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#201
Posted to rec.audio.tubes,uk.rec.audio,rec.audio.opinion
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Intelligence and RIAA
On May 20, 4:54 pm, "west" wrote:
True, there must be someone quite clever behind it... but I seriously doubt that the persona we observe here is anything at all like that actual individual. So, whereas I may not *like* you, I must respect you. McCoy I neither like nor dislike as I do not believe there is an actual "there" to deserve such efforts. Tweaking it is great fun, however. Somehow that paragraph seems internally inconsistent. If "Andre" is nothing but a chimera as you believe, but as you say "there must be someone quite clever behind it", then that person would be an actual "there", deserving of either your like or dislike. Regards, John Byrns -- Surf my web pages at, http://fmamradios.com/ Logic chopping. Your specialty. I would like to believe that the entity behind "the real McCoy" is having as much fun as I do, or at least one hopes so. The alternative is too sad to contemplate... again leaving no room for "like" or "dislike"... as the entity is simply not worth it. If my contention is true, perhaps grudging admiration... but not dislike. Dislike I reserve for those worthy of such efforts. Peter Wieck Wyncote, PA Did you forget the email you recently sent me saying how you truly hate me and McCoy? Realizing that you are totally whipped and undressed for all to see, you try to temper your loosing position. Now there's only 2 things I don't like about you ... and that's your face. UOOContempt - Hide quoted text - - Show quoted text -- Hide quoted text - - Show quoted text - You poor, sad, benighted idiot. Neither you nor your idol are worth the effort of hate. And let the record show that I have stated that repeatedly. It is the behavior of a Timmee-in-training to make up facts and opinions when the reality is unsatisfying for their wasted needs. Contempt at best, hatred I reserve for those who actually deserve it... and neither of you even distantly approach that condition. Peter Wieck Wyncote, PA |
#202
Posted to rec.audio.tubes
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Intelligence and RIAA
On May 18, 9:06 pm, "Henry Pasternack" wrote:
"Andre Jute" wrote in ooglegroups.com... ...silicon amps from c10W to 150W, either of my own design and construction... I'd be interested to see some pictures and schematics, and to hear design details. -Henry Don't hold your breath. Peter Wieck Wyncote, PA |
#203
Posted to rec.audio.tubes,uk.rec.audio,rec.audio.opinion
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Intelligence and RIAA
On May 20, 5:54 pm, "west" wrote:
Did you forget the email you recently sent me saying how you truly hate me and McCoy? Realizing that you are totally whipped and undressed for all to see, you try to temper your loosing position. Now there's only 2 things I don't like about you ... and that's your face. Perhaps the curious in the group might like to see your e-mail to me together with my two replies.... __________________________________________________ _ Your note: This is exactly the kind of garbage spewing that Iain so kindly asked for you to stop. My skin is thick so you're only making yourself look foolish. But you are most likely being sucessful at chasing away those learned posters who shy away from this Ng because of ppl like you. So many have already left as Mr. Churches aptly pointed out. Rodents are missing a wealth of information because of it. Please clean up your act. Try to control yourself. If you feel that you just have to get it out of your system, perhaps you can send it via private email. Cordially, west ----- Original Message ----- From: Peter Wieck Newsgroups: rec.audio.tubes Sent: Sunday, May 06, 2007 9:53 PM Subject: Caring For Your LPs On May 6, 7:11 pm, "west" wrote: I would like some practical advice on how to clean and care for my LPs. A colleague told me he just uses soap and water. I don't think that this is a good idea especially because the water in Florida is very hard. I owned a VPI 16 that bit the dust a few years ago. Looking at some of the prices for auto cleaning machines and the various specialized fluids seem outlandish. Yet some of my records are (to me) irreplaceable. How do you care for your vinyl? Thanks in advance. Cordially, west Oh, for krissakes.... There is so damned much good information out there on the care and feeding of vinyl that for you to ask such a question without doing the primary research yourself is irresponsible, lazy and just plain stupid. For one claiming to have daughters 'who went on to West Point' (dubious at best.... especially