Zachd & Unfrostedpoptarts

[Guest]

I want to thank you both for some very Interesting, very informed and very
well explained posts. I come to these boards to gain knowledge and I try to
pass on what I learn to as many as I can.
You both have helped me understand the differences and the Pros and Cons
of some highly debated files. I have done a lot of searching and reading and
I will Honestly say what I learned from you two, surpassed what I was able to
learn from the websites I had been on or from some of the other posters.
You both were very Professional in your posts and you Both offered advice
filled with Information that was Sound and specific.
Thanks
I am now taking a very serious look at Lossless WMA and will see about
transferring my 4000 current PCM WAV files to Lossless WMA. I still say,
nothing on Computer beats Vinyl but if you have to archive on the computer go
with the Best you can and it seems that because of the equal quality in
reproduction of both the files, Lossless WMA comes out the winner for I can
archive yet more on the same Hard drive. Excellent.
Thanks so much for the info and the time you spent explaining. I enjoyed
the reading.

 

[Galen]

In Craig A. had this to say:

nothing on Computer beats Vinyl

I snipped out the rest. You'll see why.

I'm not one or the other of the two you mentioned. However... Take a look
around - wait a little while if you must to get one at the price that suits
you best - and then run - do not walk - to grab a tubed sound card... I'd
say trust me on this but don't - test one and see... I'm reminded of the
warm tones pulled from early Marshal amps. Grab one.

--
Galen - MS MVP - Windows (Shell/User & IE)
http://dts-l.org/
http://kgiii.info/

"At present I am, as you know, fairly busy, but I propose to devote my
declining years to the composition of a textbook which shall focus the
whole art of detection into one volume." - Sherlock Holmes

 

[Guest]

Galen,

You have my FULL ATTENTION. The only part of your post that I can
question is Warm Sound from Marshall Amps......Smile. Stage equipment is for
Power and NOT HiFi, But I think I get what you are trying to say. I want to
learn more about these Tube Sound Cards, so where do I go for more info? Have
yougot a good site, I am in a very Reural Remote area and we don't have
anything for a 100 miles, so I need to rely on the Internet to get my info
prior.
Were you a Musician? I use to have my best debates with them ( My Degree
is for Audio Engineer, you know the 32 Track Mixer? the recording studio etc
etc etc.)
I went Acoustic because that was where the challenges in reproduction were
at. I will agree that Marshall was Great they had the ole rotating tweeter in
one of their Heads to give the audience a High Frequency Signal no matter
where they were sitting.....
Tell me more and thanks for the Reply.... I think we may be on the same
wavelength......pun pun

 

[Galen]

In Craig A. had this to say:

My reply is at the bottom of your sent message:

Galen,

You have my FULL ATTENTION. The only part of your post that I can
question is Warm Sound from Marshall Amps......Smile. Stage
equipment is for Power and NOT HiFi, But I think I get what you are
trying to say. I want to learn more about these Tube Sound Cards, so
where do I go for more info? Have yougot a good site, I am in a very
Reural Remote area and we don't have anything for a 100 miles, so I
need to rely on the Internet to get my info prior.
Were you a Musician? I use to have my best debates with them ( My
Degree is for Audio Engineer, you know the 32 Track Mixer? the
recording studio etc etc etc.)
I went Acoustic because that was where the challenges in reproduction
were at. I will agree that Marshall was Great they had the ole
rotating tweeter in one of their Heads to give the audience a High
Frequency Signal no matter where they were sitting.....
Tell me more and thanks for the Reply.... I think we may be on the
same wavelength......pun pun

I have a handy Marshal monitor that I use as my sole output these days. I
did have a set of stacks that I used to with my house system back when I was
young and silly. Oh wait, no, I'm still young and silly. These days I'm more
into the nice Ibanez acoustic/electric models and yes, yes I find it warm.
Mellow tones fit for a small coffee shop. I'm not a musician really, I
did try that route once and discovered that there's an unwritten law that
the ones you want to hear generally can't. As a side note I picked up a
recent Ibanez AE model and found the intonation and playability rivaled my
Martin. These days I seldom play anything that's not acoustic.

As for tubed things, well, they're a bit rare and expensive these days.

Take a gander at this:

http://global.aopen.com.tw/Products/mb/ax4b-533tube.htm

Or this:

http://www.techger.com/index.php?main_page=product_info&products_id=1

Or even something like this:

http://www.coolermaster-usa.com/CoolerMaster/Products.aspx?pid=1130

They're out there but they're pretty rare really. There doesn't seem to be a
lot of call for them as people seem to think the purity in digital is
somehow more pleasing than analog. Go figure.

Either way this is probably not the most interesting conversation for the
rest of the folks in here. It certainly meanders way off topic as well. The
reply address is a real one and the second link in my signature has ways to
contact me (there's even a forum but no audio section on it - no one's asked
for one but there probably should be) if you want.

