[quote=Luddite]My Bro in law had a pair of Linn Isobarik with a valve pre-amp and of course a Linn plater of sorts with all the attendant then top end kit... He same age as myself bought an LP every weekend from age 14, and when CD`s came along he was buying up all the LP`s almost by the box load for not much money, thus ended up with a loft full of vinyl, though the Isobarik`s were the thing that really impressed given the amount of air they are bound to shift when a big base not comes into play...?[quote]
I have a set of those here at the moment. They have had replacement drivers which were a swine to find. Driven by an active triple amp system. They do indeed make the house shake. Not the most transparent source but they kick some big bottom. Always loved ESL's but was a bass freak from an early age. Bass-o-matic Fascinating Rhythm cracked a window pane.
Everyone loves a Morgan. Even me, unless it's broken again.
. I'm an absolute heathen - I play music from my phone through a bluetooth speaker
That's easily the commonest way I listen to music, too. Currently I've got Radio Paradise Mellow Mix on. Norah Jones is waiting for me to 'come on home and turn me on'. Now there's a thought...
Tim H. 1986 4/4 VVTi Sport, 2002 LR Defender, 2022 Mini Cooper SE
As long as the music in the car is loud enough to discourage the Nagivator from persistent chatter, I don’t really notice the quality any more. And when I am on my own, I turn it up louder. Is this a symptom of the deterioration of my hearing or the cause? #askingforafriend
Paul Costock, UK 2014 4/4 Rolls Royce Garnet Red Disco 5 Teddy - 17h1 Irish Draught cross
My volume control is the two doors on the front of the machine and you can change the direction of the music by moving the output trumpet around. Power is supplied by hand rotation of a crank before playing.
True sound? There are so many different types of recording though. A typical classical recording is trying to supply the sound of a live orchestra, for instance. But a typical multitracied pop recording isn't doing that at all. All the soundstage illusion is constructed by the engineer; placing of instruments etc. But if we accept that the master is the final output of an artist/engineer combined effort, then surely the flatter the response of the home reproduction equipment the better, if you don't want to stray far from that master. My old Quad 303 had a form of tone controls, but they weren't designed for the listener's taste but to adjust for the the listening room.
Howard, you say "everything gets better, technology triumphs" but I thoroughly disagree. The mp3s you mention followed directly from CD. In every way from cursory listening to detailed measurements, they are showably worse. Convenience won out, not audibility. It's rather like the chap I was once with who was a posture expert. He said, remember that any chair you sit on in a public venue has been designed to fold and/or stack efficiently, not to hold you properly.
Nick
MP3s are not lossless compression. They are in fact quite lossy. Modern recordings will be made in most cases on digital equipment to allow for adjustments as have been described. The finished "product" whether studio or live is surely digital but correct me if I am wrong. Playing this at home after it has been losslessly compressed has to be the nearest thing to what was intended. Putting into the mix crude old technology like vinyl , and why vinyl and not wax, plus thermionic valve amplifiers is at best altering what the studio put out.. As indeed you say in your first paragraph.
As for " you say "everything gets better, technology triumphs" but I thoroughly disagree" I give you trad Morgan suspension and brakes. Not to mention chassis and waterproofing.
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