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The diary entries of a little girl in her 30s! ~ Part 2 - Page 60  

post #886 of 21760
Quote:
Originally Posted by ardgedee View Post  Hah. First time I've ever seen a 10 driver cIEM for sale. I don't really know what to think about that. I hope whomever buys them has large ears.

 

Not really. These take up as much room as a JH16, since a 4400 is tiny and only about half the size of a TWFK/DFK. The other drivers are basically the same size as the ones on the JH16.

post #887 of 21760
Thread Starter 
Quote:
Originally Posted by ardgedee View Post

 

Hah. First time I've ever seen a 10 driver cIEM for sale. I don't really know what to think about that. I hope whomever buys them has large ears.

 

At that point in time, Unique Melody would make whatever the hell you wanted, provided you bankrolled it. Now they'll refuse any kind of wild request like that. A shame.

 

Still, it means there's little to no guarantee the people who commissioned that had any idea as to what they were doing. It could very well sound like complete ass. I mean, just take a gander at the FR and that peak. Yikes.

post #888 of 21760
Quote:
Originally Posted by DigitalFreak View Post


You seem to be really unsure about the ALO MKIII. I'm rather surprised, everyone else says its a killer amp and right now it's one of the top amps amongst users on the forums

 

Regardless of how it sounds I'm always a bit put off by how terrible the potentiometer is: imbalanced until 1:45(ish), abruptly high gain from there until 4, and then no perceivable gain from 9 onwards.  The knob at least feels solid, though.  I'm never afraid of it accidentally brushing up against something and blasting me like my HP-P1 has*

 

As for the sound: it really is detailed, more so than any other portable thing I own, and I enjoy it for that, but in a good portion of my music I hear this strange tonality I don't get with other portable amps.  Oddly enough, though, I'm not having the hiss problems I was when I first got it, so I don't think it's noise on the amp's part, but maybe less flattering aspects of my tracks.  I think a lot of people auditioned them with headphones like the LCD-3 and really well mastered stuff.  And, while I bet it sounds great in that scenario, I don't buy portable amps to pair with giant delicate headphones I'd never leave the house with. 

 

 

^ I find the idea of taking my LCD-2's out in the rain absurd.

 

* I noticed in an ep. of Head-Fi TV (Japan, I think?) that someone had put a little rubber band around the base of theirs, probably due to this looseness.  I should probably do that.

 


 

I'm finding myself oddly tempted by the Sennheiser Momentum (I refuse to caps lock it).  I almost sent a PM for that pair in the FS section, but idk...  If they were on Amazon or something I probably would have bought a pair by now, but Sennheiser seems ever inept at making their new portable stuff available anywhere I actually buy things.  I'd also like better looking Edition 8's as I regret buying the Palladiums instead of the LE's now, but that's way more money and I'd be taking a gamble on the sound.

 

The Signature Pro's are really nice headpones; I should just be happy with them.

 

-Edit-

 

Actually, **** it, I sent that guy a PM.  Someone else did before me, though, so I don't know if I'll get them or not.

 


 

Gaming stuff:

 

I bought the HD versions of Jet Set Radio and Tony Hawk's Pro Skater off of Steam last night.  Neither look great, but a lot better than their original versions would upscaled. 

 

Tony Hawk's music is pretty damn embarrassing at times and you can't manually change it in the menu or anything. I don't know if it's the original music and I was just really lame in the 90's or if it's just new and terrible.  Jet Set's music is all of the original soundtrack as far as I can tell.  The best part of the game is using the tag editor to put in real gang signs.  I was role playing as a Two Six with beef against the Latin Kings.  It was funny until the game crashed for no reason.  Thanks Sega.


Edited by driver 8 - 9/20/12 at 9:43am
post #889 of 21760
Thread Starter 

Dear Diary,

 

I've been feeling like crap the last few days; I think I have a stomach bug.

 

Is there a specific name for the genre where Mexican wrestlers battle Satan and his minions? This was always something I found delightful, the idea that it was their specific commission to suplex vampires in the name of God. On the one hand they're famous amongst the villagers; on the other hand they're masked heros, and so they sort of embody that idea of humble charity.

 

 

 

 

 

 

 

* * * * * * *

 

This morning I've been listening to Fleet Foxes and Nels Cline. I'd like to specifically mention Nels Cline's album Coward, which is simply fantastic. I was hoping to share "The Nomad's Home" or "Rod Poole's Gradual Ascent to Heaven," but the selections were a bit limited. Here's a good'n none the less.

