John Curl's Blowtorch preamplifier part II

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Tell me, specifically, how should I be making cables... for money... that wouldn't be "questionable"? If you haven't an answer, then just shut the hell up about how I earn a living.

That you pass yourself off as someone who is expanding our knowledge and understanding of things audio when you're really just a charlatan.

1. I see, so you are an artist. Well, I dont think so. Besides they look really ugly.

2. OK. That is really specific as to what I do that is a charlatan? Is that it? I'm just a charlatan about what I know or is it how I express it that pisses you off? Doesnt matter. Why dont you come over to my house and tell me face to face all about your feelings? I dont live far away.

I wonder.... does this have anything to do with material characteristics used in cables by your competitors? That somehow I am responsible for that? Or what they charge? JC says he hears differences... so do others. I havent said if I do or not.



THx-RNMarsh
 
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1. I see, so you are an artist. Well, I dont think so. Besides they look really ugly.

Ah, a heatshrink and Techflex fan, are you?

2. OK. That is really specific as to what I do that is a charlatan? Is that it? I'm just a charlatan about what I know or is it how I express it that pisses you off? Doesnt matter. Why dont you come over to my house and tell me face to face all about your feelings? I dont live far away.

That will make you less of a charlatan how exactly? I'm reminded of an old Churchill joke here.

I wonder.... does this have anything to do with material characteristics used in cables by your competitors?

Not at all. I'm selling all the cables I care to make.

That somehow I am responsible for that? Or what they charge? JC says he hears differences... so do others. I havent said if I do or not.

You tell me. You're the one who brought cables and prices into the conversation in an attempt to somehow impugn my credibility, not me.

And you haven't answered the question. How should I be making cables... for money... that wouldn't be "questionable"? Did you miss the question the first time I asked it or haven't you an answer?

se
 
There is no consistency whatsoever in people's preference for color gamut. I say so what if everyone in the family adjusts the color to their own taste. It is simply not possible to match exactly film to video monitor or to print.

Actually, Scott, there is a lot of consistency to vision, persistence of it
color temperature etc. You will notice it when it's not right. With
film and video, take some under Florescent with 3200 or 3800 deg K
and you will see it as yellow.

It looks like do do.

Mid day summer is something like 6800 deg K.

Even in outdoor shoots they use illumination....or reflection.

Then there are the "golden hours" for outdoor shooting,
no that is different than golden time which is paid at
time and a half or doubles.

The golden hours are that 30 mins around sunrise and sunset.
One you know that look which is very rich looking and rosey
you can tell when they shot it at am or pm because the talent
will have that just woken up look to them in the am.

They use blue filters with Florescent and rose (hot pink) with
incandescent. What might now be more of a problem that we
might see happening is with the diode lights causing flickering
in film or video.

Everyone...remember, we can sense more than what everyone thinks or
gives us credit for.

FILM
That is why IMAX looks so good, so much resolution (a lot of pixels)
and run through very fast, about 2.5 times for each resolution and speed.

Here is a link. IMAX - Wikipedia, the free encyclopedia

18,000 lines? If we couldn't see it, perceive it, they wouldn't do it.

Film is expensive back in the 1980s it cost 10 cents a frame for super 8 per
frame at 18 frames a second (fps) for a print. Film not print on paper.

16mm at 24 fps was about $1.00 a frame.
35mm at 24 fps was about $3.00 a frame.

Technicolor was shot with multiple reels at a time
for Red, Blue and Green film then processed and put on one frame.
It was very very expensive....and if I recall they quit doing it in
the 1960s. Your notice old movies with very rich reds.

TV
Recall old NTSC TV was 525 lines of resolution with two fields
(interlaced, 1, 3 5, 7.....then 2, 4, 6, 8.
so it wouldn't look like top down movement (why graphics used
to flicker) and about 30 frames a second (29.97).

Now were up to 1080 i or progressive and 120 and fake 240
refresh rates. Too much detail in all this.

to recap it is a lot more than we think.
 
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Everyone...remember, we can sense more than what everyone thinks or
gives us credit for.


to recap it is a lot more than we think.

:cool::)

What do you think about 4K? I keep thinking it cant get any better and then I see 4K and it IS better. I have the newest curve screen 4K from Samsung in Bangkok. Have you seen it? Very smart. Will greater than 4K look even better? How much higher? 18K? And, it seems to help 3D as well. Your thoughts?



THx-RNMarsh
 
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Actually, Scott, there is a lot of consistency to vision, persistence of it
color temperature etc. You will notice it when it's not right. With
film and video, take some under Florescent with 3200 or 3800 deg K
and you will see it as yellow.

It looks like do do.

Only if your eyes are trained on a different white balance.

Film or video taken under normal fluorescent light looks bad not because of the colour temperature, but because of the low colour rendering index (CRI) of fluorescent light; some bands in the visual spectrum are completely absent, and there is an overabundance of green. Special fluorescent light for photo and film contains more different phosphors so the spectrum is better covered.



