If you ingest enough LSD or psilocybin audio and visual become one in the same.
I've been listening online. I need to listen to some more Eno. I have Here Come The Warm Jets, Before And After Science, Ambient 1 Music For Airports and Dali's Car on CD. He is definitely a soundscape painter
Markw4,
Thank you for your thoughtful, well reasoned response. Really appreciated here. I have a constant dread of being misunderstood. And believe me, I go to great lengths to try and be understood. You are right, it is not easy.
Must try harder .......
Not quite sure what you mean. What I will say is that I find the reedy sax sound often sounds synthesised to me. There is a piece, I think it's Oliver Nelson, not sure, that sounds almost electric organ like, if I come across it I'll let you know.
John Curl inducted into Hall Of Fame
I just received the December issue of The Absolute Sound magazine and our own John Curl has been inducted into the High End Audio Hall Of Fame. There is a nice article about John and his contributions to high end, and a brief interview with him. Congratulations John on this honor! After knowing you for over 30yrs I feel it is long overdue!
I just received the December issue of The Absolute Sound magazine and our own John Curl has been inducted into the High End Audio Hall Of Fame. There is a nice article about John and his contributions to high end, and a brief interview with him. Congratulations John on this honor! After knowing you for over 30yrs I feel it is long overdue!
I understand you completely! You are an artist who interfaces with technology. Here in this thread you won’t find much identification with what you do. The vast majority here are stodgy test and measurement types with nearly no artistic inclinations what so ever. A lot of them are quite frustrated and continue to use measurements to try to answer what they can’t understand. Stay if you like punishment. There are a few nuggets to be found here but it takes some skill and patience to pan them out of the sluice.
Yes that must be it. Not at all that we think art is for the creation of music and engineering is for the playback of music at all.
Years ago I had a favorite postcard titled simply "Shrink", it was a typical 60's female doctor taking careful notes while a 10-12 year old kid was hurling fruit violently at her office wall.
If you ingest enough LSD or psilocybin audio and visual become one in the same.
Synesthesia has nothing to do with what I posted but, yea, you can discover the overlap interaction between the senses with these psychotropics
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That reminds me..... JC often reminds us of the Parasound compromises here and there. They are not an all out assault on the audio world of amplifiers.
Then, what can we DIY'er type should we do to improve a Parasound amp designed by JC. Where are the compromises which make the greatest differences?
Congrates, john. Can you tell us what to do to POOGE your amps which would give the most performance improvement. Model ?
THx-RNMarsh
I've made 5 or so electric guitars from the ground up. The first I wound the
pickups (low impedance) and designed active electronics to follow.
It took me a long time to work out what makes a great sounding guitar and
a lot of it is counter intuitive. For example, high impedance pickups generally
sound better and light, not heavy guitars also sound better.
Been playing pretty solid for 50 years.
Well - I can see we are in the presence of greatness.
T
Terry, I too made an electric guitar. Not me actually, but a relative of mine made the body. I got the neck from a Sears Silvertone guitar that I had bought from a friend for $15 when I was 15 in 1957. Well, somebody accidentally stepped through the body, so I was stuck without a guitar to practice on. My relative had a wood shop and he made me the body and mounted the neck, etc, and with an added DeArmond (sp) pickup it actually worked OK for awhile. Then I broke it again, accidentally, so I finally found used Fender Stratocaster and I played it until the folk era. I personally don't see why making such an instrument would give me more musical insight, but certainly comparing the sound quality of acoustic guitars could.
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I wound some wire around a bar magnet and taped it under the steel strings of an acoustic guitar, played it through the phonograph input of an old Leak valve amp (don't know where that is now, was my father's, probably ended up in the dustbin) it distorted quite nicely. It was an exercise in sound/music creation. Oh, can't remember what the speaker was, but it was mounted facing up in a cardboard box. It certainly wasn't hi-fi reproduction.
Learning to play a musical instrument and studying music should be IMO as much essential for an audio-diyer as learning to solder and studying electronics/acoustics.
Building a musical instrument? How?
Just out of intuition and “let’s pick that” approach? It would be like I started constructing my first amplifier and speaker
Through study and practice? It would be the way of a luthier
George
For my own piece of mind I tend to agree with that
But beneath the skin…
Art in creation, performing and production of music includes a lot of learned knowledge and craft.
Reproduction of music is part of music’s communication chain, why a knowledgeable audio designer and craftsman should be prohibited from exercising his craft embedding ideas common to that communication channel (e.g. forms of distortion, freq response envelope, other findings of psycho-acoustic research )?
Only, the resulting product should not be claimed to be an accurate reproducing component but an acoustically influencing one. Measurements should show that.
It will not be a “fit all” product. Consequently number of potential customers will shrink, admirers / dislikers camps will emerge again, dealers with listening rooms will become necessary again and so on.
If “Hi-Fi” means audio reproduction faithful to the recording, such a product is not entitled to be called a Hi-Fi item.
If “Hi-Fi” means audio reproduction by means of altering/enchasing the illusion of musical experience, then the product is a HI-Fi item.
George
I never "made" (= build?) an "instrument", but I own and play a battle-weary 1968 Gibson SG Standard and a mint 2002 Heritage H535.
For amplification, I use a lightly modified Fender Champ and a heavily modified Pignose G60. The G60 has lowered HV supply, a triode/pentode switch, separate bias pots for the 2 6L6's, and an Eminence Cannabis Rex 12" speaker.
That being said, I'd like to point out this is the total opposite of the definition of "High Fidelity" (= reproduce), and the player has full control over whatever he/she fancies (= creates).
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