What a long, strange trip it's been -- (Robert Hunter)
Nov 12, 2016 at 8:37 PM Post #1,306 of 14,566
Ohhhhhhh dear.........!!!     
basshead.gif

 
Break out the pitch forks and round up the rabble......    
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Nov 13, 2016 at 8:17 PM Post #1,309 of 14,566
 
Given the above info, what say you all?

 
For the price of the Gungnir ($849 - $1249), I'd buy if it had these features:
 
-fully balanced, including the phono in (for those of us who want to upgrade to balanced phono cables)
 
-Freya-sized chassis
 
-multiple load adjustments for MC/MM
 
-hybrid SS/tube or selectable buffer SS/tube like in the Freya/Saga
 
Nov 13, 2016 at 8:30 PM Post #1,310 of 14,566
OMG, dropping like flies..............

Leon Russell, R.I.P.

I went to a concert of his in 1969.  His opening act was none other than Elton John.

Wow.





The Song Of The Dead

Hear now the Song of the Dead -- in the North by the torn berg-edges --
They that look still to the Pole, asleep by their hide-stripped sledges.
Song of the Dead in the South -- in the sun by their skeleton horses,
Where the warrigal whimpers and bays through the dust
of the sear river-courses.

Song of the Dead in the East -- in the heat-rotted jungle hollows,
Where the dog-ape barks in the kloof --
in the brake of the buffalo-wallows.
Song of the Dead in the West --
in the Barrens, the waste that betrayed them,
Where the wolverene tumbles their packs
from the camp and the grave-mound they made them;
Hear now the Song of the Dead!






Rest in Peace
 
Nov 14, 2016 at 7:48 AM Post #1,311 of 14,566
I spouted off on Jason’s forum the other day re my complete disdain of crowdfunding. It led to questions which among others were:
 
Don’t you need public endorsement before you build something?
 
How do you decide what products you build?
 
Do we worry about obsolescence?
 
Given my experience, here are a few things I do know. Market driven companies will survey what they perceive their market may be, look at what their competitors have already built, and arrive at well or poorly founded conclusions of what needs to be built. Since Zap Electronics already makes a 1Kw amp for $99.99, how about we make another class D kilowatt amplifier with coffee cup warmer personalized to your desktop for only $89.95. Yeah! The fallacy of this logic is “Whatever all of our competitors know is superior to what we know – therefore we must win on price or features.” How boring; this is the definition of yet another “me too” company. These companies occupy the majority of the exhibit space at any given audio show. Definitely neither Schiit, me, nor Jason.
 
(This is not to be confused with marketing communication, which is Jason’s incredible area of expertise. This depends on how to present products already chosen. Forgive the digression.)
 
Engineering driven audio companies often rely on perceived (there’s that “perceived” word again) gee whiz topology and features desired by their crowned and blessed technology gurus. The valid (sometimes not) technological rationale too often relies on odd concepts translated to performance of little general importance to few at huge cost to all. To make it worse, they often sport user interfaces which adjust little necessary and all unnecessary parameters. This caters to the less than the 2% of the 2% who not only can understand but possess the persistence to read the 642 page poorly written user manual. The fallacy of this logic is the lie that “If I build it, people will buy”. This is the hubris of most high-end audio companies.
 
It is because music is a subjective, emotional thing that micro audio cultures evolve: tubes, analog, moving coil cartridges, balanced, single-ended, bipolar transistors, planars, electrostats, etc. etc. Designers’ imagined mandates prevail. It is impossible to argue in a cultural market on any level other than emotional. Design culture morphs into tribal chants. All logic becomes irrelevant. Any and all technologies have logical pros and cons. If you build a company culture solely on design culture you will soon design yourself into a corner and wither.
 
So the Schiit culture is a composite one not limited to tribal product design concepts. I am fortunate to be able to build whatever I need to, and have the resources to add whoever (Dr. Ivana) or whatever I need to bring never before built projects to fruition.
 