 

 

Also had the urge to listen to Ruins this morning. It's been a while. This was a band I discovered in college which subsequently became the object for something of an intellectual crush of mine. Sort of like US Maple. Anyway, the band was the brainchild of lunatic drummer Yoshida Tatsuya and featured three different bassists over the course of its life; the core of Ruins always consisted of the duo of bass and drums, however. Its style is a little hard to articulate, but it takes cues from both punk and prog rock. The sound is raw, but the playing is refined. The instrumentation is constant, but the tempo is ever-changing. It's both primitive and startling complex, simple in its bi-instrumental directness but often sounding like an entire band. As far as I'm aware, they've never used overdubs and any layering going on in the tracks is recorded as-is through the use of pedals, a feat they have in fact replicated live numerous times. 

 

Of course, complexity for its own sake gets tiring---and indeed they're a rather fatiguing listen if one isn't in the right frame of mind---however Ruins manages to convey a certain primitivism as I mentioned before. They sound like the sort of music to which progressive dinosaurs would listen, or perhaps the celebratory expulsions of some ancient race that time has shrouded in obscurity. Interestingly [to me], one of Yoshida's quirks is his obsession with rock (the natural material, not the genre) in both its natural state and its use in ancient monuments. Given the frenetic sound of his drumming, it seems rather oxymoronic for him to fixate on something so stationary and consistent. It is brute solidity, stubborn in its resistance to change. However within the rock there is the potential for many different forms despite its outward simplicity, the potential for an impressive monument or structure of some sort. Yet the material itself is consistent, and similarly while a song's structure is ever-changing, that potential itself becomes a constant. There is an enigmatic center that resists deconstruction, a certain primordial wholeness. Yoshida is intrigued by the chaotic potentiality of a self-consistency that veers wildly when actuated, much like a rock caught up in a landslide.

 

That irreducible center is perhaps my favorite aspect of Ruins, and it results in a sense of sheer otherness. Like the prog-band Magma (one of Yoshida's inspirations), one is getting a glimpse of an imaginary civilization through a keyhole. Like Magma, Yoshida sings in a language of his own invention. His song titles are mostly nonsensicle fabrications of this sort. He takes it over-the-edge however by singing in a falsetto half the time, giving their sound something of an operatic or highly dramatic vibe.

 

 

 

* * * * * * *

 

Most of my listening recently has been done on the SR-009 + Liquid Lightning combo. It's truly a fantastic pairing, and at the moment I'm on the fence between getting the last available unit or waiting for the next run in February. I'd get a bit of a discount, as it's technically refurbished, having had some issues with its internals that were subsequently repaired and tested for a week or so; otherwise it's in like-new condition. Still, I'm not sure whether I'm entirely comfortable with that. Additionally I'm planning on pre-ordering the Electra as soon as the list opens up, and my finger is hovering over the "add to cart" button which would place a deposit on the Blue Hawaii SE as well. The latter two will take a while to materialize, so the LL (with the second jack biased for Sennheisers...) would serve as my primary amp for a while. Waiting until February would be a bit of a bummer, though I wouldn't want to rush in just because of this.

 

 

 

 

As far as dynamic amps go I'm a little hesitant with regard to the Manley Neo-Classic 300B, as I've read conflicting things about its noise floor. The Balancing Act with PX4 tubes is still my top choice. I must really being going mad, or rather slipping deeper into the undertow of dimension, as I've been thinking about the Apex Pinnacle lately as well.

 

 

It uses PX4s as well, and I think it predates the Balancing Act in that regard. It's roughly twice the price of the Balancing Act however.

 

* * * * * * *

 

The other day I discovered a little mini-comic on the Tumblr of an artist named Kat Leyh. It's titled "Pancakes" and presents a vignette of two super heros who are dating each other. There's no other context beyond this single 7-page comic and a few ancillary concept sketches. It's a self-contained world, and yet it's utterly enticing in my opinion. Sort of reminds me of Demo, one of my favorite comic series of all time, where each of the 12 issues was a standalone art piece and storyline, kind of like voyeuristic look into something already in progress.

 

 

 

In the case of "Pancakes," the tone is lighthearted and playful rather than bittersweet like Demo usually was. There are, however, subtle hints of more emotional depth to the characters. Part of me thinks this snapshot is perfect unto itself and shouldn't be expanded upon; yet another part of me, the more self indulgent and less aesthetically particular part, wants to see MOAR PLZ.

