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#371 |
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diyAudio Member
Join Date: Aug 2011
Location: Utah
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Alan Parsons - Eye In The Sky
Stepenwolfe - Der Earsplittenloudenboomer Doors - Morrison Hotel Savoy Brown - Raw Sienna Pat Metheny (With Lyle Mays) - -White album- Stanley Jordan - Magic Touch Quarterflash - Back Into Blue Quicksilver - Happy Trails Joe Satriani - Time Machine (Echo) Boz Skaggs - Runnin Blue Cold Blood - Cold Blood Al Stewart - Year of Cat (Only a few cuts for dynamic range before it gets repetative) All vinyl. Doc
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Ne timeas a facie mulierum ea ignorare |
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#372 |
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diyAudio Member
Join Date: Apr 2009
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guys, i just couldn't resist. i usually listen to soundtracks and so on, but the new globus - break from this world, is just a perfect match for my ears. i definitely recommend it. btw, the epicon from them is just as good
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Bowers & Wilkins 685, Nad C325BEE |
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#373 |
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diyAudio Member
Join Date: Jan 2008
Location: Toronto and Delray Beach, FL
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I've always been towards the purist end of the hifi world, favouring acoustic instrument recordings without excessive control-room manipulation besides what multi-mic'ing requires.
So, I have always supposed that pop recordings, such as show up quite a bit on this thread, are not of much value as demo inputs because the hand of the recording engineer has (or might have) manipulated the sound. There is no real or objective reference with which to compare the reproduced sound to - unless you have in mind the sound in arena concerts or open stadiums. Can someone please help me understand how such pop recordings can be used as demos. Ben
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Dennesen ESL tweets, Dayton-Wright ESL (110-3200Hz), Klipschorn mixed-bass woofer w/param. EQ plus 1954 AR-1W or giant OB HiFi construction since 1956 |
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#374 |
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diyAudio Member
Join Date: Aug 2011
Location: Utah
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For accoustic my favorite test is Alex Degrassi - Southern Exposure.
Doc
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Ne timeas a facie mulierum ea ignorare |
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#375 | |
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diyAudio Member
Join Date: Apr 2006
Location: Reykjavík
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Quote:
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#376 |
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diyAudio Member
Join Date: Jan 2008
Location: Toronto and Delray Beach, FL
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I appreciate it that you understood my question was asked sincerely.
Noting your reply - nothing for me to argue with there. But it doesn't address the DIYer issue: if the bass sounds great on a certain pop record, is it because my woofer is wonderful or is it because the engineer cranked up the bass to make 10-million iPod listeners happy? On a recording of a symphony, there is reason to believe the engineer tried to capture bass and treble similar to their live balance. I am not naive enough to believe this entirely, but as an approximation of the engineer's purpose. Ben
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Dennesen ESL tweets, Dayton-Wright ESL (110-3200Hz), Klipschorn mixed-bass woofer w/param. EQ plus 1954 AR-1W or giant OB HiFi construction since 1956 Last edited by bentoronto; 29th September 2011 at 07:06 PM. |
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#377 | |
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diyAudio Member
Join Date: May 2006
Location: A New England
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Quote:
Now, with a very familiar song, I have the chance to actually notice the difference those pricey nude foil resistors have on the input of my phono stage. Just a thought. |
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#378 |
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diyAudio Member
Join Date: Mar 2001
Location: California
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Intel D410 mITX > Foobar > Musiland 01 USD > Gigawork DAC > Sure TK2050 > Manzanita |
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#379 |
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diyAudio Member
Join Date: Feb 2009
Location: Lisbon
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#380 |
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diyAudio Member
Join Date: Feb 2009
Location: Lisbon
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Dave Matthews " behind these crowded streets " , i use it to setup my system when i make changes , mainly to do with bass .
Last edited by lduarte1973; 29th February 2012 at 11:58 AM. |
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