the daughter part... making you a parent... YIKES!), that would require that you are old enough to be of the vinyl generation at least towards its end. And, at the end of the vinyl generation, its care and feeding was pretty sophisticated. Meaning you are being disingenuous at best. So, give it a rest and do some real work for once. Start with the obvious. Start with the most basic implications of the species. a) keep the records clean. Scrupulously clean. b) do not play them more than once in 24 hours. Can you guess why? I doubt it. c) keep them free of static to the extent possible. d) use the proper stylus. e) make damned sure that the stylus is in good condition. f) track at the proper force. g) use the best damned tone-arm you can afford, preferably linear. After that, there isn't a whole helluvalot more to do about it. And, for the record, "Young professional" and "daughters went on to West Point" are mutually exclusive. So, which is it? Peter Wieck Wyncote, PA _____________________________________________ Reply 1: With all due respect, you are a fool. Worse, you are an obtuse fool with the insight of a warthog. For all your puling, whining, claims of sensitivity and attempts at cleverness, until you think before you "send", you will continue to be a fool. It is quite rare that I engage in no-holds-barred vituperation and invective, but if ever there were a coterie of smug little idiots, it would be you and your idol, and the accretion of vermin that buzz about you. The saddest part about the entire situation is that between the group of you, there is not enough genuine knowledge of tube lore or the care and feeding of tube equipment to support a one-tube Crosley Pup radio. You deserve what you get, you ask for it, you revel in it, so quit bitching when it happens. Peter Wieck ________________________________________________ Reply 2: Of course, if you actually want to learn something about vintage equipment, audio and otherwise, and you stop feeling sorry for yourself long enough to do something about it: http://www.dvhrc.org/gallery06.cfm http://www.renningers.com/kutzradio.htm .... would be a worthwhile endeavor for you. Lots of material, parts, information, tubes, caps, bits, pieces dibs and dabs, bits and bobs. And a lot of equipment. I run a diagnostic clinic, others with design and production expertise and DEEP knowledge of tube lore from its very roots are in attendance and more than willing to talk, help, give advice, even hands-on help... all without the slighest need to blow their own horns or pontificate about their former years as an advisor to heads of state.... And later on this crew will swap tales and save the world over a bottle of good single-malt... or cheap beer, or bottled water, whatever works. Patrick Turner would be right at home; Andre(w) would be first laughed at, then ignored. Were it to persist, finally ridden out on a rail. Keep in mind that the art of tubes has not advanced in 40 years other than around the edges. So a good grounding in essential designs and successful executions of these designs is imperative if you wish to move forward in the hobby. Which is why I have suggested on several occasions that you start with something basic and well-understood, such as a Dyna 70 or similar and rebuild it to the many permutations and combinations of designs that are out there and made for it. Get those under your belt and much will become clear. Better yet, start with a simple 5-tube, no-transformer radio. Rebuild that back to the best it can be, and you will have learned: Amplification, rF reception, feedback circuitry, transformer (output) matching and loading, alignment, the effect of capacitor sizes on tone, lead dressing, hum-loops.... all with five little (cheap) tubes. Basic sh*t that without it being part of your thinking process will trip you every time if ignored. Too often, one behaves as your idol expecting a design to spring like Athena fully armored from its fevered brow. And that sort of thinking is incredibly dangerous... as well as being a singularly powerful and attractive force of ignorance. You need to get out more. Peter Wieck _____________________________________________ Nothing much about hatred... just an abiding contempt, but some hope that you might break the thrall McCoy has over you and start thinking for yourself... little hope of that. Peter Wieck Wyncote, PA |
#204
Posted to rec.audio.tubes
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Intelligence and RIAA
