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JohnnyB last won the day on May 30

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,

Recent Profile Visitors

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  1. I found a Gibson gold-plated floating Johnny Smith mini-bucker. I had it installed on an MIK Gretsch Electromatic hollowbody jazz box. Would that annoy the jazz snob? Sorta like this, but with sunburst finish and gold-plated genuine Gibson Johnny Smith floating pickup:
  2. And shame on "the media" for not verifying Ocasek's birth year. Pretty basic. Professional news organizations shouldn't use Wikipedia as the final arbiter.
  3. It replaced an empty spot on the top shelf of my component rack. I had had a nice Hitachi P-38 DD TT and a decent collection of LPs. I lost many of the LPs to a rain-induced flood in our basement apartment to a rain-induced flood which resulted in moldy, warped records. A couple of years later (around 1982) our cat jumped off the turntable, sending it flying and crashing to the floor, after which its speed control never worked again. Here's an example of a HItachi P-38 in working condition. Mine looked just like it until the cat got through with it and I tossed it in the trash. Soon word got around that CDs (and players) were on their way so I bided my time until they became available in 1987 when I bought a CD player and started replacing my record collection with CDs. 20 years later I found that I got no enjoyment from CDs and their players, so I went to Guitar Center and bought the Technics SL1210M5G and started hitting the used record stores and thrift stores to replenish my LP collection.
  4. What a gorgeous, lush-sounding album! I gave it a complete spin last Monday and will probably do it again tomorrow. I have the 2003 30th anniversary remaster/reissue. Bought it soon after buying my first turntable in 31 years. Glad I did.
  5. I just ran the C22 in a Mac production history page. The C22 was in production from 1963-1968 and retailed for $279. Adjusted for inflation that comes to a Sinatra-sized $2339.21.
  6. Here ya go. Price: US $5,695.00 You're welcome.
  7. Also, the stereo LP wasn't produced until 1958, but some studios made and marketed stereo recordings on 3-track stereo tape. That's what Frank is threading up in the picture. Notice that the front panel of the R2R tape machine features controls and meters for three channels. This was cost-no-object high-end home audio in the mid-'50s.
  8. Yeah, I thought about that when I finished posting. Also, in the early days of stereo recording, they recorded in 3-track--left, right, and center. In fact, here's Frank Sinatra's state-of-the-art 3-channel stereo setup back in the day:
  9. My record-spinning and hand-eye coordination exercises Monday must have worked, because my physical therapy session at the hospital yesterday was particularly good, specifically the balance exercises which had always eluded success.
  10. Don't be sorry. Suhrs kick ass, feel wonderful in the hands, and sound as good as they feel.
  11. I use both speakers, and ensure that I get the same amplitude of signal to each of the two speakers to create what is called a "phantom mode," which sounds like there's a single big, broad speaker in the middle. Actually, my two main speakers create large soundfields. They are panel speakers, each of which has an 11" x 44" radiating surface, both forward and rearward, which is reflected by the wall about 4-1/2 feet behind them. This creates a realistic wall of sound which--although it doesn't convey left-to-right sense of location--it does convey a front-to-back sense of depth. When you think about live performances, very few convey left-to-right placement except in the most general way. The sense of live precise, individual placements of instruments and voices rarely occurs, and a 2-speaker mono arrangement (especially if the speakers are dipole or bipolar) throws a realistic sense of a room-filling soundstage. Mono LP also has some other advantages in realism and fidelity. In a stereo record, you have a V-shaped groove that holds both horizontal and vertical modulations. The vertical modulations convey the left and right stereo channels. The lateral (side-to-side) modulations convey the center, mono channel. Over time, the V-shaped stereo channel gathers dust and gunk, and become noisy, The mono channel modulates side-to-side and doesn't accumulate so much. I've rescued old mono albums from thrift shops, often for $1 each. There is so much fine dust and some gunk that these records are too noisy to enjoy with a stereo cartridge. When I swap in a mono cartridge, which doesn't pick up the vertical modulations, the noise disappears and I only hear the intended mono center channel. I have some 50-year-old mono records picked up at thrift shops for $1 each which are dead quiet when played by my mono cartridge. The mono playback has another advantage in that the cartridge only has to trace one modulation in the groove--the side-to-side mono track. A stereo cartridge has to simultaneously trace the lateral mono track and the vertical stereo track. This can sound thin and nasal where the mono playback sounds lush and full. Of course, the mastering and pressing can determine how dramatic these differences are.
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