely used Dolby as my Nakamichi's didn't seem to need it and if the info was buried in the noise I wanted to hear it. These days my hearing has changed and strangely, I do hear some benefit with Dolby recording as my ears have become more sensitised to bad vibes..... :?


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PostPosted: Fri Oct 19, 2018 9:06 pm 
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edd wrote:
x1glider wrote:

I just don't "get it". But I do have a station programmed on the satellite called "Spa" that plays mood/ambient stuff that's pretty relaxing that would be good for keeping road rage at bay on a bad traffic day. But I need something lively to keep me awake in a car. Driving bores me to sleep as it just isn't interactive enough to keep me awake.


I like this outfit, from your side of the pond?

https://www.youtube.com/watch?v=ahDrl8beirA

I have some TDK MAXGs a dealer was selling off. Just love the bi, or is it tri metal compound and the smell of the tape after playing........like a gearbox that's just run out of oil! lOl

Agreed all that is probably unnecessary, especially as basic ARs and AFs gave the best results on the DR2 in a test report I read. SAs are ok, but were thought to get better with use as the compound 'polished up' over time. 20 years ago I rarely used Dolby as my Nakamichi's didn't seem to need it and if the info was buried in the noise I wanted to hear it. These days my hearing has changed and strangely, I do hear some benefit with Dolby recording as my ears have become more sensitised to bad vibes..... :?

Here's a basic explanation of how it works. Real simple actually. A transistor in the recording device can actually amplify sounds cleaner than a tape can store it. So boosting then de-emphasizing like this works better than trying to EQ the tape into distortion or missing frequencies. http://hyperphysics.phy-astr.gsu.edu/hbase/Audio/tape5.html

Dolby was a mixed blessing. Great for recording and listening on the same piece of equipment. But there were decks out there that had a generic form of noise reduction (non-Dolby for those who didn't want to pay the licensing fees for the real thing) so playback of real Dolby recordings didn't come out right. Sounded harsh or compressed. They just weren't compatible. This was usually the case with many factory car stereos and many non-Sony Walkmans or boom boxes. In fact, I'd bought cassettes at HMV or Virgin that from the record company were using a non-Dolby process at the mass production stage. They deliberately put out a cassette that was most likely incompatible with the majority of tape decks and they sounded awful. Then dbx put out there own after Dolby was already well established. It didn't take. Thogh I had all forms on one of my decks.

Dolby was the king of tape. But dbx still reigned supreme as the choice for noise reduction and frequency and dynamic range expansion for the vinyl mastering industry (not playback). It simply did a better job on making the low end better and reduced low frequency rumble in the process.

The Dolby logo was plastered all over cassettes but I can't recall a single LP that ever pimped the dbx logo, there were very few. But the late 70s and early 80s vinyl was mostly done with dbx at the mastering and cutting level.

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PostPosted: Fri Oct 19, 2018 11:42 pm 
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Good stuff. You should write a book on hi-if. I suppose it’s already out there in a hundred or so editions of Stereophile? :? But a concise collection of notes in regular person speak is welcome. A sort of Kevin Cameron does audio! ;)

Maybe you could also explain why vinyl (or just the original recordings) from the late 60s to mid 70s sounded so good on high resolution systems compared to later years? :?

My take on the Quirks of my equipment would make you wince, but it would be unique. Computer illiteracy has prevented me (saved some here from being bored to death lOl ) from doing the article l want about a turntable l am designing and building. To compensate, l was compiling a personal history over 29 years of why my other deck; the Roksan Xerxes sort of works, but is fundamentally flawed, and yet could be made to fly........a bit like our Buells! lOl There is so much crap written on the web about this deck, someone needs to tell it like it is! :roll: For all it’s foibles it is the player that expanded my musical and hi-fi interests. 8-) Now that vinyl is having a sort of rebirth, a review may be useful to some who are looking at the minefield of used audiophile bargains? 8-)


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PostPosted: Fri Oct 19, 2018 11:48 pm 
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In a minefield of smilies! lOl lOl lOl Oops!