"Henry Pasternack" wrote in message ... "John Byrns" wrote in message ... You are making the wrong measurement, the relevant measurement for this discussion is the input to the combination of the cutting amp and "RIAA" equalizer vs. the amplitude, a.k.a. displacement, of the signal actually cut into the grooves of the LP. I think that if you make this measurement it will give you a different perspective on how LP records actually work. The train is leaving the station, Andre, Arny, Chris, Eiron, and Ian are already on board, you wouldn't want to be left behind, you don't want to have people thinking you have an incomplete knowledge of LP cutting. :-) Hmmm. I guess I'll have to take the next train. I agree that the shelf in the RIAA curve reduces HF groove amplitude by about 12dB. On the other hand, there is nothing to prevent transcribing discs with no cutting head equalization at all. The resulting discs could be played back flat with an unequalized phono preamplifier. Compared to a flat system, equalization gives improved dynamic range and HF signal-to- noise. This is precisely the purpose and definition of recording "emphasis." Hello Henry. As I mentioned elsewhere this thread, I have the possibility to cut such a lacquer in precisely the way you describe above, with the record EQ switched flat. My colleagues in broadcast seem mostly of the opinion that MM cartridge has a flat response, and so replaying this disc with an inverter box in the chain to cancel out the replay equalisation, will result in correct reproduction. A benefit will also be the ability to cut a lot "hotter" without the restriction of the rising HF curve in the recording. Total side time will of course be greatly reduced as the LF will take up more lateral. Cordially, Iain |
#205
Posted to rec.audio.tubes
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Intelligence and RIAA
"John Byrns" wrote in message ... The train is leaving the station, Andre, Arny, Chris, Eiron, and Ian are already on board, you wouldn't want to be left behind, you don't want to have people thinking you have an incomplete knowledge of LP cutting. :-) Hello John Pleasant company indeed. But maybe I will wait for the limo:-) I wonder how many others here have actually cut discs professionally as a part of their record industry training? It is such a complex subject that no-one has a complete knowledge. Several pros to whom I have spoken have mentioned think that an MM pickup has a flat response, and so the LF lift and treble cut in the RIAA replay curve is purely to cancel the equalisation imposed by the record curve on cutting (the purpose of which is to reduce the LF and thus the lateral modulation, and also to lift the HF which will then be reduced taking surface noise down with it, on replay) We plan to cut a disc with no RIAA record correction, and replay it with no RIAA replay correction. This is easily done, because most cutting amps have a built-in reverse network which is switched in for alignment. You then set the EQ for a flat response. If you leave the network inserted, you get a flat record characteristic. It should be possible to cut a brighter but somewhat shorter side than is normally possible. regards Iain |
#206
Posted to rec.audio.tubes
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Intelligence and RIAA
In article i,
"Iain Churches" wrote: "John Byrns" wrote in message ... The train is leaving the station, Andre, Arny, Chris, Eiron, and Ian are already on board, you wouldn't want to be left behind, you don't want to have people thinking you have an incomplete knowledge of LP cutting. :-) Hello John Pleasant company indeed. But maybe I will wait for the limo:-) I wonder how many others here have actually cut discs professionally as a part of their record industry training? It is such a complex subject that no-one has a complete knowledge. Several pros to whom I have spoken have mentioned think that an MM pickup has a flat response, and so the LF lift and treble cut in the RIAA replay curve is purely to cancel the equalisation imposed by the record curve on cutting (the purpose of which is to reduce the LF and thus the lateral modulation, and also to lift the HF which will then be reduced taking surface noise down with it, on replay) We plan to cut a disc with no RIAA record correction, and replay it with no RIAA replay correction. This is easily done, because most cutting amps have a built-in reverse network which is switched in for alignment. You then set the EQ for a flat response. If you leave the network inserted, you get a flat record characteristic. It should be possible to cut a brighter but somewhat shorter side than is normally possible. Ah, but the crux of the matter is how you define "a flat record characteristic", it all depends on your Point Of View and whether you are talking flat velocity, or flat amplitude response. Obviously you are talking flat velocity response. Having worked as a professional in a phonograph factory making phonographs that audiophiles would look down their noses at, I find the amplitude centric view more useful. Both views are equally valid, the problem is that people, like the "pros" you have spoken to, speak of "flat" response without making clear their frame of reference. While one can reasonably assume that a recording "pro" is talking about velocity response, things can get a we bit confusing when they start talking about "amplitude" when what they really mean is the magnitude of the velocity. Regards, John Byrns -- Surf my web pages at, http://fmamradios.com/ |
