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JohnnyB last won the day on May 28

JohnnyB had the most liked content!

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About JohnnyB

  • Rank
    Veteran HFCer
  • Birthday 11/11/1953

Previous Fields

  • guitars
    Newport w/Phat Cats-n-Bigsby, Anniversary, G&L ASAT Classic Semi-hollow, Gretsch Synchromatic, Ibanez MIJ AS-180, G&L Lynx bass, G&L ASAT Semihollow Fretless bass, Squier Vintage Modified fretless bass w/Barts, Gretsch Electromatic hollowbody bass, Guild Pilot Pro, Guild Pilot Fretless
  • amps
    Eden Nemesis RS210, Top Hat Club Deluxe, Yorkville BM100 1x15 bass amp, SWR LA8 bass amp, Epi Electar 10 SET amp, Roland Micro Cube, Electro-Harmonix Freedom amp, Smokey
  • fx
    Boss (bass) Overdrive ODB-3, Guyatone Flip Tremolo, Maxon OD-808, Guyatone Mini-Reverb (MR2), Alesis Nanoverb

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  • Gender
  • Location
    Seattle, WA
  • Interests
    Music, both to play and listen to, especially vintage vinyl LPs, playing electric bass when I can, guitars, vintage drums, mallet percussion, high end audio and home theater, bottom-feeding,

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  1. I'm sitting at the computer reading some news, checking email and Facebook, and figured I could use some music to comb the kinks and gnarlies out of my brain waves. Fortunately, I chose this LP wisely: This is Metheny in pure acoustic solo mode with a range of guitar-based string instruments. The album opens with Simon & Garfunkel's "Sounds of Silence" played on Metheny's bespoke "Pikasso" 42-string guitar: He also plays on a nylon string classical and an acoustic baritone guitar: These tracks are amazing. He has an incredible way of creating instrum
  2. Meridian Audio of England introduced a decoding scheme in 2015 called MQA (Master Quality Authenticated). It introduces mirror-image frequency curves to compensate for the very steep filter slopes during digital recordings (which screws up the phase relations between various voices and instruments, and restores those drastic slopes into gentler, more natural and musical decoding slopes that neutralizes that edgy "digital sound." I've heard a laptop-based presentation of MQA-processed playback, and it was wonderful, with authentic-sounding timbres and the authentic-sounding imaging and soundst
  3. Yesterday I listened to Lou Rawls' first album, Stormy Monday, recorded and released in 1962 backed by the jazz pianist Les McCann and his trio. Lou and Les became acquainted with each other when they were both performing in the jazz club scene in Hollywood in the late '50s. They finally figured out a way to record together by having a late night/early morning session at the Capitol Records Building in Hollywood after their club gigs. For me, this is one of those "treasure albums," where a jazz-oriented singer gets paired with some charismatic jazz instrumentalists be
  4. I don't have direct experience with Counterpoint products, but they made several preamp models over time and the SA-5000 was considered the classic one. It combines a phono preamp with a line-level preamp. I've only recently discovered that if you play low-output moving coil cartridges, a good line stage helps dial in the volume you want without adding noise, which often happens if you're dealing with a low-level signal. The SA-5000 was $3600 when new.
  5. I had a used ASAT Special for awhile. It was Lake Placid blue with MOTO pickguard, stock SC soapbar MFDs, and user-added copper foil lining in the control cavity. I had a Gibson ES-335 Studio at home, but once I got the ASAT home, it was all that I played until I got rid of the ES-335 studio. There were several things I liked about that ASAT; it had a clear, articulate tone and presentation, and for a single-coil pickup it had quite a bit of output, which made it fun plugged into vintage amps. I didn't need no stinkin' booster pedal. The ASAT had the balls to light up a 6V6-powered Silvertone
  6. Since this would be a video selfie, wouldn't portrait orientation be more appropriate? Unless, of course, you want to see the backdrop of his seedy room, which may reveal why he's weeping.
  7. Friday I'd been a bit sluggish and needed to straighten up the kitchen so I put on an album that featured a single I used to listen to on my AM clock radio when I was 12--"Got My Mojo Workin'" by Hammond organ jazz/R&B master Jimmy Smith: This was 1965, when The Beatles' "Help" and "Rubber Soul" topped the charts. I liked The Beatles, but Jimmy's Hammond organ technique really lit me up every time. My mom was our church organist and played a Hammond C3 there. It was electronically identical to Jimmy's B3 but the resemblance ended there. So... talk about a nostalgia trip
  8. I'm 66 now and had a tough 2019 in and out of the hospital plus a stroke that seems to have turned me into a "sentimental old fool." When I dropped digital for vinyl, it amped up the tear factory. I find the analog signal chain and my refining tweaks to have an emotional impact I seldom had in digital. I grew up in a simple Evangelical Christian home. My parents were born in 1909 and 1912 and grew up in rural Illinois. When I was listening to "Down to the River to Pray" on the O Brother, Where Art Thou? soundtrack, it evoked an overwhelming wave of nostalgia. My dad died in 1982. I remember hi
  9. One of the stories I heard was--that for radio play--when listeners turned the tuner dial--the louder songs are what they stopped and listened to, which also translated to more record sales. Compression made it easier to set playback to higher average volume. This never quite made sense to me, because I was under the impression that the radio stations could apply compressions to their broadcasts to make the music louder. I've heard a few anecdotes about the recycled vinyl era. Some claimed that they saw metal shreds and remnants of record labels pressed into recycled record pressings, but
  10. I did find some wide variety of cassette quality, even on copies to the decks with reputations. The store I worked in carried Nakamichi 700 and Nak 1000. Compared to my Tandberg open reel transfers, the Nakamichis sounded "meh." On the other hand, we also had some Advent factory-recorded CrO2 cassettes, and I was trying to copy an Advent orchestral classical recording to my Tandberg open reel deck. To my surprise, the Advent tape had so much dynamic range, my open-reel Tandberg running at 7-1/2 ips couldn't handle the dynamic range of the Advent's real-time transfer onto a CrO2 Compact Cassett
  11. If you're referring to ready-to-play cassette tape versions of album releases, you are right. Those were crap. However, with a good open reel tape machine from Tandberg, Teac, Sony, Revox, etc., or a cassette deck from Advent, Tandberg, Nakamichi (though very expensive) using blank tape from TDK, Maxell, Sony, and a few others, you could achieve a better sound than from an LP. I'm talking about the '70s here, when home audio was getting big, and there was a worldwide petroleum embargo, causing the record companies to use thinner and less pure vinyl to make LPs. RCA came out with a really thin,
  12. It depends on what analog source you want. If it's for personal use, you can get a brand new, pretty high quality cassette deck from Amazon for only $159. Front: Back: It turns out that vintage open 7-1/2" reel restored vintage tape decks are becoming more common, too. Restored Teac 7300 for $600 on eBay:
  13. It also might help expand a fan base with after-gig record sales. In that situation, the relatively slow reproduction time wouldn't be too much of an obstacle.
  14. It may still be "digital," but with a pro-quality DAC, it may sound like pure analog. The DAC circuit in your CD player is usually a $40-$150 DAC. The transfer of a digital recording to an analog master probably uses a thousand-dollar (or more) professional, studio quality DAC, and they sound like it. E.g., the Dire Straits' album, "Brothers in Arms," was one of the earliest and most "pure digital" recordings in pop/rock music. I have the LP of it, and on playback, you'd never suspect it was originally recorded digitally. It has a lush, full, detailed, and most of all, musical sound to it. Fro
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