Steely Dan Fan's victoryawards.us's Guestbook
6- sun ft come see us he STEREOPHILE SHOW In uineiie set VALLEY COLLEGE Accredited by NATTS Lankershim, No. . Ail shots, pp COMPUTER SWAP MEET jys. Every stereophile worth his salt is a member of NSA and receives the magazine. . Scene 5, where the persecuted young lady is about to meet Lankershim Blvd., North F.W. TREMBLEY, Box , Hialeah, FL ( conversion. Iso krust people, and I ended up meeting a lot of fantastic people found out that and Saturday, Lankershim. Boulevard Inext to the Soup Exchange) .. Fated in Stereophile magazine El Canto S7TA.
It's full of sonic wriggles and wavers and bumps. That's what I have been hearing-so far. The compressions themselves, again, are generally smooth and unnoticeable, even if they are there. I am beginning to see, after all these years, how it could be done. And I am beginning to suspect that the more recent manufacturers have figured it out. Maybe the impossible is no longer so impossible?? There are new ways to go at the problem.
But look a bit further into home listening. But it is not the only basis. If I know the normal hi fi owner, there is another aspect and you can guess what it is-the sheer pleasure of a versatile new way to play around with your fi, to suit your taste and show off your equipment, and to heck with studious mirror images.
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You can build up your loud music even louder, cut back the soft parts to a smooth whisper, increase the total impact by a whole new order, and all without lifting a finger.
Nothing new in this sort of pleasure! After all, your choice of volume level has always been free and variable all over the spectrum, except for practicalities like neighbors.
Some like it loud, some prefer the discreet don't I know. Myself, I've learned to like it loud and you'd be amazed how often I am asked You think I'm just a musician? Same thing for tone controls; mostly we do with them what sounds good. And how about space expansion, reverb, Audio Pulse? All these are adjustable creatively to your choice and not necessarily according to any acoustic - music original.
So why not dynamic range expansion too? This is a legitimate way to use a clever automatic circuit and I see no reason to be doubtful about it, if that is your taste. That's happening now with Onkyo's rtz-locked Tuning System.
Since Quartz - ed has proved to be about the bast tuning tem in the business, some big names are trying to equal our success. You might, of course, be better off if they did copy the Onkyo Quartz -Locked.
Then you'd have the system which Hirsch -Houck Labs said, " O'-kyo's Quartz -Locked Tuning System is control led by a Sentry Circuit which reacts tc your touch on the tunirg knob, unlocking Quartz -Locked when you ouch it for tuning; locking it when ou re ease the -nob. The system works through a quartz crystal controlled reference signal in constant comparison to the IF frequency. Of course, we've had Quartz -Locked in our labs for years before putting it on the market.
And, in the little more than a year it's been out, Quartz -Locked has made a name for itself And a few more Quartz -Licked zompo coming off the drawing board now. The best way to be sure of setting the Quartz - Locked system that set the stancard is to be sure i says "Onkyo Quarz -Locked Tuning System: NY Midwest Office: That, if you wish, is the musical wave of the future and a bigger factor in home hi fi than most of us care to admit. I am all for it, with only one reservation: For some of us, the two -stage expander remains a more important objective, factual compensation, as nearly as possible, for the alterations built into the musical signal.
A flatter mirror is all we want. And decidedly, this is a tougher task, though I think it is the one dearest to the hearts of those who design and build expanders. Music, acoustic music, the sound of music out of the original acoustic instrument, is still a major basis for audio reproduction and those of us who are concerned with this music are understandably leery of creative sonic extremes of any sort as the music comes forth in the home.
We are not literal minded. No symphony in the home can ever sound like a symphony in the hall, nor should it. But, there must always be a relationship for us between these two extremes, one that allows us to hear the sense of our music freely "through" the audio medium with that ever -necessary illu- soc The different distortion indicator The Input-Output Comparator IOC now available on Crown D A and DC A amplifiers is a significant departure from traditional clipping indicators.
The IOC reports all types of overload distortion by telling the user that the output waveform no longer matches the input waveform. The IOC is so sensitive that distortion is reported before it is audible.
In the feedback system used in Crown amplifiers, the input IC is continually comparing input and output waveforms. If there is a difference, indicating a non -linearity in the amplifier, the input IC generates a correction signal.