So I won’t anytime soon be meditating in communal bliss with the ascended masters to seek guidance for product development. My surveys consist of rants, mostly on this forum. One of my good friends who didn’t make it back from Vietnam was very religious. He used to say “God talks to me all of the time. The problem is that I usually don’t listen.” Funny how he taught me to listen to and read between the lines of those I meet on this long, strange, audio trip.
 
That is how I decide what to build.
 
Schiit Audio Stay updated on Schiit Audio at their sponsor profile on Head-Fi.
 
https://www.facebook.com/Schiit/ http://www.schiit.com/
Nov 14, 2016 at 8:09 AM Post #1,312 of 14,566
Mike- a new high-end pressing of Jerry Garcia's "Reflections" album is coming out for Record Store Day on Black Friday. Maybe that will help you design the new phono pre-amp people are clamoring for.
 
Nov 14, 2016 at 7:34 PM Post #1,313 of 14,566
The fallacy of this logic is “Whatever all of our competitors know is superior to what we know – therefore we must win on price or features.” How boring; this is the definition of yet another “me too” company. These companies occupy the majority of the exhibit space at any given audio show. Definitely neither Schiit, me, nor Jason.
 

 
I am avoiding me-too companies as best I can.  How many drivers in a box does the world need?   I wish there were an audiophile equivalent to Popular Science :wink:
 
Engineering driven audio companies often rely on perceived (there’s that “perceived” word again) gee whiz topology and features desired by their crowned and blessed technology gurus. ... . This is the hubris of most high-end audio companies.
 

 
Mag-lev turntable?  How about that Soulution (IIRC) optically driven amplifier?  It's like shooting fish in a barrel.
 
Quote:
It is because music is a subjective, emotional thing that micro audio cultures evolve: tubes, analog, moving coil cartridges, balanced, single-ended, bipolar transistors, planars, electrostats, etc. etc.

 
BTW, have you ever described your vinyl rig?  MC or MM?
 
Quote:
 
That is how I decide what to build.

 
This one sentence makes me pea-green with envy!  Thanks for taking me along for the ride :wink:
 
Nov 15, 2016 at 6:30 PM Post #1,317 of 14,566
Aw man, and now Mose Allison...
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http://www.npr.org/2016/11/15/502211193/celebrated-jazz-musician-mose-allison-dies-at-89
 
Nov 17, 2016 at 6:24 PM Post #1,319 of 14,566
Every time I think of Leontyne Price I think that the next time I'm reminded of her will be her obituary. Saw Aida twice in the past week—and she continues to share the crown of that role with Nilsson (and perhaps Callas). Leah Crocetto was superb as Aida—just excellent vocally. A bit less assertive dramatically than those sopranos just mentioned but just luxuriously beautiful voice.
 
Saw Madame Butterfly on Tuesday. Lianna Haroutounian is dramatically quite excellent. Pinkerton is a crap role; he's a mildly sociopathic piece of schiit in act 1, and like a stupid child who couldn't foresee the consequences of his actions in act 3. But Vincenzo Costanzo just couldn't pull it together to make it happen. Above an F or a G, his voice had this squawking, duck-like sound that was clamped and displeasing, and he lacked any great charisma or stage presence. In the opera, Butterfly is supposed to be 15 and Pinkerton like 30; in this performance, Costanzo sounded as though he were 15, and Haroutounian an imposing 40.
 
Nov 18, 2016 at 1:47 AM Post #1,320 of 14,566
   
Saw Madame Butterfly on Tuesday. Lianna Haroutounian is dramatically quite excellent. Pinkerton is a crap role; he's a mildly sociopathic piece of schiit in act 1, and like a stupid child who couldn't foresee the consequences of his actions in act 3. But Vincenzo Costanzo just couldn't pull it together to make it happen. Above an F or a G, his voice had this squawking, duck-like sound that was clamped and displeasing, and he lacked any great charisma or stage presence. In the opera, Butterfly is supposed to be 15 and Pinkerton like 30; in this performance, Costanzo sounded as though he were 15, and Haroutounian an imposing 40.

 
I just saw Haroutounian playing Butterfly at the SF opera 2 weeks ago at the Sunday matinee.
 
I agree regarding Costanzo.  But I thought Evans as Sharpless was good, as was Svede as Suzuki.
 

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