wink
His amps are made out of recycled beer cans
and his source from tomatos.
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That's a chimera........
What a long, strange trip it's been -- (Robert Hunter)
- Thread starter Baldr
- Start date
His amps are made out of recycled beer cans
bosiemoncrieff
Headphoneus Supremus
The '55 August Götterdämmerung is shipping from the UK because w/ the exchange rate it was still cheaper than sellers in the US. When it gets to San Francisco I'll def post my thoughts.
nedifer
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The part that interested me in this post was
Quote:
Quite interested to see what might evolve from that...
Quote:
Quite interested to see what might evolve from that...
RCBinTN
Headphoneus Supremus
Personally, I would like to see some pics of the tri tips.
aamefford
I have a custom title!
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But only when he has the mun-chis. Sigh, I can't help myself. No, no, I can find the door on my own. No, won't let it hit me on the way out.....
wink
His amps are made out of recycled beer cans
and his source from tomatos.
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Pity......
We need the comedy relief....
We need the comedy relief....
Blue Warper
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Hi! This should be maybe my third post overall (the previous ones were related to some contests, so please forget those ones...
). I've been lurking here for some years now, though.
I just wanted to highlight what I think might have gone unnoticed here, save for nedifer, whose post #1113 seems to point to the very same direction.
Now, if we combine that Baldr's possible hint (well, I actually think it's a hint) with another one from Schiit's Dave Aldrich in the "Schiit Happened" thread, I think we can possibly have some interesting hint about a future (maybe somewhat near) product release by Schiit, and one that was requested by many throughout last months...
Just my guess, of course!
I just wanted to highlight what I think might have gone unnoticed here, save for nedifer, whose post #1113 seems to point to the very same direction.
Now, if we combine that Baldr's possible hint (well, I actually think it's a hint) with another one from Schiit's Dave Aldrich in the "Schiit Happened" thread, I think we can possibly have some interesting hint about a future (maybe somewhat near) product release by Schiit, and one that was requested by many throughout last months...
Just my guess, of course!
wink
His amps are made out of recycled beer cans
and his source from tomatos.
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Yeah, we know, It's either the [REDACTED] (pronounced Lost In Transit) or the Manhattan (pronounced Magnhildr).
Blue Warper
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Thanks for your reply!
I'm acually inclined to believe that the Manhattan is a different project than an ADC, due to many hints Baldr gave in various threads, including this one. One of them, for example, is that the Manhattan will only operate in the digital domain.
Also, I found the reference to 13 adjustable (or to be adjusted) parameters an interesting one, especially - if I'm not going totally astray, of course... - for classical music lovers.
Note: just having some fun in the Manhattan guessing-game!
I'm acually inclined to believe that the Manhattan is a different project than an ADC, due to many hints Baldr gave in various threads, including this one. One of them, for example, is that the Manhattan will only operate in the digital domain.
Also, I found the reference to 13 adjustable (or to be adjusted) parameters an interesting one, especially - if I'm not going totally astray, of course... - for classical music lovers.
Note: just having some fun in the Manhattan guessing-game!
bosiemoncrieff
Headphoneus Supremus
Thanks for your reply!
I'm acually inclined to believe that the Manhattan is a different project than an ADC, due to many hints Baldr gave in various threads, including this one. One of them, for example, is that the Manhattan will only operate in the digital domain.
Also, I found the reference to 13 adjustable (or to be adjusted) parameters an interesting one, especially - if I'm not going totally astray, of course... - for classical music lovers.
Note: just having some fun in the Manhattan guessing-game!
Is it like a wyrd uber?
ToddRaymond
Previously known as Turdski
That's always been my thought as to what it could be. Something along those lines.
At the very least, if that's not what it's related to, I feel there will be a USB to SPDIF device of some sort eventually. Some sort of buffered, checksum-y, zero jitter, überified way of transmittin' all them ones and zee-ros rather flawlessly. With Apple poised to do away with all standard USB 3.0 A ports though, I wonder how that would impact the development of such a device. Rest assured, Audioquest makes a $599+ Thunderbolt cable though. Hmm....
Blue Warper
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Hi, bosiemoncrieff!
I learned a lot about Wagner's recordings and concerts from you and Baldr, though I'm really not that into opera (just prefer classical music to opera), so thank you!
I was really excited by the Manhattan project, 'cause the initial hints, by both Jason and Mike, were intriguing. But then I thought I had a grasp of what Mike could be working on, and, if my guess were even remotely right, we could be in front of a really really historical achieving.
I *think* (again, please note this is only a guesswork) that Mike is perhaps working on something that might digitally alter the pitch and temperament of the musical instruments (maybe I should just say the music) on a recording. I don't even know if that is technically feasible, but this is what I came up with, when I started to put the pieces dropped by Mike together...
