Now its all about selling the exclusivity.
Even if said exclusivity means nothing in any technical sense.
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Leo Yeh ‘My -Hiend’ Munich coverage
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Now its all about selling the exclusivity.
Even if said exclusivity means nothing in any technical sense.
OP
- Thread Starter
- #22
Grimm were there with their LS1s ( Bruno Putzeys first loudspeaker design) and a new phono stage.
you probably underestimated it, a lot
in a very non scientific poll I created on a fb home cinema group a while ago, 1/3 will still buy expensive cables if they can. And that is "home cinema", imagine how it would be in a "hi-fi" group.
OP
- Thread Starter
- #24
Grimms new phono stage rear view only sorry.
Bruno ( apparently) offered the then prototype and what would become the Kiii three to the Grimm boys, Eelco and Guido, they apparently turned it down for having too much dsp!
The old traditionalists, I reminded of the record companies that decided not to sign the Beatles.
Bruno ( apparently) offered the then prototype and what would become the Kiii three to the Grimm boys, Eelco and Guido, they apparently turned it down for having too much dsp!
The old traditionalists, I reminded of the record companies that decided not to sign the Beatles.
No balanced inputs, but balanced outputs! What a missed opportunity.
Is there variable loading and gain selectable on the front panel? If not, again a missed opportunity.
S
OP
- Thread Starter
- #26
Leo has also put together a video walkthrough, you could attend U.K. audio shows for ten years and not see that many visitors.
Keith
Keith
OP
- Thread Starter
- #28
At Munich you actually see young visitors, not just the coffin dodgers that attend U.K. shows and their are females there too , not just the paid hostess but those who chosen of their own volition ( or partners) to attend.
When I was a lad you had to wait in a queue in the corridor to get into rooms in the London Penta?
Show,
How things have changed.
Keith
When I was a lad you had to wait in a queue in the corridor to get into rooms in the London Penta?
Show,
How things have changed.
Keith
I think it’s like the Linn LP12 anniversary model from Jony Ive. There are 250, at £50000. One article said they sell about 1000 LP12’s per year.
On the other hand, like buying a Tiffany ring or Hermes handbag. Some of it is patronage. You are buying with your wallet on organizations with ethical supply chains and living wages, and voting for craftsmanship.
In the case of luxury products from companies like Tiffany and Hermes, you obviously have the stuff that is priced just because there is a label but at the high end, you know that the platinum you are getting in a Tiffany ring is real 950 Platinum and if a diamond is graded as having no inclusions, it won’t have inclusions. Same with Hermes leather, if they say it’s leather, it’s not vinyl or “vegan leather”
The LP12-50? They took a Lp12, fitted it with the top of the line options, and made it look pretty. No snake oil. Just a luxury fashion item.
Snake oil occurs when you have those over the top features which aren’t true. I put AudioQuest DBS in that category.
OP
- Thread Starter
- #30
Ralph Kreb’s Cessaro horns Ralph was the reason why I started Purité Audio in the first instance, essentially having wasted a great deal of money on hi-fi my wife said I could buy a pair of Ralph’s new horns if I started a business and made a commercial success , still waiting for the commercial success.
Westsounds
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Very interesting story, thanks for sharing.
And stunning photos those in the link, again thanks for sharing. There really is a lot to get through, isn’t there!
Over the years I’ve also seen there’s an increasing trend on YouTube as well who do video coverage, some have been fantastic! It’s almost as good as going yourself without the travel. I can’t remember who they’ve all been, to give credit (might have been Leo actually), but after a quick search I managed to find another one now which seems to be promising, and 4hrs worth of video and audio. I have literally just walked around shows with these guys via this method, nice screen in front, a nice pair of headphones on and all the coffee (or beer) I can drink at home sitting on the sofa. Technology is literally changing the world
I’m with Serge on the flashy turntable thing. How it’s justifiable is a complete joke. OK it’s a high-end fancy pants show, but it’s a circus at the same time, and for people to get hoodwinked into spending money for spending moneys sake, it’s just ludicrous. A few things spring to mind of the type of people who may buy such contraptions is, ‘more money than sense’ and you know what happens to ‘a fool and their money’
But hey ho we’re all different I guess and if I was a multi-millionaire I’d prob have more pleasure walking around this than I would a boat or car show. But I still think I wouldn’t buy any of the top tag gear. Or perhaps I might consider it then Anyway, here’s another walk around 4k & high def sound I found and will enjoy at my leisure.
DSJR
Major Contributor
Can't believe how even diehards like Harbeth have to have a turntable in their rooms. All that high definition high end (we hope) to reproduce such a band-limited and ultimately distorted source, no matter how 'good' the player!
Westsounds
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But they still sound nice, and there's nothing wrong with a nice sound.
I appreciate vinyl for what it’s worth. The days before bit perfect, all analogue reproduction did present music differently and in a way digital doesn’t, it still has that charm IMHO.
