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suffeteun

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Re: Bij doorofnight
« Reactie #1740 Gepost op: 29 oktober 2018, 20:06:27 »
Die honden hoor je nauwelijks.Hoe zit het met de arreslee die veel duidelijker is.

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groovy.

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Re: Bij doorofnight
« Reactie #1741 Gepost op: 29 oktober 2018, 20:23:18 »
Die komt van links en gaat achter je langs.
Lenco l78 widebody 12 inch DV.  Lenco 88 Micro-Seiki cf1. Acoustical 2800 All Balance. Lenco b51 Burn & Jones Super. Luxman l507s. Luxman t-550v. Yamaha M2. Yamaha c4. Elipson 1404 Jerry mod.  Cabasse Prao. Rodec sm200.
 
 
Focus on the good.

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Tdo

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Re: Bij doorofnight
« Reactie #1742 Gepost op: 29 oktober 2018, 20:26:11 »
Heeft er al iemand geteld hoeveel stukken brandhout er gekliefd zijn?  :angel:

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suffeteun

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Re: Bij doorofnight
« Reactie #1743 Gepost op: 29 oktober 2018, 22:14:21 »
 
Heeft er al iemand geteld hoeveel stukken brandhout er gekliefd zijn?  :angel:
;D :D :o

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Leobus

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Re: Bij doorofnight
« Reactie #1744 Gepost op: 30 oktober 2018, 10:08:01 »
Over dat klieven gesproken. Volgens mij is het een wak hakken in ijs. Heeft iemand al ontdekt dat de eerste paar klappen midden in het geluidsbeeld staan en er daarna een paar volgen die wat meer naar links staan? En daarna weer een paar in het midden?

Groet,
Leobus

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a.b.

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Re: Bij doorofnight
« Reactie #1745 Gepost op: 30 oktober 2018, 17:53:45 »
Er zijn hier mede audiofreakjes die patent hebben op horen hoe het hoort.  Ik wacht de antwoorden vol spanning af om te controleren of ik net zo'n ultieme top referentieset heb of dat ik eerst 40 jaar ervaring moet hebben, ofzo.

« Laatst bewerkt op: 30 oktober 2018, 17:57:41 door a.b. »
Stop met geloven en je staat overal voor open.
Never underestimate the power of stupid people in large groups ― George Carlin

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Leobus

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Re: Bij doorofnight
« Reactie #1746 Gepost op: 30 oktober 2018, 19:02:48 »
Wat hebben antwoorden te maken met jouw set en/of luisterervaring? Hoor jij het ook of juist niet?

Groet,
Leobus

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Rubble

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Re: Bij doorofnight
« Reactie #1747 Gepost op: 30 oktober 2018, 19:21:01 »
Over dat klieven gesproken. Volgens mij is het een wak hakken in ijs. Heeft iemand al ontdekt dat de eerste paar klappen midden in het geluidsbeeld staan en er daarna een paar volgen die wat meer naar links staan? En daarna weer een paar in het midden?

Groet,
Leobus
Het kunnen ook bevroren honden zijn....
"We sleep in separate rooms, we have dinner apart, we take separate vacations - we're doing everything we can to keep our marriage together."

Rodney Dangerfield

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chansig

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Re: Bij doorofnight
« Reactie #1748 Gepost op: 30 oktober 2018, 19:21:21 »
Over dat klieven gesproken. Volgens mij is het een wak hakken in ijs. Heeft iemand al ontdekt dat de eerste paar klappen midden in het geluidsbeeld staan en er daarna een paar volgen die wat meer naar links staan? En daarna weer een paar in het midden?

Groet,
Leobus

Wakhakker met ADHD ?

Gr. Hans
Dutch & Dutch 8M, Paradigm Pw Link, 2 BK XLS 200 subwoofers

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Leobus

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Re: Bij doorofnight
« Reactie #1749 Gepost op: 30 oktober 2018, 19:54:39 »
Over dat klieven gesproken. Volgens mij is het een wak hakken in ijs. Heeft iemand al ontdekt dat de eerste paar klappen midden in het geluidsbeeld staan en er daarna een paar volgen die wat meer naar links staan? En daarna weer een paar in het midden?

