Where we go from here

Hi,

Well, I am patiently waiting. Don't see a need to rush. What DPR is now, it wasn't 23 years ago. It took a lot of time. So.will this. I hung around then, and I'll hang around now.

Stan

I like many others got banned by a vindictive Mod on DPR in the so called "dying days" of DPR, when some scores were settled. I reregistered with a new name when it seemed it might live on, but I have lost any appetite I might of had to post there. They have died in a certain way as the most interesting posters seem to have left. It is all pretty boring.

I might post there if one of the weekly picture threads I post on goes back. But things are far more interesting here. Just take Jim's Previsualisation thread as an example.

I do not see a "one or other" problem. One can post on more than one forum, I believe. Things are still much more stimulating here.

Yes, totally agree. It is much better here and especially now since it appears DonaldB has mostly given up trying to troll here and has gone back to his old ways at dpreview.

If anyone needs a good laugh maybe DonaldB's latest attempt at trolling and BS'ing might be a help 🙂

www.dpreview.com/forums/thread/4719282

At least over there they are probably a bit more polite in the way they do not put up with his BS 😉

With a bit of luck he'll spend a lot more than time there than here.

Thanks, Bob. I have and the OP is full of hope but very little substance.

Please understand, I would very much like to see this place succeed. I'm very much enjoying the little niche thread I have participated in from the beginning, which I think is one of the very few "healthy" activities visibly occurring here. And its existence, honestly, is not the result of this site's efforts, other than providing a place to post responses.

Which leads to my next comment in the next message . . .

Some?

The majority of my pressings were from Europe, but the superior pressings came from Japan. I find it hard to imagine that your sixty year old second hand LP's are void of hiss, pop and crackling, unless of course, you are playing them on one of these:
www.youtube.com/watch?v=AAKZ-O70wNg

In the UK in the seventies/eighties many LPs came pre warped on flimsy thin supports. Yo had to pray the record shop with their worn out needles on a Garrad SP25 had not played the copy you were buying. Decca were the only record company that seemed to maintain some quality.

The CD came as a godsend.

Not without teething problems. Tinny souless sound and other issues. Hence the comeback of LP's for many. They did get better eventually...

That was the result of the 14-bit precision, the marginal sampling rate, and phase shift in the early a squared filters.

Along with poor mixing and mastering... absolute nightmare some of them, along with the poor DAC chips used in players for playback. Also, compression techniques became an issue for many.

Interesting/off-topic but somewhat relatable turn of events- here on the forum! 😀

I do not like to label myself as an "audiophile", however, I love music and have been in high-fidelity sound reproduction for a long time. As a kid, I did not come from a very affluent family, however, my father was a very advanced electron technician and we had some pretty high-end gear in the house,-going back to the early 1950s. We had a MacInosh amp, a very complex Harmon-Kardon pre-amp, a recond compensator, and a Briggs Corner Enclosure wit a 15" Triaxial Speaker- the enclosure was weighed down with sand! When stereo emerged Dad simply duplicated the system- twin amps and preamps and another massive speaker system! crazy! Oh, we had an extremely high-end turntable that was acquired for a radio station- it had extreme pressure control and all kinds of paint-sky features. No warble, flutter, wow, speed fluctuations, or grinding up the LPs. The tonearm was counter-weighted and featured a well-regard Pickering cartridge with a diamond stylus.

My observation is that SOMEt audio "aficionados" are very much lkie their photographic counterparts. Some are "gearheads" in that they may have top-of-the-line stuff but have no knowledge of acoustics or how to actually properly set up their equipment. Others have more modest equipment but accomplish very authentic reproduction because they fully understand the principles of speaker phasing, placement, and impedance matching and have a good "ear" for waht music is supposed to sound like under actual acoustical conditions.

Over the years, I have collected LPs of various pedigrees-some good and some not so good. Great stuff from Deutsche Grammophon and similar publishers and CDs, of various ilks. So here is my philosophy and where it comes from:

One day, when playing hooky from high school, I set off on my monthly sojourn to camera stores in mid-tow m Manhattan. I was detained from the Subway at Grand Central Sation and came upon a public demonstration and lecture given by Henry Kloss, he of Acustic Research (AR) and the "K" in K.L.H. His advice was to attend a concert or performance of your favorite kind of music in their approprait venues and try to retain the sound effect. If you can reproduce that- no exaggerated or too thin, you are home-free! The equipmet was surprisingly simple and well set up.

What this boils do to, is I do not examine or judge every photograph with a microscope to examine grain struct or count pixcels nor do "listen to all my music with an ossisilliscope. A badly set up sound system will bring on listener fatigue or simply become terribly inauthentic as per my ears!

A friend of mine has recently invested a gargantuan amount of money in his latest- and greatest "surround-sound system" and created audio-Hell! He played a few Bach Organ Toccata and Fugues and the neighbors called the police. Besides, the sound was insanely ridiculous. He complained! I first disconned all the speakers and showed him how to create a realistic stereo image wiht two-main speakers and a "phantom channel" in the center! Then I re-conned the othere speakers and explain that in a church, concert hall, jazz club, or a Rock concert, there's a ceraint degree to echo or reverberation and the back speaks should just simula that effect and not have the main source blasting out from all over the place. Crossover networks have ot be properly set and his two giant sub-woofers need to be somewhat toned down. He's happy, as are his neighbors!

As for the integrity or quality of recordings, all I can do is buy carefully. I have certain records that have sentamentl value or are rare performances but are not good. There was an era where producers were releasing "Re-Channeled recording for stereo"- I call it ping-pong stereo best played in monaural mode. Nevertheless, I do not distroy them and besides, bad CDs are fun to photograph for special effects- so I save them! Used LP or CD- usually they. are cheap enough so you usually get waht you pay for or get a pleasent to suppose. I do have a few Direct -to-Disk LPs- really nice.- some Jazz Vocals- incredible presence!

My other hobby- I restor OLD radios. Anytime I want to upgrade my audio stuff, I just fire up on my old-timers. Hard to believe waht our grandparents listened to and enjoyed. Nex time, let's talk about my limited collection of "talking machines"s and Carusso 78s. Maybe not?