1994 Volkswagen Corrado SLC VR6

In Dragon Green, if I remember correctly.  I came across some pictures of it while clearing out boxes in the office over the snowy weekend.  Yes, there is a story and no, it does not have a happy ending.  I'll scan a few more pictures and provide the details when I have time to drink while typing.  it's the only way I'll get through it without crying. . .

 

Winter's Coming

Looks like it's here already.  If the news is to be believed, the White Walkers will be among us in no time.  Getting the mail today I half expected to see recycled Sandy bed sheets that read: "Where's FEMA?" up and down the block.  Honestly, I remember the snow that the tri-state area had in 1978, and even though I was quite a bit shorter then,  it seems to me that people have become considerably less resilient.  Doesn't bode well if something REALLY bad happens, like a run on Mallomars.  Junior at least, took things in stride and remained nonplussed in a basket near the radiator:

 

USB 2.0 Extender, DragonTail

I've acquired a DragonTail from Music Direct.  Probably could have gone with a cheaper option, but this wasn't really all that expensive, and it seems very well made.  I'll listen to it and post some pictures tomorrow.  One thing it certainly does is alleviate my concerns that I would damage the DragonFly or laptop USB port by bashing into it while I had it hooked up . . . night all, I'm beat.

The truth will set you something or other

So I am typing away at yet another revision to the book, and I can't figure out why the Inception soundtrack sounds like CRAP through my headphones.  Oh.  I forgot to plug in the DragonFly- I am just a miniplug direct out of the computer.  Quick remedy for that, and, ahhhhh . . .  all is well again.  And THAT my friends, is all the information you will ever need out of an audio review.

Planets of the Universe

Well, as predicted, here is another track that sounds better ripped to the hard drive and played back through the DragonFly: "Planets of the Universe" from Stevie Nicks' 2001 Trouble in Shangri-La http://www.amazon.com/Trouble-Shangri--Stevie-Nicks/.  Better how?  The vocal track seems to have have a distance from the backing tracks that gives it a very pleasing 3-dimensional quality while listening through headphones.

The Audioquest DragonFly and 1980-1984

Merry Christmas, all.  I am prompted to type this entry by the fact that I was given an Audioquest DragonFly USB digital to analog converter as a gift: http://www.amazon.com/AudioQuest-DragonFly-Asynchronous-Digital-Audio-Converter/.  Thousands of words have already been written about this device, so this will not be a formal review per se.  I am not a computer music guy.  I think MP3 and the cult of the iPod suck.  Go ahead and listen to LMFAO and Lady Gaga played back by an algorithm that costs you hundreds of dollars to own/implement and approximates the wave form with less quality than FM radio (yes I am aware that the user can choose better, but we both know that most do not). I will not listen to Sibelius that way no matter how convenient.  So, on its face the DragonFly may seem to be a waste on me, but au contraire, thus far it has lead me to some conclusions that you might find interesting.

Again, I am not a computer music guy, so I had to actually upload some tunes and determine how I would manage them before I could really use the DragonFly.  Without going into all of the boring details, I decided to use Media Monkey (feel free to go on about how I should have used something else, but don't waste your time recommending iTunes).  I then set about randomly selecting some discs and ripping them as lossless files to my laptop.  More on the tune selection in a bit.  Once that was accomplished (about 150 tracks), I popped the DragonFly into a USB port.  The device itself is the same size as any USB flash drive and has a nifty dragonfly emblem that lights up depending on the sampling rate (44.1kHz-green, 48kHz-blue, 88.2kHz-yellow, 96kHz-white, although this setting looks a bit pink to me), and I was able to cycle through all of them except 88.2 on the fly (so to speak).  It is covered with a black rubber coating that probably has some fancy name and can be found on the dash boards of expensive cars.  Your headphone mini jack (3.5mm jack- LEARN IT, Best Buy staff) plugs right into the end.  Complaint Numero Uno- sticking out from the side of your laptop, this little guy is asking to get bashed into, probably also damaging your USB port.  It is easily weighed down by a decent headphone cord.  I prop it up while in use, and I have ordered some kind of "dongle" from Music Direct to protect it: http://www.musicdirect.com/p-114596-audioquest-dragontail-usb-20-extender.aspx although I am sure it will ruin the music's "microdynamics and pacing."  Whatever.  Anyway, installation was a breeze, as the DragonFly pretty much takes care of itself, and all you need to do is save its profile in the "sounds" section of your control panel, and opt out of Windows sending system noises to it.