Groet,
Leobusd

Wakhakker met ADHD ?

Gr. Hans

Of een wak dat groter is dan één grote vis. Zoiets waar je vier stoere russen tegelijk in kan laten afkoelen.

Groet,
Leobus

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Re: Bij doorofnight
« Reactie #1750 Gepost op: 30 oktober 2018, 20:24:11 »
Dus hij hakt een wak in het podium.
Lenco l78 widebody 12 inch DV.  Lenco 88 Micro-Seiki cf1. Acoustical 2800 All Balance. Lenco b51 Burn & Jones Super. Luxman l507s. Luxman t-550v. Yamaha M2. Yamaha c4. Elipson 1404 Jerry mod.  Cabasse Prao. Rodec sm200.
 
 
Focus on the good.

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Leobus

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Re: Bij doorofnight
« Reactie #1751 Gepost op: 30 oktober 2018, 21:25:39 »
Dus hij hakt een wak in het podium.

Nee, hij heeft een bevroren vijver achter in de tuin en zijn buren kijken toe terwijl hun hond achter in de tuin staat te blaffen. Bij de andere buren staat de achterdeur open en staat de tv hard aan. Bij de hakker is de loodgieter binnen bezig de lekkende kraan te repareren. ;D

Groet,
Leobus

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Re: Bij doorofnight
« Reactie #1752 Gepost op: 30 oktober 2018, 21:27:44 »
Ik ga nog eens luisteren ;D
Lenco l78 widebody 12 inch DV.  Lenco 88 Micro-Seiki cf1. Acoustical 2800 All Balance. Lenco b51 Burn & Jones Super. Luxman l507s. Luxman t-550v. Yamaha M2. Yamaha c4. Elipson 1404 Jerry mod.  Cabasse Prao. Rodec sm200.
 
 
Focus on the good.

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chansig

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Re: Bij doorofnight
« Reactie #1753 Gepost op: 30 oktober 2018, 21:36:34 »
Eerst maar eens een krat bier en dan maar weer eens gaan luisteren.

Gr. Hans
Dutch & Dutch 8M, Paradigm Pw Link, 2 BK XLS 200 subwoofers


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Buell

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Re: Bij doorofnight
« Reactie #1754 Gepost op: 1 november 2018, 22:10:48 »
Wat je zou moeten horen op de plaat Amused to dead:

Track 1. The Ballad of Bill Hubbard - 4:19

Listen for the dogs barking WAY off your right shoulder—outside your wall, typically—and a home shopping network type broadcast off to the left. The track then moves into a narration provided by the genuine Alf Razzell, of the British Royal Fusiliers, as he describes his inability to save his colleague, Private William Hubbard (to whom ATD is dedicated), from death and possibly never being found in the trenches during the battle of the Somme in France during World War One. Jeff Beck's creamy, haunting guitar sets the stage while Patrick Leonard's keyboards and Luis Conte's percussion weave an opening track that deftly foreshadow the fantastic aural play about to unfold. If you don't have speakers capable of recreating the bottom-most octave (20-40 Hz), you'd better hook up a subwoofer. You'll need it to appreciate most of the bass work and to recreate the full spatial effects from this recording.

Track 2. What God Wants, Part I - 6:00

With the young girl speaking off to the extreme left and the menagerie of animal noises sprinkled throughout the stage, Graham Broad's somber bass drum pulse eases you into the track before it picks up its tempo. Guitar rock? Yesiree! Jeff Beck, Geoff Whitehorn, Tim Pierce, and Andy Fairweather Low blend their individual guitar work here to exquisite effect and Graham Broad's timekeeping propels the composition along like soldiers marching in lock step.

