Blood, Looms, and Blooms

Blood, Looms, and Blooms

Aug 08, 2008

Tighten the laces on your Vans and jump on your skateboard, strap on your helmet and hop on your scooter, pump some air into the tires of your cruiser, do whatever you have to do, dudes; Dash, sprint, leap, fly like Olympians to your nearest record shop and lay down the $19.99 for the new Leila Arab album.

Playstation 1 vs. Denon 2910

Forums
Tweaks 'n' Tips
Submitted by drumguy48 on

Hi all, just taken delivery of an Ebay sourced PS1(SCH1002) - Have left it powered up for 48 hours and have been listening for a couple of hours now -easily the best $25 I have spent - apart from the lower output level (just crank up the vol. on the amp!) I am finding it hard to pick any downsides compared to the $1500 Denon
I have applied various Peter Belt treatments to both units (except the PS1 has yet to be put in the freezer) and it (PS1) just sounds as sweet and expansive as it's much more expensive, albeit more convenient rival.

lossy compression

Forums
General Rants 'n' Raves
Submitted by loonykev on

Hi and greetings from London, England. This is my first post on this site, and I've been trying to find a place to start. This seems as good a place as any. I'm getting increasingly anti lossy compression as its time has come and gone, and the longer it hangs around, the more chance there is of people forgetting what real music sounds like. There was a time long ago when "large" files had to be severely compressed as there was insufficient bandwidth for downloading or space on hard drives for storage.

How Hi-Fi are Stereo Discs? Page 3

How Hi-Fi are Stereo Discs? Page 3

<B>Editor's Note from 1992: </B><I>This seminal J. Gordon Holt essay on how the art of recording natural sound became compromised in favor of unmusical artificiality for good commercial reasons was originally published in August 1964, in Vol.1 No.8. Though most people these days listen to classical music from CDs, not LPs, in the intervening decades, recording technology has not changed for the better as much as one might have hoped. Nevertheless, the days of wretched multimiking excess described by Gordon are past, and it's rare to find the music treated with the lack of respect typical of a mid-'60s Columbia session. Although some of the smaller companies&#151;Reference Recordings, Delos, Chesky, Mapleshade, Dorian, and Sheffield Lab in the US; Meridian, Nimbus, and Hyperion in the UK&#151;consistently use honest, minimal miking, it is not unknown for the majors in the '90s to do likewise. And the use of time delay for spot microphones, pioneered by Denon in the mid-'80s, means that instruments that might tend to become obscured at orchestral climaxes </I>can<I> now be brought up in level without unnaturally time-smearing the sound. I still find it sad, however, that it is rare to hear the sheer dynamic range of a live ensemble successfully captured on a commercial recording.</I>&#151;<B>John Atkinson</B>

How Hi-Fi are Stereo Discs? Page 2

How Hi-Fi are Stereo Discs? Page 2

<B>Editor's Note from 1992: </B><I>This seminal J. Gordon Holt essay on how the art of recording natural sound became compromised in favor of unmusical artificiality for good commercial reasons was originally published in August 1964, in Vol.1 No.8. Though most people these days listen to classical music from CDs, not LPs, in the intervening decades, recording technology has not changed for the better as much as one might have hoped. Nevertheless, the days of wretched multimiking excess described by Gordon are past, and it's rare to find the music treated with the lack of respect typical of a mid-'60s Columbia session. Although some of the smaller companies&#151;Reference Recordings, Delos, Chesky, Mapleshade, Dorian, and Sheffield Lab in the US; Meridian, Nimbus, and Hyperion in the UK&#151;consistently use honest, minimal miking, it is not unknown for the majors in the '90s to do likewise. And the use of time delay for spot microphones, pioneered by Denon in the mid-'80s, means that instruments that might tend to become obscured at orchestral climaxes </I>can<I> now be brought up in level without unnaturally time-smearing the sound. I still find it sad, however, that it is rare to hear the sheer dynamic range of a live ensemble successfully captured on a commercial recording.</I>&#151;<B>John Atkinson</B>

How Hi-Fi are Stereo Discs?

How Hi-Fi are Stereo Discs?

Aug 07, 2008 First Published:Aug 01, 1964
Editor's Note from 1992: This seminal J. Gordon Holt essay on how the art of recording natural sound became compromised in favor of unmusical artificiality for good commercial reasons was originally published in August 1964, in Vol.1 No.8. Though most people these days listen to classical music from CDs, not LPs, in the intervening decades, recording technology has not changed for the better as much as one might have hoped. Nevertheless, the days of wretched multimiking excess described by Gordon are past, and it's rare to find the music treated with the lack of respect typical of a mid-'60s Columbia session. Although some of the smaller companies—Reference Recordings, Delos, Chesky, Mapleshade, Dorian, and Sheffield Lab in the US; Meridian, Nimbus, and Hyperion in the UK—consistently use honest, minimal miking, it is not unknown for the majors in the '90s to do likewise. And the use of time delay for spot microphones, pioneered by Denon in the mid-'80s, means that instruments that might tend to become obscured at orchestral climaxes can now be brought up in level without unnaturally time-smearing the sound. I still find it sad, however, that it is rare to hear the sheer dynamic range of a live ensemble successfully captured on a commercial recording.—John Atkinson
Subscribe to
Advertisement
Advertisement
Advertisement