Uncle Ants

Wammer
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About Uncle Ants

  • Rank
    Wammer
  • Birthday 03/01/1967

Personal Info

  • Location
    East Midlands, Unite
  • Real Name
    Tony

Wigwam Info

  • Turn Table
    Lenco Soup
  • Digital Source 1
    Rotel RCD991
  • Integrated Amp
    Wad Kat88
  • My Speakers
    Spendor S100

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  1. In that particular case it's feasible. There is a vinyl version of the Radiohead track ... Two actually ... At 45rpm in the original box set and a 33rpm version they released later.
  2. Maybe Panasonic spread this rumour every now and again ... It'd boost sales after all . You don't think WHF's standards of fact verification are so flaky? Really?
  3. Then someone needs to have a word with WHF then because that article, dateline yesterday specifically states they are ceasing production of all turntables.
  4. That and that there is now a lot more competition on the DJ side of things from Vestax, Stanton et al. Generally not as good as the Technics but on the other hand generally a lot cheaper too. I doubt that general home use was ever much more than a small percentage of the 1200's Market. It's only in the past couple of years that the hifi side of the Market even looked at the 1200s with anything much other than a derisive sniff. It's sad, but I'm not convinced it says much about the state of the vinyl Market at all regarding people who just listen to records at home. I think too much is being read into it.
  5. My ten year old once on the fly CD transport can do bit for bit accurate copies. Copied to a CD-R in a CD recorder via toslink from the CDPs digi out and verified in accurate rip. People who go on about how the Cd just goes along making guesses need to understand that error correction is exactly that - correction not guesswork and the standard is very robust (and think about it - something "bumbling along" at 1x read speed is actually far more likely to get it right first time than something flying along at 40x a la ripping. No. If transports do sound different you need to look somewhere other than the accuracy of the 1s and 0s themselves.
  6. I don't know how you've positioned them, but they look to be large unported, sealed boxes. If you place them up against a wall the bass may be better. Sealed boxes often work really well that way and speakers of this vintage often expected and designed for that. Might be worth trying ... If you haven't already and it's feasible.
  7. It's a Rega arm. They don't have or need an earth lead.
  8. Is the phonostage any good? Seems to be an awful lot of really nice goodies in this box and was wondering if the phonostage is afterthought or serious.
  9. Dynamic compression - where everything is as loud as everything else ie. virtually zero dynamic range - it's tough to do in analogue and it's tough to master to vinyl, but any twit with a pro tools setup can do it in the digital domain and CD doesn't complain. It's the major tool in the stupid loudness war that's been afflicting rock and pop for the past 15 years. Some even deliberately drive it into clipping. A lot of modern pop stuff has less than 5db dynamic range and is pushed to the end stops for maximum loud. It sounds really shit but it's the way things are - it's because so many people do all their listening in the car or on the bus. Just Google "Loudness Wars" - you'll get lots of info on it. You're thinking of data compression.
  10. No doubt, but I also have no doubt that in the rock and pop field a lot of engineers took advantage of CD's ability to play horrible, harsh, compressed nastiness that vinyl wouldn't allow for either. Swings n roundabouts innit.
  11. There are definitely skills required in terms of preparing a master that differ from mastering for CD due to the limitations of vinyl playback. Whether this translates to actually operating the lathe I don't know. There's a useful article on the subject here. From what I'm reading here mastering for vinyl certainly requires a greater depth of knowledge than just mastering for CD ... but it's also fairly clear that a lot of the problems are a direct result of the assumption that the main release will be CD and what to do to make it work on vinyl as well. Presumably back in the day vinyl was the only option, so the problem didn't rear it's head. This paragraph is worth noting: "As you'd expect, the current trend of heavy-handed compression and limiting in the recording industry does not lend itself to releases destined for vinyl. It's not uncommon for engineers to be given overcompressed masters with exaggerated highs that sound terrible on a record. Lyman recommends that artists prepare a separate master for a vinyl version of a project, one that has a greater dynamic range and is not overlimited" Which is what I meant by saying that there are liberties you can take mastering for CD that you can't for vinyl and may explain the difference in a lot of cases of modern recordings, especially rock and pop recordings. It might seem counter intuitive that having restrictions on what you can and can't do might result in something which sounds "better", but on the other hand where there are no technical restrictions, it's as easy to do things which sound awful than not ... if that makes sense. All this probably applies less for classical recordings, but we don't all live on a diet of classical recordings.
  12. I think to some extent it's the mastering. You can take some liberties mastering for CD that you can't mastering for LP. Also things may be recorded digitally, but it's liable to be recorded at a much higher sampling rate and bit depth than you finally get when you get a CD ... this second point is debatable ... it's not a debate I'm all that interested in mind you. Finally, there is a fairly good argument that a lot of people prefer the sound of vinyl to CD simply because they know and like what vinyl sounds like and CD doesn't quite sound like that. Basically CDs don't sound quite like records and a lot of people like the way records sound. The accuracy question is I think a red herring, because it doesn't actually sound real on either format, nor I think are many recording engineers/mastering engineers all that concerned with making it sound "real" ... they are more concerned with making it sound "good" (which is as subjective a measure as there can be). Neither are most people who listen to or buy recorded music and they never have been.
  13. Well no. Obviously. He didn't drive a Merc 600.
  14. De Gaulle could have got a Reliant Robin and saved some cash, but Reliant Robins don't fall into the category of tinpot dictator chic.
  15. A fine motor and another indicator of the fine automotive taste of 1960s and 70s tin pot dictators. De Gaulle had one of those . Amin definitely had a 600 as well though ... Ceausescu too.