There were some outcries from some religious groups about the lyrics when first released. Listen for yourself. If you are inclined to be offended, it is important to understand that Waters is not condemnatory of "God"; he is instead satirizing those who declare "God" to be in support of whatever it is they are "selling." As Waters explains, this song "was written as an irritable response to the idea that God can be on somebody's side and not on somebody else's side." And, in my opinion, it is VERY effective here, especially with the combined voices of the London Welch Chorale

Track 3. Perfect Sense, Part I - 4:16

Ok, so close your eyes and just go with this one. There is a bizarre voice off your left shoulder, actually a backward masked message. Fan web sites speculate as to what the rising pitched rant and following message may be, and Stanley Kubrick is at the center of all the speculation.

The cover of ATD shows an ape intently watching television. The Stanley Kubrick connection, through his film 2001: A Space Odyssey, will be obvious to most. From the massed ape vocalizations early on, to lyrics like "The monkey sat on a pile of stone… And he stared at the broken bone in his hand," the symbolism and references seem clear enough. During the opening sequences of  2001, we see the "evolution" of apes, as they progress from passive and timid to aggressive and war-like as they learn how to "master" a tool, an animal bone used as a bludgeon. Here, the tool is television, but used, in Waters vision, in the same fashion. 

Be sure to pay attention to the clap of thunder which starts, just after the backward masked message, off your right shoulder then rolls forward, continuing across the front of the stage, then slides up the left completing a clearly defined, semi-circular pattern! A bit later, we are treated to a solo piano followed shortly by a solo violin hanging in space off to the extreme right.

Waters lyrics here are ironic and clever, but the strings, bass and Patricia (P.P.) Arnold's voice are the stars. We're definitely headed somewhere.

Track 4. Perfect Sense, Part II - 2:50

Waters' voice opens, leading into another guitar driven cut. Rick DiFonzo's low grunting guitar is deep, articulate, and powerful. Here the irony kicks into high gear with a battle televised as a sporting event, complete with Marv Albert doing the battle play-by-play. 

Track 5. The Bravery of Being Out of Range - 4:42

Here, the energy kicks up again with solid, detailed bass guitar runs. Denny Fongheiser's drum work, Patrick Leonard's Hammond and synth efforts, and Tim Pierce's guitar work are the stars here. Natalie Jackson and Lyn Fiddmont-Linsey's backing vocals are vaguely reminiscent of the "Great Gig in the Sky," from Pink Floyd's Dark Side of the Moon. No super effects here, but this song is definitely rock ‘n' roll. The sarcasm here is scathing; the underlying message perhaps too close to home to be funny.

Track 6. Late Home Tonight, Part 1 - 4:01

Ok, be prepared to snap your head over you left shoulder to locate the dripping faucet. This sound effect seems to originate from well behind you on the left side of the room. True to the Q-Sound effect, as soon as you turn your head to localize it, it seems "connected" to the front left speaker. Return your head to the front and center position, and it is again well behind you on the left side of the room.

The tempo slows down again here, and we are back to remarkable sound effects used to heighten the story telling. Fighter cockpit and tower controller conversations, as well as other flight sounds, are all around you. Luis Conti's percussion throughout this track is vividly detailed and varies widely, from rock riffs to tribal rhythms. 

At the very end of the cut, listen for the fighter to release its missile and the resultant detonation. That very dynamic explosion (watch the volume here!) literally rolls through the room, starting well behind the speakers then rushing past your chair on its way toward the back wall like a wave!

Track 7. Late Home Tonight, Part II - 2:13

The military dirge-like coronet by Steve Sidwell sets the somber tone. Sounds here include aircraft and felines.

Track 8. Too Much Rope - 5:47

Effects out the wazoo here, and what a blast, ranging from TV shows to chopping wood. From a horse drawn sleigh crossing the stage, considerably forward of the plane of the speakers, from left to right, to a Ferrari later re-crossing from right to left, this cut is quite an extravaganza.

