[turtlerod]

Just throwing this sojurn down memory lane out there...

I got this set when I was around 12 years old. It was a great way to sample a lot of classical pieces. I was a weird kid, all of my friends were buying rock and roll.

 

[33na3rd]

I got this set when I was around 12 years old. It was a great way to sample a lot of classical pieces. I was a weird kid, all of my friends were buying rock and roll.

Some of us first learned about classical from watching Warner Brothers' cartoons...

 

[StimpyWan]

Some of us first learned about classical from watching Warner Brothers' cartoons...

 

[riffrafff]

And Disney's Fantasia.

 

[FLTWS]

I got this set when I was around 12 years old. It was a great way to sample a lot of classical pieces. I was a weird kid, all of my friends were buying rock and roll.

I was doing both.

 

[valiant66]

The first TV's with wired remotes had a box with a long cable and two buttons: one spun the 12-position rotary channel selector clockwise, and the other spun it counterclockwise. Slow and noisy, but still faster than yelling at my little sister to get up and change the channel.

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[adias]

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Tube sound.

 

[45longcolt]

About 10 days ago, I noticed the sampling rate lights on Yggdrasil were MIA. Since it was still processing bits, this was not a big deal. But, despite years of grousing about Schiit's tactical-flashlight-strength LEDs, I kinda missed them. Last evening, as I was beginning a listening session, I noticed the lights were back but so faint I'd never have seen them if the room lights weren't off. A couple of hours later, they were almost up to full strength. Leave it to Jason and company to invent the self-dimming LED. Since my Ygg was one of the first units, it's old enough to be forgiven a little temperament. Still, perhaps time to start saving for the prophesied More Is More version...

 

[valiant66]

For coverage, sensor alignment, maybe check if your lightpipe material works with IR. I think remotes are close to visible and therefore likely to work.

Cutting down on the number of remotes is a taller task. One way to go is more integrated devices, i.e. if the preamp and the DAC merge then all input switching is in the same device. If there's just one box then there's just one remote! Modularity makes this viable, but maybe not preferred.

Devices that can learn remotes instead of (or in addition to) the other way around may help with the future product problem.

LEDs can indicate which device is currently being controlled and which buttons are currently active. A screen is only needed when none of the labels on the remote make any sense for a button that needs to be on the remote.

1 Input
2 Output (Process for Syn)
3 Volume up
4 Volume down
5 Mute
6 Gain / Invert / Shape
7 Play
8 Stop
9 Back
10 Forward

That covers everything except the Skoll and the Loki Max, if I'm not mistaken. Which seems sensible, does it not? I did leave out Standby as I cannot envision a use case where you turn your system on or off while remaining in your seat (also I don't think there is any Schiit yet with standby and a remote).

I'd go with four device selection buttons, each assignable by recognizing (or learning when needed) the original remote.

Player, DAC, Preamp, one extra. The four basic player controls as well as the volume controls can stay active while controlling anything but the extra, which may be a secondary player or amp. This feature, controlling multiple devices without explicitly switching what you're controlling, is where you end up with either complexity or limitations. I think this is the part where a clearly good solution is harder to find, the part that may require more thought and discussion. My proposal errs on the side of more limitations, less confusion. Remove the extra that may overlap for a three-device remote where these buttons are always right, only mute and input selection can cause confusion. Duplicate or triplicate all buttons that overlap and maybe a three-device remote that always controls all devices, no device selection buttons needed, isn't a preposterous thought? Maybe exclude muting anything but the amp?

YMMV, but it seems to me that a sensibly complete Schiit remote isn't that much of a beast.

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[FLTWS]

And Disney's Fantasia.

My father was a classically schooled pianist. His idea of pop music was "Springtime in the Rockies". He took me to see "Fantasia" when I was 5, and the dinosaurs hooked me up with lifelong interest. That Christmas I got the book "The Earth for Sam". It's copyrighted 1930 and I have carried it with me for 70 years. The drawings of what the best science in 1930 could figure dinosaurs looked like is laughable by today's standards but it was a start. I followed that up with Roy Chapman Andrews "All About Dinosaurs" (1953) and the fossilized eggs he uncovered in the Mongolian desert, the first find of its kind. I still keep up with the latest dino' findings and research.

After my time in the Army, 68' to 70', I got my first stereo rig 6 months after ETS'ing. For the next decade I split my time and money between rock and classical LP's. Then "Disco" happened to me (and many others) and I was pretty much classical from that point on, still dabbling a bit with metal rock groups for many more decades.

.

 

[FLTWS]

Tube sound.

And picture.

 

[NoBodyNoWhere]

I got this set when I was around 12 years old. It was a great way to sample a lot of classical pieces. I was a weird kid, all of my friends were buying rock and roll.

The thing that got me into classical music was the film “Soylent Green”. Maybe I’m a bit weird but Edward G. Robinson’s death scene in a room filled with images of nature and Beethoven’s 6th symphony really did it for me. Then again, my father dragged us out to the drive in to see the film several times and, for a long time, I was traumatized by the sight of a certain kind of garbage truck. (Note to parents: don’t make your 8 year old kid see disturbing science fiction films over and over unless you really like Beethoven’s 6th.)

 

[Pondoro]

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I wished for a wired remote many times when our wireless remote went missing. I threatened to superglue it to a four-foot broomstick.

 

[Paladin79]

The thing that got me into classical music was the film “Soylent Green”. Maybe I’m a bit weird but Edward G. Robinson’s death scene in a room filled with images of nature and Beethoven’s 6th symphony really did it for me. Then again, my father dragged us out to the drive in to see the film several times and, for a long time, I was traumatized by the sight of a certain kind of garbage truck. (Note to parents: don’t make your 8 year old kid see disturbing science fiction films over and over unless you really like Beethoven’s 6th.)

Stanley Kubrick films like The Shining used Bartok, 2001: A space odyssey used Strauss, A Clockwork Orange used Beethoven and others, Barry Lyndon used Shubert, Vivaldi, Bach, Mozart etc. Not only did Kubrick use the music, he often had scenes follow the music.

 

[Dr. Cube]

Stanley Kubrick films like The Shining used Bartok, 2001: A space odyssey used Strauss, A Clockwork Orange used Beethoven and others, Barry Lyndon used Shubert, Vivaldi, Bach, Mozart etc. Not only did Kubrick use the music, he often had scenes follow the music.

With Kubrick, a lot of that happened because he had a tendency to get attached to the temp music during editing, and then cancel the original score.