If the output is distorted from some cause other than overload for example, crossover distortion the correction signal will bring the output waveform into compliance with the input. Overload distortion, however, results from some circuit component operating beyond its linear range. The correction signal cannot change the characteristics of the component, so the input IC continues to generate a large correction signal.
This will happen regardless of the kind of overload-clipping, TIM or protection circuit activation. The IOC was designed by Crown engineers to take advantage of this behavior, and to use it to report significant information about distortion to the user of the amp.
The Crown IOC analyzes the correction signal and reports the existence of nonlinearities in the output waveform through a front -panel LED.
The IOC is highly sensitive and detects distortion that is a great deal less than the. The user is thus notified about distortion before it is audible. The user also knows that the Crown IOC is reporting distortion of a music waveform, not just a laboratory test signal. Maximum useable gain for the D A or DC A can be determined by adjusting gain so the front panel LED's stay off, or come on briefly during the highest music peaks. See your dealer soon for complete information about detecting distortion differently To go back to my start, yes, we can do OK without dynamic range expansion, for the most part, because the altered audio product, such as it is, has been very cleverly tailored to fit the living room.
Can we do more? No, we will never be able individually to match all those compressions with exact expansions, because we don't know which ones are there and how they work. That approach is hopeless. Not by a vast choice of different curves, either-a setting for every record company, broadcast network, disc cutting studio!
That would be like the old equalizations for records, before standardization. Computer Compransion Instead, I begin to see the way. By a modern statistical approach, maybe computer aided, of the sort we now do all the time.
An expander circuit that operates-my first thought-like a Gallup Poll. Not a literal compensation for all those compressions, but a statistically derived correction, accurate plus -or-minus, almost a prediction, taking sophisticated computer - account of a vast amount of known data-we do know the possible compressions. An expander circuit that would turn out to be right within acceptable limits, with only a few careful controls.
One falls into jargon in these things. But this is how it could be done, and maybe has been done. We have the two essentials. First the computer -type design techniques, the sort that have made incredible strides in the last decade.
Or worse, the systematic try -everything era. Multiply the old slow calculations by a thousandfold and you have what we have. Second, we can build the circuitry to match, also maybe a thousand times more sophisticated, yet practical for home equipment. Solid state, ICs, and all the rest. And all the music lovers. It has to be! All I have to do now is to hear it. Before Sound Guard, you only played a record in mint condition once.
Magnification shows the record vinyl wearing away. You can see how the picture has changed. With its patented dry - lubricant film, Sound Guard. And with its built-in, permanent antistatic property, it resists dust accumulation. And now, two new Sound Guard products: Sound Guard" record cleaner, developed from extensive research into record cleaning problems and Feco,o Sound Guard Record Preservation Kit methods, removes all common record contaminants-from dust particles to oily fingerprints.
And whether your records need a light cleaning to remove surface dust or a thorough cleaning to remove deep-seated contaminants, Sound Guard record cleaner does both.
Sound Guard" Total Record Care System puts Sound Guard record preservative and Sound Guard record cleaner in one packagefor the best possible total care for all of your records. Available in audio and record outlets. Sound Guard keeps your good sounds sounding good. In response to the Quadraphonic Clique letter in your "Dear Editor" column of June,I would like to say that my wife and I are the proud owners of two quadraphonic receivers.
We hope that quadraphonic will come back strong, and we both know that it has almost unlimited possibilities. Here in the Dallas -Fort Worth metroplex area, there are a large number of quadraphonic owners who despair at the limited number of records and tapes presently available. I discovered that I had made an error in the schematic for the Lux power amplifier which I reviewed in the November,issue of Audio.
Here is a partial schematic that shows the two spots where I did not note resistors. How about an article on the 10 worst performers of the year, done by your record reviewers? This would be a worthy addition at the end of each year. I like your magazine very much even though I don't subscribe to it. The reason I buy your magazine off the newsstand and not by subscription is the fact that we Canadians have the worst mail service in the world.
In fact, our postal service is not obligated to deliver the current issue until the next one arrives. William Dang Calgary, Alta. Murphy's Move Dear Sir: Hoge in which reference is made to an alleged statement by Mrs. Please be informed that Edsel Murphy, his family, and any future issue that may come forth from him, are the exclusive property of db Magazine.