The DragonFly contains an ESS Sabre chip which, (HA!  "Chipwhich!"  YUM.  Should I have typed "that" instead?  I am far too lazy to look) is renowned for being of high quality for audio playback (Oppo uses them in their Universal players, for example).  On top of that, the DragonFly also uses its own clock as opposed to the one in your computer, therefore keeping the delicate audio signal free from interruptions from those bastards at Norton and McAfee (how weird is THAT guy?) and anything else that your computer's internal clock has to deal with, such as backing up your porn.  That being said, let me state that which most of us know is true: computer music, like most other things that have to do with computers, is FREAKING MAGIC.

So how does it sound?  Okay, I guess, given that I have no frame of reference.  Better than tape.  Much better.  Better than a record (although that's not too hard to do- don't believe the hype).  About the same as the source CD through headphones SO FAR. . . with one major exception.  For some reason, "Men At Work's:  "Business As Usual" sounds better through the computer than it does on disc. I have absolutely no idea why.  it is a pop disc of average sonics at best, but it sounds quite a bit cleaner through my Grado/DragonFly set up.  So much better in fact, that based on that I would unreservedly recommend the DragonFly, especially because I expect to find more pleasant surprises as i experiment with it.  Eventually I will hook it up to the Yamaha A-S2000, and I will have to dig through the collection to see what needs to be listened to.  Which leads me to the most interesting part of this post, in my opinion. Completely by random, here are the discs that I initially pulled to upload to my Media Monkey library:

Emotional Rescue, the Rolling Stones
Empty Glass, Pete Townshend
Permanent Waves, Rush
Bella Donna, Stevie Nicks
Tatoo You, the Rolling Stones
All the Best Cowboys Have Chinese Eyes, Pete Townshend
Security, Peter Gabriel
Signals, Rush
Long After Dark, Tom Petty & Heartbreakers
The Wild Heart, Stevie Nicks
Undercover, the Rolling Stones
The Unforgettable Fire, U2
White City: A Novel, Pete Townshend
Thriller, Michael Jackson
Business As Usual, Men At Work

So. . . what do we have in common?  All recorded between 1980 and 1984.  Sure it's a function of my age (44), but when I look at the complete 150 song list, 80% falls between 1977 and 1986.  With the exception of a couple of Rush tracks, nothing from 1991-2000. I always felt that the nineties were for the most part a wasteland for rock music, and I guess I voted that way with my money.  Don't get me wrong, I have every Alice In Chains album recorded, and I am not including bands one might drink and dance to such as the Cure in my calculus.  Not sure what to think of this, but one thing is certain- neither Guns N Roses nor Pearl Jam are likely to show up in any future posts, thank goodness.

This CAN'T be good!

Sony STR-GX90ES 2 channel receiver in GREAT condition!

Yamaha R300 Stereo receiver

My wife has discovered that among the myriad items individuals dispose of by donating to thrift stores are articles of the fancy or frilly stationary one might buy at Michael's or some other arts and crafts store.  I think that previously she thought that they were only filled with discarded electronics that only fools could take any interst in, old mismatched golf clubs and stained pairs of Zubas (if you have to ask. . . ). Last we went, she came home with an armful of notepads, magnets, stickers and the aforementioned pastel stationary.  What she'll do with it, I have no idea- but while she's busy with that I can stuff the trunk full of broken tape decks.  Win-win.

Planning for a Saturday trip,  I had gathered up a box of clothes and other items to take in (but I'm keeping all of my 1991 Buffalo Bills Zubas for those still following the joke), and off we went.   I of course had to see what audio treasure might be found and came up with this:

A nice Yamaha R300 stereo receiver, 1982 vintage.  In the store I noticed that the input selector switch was loose, but amazingly, the allen-style screw was still in place.  I am sure the receiver hadn't been at the thrift store long as a few flicks more of the input selector and that screw would have disappeared forever- it is TINY.  So, $24 later I had yet another piece of gear for which I have no real use.  I scrubbed it thoroughly, took off the top and blasted everything with canned air and Deoxit.  Amazingly, I had an allen wrench that fit the selector switch screw and was able to tighten it right up.  The selector switch is made of metal and has a great weight to it, with a wonderful tactile sensation when turned. (Looking at the picture I may have to re-seat the tape monitor button- crooked).   

