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John Curl's Blowtorch preamplifier part III
John Curl's Blowtorch preamplifier part III
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Old 6th March 2019, 05:42 PM   #15001
john curl is offline john curl  United States
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Zung and T, you were both there. How did it sound? I was back stage and they (the guards) would not let me go into the audience so that I could hear the sound for myself. That night I almost got into a fight with the GD drummer and I quit following the GD for several years. However, being on the Metro with a slight amount of LSD the next morning was challenging. '-) I was on my way to London to get together with my girlfriend who was then a soloist in the Royal P Orchestra.
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Old 6th March 2019, 06:30 PM   #15002
Bonsai is offline Bonsai  Europe
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John, at least you've lived a bit on the wild side . . .
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Old 6th March 2019, 06:33 PM   #15003
scott wurcer is offline scott wurcer  United States
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Quote:
Originally Posted by Tournesol View Post
You gave the answer:
"For an ideal inductor"
That's part of the point, you need the basics before moving on. Not labeling speaker impedance as a scalar (R) would be a good start.
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Old 6th March 2019, 06:49 PM   #15004
Evenharmonics is offline Evenharmonics  United States
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Originally Posted by Tournesol View Post
I want a transparent system, and I should prefer an amp that cancel (I know it is impossible) the flaws of the other parts of my system. Specially speakers.

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The wire with gain is an utopia, as soon you plug a speaker to it, because speakers are all but "transparent".
He was talking about amp, not speakers. When high level of transparency is achieved, we (may exclude you and a few others) call that hi-fi, which was discussed recently on this section of the forum.

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As a sound engineer, I want the reproduction to be as close as possible to the neutrality. I would not be satisfied, you can understand why, with a system that sound nice, when the mix is not.
So, knowing better than most other people how my own mix are supposed to 'sound', I trust my ears more than measurements.
Did you mean to say "as close as possible to the performance during the recording session"?
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Old 6th March 2019, 06:50 PM   #15005
Tournesol is offline Tournesol  Belgium
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Originally Posted by john curl View Post
How did it sound? I was back stage and they (the guards) would not let me go into the audience so that I could hear the sound for myself.
How is-it possible ? That was part of your job !

Which of the two drummers was your enemy (I don't remember if they were two at his concert)?

I have described my reminiscence of the sound of this concert. But don't trust too much my feelings at this time. I was probably not in a better state than you, the day after in the metro ;-)
I thought that the main problem was the choice of those studio speakers. Not enough directivity, not enough efficiency. I think that, if they had used some equalized JBL PA horns, the emitting surface for the same power would have been much smaller, so less of the comb effect that annoyed me.

Or a mix of the two, like horns for percussion and electric guitar, studio monitors for the voices ?
The Idea to have no mix other than acoustic is brilliant, as well as the out of phase mikes idea.
About the quality of the individual sounds, I was astonished. Never heard this before (and, in a way, after). Despite this terrific hall.
Congratulations for something that will remain legendary.
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Last edited by Tournesol; 6th March 2019 at 07:02 PM.
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Old 6th March 2019, 06:51 PM   #15006
Tournesol is offline Tournesol  Belgium
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Originally Posted by scott wurcer View Post
That's part of the point, you need the basics before moving on. Not labeling speaker impedance as a scalar (R) would be a good start.
8=6, as a minimum and most of the time.
(Do you like my maths ?)
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Old 6th March 2019, 06:53 PM   #15007
Evenharmonics is offline Evenharmonics  United States
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Originally Posted by Tournesol View Post
Which I doubt they have the same technical background and the same professional experience as some of those they constantly attack.
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No comment, my deaf friend. You are free to listen with your eyes, looking at response curves and distortion numbers.
May-be, one day, you will understand they dont reveal everything ?
Another example of attacking someone.
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Old 6th March 2019, 06:58 PM   #15008
Tournesol is offline Tournesol  Belgium
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Originally Posted by Evenharmonics View Post
Did you mean to say "as close as possible to the performance during the recording session"?
Oh, no !

Do-you want to put all sound engineers and producers to unemployment and listen to aberrations ?
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Last edited by Tournesol; 6th March 2019 at 07:07 PM.
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Old 6th March 2019, 07:04 PM   #15009
Tournesol is offline Tournesol  Belgium
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Originally Posted by Evenharmonics View Post
Another example of attacking someone.
"You are free to fool yourself" was not one ?
Thinking of this, my job was, indeed, to fool myself ... and most of the others as well.
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Last edited by Tournesol; 6th March 2019 at 07:06 PM.
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Old 6th March 2019, 07:09 PM   #15010
Zung is offline Zung  Switzerland
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Originally Posted by john curl View Post
Zung and T, you were both there. How did it sound? I was back stage and they (the guards) would not let me go into the audience so that I could hear the sound for myself. That night I almost got into a fight with the GD drummer and I quit following the GD for several years. However, being on the Metro with a slight amount of LSD the next morning was challenging. '-) I was on my way to London to get together with my girlfriend who was then a soloist in the Royal P Orchestra.
It was The perfect concert, down to every little detail, even insignificant things such as the walk-in music: the GD being what they are (a cult for our younger readers), what would you play while the audience is being seated? Some GD stuff? That would be cockey. Something from the "competition"? Won't cut it, right? Well no, they played some Roy Buchanan stuff, it was politically correct, and the sound was wonderful, much better than what I could achieve at home.

And then the band started playing. Wow! Like Prof. T said before, IMD? What IMD? Each instrument went to it respective stack, except for Phil Lesh, the bass player, who had 4 stacks, one for each string, so he could do chords on a bass guitar!

T also mentioned the hall acoustics were under control, and I second that. Plus, the "nasal" effect of the differential mics was totally absent in the audience. I guess it could be more pronounced on stage, because Donna Godchaux, the backing vocalist, mentioned it a few times during subsequent interviews.

And with all that power and clarity available, the band used and abused the dynamics like I never heard before coming from a rock group: from wisper soft to a level where the seats started shaking. I used to say: "It ain't Rock and Roll if your pants ain't flapping"; they were flapping that night.

And it was a good night for the GD: the singing, their "bête noire", was in tune almost all the time, and the playing was outstanding. A few numbers into the set, the guy in the next seat said to me: "Wow, what a guitarist!"; I said: "Yeah, it's Jerry Garcia"; he said: "Jerry what?". The GD were not that well known in Europe, but they sure conquered the audience that night. My favorite tune of the night: "It Must Have Been The Roses".

Finally, since you mentioned your ex, did I tell you she's the one who got me back into classical music? I used to think they lack soul, then MB played something from the Russian school of violin, David Oistrakh I think, and I said "Wow!", and she said: "They play with balls, don't they?". I've been hooked ever since, and bought everything from Oistrach, Kogan et all.

Last edited by Zung; 6th March 2019 at 07:33 PM.
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