 

 

 

 

^ Click for a larger viewing size.

 

 

Speaking of comics, I'm growing pretty fond of my sharksona (or "denticle-sona" as Maverick calls it lol). My friend has been doodling her a lot recently and has taken to giving her an overbite, which I think looks endearingly dorky on a shark-person. Of course I could just be biased since I have a slight overbite IRL.

 

 

XoXo

post #890 of 21760
The luchadores movie is probably a homage to El Santo: http://en.wikipedia.org/wiki/El_Santo
post #891 of 21760
Thread Starter 
Quote:
Originally Posted by billybob_jcv View Post

The luchadores movie is probably a homage to El Santo: http://en.wikipedia.org/wiki/El_Santo

 

Yeah, I was specifically wondering if there was an actual name for the genre of movies. The one I've always been most familiar with is Santo versus The Vampire Women. What made that particular movie so amazing is that the vampires never actually did vampire things like sucking people's blood, but instead beat people up like a bunch of hoodlums on the street.

 

The reference to Satan building a robot is also going right back to Mexican horror movies, which seemed to have a fixation on robots.

post #892 of 21760
Quote:
Originally Posted by MuppetFace View Post

Dear Diary,

I've been feeling like crap the last few days; I think I have a stomach bug.

Hope you get better soon.
Quote:
Music I'd never find on my own (Click to show)
This morning I've been listening to Fleet Foxes and Nels Cline. I'd like to specifically mention Nels Cline's album Coward, which is simply fantastic. I was hoping to share "The Nomad's Home" or "Rod Poole's Gradual Ascent to Heaven," but the selections were a bit limited. Here's a good'n none the less.



Also had the urge to listen to Ruins this morning. It's been a while. This was a band I discovered in college which subsequently became the object for something of an intellectual crush of mine. Sort of like US Maple. Anyway, the band was the brainchild of lunatic drummer Yoshida Tatsuya and featured three different bassists over the course of its life; the core of Ruins always consisted of the duo of bass and drums, however. Its style is a little hard to articulate, but it takes cues from both punk and prog rock. The sound is raw, but the playing is refined. The instrumentation is constant, but the tempo is ever-changing. It's both primitive and startling complex, simple in its bi-instrumental directness but often sounding like an entire band. As far as I'm aware, they've never used overdubs and any layering going on in the tracks is recorded as-is through the use of pedals, a feat they have in fact replicated live numerous times. 

Of course, complexity for its own sake gets tiring---and indeed they're a rather fatiguing listen if one isn't in the right frame of mind---however Ruins manages to convey a certain primitivism as I mentioned before. They sound like the sort of music to which progressive dinosaurs would listen, or perhaps the celebratory expulsions of some ancient race that time has shrouded in obscurity. Interestingly [to me], one of Yoshida's quirks is his obsession with rock (the natural material, not the genre) in both its natural state and its use in ancient monuments. Given the frenetic sound of his drumming, it seems rather oxymoronic for him to fixate on something so stationary and consistent. It is brute solidity, stubborn in its resistance to change. However within the rock there is the potential for many different forms despite its outward simplicity, the potential for an impressive monument or structure of some sort. Yet the material itself is consistent, and similarly while a song's structure is ever-changing, that potential itself becomes a constant. There is an enigmatic center that resists deconstruction, a certain primordial wholeness. Yoshida is intrigued by the chaotic potentiality of a self-consistency that veers wildly when actuated, much like a rock caught up in a landslide.

That irreducible center is perhaps my favorite aspect of Ruins, and it results in a sense of sheer otherness. Like the prog-band Magma (one of Yoshida's inspirations), one is getting a glimpse of an imaginary civilization through a keyhole. Like Magma, Yoshida sings in a language of his own invention. His song titles are mostly nonsensicle fabrications of this sort. He takes it over-the-edge however by singing in a falsetto half the time, giving their sound something of an operatic or highly dramatic vibe.



Well there's some crazy thing going on with that Ruin song. I like it, though I like it more after 1:37. Prayer Wheels seems to remind me of a game I've played, but I can't put my finger on which one.
post #893 of 21760
Quote:
Originally Posted by billybob_jcv View Post

I am a typical ignorant single-language person. My 2 years of high school German allows me to count to 20 and say the two most useful phrases in any language: "Ein Bier bitte" and "Wo ist die Toilette?"