Darned if it isn't EXACTLY like the selector switches on my new A-S2000 integrated amp.  Even the font is identical (that's branding for you), and the loudness is that same, graduated and very useful system Yamaha also  uses on the A-S2000.  The R300 has a 30 watt per channel amp, but it had no trouble whatsoever driving the Paradigm Mini Monitors to rock levels playing "Clockwork Angels" from the new Rush CD, and the FM tuner is quite good, even without a decent antenna.  On that same note, this one came with the original AM loop antenna.

Gotta love the faux vinyl wood grain.  It's in fantastic shape with no scratches, and the corners are still pretty sharp.  The only mark on the thing seems to be a slight scratch on the tuning knob, which I will gradually try to get out.  The weighting of the analog tuning knob is also terrific for such an inexpensive model.  I would imagine that in 1982 the quality of tuning knob feel was not unlike the sound of a car door closing on a dealer's lot as an arbiter of sales.  I've heard that Lexus spent tons of money getting that closing car door sound and feel just right- to exude a certain quality.  I can definitely see people in Crazy Eddie's during the late seventies and eighties on Route 347 near the Smith Haven Mall making that final decision between two similar receivers just by the way the tuning knob felt.

The spring-clip speaker terminals are better than average as well.  My NAD 3125 terminals are absolute junk by comparison, not to mention they have rusted and need to be cleaned or replaced.  The R300 must have been stored in a less humid environment because the terminal springs look rust-free and snap closed with authority.  In the near future I'd like to do a comparison between the R300 and the NAD 3125, as I think they were comparably priced.  Still a lot to learn about the R300, and I have to re-clean the balance control as it still has a little crackle.  All in all though, pretty neat!  Anyone with any info to share, I would be most appreciative!

  

Sony TC-K700ES Cassette Deck

As you can see in the post below, I have purchased yet ANOTHER Sony ES cassette deck, despite swearing off Sony and only knowing two other people still using tapes.  What can I say, I'm a geek AND a sucker.  I got the TC-K700ES under the impression that it would work, and work it does.  The only thing I have done to it so far is taken the LCD cleaner and canned air to it for a thorough cleaning, and I ran a brand new TDK dry head-cleaner through it a few times.  I also took the hood off and tightened the record timer switch.  The switch is connected to a small board that is held in place by a nut located just behind the faceplate.  The nut had come loose and the switch was floating around.  Unfortunately I scratched the switch plastic while holding it in place and tightening the nut, but it's not very noticeable.

I would only rate the deck a 7.5 for cosmetics, but even so, it is very impressive to look at.  The interior is divided into three discrete compartments, and there are two Elena caps and a power supply nearly as big as those found in my NAD 3125 integrated amp!  I know very little about  cassette deck guts, which is why I have two nice examples awaiting dismantling in the 606ES and RX79ES (just ordered belts- if all goes well the seller will get a plug).  The 700ES mechanism looks very impressive indeed, and as I learn more I will pass it on. I have only played one tape on it, just to ensure all is functioning properly, and from that cursory listen i would have to say it sounded better than my nearly brand new TC-W8AESA dual deck.  It certainly is a beast, and it bears saying again- they don't make them like they used to! Anyone with experience with a high-end deck like this, your comments and advice would be most appreciated.

Now this is more like it

The Sony TC-K700es.  spent yesterday cleaning and fixing the Record Timer switch which had come loose.  More text to follow, as I get a chance to see how it sounds.

Fool's Errand

Well, in the tape mood, I went and bought 2 decks for very little money on Ebay.  One only cost me $12.  Yes, yes- they are Sonys.  A TC-RX79ES and a TC-RX606ES.  Let's not talk about the Sony part.  Why so cheap?  Neither work right.  I have had them open, and their belts are junk and they could use super-cleaning and re-lube.  That might do the trick.  Getting the belts replaced will take more than a bit of dismantling however.  I don't think either of these machines live up to the ES standard the way they should, but they have very nice features such as auto bias calibration, headphone jacks with volume, motorized cassette doors (a note about that- as they are both  advertised as three-motor machines, i believe the third motor is for the door.  In 1996 Sony was already going down the wrong path).  Cleaned up, they are in excellent cosmetic condition.  The 79ES even came with manual and remote- therefore it is the first one I will try to get up and running.  Right now it plays but very, very slowly.  I will also try to locate the dial for motor speed while poking around.  I'll take pictures- its 50/50 that i destroy them both!  Any volunteered advice would be MOST welcome.