DSJR
Major Contributor
It's the difference between a nice sound and a truthful one. For me now, a truthful sound suits me best and 'a nice sound' is just boring to me... I don't mean that to be challenging, but it surprises and disappoints me I'm afraid.
Westsounds
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Digital is still a reproduction, it's not real. It's the best we've ever had that's true and continues to improve whilst continuing to evolve itself. This subject has been flogged to death many times but full analogue still has its strong appeal as archaic as its process and form may be. It's a different method of reproduction and for some it does it in a way that resonates with them closer to a form of real representation. Both are just facsimiles and that's all they ever will be. Preference will continue to be subjective.
OP
- Thread Starter
- #36
Yes but digital is audibly transparent and vinyl obviously not.
Keith
Keith
Westsounds
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People listen for different things sometimes, it's still more than good enough and high fidelity and does it in a way digital (converted to analogue) just can't. Technically digital is superior but it's still a complex process just as full analogue is, be it a much simpler one. My ears actually love both
I think there'll be a time when digital will just be such high bandwidth and capable of storing and reproducing anything analogue represents through it, that there will just be no need of it other than novelty, which it is for many now. But I still think we are nowhere near seeing that end. It's a fantastic sounding medium at best still. And something that still has strong appeal.
OP
- Thread Starter
- #38
You have that upside down digital is completely faithful, analogue vinyl and tape have innate distortion.
This idea that analogue is somehow more faithful is a fallacy.
Keith
This idea that analogue is somehow more faithful is a fallacy.
Keith
Westsounds
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Yeah I know you are right. Even though sound itself is completely analogue at the end of the day, it's not digital. Analogue recording methods wheren't crap though and improved greatly from where they originally came from. Digital has surpassed that I'm not saying that but it's goes through a much more complex process to be reproduced. Yes I do know how good technology is now. You just have to watch some of those videos on you tube through your 4k monitors and with high def sounds, you can almost experience the event first hand! And listen to their record player as if you are there.
DSJR
Major Contributor
Sorry to challenge this and go away from a snooty HiFi/EyeFi show report, but this viewpoint above doesn't fit with this site really, methinks. You really must move away from this suspicion of digital audio playback, as the basics are well researched and the progress over the years has been in simplifying circuitry and hugely reducing costs of the state of the art (I mean, look how good the SMSL SU1 dac is in every way for eighty or so quid except fancy-foo casework and facilities such as balanced output)... It doesn't mean the early domestic dacs in the mid 80s (Sony and others) are crap now, just very complex and limited in what they can do over and above red book standards...
'Digital' done carefully can exactly reproduce the signal that goes into it to a point well above our high frequency hearing abilities, even 16/44 files from a Sony 1610 of decades back. It's what's done *after* this that can cause trouble and now, some less diligent 'engineers' I feel can mess things up and not give a stuff about it.
I asked in another thread, has anyone else heard a first generation Sony CDP 101 recently? It may not resolve tape hiss quite as well as modern 16 bit digital systems do, but 'music signals' themselves sound very open and honest in many of the discs I've played on a surviving example a while ago.
Analogue and master tapes are dead now in most pro recording and I'm about to post a thread regarding mastering the eleven Alan parsons Project albums at Abbey Road, I think mainly for a vinyl box set but I'm assuming the CD's matter too here. The mastering engineer, who's a hugely dedicated vinyl and vinyl cutting fan himself, spent a considerable amount of time collating the very best masters (duplicate masters of many of these albums held by the composer were better condition apparently than the originally identical ones held by the record company), analogue AND digital, of these AP albums and I was shocked by a mid-ish 80s release mastered to a pro video cassette (original master 16/44 Sony 1610 I gather from his description) and the record company couldn't play it now. He fought to get this original master over to the UK from Arista and three engineers at Abbey Road took three days to free the (pro video - think a large Betamax apparently) master off, but they did it, getting the material off this first generation digital tape and putting the album back together as originally presented. I have another beef as regards a favourite 1974 album being finally released on CD with bonus tracks back in 2007 and with a glaring drop-out in the mostly vocal chorus of one song - masked a bit on speakers but clear as daylight on headphones. I have said song on a few compilations and now an original 1974 vinyl pressing and guess what, the vinyl, despite not sounding anywhere near as good as all the digital releases to me, doesn't have the dropout but as the digital releases progress over the decades, the drop-out gradually seems worse (unless some compression or processing has been added, as I don't know how often the analogue original was played over fifty years) and the 2007 CD issue shows it in sharp relief
The paragraph above *to me,* transcends any domestic audiophool wittering about analogue vs digital these days. We have a race against time to preserve these old and often treasured recordings for posterity and even early pro digital formats are breaking down it seems, let alone the 80's recordings on tape which needs baking so it can be played once for the best digital capture. I'll post the link and, even if you don't like the Alan Parsons Project, think of the many millions of master recordings out there gradually deteriorating due to age and the desperate fight to preserve as much as possible - Who'd have thought the (what we thought as low rent) Emitape holds its signal better for longer than so many other designer pro brands...