I would appreciate it, if my personal business was not brought up here. Every product that uses my name, and that is only a fraction of Parasound's output, is overlooked by me, at least at the schematic level, as well as follow-up. Of course, the JC-1,2,3 are MORE personal than other products, but all come from my reference schematics.
However, I certainly do NOT run the company, own any stock, or even work there. I work, at home, with my own test equipment.
However, I certainly do NOT run the company, own any stock, or even work there. I work, at home, with my own test equipment.
Great.
However the fact remains it's your name that is the biggest cachet for Parasound.
All the more reason for them to buy you an AP rig.
se
Now ya tellme..
The storage, no. getting the information from one place to another on the die, yes. One hurdle at the die level is the dielectric constant of silicon, it sets the prop velocity on chip, and the currents required to flip bits in the storage cells.
Tom Van Doren link: I missed it and I can’t find it.
http://www.diyaudio.com/forums/ever...le-tom-van-doren-grounding-shielding-emc.html
Cheers, jn
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Look everyone, I have been in the audio design business for a long time, almost 45 years.
I have always been enthusiastic about doing the 'best job possible' with what I have to work with. It is as much a hobby as an avocation.
I have annoyed people, because of my enthusiasm for the last 45 years. Even at Ampex Audio, they could NOT understand why I 'gave a damn' about head quality, improved S/N, etc. etc. They even flat-out refused to use the complementary differential input stage that I developed at the time, as being too much for what they needed.
Years later, they darn near ran me out of Hollywood, for being so adamant about audio quality, in doing the sound for the film, 'Fillmore'. Heck, we were shooting for an Academy Award, not just doing a job. My associate later got an Academy Award, for another film, and became a professor on film at some university in NY, where he probably still teaches, today.
This was all BEFORE Mark Levinson Audio.
My 'forwardness' in audio design' got Mark Levinson 'on the map', so to speak.
Without it, he would have been a 'just ran'. This collaboration was noted in the recent May-June 'TAS': "The JC-2 was the breakthrough, absolutely "clobbering" (said HP) the SP3a-1 when it came to noise, bass, and upper midrange smoothness and realism."
This was NOT an accident, but many here still don't appreciate the effort or the usefulness in doing it 'right'.
This was all, long before Parasound came to me. With Parasound, I have had a convenient part time relationship where I have guided them toward making more successful audio products. They do not sponsor basic research, or even 'breakthrough' audio designs, but they do keep to my recommendations, with the stuff I am responsible for, as long as I have anything to say about it.
I have always been enthusiastic about doing the 'best job possible' with what I have to work with. It is as much a hobby as an avocation.
I have annoyed people, because of my enthusiasm for the last 45 years. Even at Ampex Audio, they could NOT understand why I 'gave a damn' about head quality, improved S/N, etc. etc. They even flat-out refused to use the complementary differential input stage that I developed at the time, as being too much for what they needed.
Years later, they darn near ran me out of Hollywood, for being so adamant about audio quality, in doing the sound for the film, 'Fillmore'. Heck, we were shooting for an Academy Award, not just doing a job. My associate later got an Academy Award, for another film, and became a professor on film at some university in NY, where he probably still teaches, today.
This was all BEFORE Mark Levinson Audio.
My 'forwardness' in audio design' got Mark Levinson 'on the map', so to speak.
Without it, he would have been a 'just ran'. This collaboration was noted in the recent May-June 'TAS': "The JC-2 was the breakthrough, absolutely "clobbering" (said HP) the SP3a-1 when it came to noise, bass, and upper midrange smoothness and realism."
This was NOT an accident, but many here still don't appreciate the effort or the usefulness in doing it 'right'.
This was all, long before Parasound came to me. With Parasound, I have had a convenient part time relationship where I have guided them toward making more successful audio products. They do not sponsor basic research, or even 'breakthrough' audio designs, but they do keep to my recommendations, with the stuff I am responsible for, as long as I have anything to say about it.
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That's easy. JC is inadequately compensated for his expertise. A viewpoint I happen to agree with.
jn
John, for the life of me, why would anyone want audio quality for some
film about Fillmore? I mean we are only talking Bill Graham here right?
East and West I guess too? Probably some bands that played concerts
or somthing or other there too?
That said, I should be so lucky as to have an even basic understanding
as to what you've forgotten over the years. I'm just trying to get the
PS inproved for my McIntosh C24, Vintage Solid State Pre amp.
Ill have to look around for a JC-2.
Enjoy the music.
Oh, don't feel bad about being run out of H-wood, a guy that I used to
work with over at Bell Helicopter has written to the powers that be for
years about sound....seems every helicopter in or around LA still has
a reciprocating engine. Just watch the flicks. Turbines be dammed!
Cheers,
Sync
Nice observation John. The designers/engineers who know the most, do the most research, are usually the guys that get criticized the most and compensated the least. Partly because everyone knows more
, and partly because of the competition.Cheers.
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I do not know how you are compensated. Nor does it matter.
I responded to the question brianco asked about SE..to wit...""what exactly IS his grouse?""
jn
The spread in the ratio of ability to compensation in all professions, and the technical ones especially, is really shocking. However one makes few friends by drawing attention to this. Human resources people do not like to acknowledge the number of seat-warmers they've hired that looked good on paper and interviewed well.
.....and thank you for your answer. It would be good if SE were to confirm that you are correct!
Having been closely involved with a 'boutique' underground designer I agree with the comments which your answer has raised.
Oh, and just for you guys's info my paycheck has come from audio companies since 1988. Not that I am, I don't think anyway, being grouped as challenging JC.
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I agree with the first part of your statement. However, being on the hiring end of things, how many HR departments do you know that actually do the hiring, 'cause for me it's none.
HR departments usually do initial filtering of CVs, so they can sometimes remove all good candidates from the list before the hiring manager gets to see them. He just sees those with 'impressive' CVs i.e. those which mention the right HR buzzwords, in some cases because they have paid someone to write it for them.
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