They use blue filters with Florescent and rose (hot pink) with
incandescent. What might now be more of a problem that we
might see happening is with the diode lights causing flickering
in film or video.

Only when mixing different colours of light, that is video or photo lamps with a high CRI and daylight temperature, and existing artificial light. For example, in the case of incandescent ambient light, you would use a light orange (not pink) filter. In the case of fluorescent ambient light, you would use a green (not blue) filter in front of your video or photo light.

Hereby, all your light sources will have the same colour temperature or aberrations, so that you can correct for them and everything will look ok. If you wouldn't do that, if you corrected for example the green out of the fluorescent light without filtering your video lights, your artificial video light would turn pinkish.

Everyone...remember, we can sense more than what everyone thinks or
gives us credit for.

Yes, but don't forget that your senses can fool you as well. White and black are only shades of grey. The same shade of grey can be perceived as either black or white, all depending on the circumstances it is perceived in.

Film is expensive back in the 1980s it cost 10 cents a frame for super 8 per
frame at 18 frames a second (fps) for a print. Film not print on paper.

16mm at 24 fps was about $1.00 a frame.
35mm at 24 fps was about $3.00 a frame.

I don't think super 8 was 108 bucks per minute, nor do the other prices you quote seem to be even remotely correct.
 
:cool::)

What do you think about 4K? I keep thinking it cant get any better and then I see 4K and it IS better. I have the newest curve screen 4K from Samsung in Bangkok. Have you seen it? Very smart. Will greater than 4K look even better? How much higher? 18K? And, it seems to help 3D as well. Your thoughts?



THx-RNMarsh

I find that the difference between OLED and LED is huge, with HD OLED being sharper and more natural than even the best 4K LED screens I have seen. It all depends how close you are to your screen and perhaps your Bangkok apartment forces you to be very close to the screen, but at the distance I watch at, the additional resolution of 4K doesn't really matter.

However, the enhanced dynamic range and colour rendering of OLED technology, wow, that's a real breakthrough.
 
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I just had a look at SE cables. It's a cable that is built for low microphony. I can grok that as I use Etymotics at work and the cables on those are awful. Steve makes no claims other than handmade and low microphony. Both of which are true. two thumbs up from me for accurate marketing.

The photos on the blog are very nice as well. Although someone slipped in a shot of a cantankerous old resident of Illinois there for some reason...
 
the Sony 36MP sensor is probably one of the best out there., and the first where subjectively to myself the final image matches that of good film.
Sonny issued the A7S, 12Mpx only, as the most expensive of the full frame A7 series. I tend to prefer-it over all the others (apart the price).
Not because its price ;-) but its extended dynamic reduced noise and low light capability.
Definition is enough for the print format we use (apart very large posters). More natural and smooth transitions, better rendering of contents (omo), closer to what we loved with black and white chemical films.
 
Anything good from Rogers?

Yes, they're an excellent and reputable company with a wide range of products useful to engineers.

Perhaps SY should tell use what we should use

Different materials with different construction are used in different applications. That's why there's so many of them. You're asking the equivalent of, "What transistors should we use?" And the answer is, "It depends on what you're trying to do." An RF front end is a different application than an audio power amp output.

Since electrical and mechanical properties of polymers is my professional specialty, I generally charge for specific advice and recommendations in a commercial context (as opposed to hobbyists, where my time is free). My rates are reasonable. Drop me an email if you need consulting time.
 
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Guess why !
What i know is that, in between other things, the Bus between Serial ATA and South bridge can be 3Gb/s ?
SuperSpeed USB* has a 5 Gbit/s signaling rate.

erm, SATA has been available in 6Gb/s for over a year and 16Gb/s parts are coming. But LVDS data and say, a 2GHz power amplifier are very different, although both rely on impedance matched layouts, so still completely in the dark as to what your point is!
 
Á about this recent and unnecessarily aggressive discussion about cables, it seems to me that they are part of the process of engineering.
I would have been in trouble without companies like Belden, while i was building recording studios.

Of course, we need various cables, with various mechanical and electrical properties, and i sometimes used more expensive cables, more easy to strip, or adapted to faster wrapping methods, saving soldering or cabling workmanship time (= money). Or more resistant to mechanical stress. etc.

I can even understand some can sell very elegant and fashionable cables, made with silk and connectors in precious wood, for the beauty of the object, and for the market of rich people wanting the most elegant objects they can find. As long as they know what they are buying and that the seller do not pretend some magical influence on audio reproduction ;-)

Now, the moral point of buying Ferrari or Rolls Royce, while so many people are starving is an other question ;-)
 
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I just had a look at SE cables. It's a cable that is built for low microphony. I can grok that as I use Etymotics at work and the cables on those are awful. Steve makes no claims other than handmade and low microphony. Both of which are true. two thumbs up from me for accurate marketing.

Thank you. We sometimes get comments from customers about how refreshing they find that.

The photos on the blog are very nice as well. Although someone slipped in a shot of a cantankerous old resident of Illinois there for some reason...

Huh? I don't have any photos of John McCain. Besides, he's from Arizona, not Illinois. :D

se
 
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