One does not order a single beer.

The best strategy for ordering beer in foreign countries is as follows:
1) stare at the bartender
2) hold up your hand (or both) and hold up as many fingers as beer you want.
3) present the bartender an amount of money that is such that it must be enough for the amount of beer you ordered, and trust that they return you the correct amount of change. (since you can understand them when they tell you how much it costs).
Quote:
Originally Posted by compoopers View Post

Going from English to a romance language is one thing, but trying to learn a subject-object-verb language after being used to English is so ridiculously hard to wrap my mind around.

I'm learning Japanese, and I have no trouble with the word order at all. Sure the vocab and grammar is totally different, but that is true for any language. I don't believe the different word order adds much difficulty.
Quote:
Originally Posted by MuppetFace View Post

On a more positive note, I've pre-ordered the new Flying Lotus album. I'm reeeeally looking forward to this one based on the singles I've heard.

Finally you're talking about an artist I know. Almost always when you're talking about music I have no idea what you're talking about.

Didn't know he'll bring out a new album. Thank you for telling me that. Although I have to admit that I've only listened to Cosmogramma so far.
post #894 of 21760
Quote:
Originally Posted by Tilpo View Post

I'm learning Japanese, and I have no trouble with the word order at all. Sure the vocab and grammar is totally different, but that is true for any language. I don't believe the different word order adds much difficulty.

You're a lucky man. It took me two trips to Japan to finally understand on an intrinsic level even basic concepts like "da" going after nouns to mean exclamation of existence. "魚だよ!" definitely did not feel like "a fish!" to me when I was first learning.

Now I'm close to fluent but it took me a loooong time.
post #895 of 21760
Quote:
Originally Posted by compoopers View Post

You're a lucky man. It took me two trips to Japan to finally understand on an intrinsic level even basic concepts like "da" going after nouns to mean exclamation of existence. "魚だよ!" definitely did not feel like "a fish!" to me when I was first learning.
Now I'm close to fluent but it took me a loooong time.

Maybe being bilingual in the first place made me easier to accept different grammatical rules? Or perhaps it has something to do with my interest (and talent*) in mathematics. (meaning I can easily pick up abstract systems of logic. At first foreign languages feel very abstract).
It could also have something to do with me having a year of anime watching before I started learning the language.

*I hate saying I'm 'talented' in mathematics. But it's a correct statement when comparing me to 99% of the population.
Edited by Tilpo - 9/20/12 at 2:15pm
post #896 of 21760
Nah, I find math to come very naturally to me too. It helps greatly for music. Language learning is definitely a skill unto its own, though. I've never been natural at it. And yes, it probably has to do with the fact that you've learned a new language before.
post #897 of 21760
Quote:
Originally Posted by compoopers View Post

Nah, I find math to come very naturally to me too. It helps greatly for music. Language learning is definitely a skill unto its own, though. I've never been natural at it. And yes, it probably has to do with the fact that you've learned a new language before.

Not just learning English as a second langauge, I've also had quite a bit of French, Latin and Spanish in high school. So I guess you could say that I'm a veteran language learner.
wink.gif
post #898 of 21760
Quote:
Originally Posted by Tilpo View Post


Maybe being bilingual in the first place made me easier to accept different grammatical rules? 

 

What do you mean by bilingual? You can speak two languages at the same level as if they are both native? 

Quote:
Originally Posted by Tilpo View Post

Finally you're talking about an artist I know. Almost always when you're talking about music I have no idea what you're talking about.
 

 

LOL.

post #899 of 21760
Quote:
Originally Posted by mutabor View Post

What do you mean by bilingual? You can speak two languages at the same level as if they are both native? 

Yes.

My Dutch and English are at about the same level. In both writing and speaking I do not have a strong preference of one over the other.
post #900 of 21760
Quote:
Originally Posted by Tilpo View Post

My Dutch and English are at about the same level. In both writing and speaking I do not have a strong preference of one over the other.

 

Cool. How did you manage to do that? I remember you said that you've studied at an international school. I think that you can become bilingual from the very early age. The later you learn the less possibility that a second language will be equal to the first.

 

Because I studied English late I didn't grasp it by intuition but by reasoning which is the lamest way to learn languages. There was no environment to communicate in English so I just read texts and learned new words and memorized grammar rules.


Edited by mutabor - 9/20/12 at 3:04pm
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