Feldy's Favorites and the Sony WA8ESA

If you're into audio, you need to buy a tape deck.  I know it sounds strange given the limits of the cassette tape medium as far as fidelity goes, (signal to noise ratios being far less than CD, plus inherent flaws such as wow and flutter) but I have finally started using the Sony WA8ESA dubbing deck I bought new two summers ago, (see earlier post- thank you Chips Unlimited) and I am really having a killer time with it. As I type, the machine is quietly recording nothing over an old Sony Type IV metal SR tape that I had from goodness knows when. When the tape is blank and reasonably quiet (I do not have a bulk eraser) I intend to make a summer mix with it, one that will compete with the legendary "Feldy's Favorites."  More about that in a bit.

The W8AESA is a dubbing deck that was new in 1996 (according to the manual mine came with).  It is a two-head dual auto reverse design, with HX Pro and Dolby B,C and S noise reduction.  With Type IV metal tape (very expensive to come by now) it can achieve S/N ratio of 58 dB with the Dolby noise reduction off, with a 30-19,000 Hz frequency response.  This is not an ES deck of yore- it only weighs 9 pounds, and whereas the operation is quick and feels solid (full logic controls) the sheet metal is flimsy and I doubt there are any space-age anti resonance materials in the case.  The deck has some very nice features, however, beyond mere dual auto reverse. 

One can automatically or manually set the record level.  If you choose to do so automatically,  play part of a track you intend to record in the record pause mode and the deck "listens" and sets the level based on loud and quiet passages.  You can calibrate the bias for the type of tape you are using, which is neat.  You insert the tape, hit the deck you want to calibrate (A or B- whichever the tape is in) and then select the side of the tape you want calibrated (the direction) followed by pressing pause.  The machine then goes through a 9 second routine wherein it records test signals, analyzes and then sets the appropriate bias.  Call me a nerd, but I really get a kick out of watching it do its thing.  

In many ways, this deck was a real help for parties in the days before 100 disc changers or 10 to the X power number of lame MP3s on Teraflop iFads.    A setting allows me to loop each tape continuously for playback so I could have maybe -wait for it- up to 200 minutes of uninterrupted music!  Keeewwwl!  Even cooler is the Random Music Sensor play- if I record the tracks with enough blank space between them, I can then program the random playback of up to 28 songs.  Why I'd want to do that I don't know, but it's nice to know that I could.

A big downer for this deck is the fact that the cassette wells are not back lit.  It's pretty tough to see where you are on a tape in a dimly lit room.  I could of course just use the clear and easily legible counters, but I want the lights as an option.

The sound is. . . pretty good, actually.  I would characterize it as "soft."  It has been so long since I spent any quality time listening to tapes that it is hard to characterize the sound.  Is it better than the SCD-XA5400es SACD player?  Um, no.  Is it better than 75% of the records I own on the Rega/Orofon Red combo?  Absolutely.  I will know more as I build experience I can use to make judgments.  The two decks I hope to make comparisons with are the Sony TC-KA1ESA that lives at James' house, and the Dual CC8066 at Dennis' house.  Upside is that all of these decks are very low mileage- the W8AESA has had a mere three tapes made on it and maybe another two or three played back,  No worn belts or idlers and pinch rollers out of round.  The best way to compare of course, is to make mix tapes!

Which brings me to the title of this post.  A mutual friend of ours once made (in the summer of 1987, I think?) what he felt to be was  the ULTIMATE mix tape.  As I recall, it had both "Xanadu" from Farewell to Kings AND the "Low Spark of High Heeled Boys" on it, so it was certainly geared to specific tastes.  I remember liking it.  Was it the best?  Hard to say.  Today I did a dry run on a nice Maxell XL II 90 I had unused.  I included some re-mastered Tull, some Stones SACD stuff and even the 180 gram vinyl re-release of "Yours is No Disgrace" from the Yes album.  Making a tape is not like creating a playlist on your computer.  There is little room for error, and you are always on the clock.  Making a mistake means re-tracing your steps AND loss of fidelity- tape is a mechanical medium, after all.  But I really got into the song selection, the order, the flow of the thing.  Haven't felt that way in a while.  And when I played it back i got satisfaction not only that it sounded pretty good, but that the tunes all worked together.  Is it the ultimate?  Nope.  Not even close to: "Feldy's Favorites" which was on an earlier generation Maxell, if I recall correctly.  This is just the beginning.  I have to send out a challenge and see what everyone cooks up!