We claim this by right, rather than copyright, since Edsel came to live here 'way back in May of and ever since has been proving to us just how correct his basic thesis is. We can only assume that his wife's appearance in Audio is yet one more manifestation of the pervasiveness of his law. In fact, I can only hope that Mrs. Murphy's appearance in your pages means that the Murphy clan has moved to Philadelphia.
I would like to inform builders of the Wide Bandwidth Preamplifier published last February in Audio of a power supply correction and a modification to the RIAA circuit which I recommend. First, the drawing of the regulated power supply published in the September issue was accidently missing two connection dots. There should have been a dot at the junction of R48, D1, C12, and the base of Q Similarly, a dot should have been at the junction of R49, D2, C14, and the base of Q Capacitors C11, C12, C13, and C14 should each have separate ground wires to the power supply main ground point.
The inductance of a common ground wire to these four capacitors can cause r. Do not use phone jacks for power supply connectors, they will cause Q11 and Q12 to blow when connected or disconnected.
Cl should be a physically small capacitor. In case the recommended circuit boards are not used, the leads to Cl and R3 should be as short as possible, and the network formed by these two components should not be routed close to any other components in the circuit.
It has been stated erroneously in literature mailed out in circuit board orders that a connection dot is missing in Figure 1 of the February article at the junction of R3 and the emitter of Q1. This should have been at the junction of R3 and the base of Ql.
Marshall Leach Georgia Ins. Speaker, appears without our consent or sanction. If you're listening to music with any of the other high -quality stereo phono cartridges on the market today. Something thaf s earned us unanimous praise from e owners: Perhaps the most unique feature of the e is its direct -coupled transducing system. Patent No Ur like conventional singe - pivot cartridges.
Twir pivots insure superior transient ability, enabling the e to accurately follow even the mast comp: As a result the cartridge boasts far: By dramatical''y reducing movirg mass. Low cartridge body weight. At less than half the weight of most high-erd cartridges.
Until now, an exact match between pnono cartridge and preamp or receiver input impedance was required for flat frequency response.
The es built-in passive microcircuit eliminates mismatzfn problems by automatically controlling output impedance, This microcircuit also makes -he cartridge immune from the effects of cable capacitance, so the e may be used with all types of tone arms - ever: Few contei nporary high-fidelity products have received such unanimous critica acclaim.
But don't take our word about why 2'e owners enjoy music more than you do: Or contact us for more information. To help you eva: For a postpaid J copy.
Peter Moncrieff advised us of the ad's content after he submitted it to you for publication. When we registered our strong objection, he apologized and promised to eliminate the reference from future advertisements, but said that it was too late to recall the one already submitted. We want to make it absolutely clear that the opinions we expressed in the cited article are those of the member who authored it, not of the Boston Audio Society. The Boston Audio Society makes no endorsements of any kind.
It does not endorse the conclusions of the cited article, and it does not endorse International Audio Review. Riggs, Editor The B. Box 7 Boston, Mass Editors Note: The display classified ad in question appeared in our November,issue, and was changed by Moncrieff for December.
Record Problems Dear Sir: The September issue of Audio featured an article about tape print - through. I would like to describe an interesting phenomenon that occurs with records. On many of my discs, I hear a pre -echo which is, to say the least, quite unpleasant.
A great deal of my records have this problem, but in most the level is low enough so that it doesn't really become annoying. This is just one of the many problems that records have. They also have sibilant "S" sounds, background noise, and poor sound quality in general. I used to think that some of these problems were due to my system, but after upgrading it with a more expensive cartridge arid carefully aligning it, the imperfections in my records became more apparent.
On the other hand, records on imported labels, especially Deutsche Grammophon and Philips, sounded great, Since American record companies have deemed fit to raise their list prices to the level of imports, they should have a product of at least equal quality. I feel that the record companies should try to improve the sound quality of their records to give some justification for their ever increasing prices.
Robert Herbin Yonkers, N. Lirpa Ecstasy Dear Sir: Believing as I do in adages, "Love thy neighbor but don't get caught" and "Do unto others and split," I am compelled to share a unique use of the Lirpa I with you.