James Johnson's bass runs are DEEP, articulate and defined. As I've indicated, you really need full range speakers (or a good sub?) to appreciate the power of this cut in particular, and this work in general. The beautiful blend of guitar tones from Steve Lukather and Geoff Whitehorn, combined with Andy Fairweather Low's feather strummed 12-string Rickenbacker, yield a delicious sound. We even get to hear Patrick Leonard's children (Jessica and Jordan) screaming near the end of the track before fading into the sound of a warm summer evening with its cricket refrain.

Track 9. What God Wants, Part II - 3:41

Opening with a televangelist speaking off to your left, the choir is back, and this time the theme is more driving; more negative and ironic too. Once more, guitars rule. More crickets, night sounds, and a final train whistle off in the distance—way out behind the front wall and encompassing the room—to close the track. You are surrounded by the sounds of a summer night.

Track 10. What God Wants, Part III - 4:08

Dogs again, go figure, with voices off left during the lead in. Graham Broad's cymbals reveal their lush flavor (listen to the bronzy bite of the ride) and Jeff Beck's weeping, pleading solo guitar is magnificent. And while you may not always care for Waters' voice, here he totally nails the emotion.

Track 11. Watching TV - 6:07

This is the beginning of the real ride. The last quartet of songs is the pièce de résistance of this work. Taken together by themselves, they are so strong that he could have just recorded these four songs and released a killer EP. Effects here include rampant TV channel switching off left and an eerie set of wind chimes. While the lyrics may not be the most inspired, they are certainly clever and Don Henley offers doubled vocals. The tone is set for the beginning of the finale. 

Track 12. Three Wishes - 6:50

Wow. The woman's voice, discussing the murder of her children and her own attempted suicide, is way off left. As the track picks up momentum, the disconnected voice of a Genie fills the room—behind you, left, right, behind the front wall. Chills—Goosebumps. The power of that disembodied Genie's voice rattles doors in their frames—down the hall, and closed!

Listen to the cymbal attack and trail. Jeff Beck's solo soars in the middle of the track, but Tim Pierce (Chorus Lesliy) and Andy Fairweather Low (again with that feather strummed 12-string) are haunting as well. James Johnson's bass work is highlighted along with Patrick Leonard's keys and John Rabbit Brundrick's Hammond organ.

Track 13. It's a Miracle - 8:30

The composition here, with the rising synth, the deep background vocals (London Welsh Chorale) and children's voices, the lilting piano solo near the opening, and the chanting "Never more", is ever so slightly reminiscent of the Alan Parsons Project, Tales of Mystery and Imagination. Regardless, the effect is powerful and engaging. In a rare track, Waters picks up the bass…

This track reminds us just why Jeff Porcaro was asked to sit in on so many sessions over his all too brief life. His understated mastery of the drum kit (listen to him switch between sticks and brushes) is enthusiastically displayed, with tom rolls, focused head locations, vital skin tone and pitch. And the application of Q-Sound to the echoed voices and drum strikes have them reverberating all around the room.

Track 14. Amused to Death - 9:07

Starting slowly and building in energy not tempo, Beck, Whitehorn, and Waters on guitar soar with Leonard's keyboards, all the while allowing James Johnson's bass to strut. As with most of his works, Waters makes his closing cut a masterpiece. Rita Coolidge doubles his vocals here, while Katie Kissoon and Doreen Chanter offer superb backing vocals. Final questions asked, and answered. 

And when they found our shadows
 Grouped around the TV sets
 They ran down every lead
 They repeated every test
 They checked out all the data on their lists
 And then the alien anthropologists
 Admitted they were still perplexed
 But on eliminating every other reason
 For our sad demise
 They logged the only explanation left
 This species has amused itself to death
 No tears to cry
 No feelings left
 This species has amused itself to death
 Amused itself to death
 Amused itself to death

In Waters characteristic bookend style, the last words we hear are again from Alf Razzell. In closing this work, and in providing closure for himself, Alf describes how he discovered his fallen comrade's name on the memorial to the missing at Arras some forty years later. As the track closes on this remarkable work, the TV switches off and the sounds of crickets take us to fade out…
« Laatst bewerkt op: 1 november 2018, 22:13:34 door Buell »
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