Hi Chris,
I am glad you replied. Not entirely sure what the confusion is here. Of course I understand the difference between the creation of music and the reproduction of music. It is not necessary to create music to enjoy listening to music, nor is building a musical instrument a prerequisite to musical fulfilment of any kind. But it all helps, does it not?
The other thing that you talked about, your relationship with your photographer father, was in respect to your remarks towards me, entirely out of order. Forgive me if I am wrong, and I may be entirely wrong, but I presume your father spent the whole of his career working with large format film cameras doing industrial and architectural work for clients who genuinely understood and respected his technical ingenuity and personal resourcefulness. Making a successful living in 1970's Canada, a marvellous country of highly educated people with exceptional living standards. I think that is wonderful, I really do. So why do you compare the life of your father with mine?
I have met many photographers like your father. Really good guys truly dedicated to their work, and who have paid a terrible price for their successes - both great and small. Freelance photography is perhaps one of the most difficult of all professions to make a living from. Many photographers become casualties. They go out of fashion, out of style, the art directors get ever younger while they just get old, they become multiply bankrupt, lose their marriages, their homes, become alcoholics and drug addicts, and like cracked actors, they never ever give up. Do you understand that maybe one in ten thousand photographers actually make the high life? That at any one time there are hundreds of photographers out there chasing after one days work? Life for photographers is so hard now that nobody 'in the life' says a bad word about anybody anymore, and I think in the fullness of time, you have forgotten that.
I think the real issue is that your father never gave enough of his time to be with you as a child. Time that you needed, and without realising it, projected it onto me. You maybe in denial of this, but this is what upset me. How dare you? Would you say this to my face? I very much doubt it. Believe me when I say that amongst my peers, I am also one of the good guys and would do anything to help other photographers, including your father if I was ever lucky enough to have met him.
I would appreciate it if we can leave it at that.
That's exactly what I did when I was a student: I was so broke I could afford only 1 (one) single luxury item, and so it was a second hand Selmer Treble & Bass guitar amp wired to a single Quad ESL57 (salvaged from some United Nation junk yard) serving the dual purpose of listening and playing. I had a GREAT time hearing THROUGH the Fender tone stack everyday and enjoy the purity of the Quad so much I still have a pair of those today.
P.S.: CD didn't exist then, it was a record player
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Every power supply has a time constant. Every capacitor has distortion. What do you have here? A compressor (the power supply) and exciter (the capacitor). So far I have not seen an amp that does not use these things. The art is how you tune and voice them. It happens on the front end of a guitar amp as well as the final of a home stereo amp. It's all the same act of management of the personality of the components. Once you use test and measurement to check your work the rest is art plain and simple.
I used a 1938 Gibson Guitar amp with bass reflex speaker (included) for many years, until I was 21 years old. I normally listened to FM radio through it. I drove it with an Eico FM tuner (kit). I was fairly happy with it, until I heard some real hi fi at a colleague's house with Koss Pro4 phones. Then I decided to build my own hi fi set-up, and went from there. Guitar amps can work OK for music and voice, but they are not optimum by any means.
Yes that must be it. Remind NASA to check the personality of everything on the James Webb telescope before they launch it. They might have some slightly cheeky resistors in there that will mess up the pictures.
The guys from Halcro and Chord must be hearing voices. Chord Electronics launch ULTIMA flagship amplifier and preamplifier | AudioStream
Bill - Those guys are all hooked on Lux Aeterna.
My first boss at MIT is now in charge of TESS (the exoplanet survey satellite), I'll have see what he thinks. They did send a package up with Energizer D cells as back up power (they don't work at -55C).
I see both rated at ~1HP how British could you be? Design of stuff like this is amazingly uninteresting.
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That word “art” shows up again. The Art and Science of Optical Design by Robert R. Shannon
I figure if you did a web search there is an "art of" book for any discipline you could ever think of.
Hi tapestryofsound,
My father did use the large 2 1/4" square formats, but he also used 35mm and taught me a lot. I was lucky to have spent a large amount of time with my father when he was in Canada. As a young kid, I tagged along quite often. He had friends in England and the USSR as well. So he was both pleased and annoyed when I got a higher award at a Nikon photography contest once. He normally did much better than I did, but I did get an award of excellence from Nikon. I use an F-90x these days. I used an FT2 back in the 70's.
My father eventually sold his photography business and got into promotional advertising instead. So I eventually did spend a lot of time with him. I have no negative feelings to transfer to you. They simply don't exist. I do have a lot of respect for him, especially looking back from an experienced vantage point. My brother and I both ran our own businesses, probably because our father did so it had no bad connotations for us. My brother still has his own business, I'm still doing my thing on my own. My brother is a lot more successful than I am. It has cost him though.
While my father worked with the large format cameras (he used a Hasselblad camera most of the time), he did some portrait work as well as disaster photos. He later collected cameras and pens. He favoured Leica cameras and Nikon in the 35 mm format. He taught me a lot about composition and lighting, plus darkroom work. We had a darkroom in the house along with the large print dryer. I figure I was a very lucky kid. Never a dull moment. His catalog still sells, less now but there is still interest in his library of shots.
So what do I use for most of my work? A Nikon Coolpix S800. It is used as my memory when working on equipment and to document my work for myself.
-Chris
My father did use the large 2 1/4" square formats, but he also used 35mm and taught me a lot. I was lucky to have spent a large amount of time with my father when he was in Canada. As a young kid, I tagged along quite often. He had friends in England and the USSR as well. So he was both pleased and annoyed when I got a higher award at a Nikon photography contest once. He normally did much better than I did, but I did get an award of excellence from Nikon. I use an F-90x these days. I used an FT2 back in the 70's.
My father eventually sold his photography business and got into promotional advertising instead. So I eventually did spend a lot of time with him. I have no negative feelings to transfer to you. They simply don't exist. I do have a lot of respect for him, especially looking back from an experienced vantage point. My brother and I both ran our own businesses, probably because our father did so it had no bad connotations for us. My brother still has his own business, I'm still doing my thing on my own. My brother is a lot more successful than I am. It has cost him though.
While my father worked with the large format cameras (he used a Hasselblad camera most of the time), he did some portrait work as well as disaster photos. He later collected cameras and pens. He favoured Leica cameras and Nikon in the 35 mm format. He taught me a lot about composition and lighting, plus darkroom work. We had a darkroom in the house along with the large print dryer. I figure I was a very lucky kid. Never a dull moment. His catalog still sells, less now but there is still interest in his library of shots.
So what do I use for most of my work? A Nikon Coolpix S800. It is used as my memory when working on equipment and to document my work for myself.
-Chris
If they want me to buy it
, they should make part of the case optically transparent.George
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I like to see 'statement' amplifiers, just like I like to read about performance sports cars. I may not be able to afford them, but I can study them, and perhaps learn something new. I make fairly expensive amps these days, but not all-out quite yet. I consider a 'statement' amp, like my phono designs for Constellation to be a real design challenge. What is the 'best' approach? Can you make something that is really better than something else, whether at the same price point, or maybe everything that is less expensive? I bet that Porsche and Ferrari designers have the same concerns.
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I am not sure if the car/amplifier equivalent makes sense. However, I agree, that rather than Porsche or Ferrari we often discuss a Mercedes-Benz 500K design approach here.
Mercedes-Benz 500K - Wikipedia
Nothing against it, it was a wonderful car and I like it
Mercedes-Benz 500K - Wikipedia
Nothing against it, it was a wonderful car and I like it
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