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PostPosted: Sat Oct 20, 2018 4:42 am 
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:)


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PostPosted: Sat Oct 20, 2018 8:22 am 
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If the records of the 60s & 70s sounded better than in the 80s, it was probably because of songs getting longer, so in order to cram 20 minutes into a space meant for 15, something had to be compromised, and that would be groove width and resultant less bass. Then, after going from cylinders to flat 78s and 16s to 45s they realized they could make more money than just selling hit singles and filler b sides by selling a full album. Meeting the increasing supply and demand of consumers likely involved shortcuts to increase throughput and sound quality suffered again. And in corporate git er dun fashion to meet demand, the strain on corporations to meet goals on time probably meant pride in a job well done was low on the priority list, and sound quality suffers again due to cheaper mass produced components of a lower quality material. I can go on for an hour on the pros and cons of silicon diodes vs germanium for instance. It could also be the purity of "live" recordings on to 1 or 2 tracks instead of 8+ tracks that could sonically step all over each other if it was poorly engineered. The earliest stuff had vocals and instrumets dialed in and sounding great before the record button got pushed. Now with each nstrument having their own track or more, it may sound good by itself but not when mixed with the others. Sound engineering was an art form then. Later on, you had equipment operators, not skilled visionaries behind the board.

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PostPosted: Sat Oct 20, 2018 8:42 am 
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I heard that in the early days they rehearsed then taped a track several times then used the best take. Later with multi mixers that immediacy went. However groove mastering did appear to be a ‘black art’ pun intended. I am talking about pervieved resolution however. You could hear ambience in the room on some recordings. I remember one moment at my hi-if dealers when we were trying out a new amp and speaker combo while playing Wishbone 4; you could visualise the group stepping up to the mic as they hit a chord. We just looked at each other in amazement at the sound stage it was so spooky.

The tragedy today is that many old rock albums are reappearing on vinyl, but no-one asks about the quality of the files being used. Some sound to me like they played a CD back on a mediocre player they had just plugged into a recording console. Disappointingly artificial with noticeable loss of information. There’s no substitute for the original master tape. :roll:


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PostPosted: Sat Oct 20, 2018 7:49 pm 
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I guess l should qualify my last paragraph. Different combinations of replay equipment can have a big influence with vinyl replay. My perception of some new old vinyl was arrived at using aRoksan Tabriz ZI arm fitted to the Xerxes with all the upgrades such as Rc02 counterweight, three point mounting clamp and sexy blue Arm cabling introduced in 1997. Cartridge was the Ortofon MC20 Supreme 0.5mv moving coil with FG70 stylus.

If you played the same new vinyl on a more available Project 0.5 you may hear different. Having said that the newer bands records on vinyl can be very good; such as London Grammar’s debut LP on double 12 inch 45rpm.

I have since refitted an old Rega RB300 with Ely’s MM cartridge to the Xerxes having ‘skagged’ The MCs stylus! :headbang: but the Rega arm and cartridge are a force to be reckoned with in spite of less resolution than the Tabriz. The Rega arm was/is an effective budget starter arm you can fit to expensive turntables such as the Xerxes to get you started. Although many stay with this arm through many other changes. ;)

25 years ago when l started looking and listening to these items you could buy a Linn Ittok arm with a K18 cartridge for around £600, fit it to a Linn Sondek with Valhalla speed control for the same money and get a very rich and dynamic sound to die for off vinyl. At the same time you could buy the Rega arm and cart for only £200 and fit it to your £595 Xerxes. The Rega May have less detail and fireworks than the Linn, but has been credited with a more ‘holographic’ sound. Try Michael Hedges ‘Ambient Airwaves’ on the original vinyl through a good British amp like the Arcam A19 and it could redefine your perception of what vinyl can do.

To better the above you may need to hear something like Pink Triangles Anniversary fitted with an SME V and a £1000 MC. The latter combo has been credited with sounding uncannily like the original analogue mastertape. But hey! You could just buy a Naim Unitique Streamer system for that money and save yourself all the physical Argo? ;)


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