Just ordered a copy from Discogs. How about a 6-Eye?I love watching those 2-Eye labels spin around.
Coracoa Sensivel.
Off Dave Brubeck Quartet's "Bossa Nova USA." Columbia Records CL 1998. Canadian pressing. MONO. 1963.
Run-out: o XLP-58885-1B [three tick marks]
I don't have many good original 6-Eyes. This Canadian pressing is one of the better ones.
Damn that sounds good. I need to know more about your rig...I don't have many good original 6-Eyes. This Canadian pressing is one of the better ones.
Take Five.
Off Dave Brubeck's "Time Out." Columbia Records. CL 1397. MONO. Canadian pressing. 1959.
Run-out: XLP47853-1F
Thanks for the kind words!
Which phono pickup on that Sony TT?Thanks for the kind words!
Bi-amped. Recently redone 1970s era L300 and two DIY 15-inch subs (136A drivers). Both are driven with Anthem 225-watt/CH amps. I have a Pro-ject DS2 Tubed phono box with Raytheon 5751 windmill getter tubes. And an old school NAD 1600 pre-amp/tuner.
I record using two AKG C414 large condenser mics — close mic'ed to the front of the L300s (18-24 inches from the front plane, at height between the midrange horn and tweeter). I have acoustic panels behind the mics, panels on the windows, and lead aprons covering items on the floor. Heavy rugs moved about the room.
The mics go into a Behringer mixer with phantom power. Then, into my Sony A7 camera (MP4 settings). There is no EQ'ing.
The MP4 files are uploaded to YouTube, usually in 720P format, as it's a much faster process than HD 1080 or 4K.
Earlier photo with Sarmonic on-camera mixer.
AKG mic and sound panel.
True.
Off Spandau Ballet's "True." Mobile Fidelity. MFSL 1-152. 1/2-speed remaster. Jack Hunt mastered. 1984.
Run-out: MFSL 1-152 B2 JH/2 H 1 2 1 ✲
I like War and Tower of Power, from that era, too.
I don't have the whole rig but here's that track!Thanks for the kind words!
Bi-amped. Recently redone 1970s era L300 and two DIY 15-inch subs (136A drivers). Both are driven with Anthem 225-watt/CH amps. I have a Pro-ject DS2 Tubed phono box with Raytheon 5751 windmill getter tubes. And an old school NAD 1600 pre-amp/tuner.
I record using two AKG C414 large condenser mics — close mic'ed to the front of the L300s (18-24 inches from the front plane, at height between the midrange horn and tweeter). I have acoustic panels behind the mics, panels on the windows, and lead aprons covering items on the floor. Heavy rugs moved about the room.
The mics go into a Behringer mixer with phantom power. Then, into my Sony A7 camera (MP4 settings). There is no EQ'ing.
The MP4 files are uploaded to YouTube, usually in 720P format, as it's a much faster process than HD 1080 or 4K.
Earlier photo with Sarmonic on-camera mixer.
AKG mic and sound panel.
True.
Off Spandau Ballet's "True." Mobile Fidelity. MFSL 1-152. 1/2-speed remaster. Jack Hunt mastered. 1984.
Run-out: MFSL 1-152 B2 JH/2 H 1 2 1 ✲
I don't have the whole recording rig but here's that track on my cell phone!Thanks for the kind words!
Bi-amped. Recently redone 1970s era L300 and two DIY 15-inch subs (136A drivers). Both are driven with Anthem 225-watt/CH amps. I have a Pro-ject DS2 Tubed phono box with Raytheon 5751 windmill getter tubes. And an old school NAD 1600 pre-amp/tuner.
I record using two AKG C414 large condenser mics — close mic'ed to the front of the L300s (18-24 inches from the front plane, at height between the midrange horn and tweeter). I have acoustic panels behind the mics, panels on the windows, and lead aprons covering items on the floor. Heavy rugs moved about the room.
The mics go into a Behringer mixer with phantom power. Then, into my Sony A7 camera (MP4 settings). There is no EQ'ing.
The MP4 files are uploaded to YouTube, usually in 720P format, as it's a much faster process than HD 1080 or 4K.
Earlier photo with Sarmonic on-camera mixer.
AKG mic and sound panel.
True.
Off Spandau Ballet's "True." Mobile Fidelity. MFSL 1-152. 1/2-speed remaster. Jack Hunt mastered. 1984.
Run-out: MFSL 1-152 B2 JH/2 H 1 2 1 ✲
Thanks for the kind words!
Bi-amped. Recently redone 1970s era L300 and two DIY 15-inch subs (136A drivers). Both are driven with Anthem 225-watt/CH amps. I have a Pro-ject DS2 Tubed phono box with Raytheon 5751 windmill getter tubes. And an old school NAD 1600 pre-amp/tuner.
I record using two AKG C414 large condenser mics — close mic'ed to the front of the L300s (18-24 inches from the front plane, at height between the midrange horn and tweeter). I have acoustic panels behind the mics, panels on the windows, and lead aprons covering items on the floor. Heavy rugs moved about the room.
The mics go into a Behringer mixer with phantom power. Then, into my Sony A7 camera (MP4 settings). There is no EQ'ing.
The MP4 files are uploaded to YouTube, usually in 720P format, as it's a much faster process than HD 1080 or 4K.
Earlier photo with Sarmonic on-camera mixer.
AKG mic and sound panel.
True.
Off Spandau Ballet's "True." Mobile Fidelity. MFSL 1-152. 1/2-speed remaster. Jack Hunt mastered. 1984.
Run-out: MFSL 1-152 B2 JH/2 H 1 2 1 ✲
Very nice!
Among other things it was that. Indeed.The '70s??
We were much more into just ' jammin ' to the music playing than the stereos the music played on.
It was the music itself, the partying, and going to concerts 'all the time', everywhere - the music was 'ROCKIN'. For the people I knew anyway, that's the way it was. Material Possessions? What's that? It was super FUN time, hitch hiking cross country (N/S/E/W, coast to coast back and forth, livin here an livin there, doing things on a whim, frisbee - The '70s were happening. It was a 'happening'. The entire '70s was a Great time to be young and alive!!
Everybody and everything was just COOL, easy going, long hair, really loose, & FUN!!
What a musical decade!!!!!!!!!!!!!!
Having been the former and about to be the latter I'll have to disagree with Mr. Walsh.
