As we all work through adapting to new social norms during this period, I got to thinking about how our expressions are masked by our … masks. My thoughts shifted to how we pick up visual and aural cues in general, and specifically with respect to music and hi-fi.
I was viewing an instructional video on developing guitar soloing techniques, and was struck by the parallels to audio design. In both pursuits, there’s a danger of trying to impress instead of focusing on fundamentals.
Steve Guttenberg interviewed one of my customers (Mark) who is a location sound engineer. My customers are some of the smartest and happiest people. Mark discusses his job, how it relates to his audio hobby, his system (including his hybrid Galibier turntable), and his generally happy approach to both life and his hi-fi.
But I like it (with apologies to the Rolling Stones) … We just returned from tuning a customer’s system – a visit which brought up the age-old discussion about the validity of dialing in your system with rock music.
We sold a customer some late stage prototype, Wind River speaker cables. He loved them, and asked us about our design approach and how we arrived at our current production cables. So here you go … 15 months’ development summarized in a few paragraphs.
In the second post in this series, I alluded to system issues that can fool you into thinking you have a setup problem with your turntable. I’ll cover a few of these situations in this post.
A few days ago, I wrote about musicans’ risk taking and how we make similar decisions when configuring and setting up our hi-fi systems. In this post I’d like to comment on some misunderstood setup parameters, and in the next one, I’ll cover system configuration. As I wrote earlier, I’m all about dynamics, tone color, …
Yesterday, I was searching for words to describe my system building approach to a customer. I started off with a description of attributes I consider to be non-negotiable – tone color, dynamics, transient speed, that sort of thing. The idea of risk-taking occurred to me …
And now for something completely different … auditioning DACs. Our neighbor, friend, and Positive-Feedback reviewer Lynn Olson brought over two Exasound DACs for this analog diehard to sample (pun intended). I’m a turntable designer, and many think of me as an analog only kind of fellow, but that couldn’t be further from the truth.
I’ve been thinking about guitar amplifiers lately, and their relationship to hi-fi amplifiers. The common “knowledge” is that they’re entirely different – with a guitar amplifier being a tone producer (even a “clean” jazz guitar amplifier) and a hi-fi amplifier being tone reproducer. Well, it’s not so simple …