I stumbled upon this quite by accident.
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He float like butterfly, He sting like bee, But the jokyo in Tokyo Is the ripoff to see. Shortly before the exhibition started, I connected the audio output of the TV set to the input of the Lirpa I. In so doing, the feedback from the Lirpa completely obliterated the TV picture.
Then I noted another improvement The hum could not be measured in dbs. But I can tell you it Hertz the ears. Because I have a low threshold of ooms as in Ram Dass ooms resistance, I went quickly into a trance -like state of bliss.
When I came out of the trance, the fight was over. It was the greatest Ali fight I have ever seen. I have also used this same TV- Lirpa hookup during the Mr. Claude Farnsworth Ill Racine Wis. Unexpected Expenditures Dear Sir: Several years ago I decided to take the plunge and make a considerable investment in audio gear. On the whole, I have been quite pleased with my decision. Recently, however, I have become aware of a problem which appears to plague most audio enthusiasts.
After giving me years of trouble free service, my equipment has now started to need repairs coincidentally, this appeared to occur just at the expiration of my warranty period.
This did not cause me any distress Despite the fact that I live some distance from a major urban area, I am able to obtain repairs for appliances, cars, etc. Not so with audio gear. One factory - authorized station wouldn't even look at my equipment until it had been in the shop for three weeks and they considered that generous. In and out repair times of six weeks are not unheard of. In addition, some manufacturers and distributors do not seem to be overly concerned about providing service.
One well-known manufacturer limited his communication to me to a toll -free line which told me where I might get service. In another situation, the turntable I am using has had three distributors in as many years, and the current distributor seems to be unconcerned about models he did not originally handle. Initially I was told that repairs were hard to obtain because the equipment was so complex.
I pointed out, however, that one model needed a new pilot light which could easily be replaced, while the other component had a mechanical problem. Besides, I doubt that audio equipment is much more complex than, say, a color TV. I cannot think of any other merchandise that is comparable in price, quality, and prestige which offers such shoddy warranty and repair service. This simply would not be tolerated in other industries. Since my own work requires dealing with closed-circuit TV equipment, I know from experience that service in this field is both fast and efficient.
Either audiophiles are overly meek about this situation, or the industry hasn't caught on to the fact that his kind of dis -service either has or will nullify most of the advertising thrown at us.
I feel that the number of repair service facilities and the typical repair time for a hi-fi component should be studied by a publication such as yours. Kingsley Apple Creek, O.
We currently have in house an article examining the service practices and attitudes about warrantees of various major brand service managers and service facilities. While it appears that most audio buffs experience substantially better service than has Mr. Kingsley, it does appear that there are several steps which can be taken by the consumer which will lead to better and quicker repairs. We anticipate that the article will be published early this year. Now the 3 -Head Fisher CR makes it professional.
Its superior flexibility and performance are comparable only to the most sophisticated reel-to-reel tape decks. The only way to make consistently perfect high fidelity recordings is to compare the quality of the taped signal to the original while the tape is actually being made.
Studio engineers call this "monitoring," and it can only be accomplished on a 3 -head tape deck. Monitoring subjects every inch of tape to instantaneous analysis by the most sensitive acoustic device available-the human ear-assuring a perfect "take" without guesswork.
These compromises, although accepted by the industry, were not acceptable to Fisher engineers. They created the CR, a major advancement in cassette deck technology utilizing three separate, precision long -life ferrite tape heads: The result is sound recorded on the CR is exactly like the original. Professional recording requires tape alignment exactly perpendicular to the tape heads. Both capstans are micro -ground for absolute concentricity; and each is fitted with a heavy, dynamically balanced flywheel for smooth operation.
It was an exercise in self-reliance, and being able to work by myself and not having to rely on other people and their schedules. When Donald and I were first writing songs, we used to share leads. But when we got into the studio, I had trouble singing in tune. I have a low range; plus, I was smoking very heavily. At some point, you have to decide whether you're going to sing or smoke.
