BillD

Anyone have favorites to scare the little kiddies that come trick-or-treating? Of course, the classic is Johann Sebastian Bach's Toccata and Fugue in D minor, a great piece of music, and it deserves to be heard. It's become associated with Halloween as the ultimate example of spooky music mostly because it was used in all those old movies that featured mad organists playing their subterranean instruments beneath old opera buildings in the middle of the night. Another great album I play on Halloween is Witches Brew with Alexander Gibson conducting the New Symphony Orchestra of London.

Over in the Dark Tower, there has been some discussion about how computers were not fit to rip CDs. If you still go over there, you might want to read the thread, and the beginnings of this thread too, especially the excellent article by Robert Harley. Anyway, the discussions over there prompted me to post what has become known to some over there as "The Post"

I listened to some at the RMAF, and they sound nice. Compared to a lot of other speakers I listened to, they were a bargain, too. Consider, if you want to sell hardware, you need a reference speaker to compare it to. It seemed that those were Wilson Sophia (budget) speakers at only $12,000 a pair. When you're selling speakers, the sky's the limit . I saw plenty of 6-digit speakers.

Welcome, Bob. I know your posts will be of great interest to all of us here. Many followed the building of the CarverFest amps.

He's kind of an unusual guy, I understand, but he knows his stuff.

Welcome to the show.

My point is that bad music can be produced on any medium.

If it's on vinyl doesn't make it good.

Glad you decided to take the plunge.

I would have thought that the XM26 would be more your style, Rod. XM26

I swear by Rane's. The company was formed by Phase Linear guys. Another choice might be a Marchand.

I believe Scott (dyeraudio) and Mike (Rainman) on the other site have Linns. Scott has Keilidhs and Mike has Kabers.

Well, I know a little about isobaric hookups. You use two speakers in the same enclosure, either cone to magnet (stacked) in-phase, or magnet to magnet (back to back) out of phase. It keeps the chamber between the two speakers at the "same pressure" or isobaric. If they weren't, distortions would arise. Purportedly, you can double the output in the same size enclosure with this method (especially used in bass configurations. Here's some more info. http://forums.linn.co.uk/bb/printthread.php?tid=21

. You can probably get a used copy somewhere like Amazon

I have one (from the '70s) that I think is expired. Doesn't light a neon bulb.

Excuse my stupidity, but what is the Phoenix Audio Forum all about. What is its affiliation? Is there a like set of products behind the forum?

Welcome!

Do you consider ribbons planar transducers?

Actually, there are a lot of factors that are contributing to the decline of the music industry. Part of the blame is with the record producers that just couldn't see the digital revolution and fought it tooth and nail all the way. Napster played a part by distracting these folks from changing mode to protecting mode. Clearly the internet is where you will, in the future, get your music, liner notes, information on groups, etc. What is needed is a unfettered distribution channel for the music you want, in a format that suits your tendencies. I'd be willing to download an album in 24-bit 192kHz FLAC, and pay more for it than the guy that wants it in MP3. If either Amazon or the iTunes Music Store could negotiate with the labels for that, perhaps everything would be fine. But I don't see the labels budging off their press and print model — and so crappy music and piracy will prevail. I read Appetite for Self-Destruction by Steve Knopper. It lays it all out in there, and is an interesting read if you are into the history of the record labels and their heads, but a little tedious at times.

I think the word "impedance" is more general. Resistance (both electronically and dynamically) is typically linear. Impedance is a non-linear quantity varying with a number of factors (like frequency). The waveguide you are building will have properties that vary with frequency, also (like flow across an airfoil).

Aren't your walls made of adobe (). You shouldn't have range problems with the mini near where your main rig is.

I've found that conversion between lossless types is pretty easy, no matter what you choose. It seems the common denominator for PCs is WAV. For instance Apple can convert Apple lossless to WAV and vice versa. FLAC Frontend can convert FLAC to WAV, etc. Windows Media Player can convert WMA lossless to WAV. So, just choose a lossless format that's convenient for your organization tools, and don't worry. The most important thing is to have a good database for organizing your music, and a lossless format to store it into.

Well uncompressed AIFF is to Apple as WAV files are to PCs.

I ripped all my vinyl at 96kHz 24-bit (whereas CDs are 44.1kHz 16-bit). They can't necessarily play through lesser DACs, but can be stored in FLAC or WMV lossless or Apple lossless. I don't know why you would want to store uncompressed (WAV) in that compressed is decompressed to play and is identical to uncompressed, and you can tag it and associate album art with it.