Big World
That was live with a quiet audience, I think(?) Have to check the vault again.
Big World
Yes. In addition, it can take both 9" and 12" arms and the picture on the cover of the magazine showed it with a lovely 12" SME 3012 arm fitted.
To the 9" arm mount...
What was the one by Joe Jackson recorded in a real acoustic space? I have it on both LP and an early (not destroyed in the mastering) CD.
(Sound of leafing through the CD collection, Hmmm, What?... )
Found it! 'Body and Soul'.
My first cd actually, purchased in September 1985. To my ears it has always sounded good.A great album and superb (digital) recording which sounds better on vinyl IIRC.... I don't have it on vinyl but used to listen to it a lot at a mates many years ago and it was always stunning. Tried it on CD a year or so ago and it was nowhere near what I remembered.
My first cd actually, purchased in September 1985. To my ears it has always sounded good.
No, I was referring to my piano at home. My drumset, my guitar…
I want my speakers to reproduce them as faithfully as possible.
Tell me... how would one know when "accuracy" has been achieved?Quite the contrary, I think. Artificial recordings created in the studio represent "the art of recorded music" even more than the typical classical recording aesthetic. That is the reason why accuracy must be the ultimate goal in domestic hifi...
I thought everyone knew Yamaha are the accurate pianos, or was that Bosendorfer. I’m joking and was simply going to add that whilst many threads degenerate this one has got more interesting as it has gone along.I also play piano, so I’m sure you’ll have noticed that the sound as heard by the pianist is quite different to the sound the audience hears.
Also, I clearly don’t know what sort of piano you have, and you’re extremely fortunate if you have a 9’ Steinway or Fazioli (and if you do, my jealousy is boundless!). So I come back to my point which is that your idea of accuracy is only accuracy to your imagination as to the sound of the piano on the recording.
you leave yourself open to missing the ultimate point.
a really huge leap in loudspeaker technology (i.e. something entirely different from moving coil or electrostatic drivers, let alone anything in a tuned box). We are where we are.
Growing in the 70s and early 80s, I loved HiFi from a young age, my dad had a passion, so I guess I got it from him.
Reading the press in the Uk, Garrard 401 (idle driven) was bad, Linn LP12 was the best turntable, Japanese Direct Drive was ok, but belt driven and 3 point suspension was really the only way to go.
The Japanese couldn't make speakers (apart from the Yamaha NS1000m's) and Naim amplifiers were the only amplifiers to aspire to (Meridian and Exposure were thought of as ok).
Was it a complete conspiracy? Were Linn and Naim just better at the time? or better at marketing?
I remember buying an SME series 2 imp for next to nothing second hand, as that tonearm was seen as past it.
Now Garrards 401 (and the older 301) and SME arms change hands for eye-watering money, and while Linn and Naim have a strong following, I think most accept there was other good stuff around then.
Not so sure about the speaker question, though I have owned and enjoyed a pair of NS1000m's.
Thoughts?
in-ear monitors?
If only lp records had been set to spin at 42rpm, we might never have needed cd.42?
Tim
If only lp records had been set to spin at 42rpm, we might never have needed cd.
42 rpm would have created a more pressing need for CD, as it would have been even more difficult to fit Beethoven's ninth symphony into an LP box set. The only upside would have been to restrict further the length of prog rock silliness.
...Sound the same to me, anyway
To my mind a ‘perfect’ loudspeaker would be a single driver point source with definable/controllable dispersion (maybe even spherical), it would have a flat frequency response wider than 20Hz-20kHz, be low mass, high efficiency and small enough to be entertained in a home audio scenario. That has to be the theoretical ideal, and it isn’t even visible on the horizon. I would cite the ESL63 as the nearest anyone has ever got to achieving it.
IIRC Peter Walker did spend some time and thought on trying to devise a way to do what you describe. But in practice the closest he could get was the ESL63 to mimic it to some extent. Small speakers like LS3/5As tend to get some advantage from being physically small. But just like the ESL they can't do it all.
IIRC Peter Walker did spend some time and thought on trying to devise a way to do what you describe. But in practice the closest he could get was the ESL63 to mimic it to some extent. Small speakers like LS3/5As tend to get some advantage from being physically small. But just like the ESL they can't do it all.