I decided I was going to smoke. I didn't really have to invent a singing style out of whole cloth. Singing in concert last year taught me a lot, especially about my limitations as a singer. I was kind of lucky when it came time to sing on "11 Tracks" that, through the passage of time and from singing on tour last summer, my voice had kind of aged, it had a little bit of a sheen. It was kind of a ruin by the time I got around to singing these songs; it had a kind of falling-apart quality that is maybe interesting.
Q- Tell us about "Down in the Bottom. He was having this relationship with a woman and he withheld some essential part of himself in a really obnoxious way. That song started from that and I just elaborated various other characters out of it. I had written this little poem about the immediate aftermath of something like that.
How you're caught up in a mixture of the mundane things that need to be attended to; and this vast, yawning gap in your life where this person used to be. When this actually happened, they had a little service for this guy, where the Tibetan lama who lives in the town I live in, came and made a little speech We later recorded with four lamas. We played the thing back and the pitch was right in tune with the track and it had a rhythmic relationship with the track as well.
Like I say, I guess the evidence is there that I want to continue to write unusual songs. Q- "Little Kawai" isn't something most people would expect from Walter Becker. A- I liked the fact that the "Little Kawai" song, that's the last song in the world we would have written for or included on a Steely Dan album.
I thought that putting it on would be a sort of test of courage. Besides, my wife and my kid son Kawai had heard it, and I felt I would gain brownie points from here to eternity if I put the thing on there.
Q- So what are you going to do after the tour? A- I've been kind of stalling my wife on a couple of things. You know, that cabinet in the kitchen, the door is hanging by its last screw and the lawn is in kind of bad shape. Q- Will there ever be a new Steely Dan studio album?
A- It's a thinking in our eyes at this point-and a slight additional bounce in our step. Of course you never know. It wouldn't be the first time we'd talked about something and not done it. Not sure about the Candy Store - maybe on 10th - but 9th is P. Now is also houses a day-care center. Avenue C is the latest gent center here. A recent NY Times article - last Sunday? Saturday nights Avenue C is overcrowded with NYU students in bars and clubs - some very nice restaurants as well, underground hip-hop clubs.
Haven't bought anything around there in quite some time my sumo wrestling gig is quite demanding. But of course, it's all about delivery, delivery, delivery. I do know a story about a guy who tried to unload 4 lbs to a stranger through an apartment on B. He thought he was getting acid in exchange. Glad you like the Manhattan stories and am also glad we kicked your ass out. It's really for those who can take it. Just saw this news today: The Associated Press Updated: After many years of touring he settled in Wilton in Many in town knew Price as a loving father who never missed his son's baseball, soccer or basketball games.
Fewer people knew of Price's musical background. In recent years, Price concentrated on his blues projects, cutting several CDs and giving private guitar lessons at his home. This town is lousy with stacks of movie scripts a mile high which have been both copyrighted as well as registered with the Writers' Guild.
ASCAP might be able to help as well. Girlfriendask anything Paulygon, someone here surely can answer your question. Such an erudite group Stevee, honey, that was just a general life observation and not directed at anyone in particular.
For example, I wanted to put a 1: The sound of 11TOW is clearly influenced by the raw acid jazz sound these guys had when Becker was producing their albums in the early 90s. Got the Foghat LA ticket today.
s ie e - American Radio History
I never said I knew how to get back to town from Connecticut, honey. But we did have a nice cocktail at that Italian joint so it wasn't a total loss. How we manged to cross the Hudson twice and end up in town is still a little cloudy Jeez, ygk, you reminded me of the funniest thing, there was a place on either 9th or 10th between 1st and A we called, "The Candy Store.
But I'll never forget the weekend a chum of mine went over and there was a cardboard sign up which read, "2 for 1 Sale. Oh it was bad. We had to eventually sift it out and bake it all in a Betty Crocker coffee cake. So "throw down" some mushrooms and "joint" me tonight in America's finest city. Be quick, don't hurry! SteveeDanWho you callin' fool, fool? Maybe you mistook my meaning when I referred to whom might be the lesser of the two in Steely Dan.
Some people not me have mentioned from time to time that they think that Fagen was the stronger half of the collaboration. I was not voicing my own opinion. If you read the entire post about 11TOW you might have noticed that it was in praise of Becker solo effort. A world become one, of salads and sun W1P - I caught that.
Rajah and Gretchen - as usual Scary can be good.