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John Curl's Blowtorch preamplifier part IV
John Curl's Blowtorch preamplifier part IV
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Old 20th January 2020, 12:33 AM   #71
mountainman bob is online now mountainman bob  United States
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Originally Posted by billshurv View Post
That's because it isn't a thing. It was a throwaway comment from Earl which Mark has sadly hung onto like a terrier. For sure normal distribution suggests that some will have slightly better hearing than others but that doesn't support some of the fantastical claims made on here. And all these claims are anecdotes and lots of anecdotes does not make hard data.
Hey Bill,
I think it is a thing (I know 5% is just a guesstimate) because it certainly makes sense, I donít base that on marks comments alone but after a couple years of digging further into audio than I ever have before Iím finding the same results all over.....thereís a small percentage that pay better attention, maybe hear differently or could be some are better connected to their subconscious? I do some of my best testing when I get lost in the music.

Whatever it is, itís real.
Old 20th January 2020, 12:40 AM   #72
chris719 is offline chris719  United States
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John Curl's Blowtorch preamplifier part IV
Originally Posted by Hans Polak View Post
I donít want to pour fuel on an existing fire, but just want to mention that a Pet-scan as used by Oohashi is not at all the same as a fMRI.
A Pet-scan, that needs radio active glucose to be injected, does not produce an image, and thatís why it is combined with an MRI to ďpaintĒ the detected spot in the MRI image.
It is a fascinating technology when used properly such as for detection of cancer cells.

Yes, it's very often combined with a CT scan also. I have worked on an infusion system for PET contrast with a very short half-life. It doesn't cross the blood-brain barrier like FDG, so it's for other organs.
Old 20th January 2020, 02:20 AM   #73
elektroj is online now elektroj  Europe
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Originally Posted by Tournesol View Post
About old NEVE , may-be people confuse the talent of some producers/sound engineers + musicians +big studios with fantastic acoustic and the gear used ? Nostalgia ? Or may-be, indeed a special character ?
Tournesol, what was the last time you've dealt with modern music production?
Just google Neve 1073 and you'll see.
Or watch this movie in full:
Its not only about the vibe but about the console sound too.

P.S. My respect for Paul McCartney grew enormously after seeing him play "that" type of music.

P.P.S. This one's about the original studio
It might give some of the readers here an insight in "how it's done"

Last edited by elektroj; 20th January 2020 at 02:38 AM.
Old 20th January 2020, 02:53 AM   #74
dreamth is offline dreamth  Romania
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Originally Posted by john curl View Post
Scott, you got it wrong. I started using the AD711(12) for servos and I used them for many years. It was only when I tried to use the AD712 for an INPUT STAGE, ahead of a discrete power amp that I got into trouble. That was the primary difference between the Parasound HCA2200 and the HCA2200 MK2. I took out the AD712 from the input but left them (usually 711) in the servos of the same product.
If i remember right from your last discussion we had in 2019, you said that Parasound's engineers asked you to recommend an op-amp for one of their phono preamps and that you chose to advise them of using ad712... Nobody told you to ask Scott for a recommendation of a good op-amp...There was nothing in the AD712 that would have recommended it for a high quality phono preamp...I wonder if you even knew Scott at the time ...For me it sounds ridiculous to take Scott's side in this argument.I see no reason for why he's even talking to you or me.It's just that the internet allows for that , but honestly ...we're light years away from each other , in any possible way...
Old 20th January 2020, 03:04 AM   #75
dreamth is offline dreamth  Romania
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Is this topic going to reach 35000 posts too?
Old 20th January 2020, 03:14 AM   #76
indra1 is offline indra1  Indonesia
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Originally Posted by mountainman bob View Post
...(I know 5% is just a guesstimate)...
I think it is a statistical thing. A 2 standard deviation from normal covers 95.44% of population. The rest 4.56% are those beyond 2 standard deviation from normal, half of of which (2.28%) are exceptionally good while the other 2.28% are exceptionally bad.

Pouring much resources into research targeting the most difficult to satisfy 2.28% of population would be foolish. Expect to find very sparse hard data beyond that applicable for the 95.44% and learn to patiently sift through the mountain of anecdotes and snake oil.
Old 20th January 2020, 03:16 AM   #77
elektroj is online now elektroj  Europe
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Originally Posted by Bonsai View Post
Agree some of the DG recordings can be flat....
But the Abaddo recording i mentioned earlier is a different league. ...
One interesting thing I noted when looking up that record on Discogs is that they had an engineer from EMI on board. Maybe that's the reason it sounds different? EMI classical releases from '60s and '70s usually sound very good.
Igor Strawinsky* — London Symphony Orchestra* * Claudio Abbado - Der Feuervogel (Firebird) * Jeu De Cartes (1975, Vinyl) | Discogs
Michael Gray | Discography | Discogs
Old 20th January 2020, 05:03 AM   #78
Tournesol is offline Tournesol  Belgium
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Originally Posted by elektroj View Post
Tournesol, what was the last time you've dealt with modern music production?
Just google Neve 1073 and you'll see.
i don't understand where you want to go. I was referring about what happens in the music industry in France. All the big studios disappear one after the other and protools is near everywhere. The business is no more the music, but movies and TV post production. and even in this activity, business is very critical. The companies don't survive very long

You are right on one point, I switched to the movie industry a little more than 20 years ago and after that was the technical manager of several post production facilities in Paris. Only doing few music sessions (recording and mixes) for old friends after that as a free lance.
I had worked a lot on the various versions of the 1073 and their 5 different preamps and don't need to "google" about. They are copied everywhere and slides used as effects in various studios.
It was my prefered mixing desk ever. For me, things started to go wrong with SSL. (the last i worked on was a SSL C300 HD)
On my side, I refused to work on digital mixing desks when it was possible. A very different approach. But it is just a personal preference. Nowadays, it seems the market is at Harrison MPC 5d, Avid S6 etc... That is why I was talking of nostalgia.

I don't follow what happens in the US musical industry. It it not the center of the world neither and I find the actual level of the musical production very poor on average. ;-)

Last edited by Tournesol; 20th January 2020 at 05:19 AM.
Old 20th January 2020, 05:53 AM   #79
bimo is offline bimo  Indonesia
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Originally Posted by Tournesol View Post
On this point, I see no difference in behavior between the extremist objectivists and the subjectivists of the extreme opposite.
All are subjectivists. Because objectivists mostly can not understand the relationship of measurement and the sound.
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Old 20th January 2020, 05:59 AM   #80
john curl is offline john curl  United States
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Dreamth, I think that you got that wrong. I have never recommended the AD711-12 for phono or anywhere but servos, once I had trouble with it as an input buffer for the HCA2200 power amp, and that was over 25 years ago. I did recommend the AD797, which is entirely another design, for the input phono stage for the JC-3.
"Condemnation without Examination is Prejudice"

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