This is what I understood about the whole subject. Please keep in mind that I'm no expert and I could be utterly wrong, both in my explanation and in my guessing.
It seems that instruments which have a fixed tuning, like string instruments, were tuned differently than what we are used to today. Today they are tuned based on equal temperament, where each octave is divided into 12 equal parts or semitones, with each part having the same pitch interval as the others. The common (read: prevalent) opinion is that the above is the tuning system which musicians wrote music for, since, say, Bach's times.
However, there are evidences, it seems (please keep in mind that I'm only repeating what I think I've learnt so far), that things were the exact opposite. That is, equal temperament as a tuning system really prevailed in the XX century, whereas at least from Bach onward, the main and established tuning systems were the so-called well temperaments. In a well temperament, the octave isn't divided into equal parts, but the notes are tuned with different frequency ratios between them, so that the interval is not equal. Depending on the actual tuning system (which were anyway based on well temperament) chosen by the artist (or the artistic framework which he lived in, or the musical school and theories he followed), there were different keys which musicians composed music into. Depending on the temperaments chosen, there were some musical keys (or tonalities) where some notes (i.e. some frequencies) were perceived as extraordinarily euphonic while other ones not so much. This was especially made evident when some notes were played together.
This is but a very short summary. I learned a lot from this discussion (which I happened to find earlier in this very thread, so thanks to whomever pointed it out).
So is Mike working on a prototype that could possibly restore the original pitches and intervals between the notes based on well temperament?
Now, this is where I took Baldr's hints from:
#957
#966
#1070
And here, at the end of the interview.
Also see landroni's post #974, who seems to have had the same thoughts.
I learned a lot about Wagner's recordings and concerts from you and Baldr, though I'm really not that into opera (just prefer classical music to opera), so thank you!
I was really excited by the Manhattan project, 'cause the initial hints, by both Jason and Mike, were intriguing. But then I thought I had a grasp of what Mike could be working on, and, if my guess were even remotely right, we could be in front of a really really historical achieving.
I *think* (again, please note this is only a guesswork) that Mike is perhaps working on something that might digitally alter the pitch and temperament of the musical instruments (maybe I should just say the music) on a recording. I don't even know if that is technically feasible, but this is what I came up with, when I started to put the pieces dropped by Mike together...
This is what I understood about the whole subject. Please keep in mind that I'm no expert and I could be utterly wrong, both in my explanation and in my guessing.
It seems that instruments which have a fixed tuning, like string instruments, were tuned differently than what we are used to today. Today they are tuned based on equal temperament, where each octave is divided into 12 equal parts or semitones, with each part having the same pitch interval as the others. The common (read: prevalent) opinion is that the above is the tuning system which musicians wrote music for, since, say, Bach's times.
However, there are evidences, it seems (please keep in mind that I'm only repeating what I think I've learnt so far), that things were the exact opposite. That is, equal temperament as a tuning system really prevailed in the XX century, whereas at least from Bach onward, the main and established tuning systems were the so-called well temperaments. In a well temperament, the octave isn't divided into equal parts, but the notes are tuned with different frequency ratios between them, so that the interval is not equal. Depending on the actual tuning system (which were anyway based on well temperament) chosen by the artist (or the artistic framework which he lived in, or the musical school and theories he followed), there were different keys which musicians composed music into. Depending on the temperaments chosen, there were some musical keys (or tonalities) where some notes (i.e. some frequencies) were perceived as extraordinarily euphonic while other ones not so much. This was especially made evident when some notes were played together.
This is but a very short summary. I learned a lot from this discussion (which I happened to find earlier in this very thread, so thanks to whomever pointed it out).
So is Mike working on a prototype that could possibly restore the original pitches and intervals between the notes based on well temperament?
Now, this is where I took Baldr's hints from:
#957
#966
#1070
And here, at the end of the interview.
Also see landroni's post #974, who seems to have had the same thoughts.
bosiemoncrieff
Headphoneus Supremus
Seems like such a project would be of rather narrow appeal. Would Schiit do something like that just for a handful of early music enthusiasts?
Blue Warper
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I really don't know.
Maybe, if it really is what I was speculating above, the adjustable parameters would be useful to more musical genres?
Jason said in the "Schiit Happened" thread that he was sure
OK, enough said. We will see when it's finished!
Maybe, if it really is what I was speculating above, the adjustable parameters would be useful to more musical genres?
Jason said in the "Schiit Happened" thread that he was sure
OK, enough said. We will see when it's finished!
RRod
Headphoneus Supremus
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There isn't a single "well-temperament" as far as I know. There were all sorts of variations around meantone meant to eliminate wolf tones. See here for some discussion. Note too that this problem is really usually discussed in terms of keyboards, which must deal with fixed pitches. Fretless string instruments can get around the problem by adjusting their fingering, and I doubt any quartet plays perfect equal temperament unless they are they type who love to play Ligeti.
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