This is a great comic by R.Crumb. He thought if he drew it he would receive it. It is said that he only likes the earliest of recorded music. I've started to look out for early 78's being inspired by a good friend. To find mint 78's is almost impossible. To find clean playable is possible but it is rarely the 78's you want to hear. I did find a Hank Sr 78 recently that plays nice but this was from the end of the 78 era.
These rough gems of music have also taught me that just because the source is questionable and has lots of surface noise that we should try to listen past these defects and into the music. It is fast becoming my opinion that those that truly love music do not do so at the exclusion of source material but like the music in spite of its source defects. What percentage of music is perfectly clean and recorded? How much of that while is good quality is just not interesting? Antiseptic? Do not be a slave to the lofty golden ear audiophile standards but rather embrace the music lover standards. It is easy to just listen to clean recordings but it takes a true music lover to hear past the pops hiss and defects.
Sorry about the two slow loading posts before this one but I felt the information and readability was worth it.
I have come to the conclusion that you can not trust any product that has been through a marketing department. The published specs do not always match what they say. I have seen this several times lately in compression driver testing. I'm not say they are all liars but trust and verify. If you are looking at a product that is making outrageous claims to improve your system beware. Take this with a grain of salt. It doesn't hurt to try such products but don't get taken to the cleaners. Back in the early days of hifi audio guru and pioneer Paul Klipsch was tiring of these outlandish claims. PWK had some yellow buttons made with the word Bullshit in gothic type made for him. When PWK would hear BS he would lift his lapel out the speaker and show him the BS button. This antic attracted attention quickly and people would watch for this at trade show. It was the last thing anyone want to have flashed at them at a trade show. I wish this still happened today because there is allot of BS in the audio world.
Recently I scored a Garrard 301 and TPA12 tonearm for almost nothing at a thrift store. This has led me to investigate vintage turntable technology. One thing is clear and that is not alot has changed and people still argue over the same things. At a thrift store the other day I found a very early popular electronics magazine circa 1955. It has some great ads and an even better article on tonearms and pro turntables. This is part one. I hope you enjoy it. The science of the tonearm has not changed that much.
Some great tonearms here Angel, audax, b-j,clarkstan, electro-sonic, fairchild 280, and ferranti. The B J arm is the first of its kind the second most popular was a Garrard
There were so many great tonearms. Most of these are still collected today. G-E A1-500, Gray 108C, Leak Model A, Livingston, Pickering 190D, and Weathers A-510-S.
This article even though it was written in the 50's really helped me understand how tonearm and cartridge interacts with the vinyl.
“I like big horns and I cannot lie, those little horns make me cry” Tom Danley "Simple. A horn is just a reasonably rigid boundary for an air column. Now all you have to do is figure what shape to make it." PWK