#207
Posted to rec.audio.tubes,uk.rec.audio,rec.audio.opinion
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Intelligence and RIAA
How can you be such an ASS and say that amplitude and frequency are
analogous? You have to be a total clueless idiot to even think along those lines. Perhaps you were better off with Heath-Kits. west "Eeyore" wrote in message ... John Byrns wrote: Peter Wieck wrote: John: Whoops: http://www.graniteaudio.com/phono/page5.html should get you there. For the record: Whatever positions and suppositions you may take, and from whatever point of view, whichever cutting head and system, the actual subject-at-hand is the *present* RIAA Curve as practiced each day. This is presumably a fixed value both on recording and playback. That curve is at the bottom of the article. The Bass Boost and the Treble Cut on playback cross the Bass Cut and Treble Boost on recording at ~1.2Khz.... not quite what you are writing. References are at the bottom of the article. Peter, this article assumes that a "magnetic" pickup is being used to reproduce the LP. "Magnetic" pickups do not respond directly to the amplitude of the signal recorded in the LP's grooves and requires compensation. Let me attempt to explain, I'm going to assume that you have some knowledge of math and know what differentiation is. Why makes it so complicated ? The magnetic pickup responds not just to the amplitude of the signal in the groove but it's rate of change too. So a signal of the same amplitude on the disc at say 2kHz will produce a voltage at the pickup that's twice what it would be at 1kHz. Graham |
#208
Posted to rec.audio.tubes,uk.rec.audio,rec.audio.opinion
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Intelligence and RIAA
In article .com,
Peter Wieck wrote: On May 20, 5:54 pm, "west" wrote: Did you forget the email you recently sent me saying how you truly hate me and McCoy? Realizing that you are totally whipped and undressed for all to see, you try to temper your loosing position. Now there's only 2 things I don't like about you ... and that's your face. Perhaps the curious in the group might like to see your e-mail to me together with my two replies.... __________________________________________________ _ Your note: This is exactly the kind of garbage spewing that Iain so kindly asked for you to stop. My skin is thick so you're only making yourself look foolish. But you are most likely being sucessful at chasing away those learned posters who shy away from this Ng because of ppl like you. So many have already left as Mr. Churches aptly pointed out. Rodents are missing a wealth of information because of it. It's a theme Iain Churches likes to propagate. I've not seen any indication of it, though. This wealth of talent waiting in the sidelines for better behavoir. -- *El nino made me do it Dave Plowman London SW To e-mail, change noise into sound. |
#209
Posted to rec.audio.tubes,uk.rec.audio,rec.audio.opinion
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Intelligence and RIAA
west wrote: How can you be such an ASS and say that amplitude and frequency are analogous? Jeez. How can you be so stupid as to think that's what I said. |
#210
Posted to rec.audio.tubes,uk.rec.audio,rec.audio.opinion
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Intelligence and RIAA
Poopie said: How can you be such an ASS and say that amplitude and frequency are analogous? How can you be so stupid as to think that's what I said. To be fair, Poopie, you do say a lot of stupid things. -- Krooscience: The antidote to education, experience, and excellence. |
#211
Posted to rec.audio.tubes,uk.rec.audio,rec.audio.opinion
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Intelligence and RIAA
west wrote:
How can you be such an ASS and say that amplitude and frequency are analogous? You have to be a total clueless idiot to even think along those lines. Perhaps you were better off with Heath-Kits. He didn't. Read it again. Ian |
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