--
Galen - MS MVP - Windows (Shell/User & IE)
http://dts-l.org/
http://kgiii.info/

"At present I am, as you know, fairly busy, but I propose to devote my
declining years to the composition of a textbook which shall focus the
whole art of detection into one volume." - Sherlock Holmes

 

[Guest]

Galen


Now you are talking, anyone who is into Acoustic really convinces me when
they add autle boasts about their Martin. To ma the best sounding Guitar out
there is a Martin, somethingabout that Rosewood. I can spot a Martin buried
amongst 100 Ovations, Fenders Gibsons or whatever. They have a sound that
belongs only to a Martin and that is what I want to preserve when I archive,
no sense archiving if your recordings with the Martins sound like just any
other guitar , it is all in beingable to preserve the Harmonics.

 

[Galen]

In Craig A. had this to say:

My reply is at the bottom of your sent message:

Galen


Now you are talking, anyone who is into Acoustic really convinces me
when they add autle boasts about their Martin. To ma the best
sounding Guitar out there is a Martin, somethingabout that Rosewood.
I can spot a Martin buried amongst 100 Ovations, Fenders Gibsons or
whatever. They have a sound that belongs only to a Martin and that is
what I want to preserve when I archive, no sense archiving if your
recordings with the Martins sound like just any other guitar , it is
all in beingable to preserve the Harmonics.

Well they might think we're insane but I doubt they'll kick us out of the
newsgroups.


Bah, my dreadnaught (Martin) is still only about 15 years old. It's got
about 10 more before she settles down and I can bother getting the truss
fixed. Right now the intonation heads out (only audible to me or someone
who's got a meter on it or maybe another play) at the 12th. It's heavy on
the fingers even with some light Ball strings on it, the frets are still too
'new' even after all these years. One additional thing about a Martin,
they're built to last a lifetime's worth of playing which is good because I
tend to really enjoy digging into it and the pick guard's actually starting
to wear a wee bit thin. It makes an excellent fireside player or even a
decent open-mike night show but the intonation's just a wee bit off still
and it's no use bothering to get it adjusted yet... It's a Martin, won't be
settled down for another 5 years. I guess the old humidor trick might help
but hogwash, guitars are meant to be played, travel, and be tough. She'll
settle down when she's good and ready.

Maybe once a month I'll go sit in at the local bar and MAYBE one weekend
every month I'll fill in for a local band but I really haven't got the time
for it and most of the time it seems a lot like work these days. I like to
play for the sake of playing, not for the sake of having people listen I
guess. I am pretty sure that doesn't make sense to most folks.

Erf... Don't laugh at my playing. I was playing around with something
earlier and my recording is horrid so don't laugh at that either. For a

$1500 dollar guitar it's truly fairly playable if, of course, I could play

it.

http://kgiii.info/ignore/bah.zip
Password: password (for the compressed file)

I use the word "poop" in it but not quite like that and don't have time to
edit it out so, well, if you are offended by the bad guitar, recording, or
poop then... Well, don't listen. ;-) Sometime I'll mic up the Martin and
actually practice a wee bit first. The tone for an Ibanez is pretty rich
really and those strings are almost a month old and the guitar's pretty new
so I've been beating the snot out of it. As I listen again it sounds like my
A string was out a wee bit but no worries - it's not me who's impressive at
all - it's the Ibanez at the price.

Anyhow, I dare say that we've managed to annoy everyone else and this
thread's totally hijacked at this point.

*sneaks off to get back to doing a bit of work*

--
Galen - MS MVP - Windows (Shell/User & IE)
http://dts-l.org/
http://kgiii.info/

"At present I am, as you know, fairly busy, but I propose to devote my
declining years to the composition of a textbook which shall focus the
whole art of detection into one volume." - Sherlock Holmes

 

[Guest]

Galen

A man who knows good sound and that good things take time.....
A good friend of mine, many years ago got me all turned onto Blue Grass
Music and he had a Martin that was made back in the 50s and was worth about
$3500 then. I fell in love with it. Right next door to me when I was living
in Escondido Calif was the Fiddle & Fret Shop and the Old man that worked in
there was suppoedly world reknown for his guitar and fiddle work. His shop
was a toal mess but his work was unbeleiveable. He would reneck, re fret,
rebridge repair re anything.
Another friend who use to play at my place all of the time with my guitar
player friend, played Banjo and guiatr and taught me to play Banjo and I own
a Saga and a Westminister. I met Walt Richards and the Osborne Brothers thru
him and one of his students was a 12 year old nmaed Stuart Duncan. Stuart's
dad was an airline pilot and the kid was learning Mandolin, Banjo, Guiitar
and Fiddle to occupy his fatherless time. That was back in 77 and 78, I
catalog my LPs in my database with all the info I can gather and several
years ago as I was typing in the Session Musicians names, I kept seeing
Stuart Duncan, Stuart Duncan. Hell the little brat made it in Nashville and
is doing what Vince Gill, Vassar Clements, LELAND SKLAR, Paul Franklin, Barry
Beckett, Billy joe Walker, Reggie Young and so many others before him have
done. Play because they love to play.. not because they see Stars... Those
who see stars will always just see stars, those who love to play for the love
of the instument or the love of the music leave a mark......
I am sure we are on the same wavelength.... I wan tthe best I ca get and
will settle for nothing less. Zach has been very informative as was Unfrosted
and if I could milk their brains for a day or two, I know they have a lot to
share. But I will settle for I have already succeeded in gaining.....
For Home recording I use Voyetra, great program and endless psosibilities.