View allAll Photos Tagged Quadraphonic,
La Loteria Canta Pedro Brull www.youtube.com/watch?v=ZzpPDPuy6Xk
LOUIS BAUZO www.harborconservatory.org/ m_faculty.html
Harbor Latin Big Band Louis Bauzo www.youtube.com/watch?v=oiRyzGj5q54
LOUIS BAUZO (Latin percussion / department head)
Louis Bauzo has been a professional musician for over thirty years. A former member of the Tito Puente Orchestra, he has performed and/ or recorded with Dizzy Gillespie, Machito, Mario Bauzo, Eddie Palmieri, Mongo Santamaria, Johnny Pacheco, Larry Harlow, Celia Cruz, Cachao and Paul Simon, among others. Director of the Harbor Conservatory’s Latin Percussion Department, Mr. Bauzo is also the musical director and conductor of the Harbor Big Band, as well as the Co-Founder/Curator of the RAICES Latin Music Collection. Mr. Bauzo is a recognized authority on Afro-Caribbean folklore, and has studied in Africa, Puerto Rico, Cuba, and the Juilliard School of Music. He is the director of the Afro-Caribbean folkloric dance and drumming troupes “Carambu” and “Patakin”. In 2000, Mr. Bauzo was honored as an Urban Folk Hero with his induction into City Lore’s People's Hall of Fame in recognition of his effort in creating a home for Latin music
Harlow, Larry
Larry Harlow was born Lawrence Ira Kahn in Brooklyn, New York on 20 March 1939, into a musical family of Jewish-American descent. The young Harlow, affectionately known as El Judio Maravilloso (The Marvellous Jew), excelled at an early age at various instruments. The music and culture of New York’s Latino community led him to Cuba where he began an intense study of Afro-Cuban music.
Harlow is a noted salsa bandleader and multi-instrumentalist, although he primarily plays piano.
Harlow was among the pioneers in the early days of the Fania label. For Fania records he has produced over 106 CD’s for various artists and over 50 CD’s as his own. Among his most popular albums were “Abran Paso” and “Tributo a Arsenio Rodriguez” with Ismael Miranda as the lead singer.
Harlow started studying piano at the age of five. He grew up with his younger brother Andy in a mixed Jewish and Puerto Rican neighbourhood. Harlow attended the Music and Art High School in Manhattan, where he was classically trained in piano, organ, oboe, English horn, flute, bass, harmony and composition. He converted to jazz and became an accomplished jazz pianist.
Hearing Latin music emanating from record stores in New York’s Spanish Harlem captured Harlow’s imagination: he started researching the music, seeking-out Latin musicians and performing in young street bands. While majoring in music at Brooklyn College, he spent his first Christmas vacation in Havana, where he began a love affair with Cuban music and culture. He returned to Cuba for nearly three years to study and research the island’s music.
Back in New York City, Harlow started working with established Latin bands. He decided to found his own and after an eight-month hunt for the right musicians, his first Orchestra Harlow made its debut at New York’s Chez Jos’ Club.
Shorty afterwards he became one of the earliest to sign with the new Fania Records label and released Heavy Smokin’. At that time, Orchestra Harlow’s two trumpet/two trombone horn section featured acclaimed Cuban trumpeter Alfredo “Chocolate” Armenteros and lead trombonist Mark Weinstein, who co-arranged the album with Harlow. Heavy Smokin’ lead vocalist Felo Brito was replaced by Monguito on the follow-up album Bajandote - Gettin’ Off.
Harlow first saw the young Ismael Miranda perform with his brother Andy’s group. In July 1967, Harlow hired Miranda as his new lead singer, marking the starting-point of a highly successful five year period in the history of his band. Miranda’s album debut with Orchestra Harlow was El Exigente with a psychedelic sleeve design befitting the flower power era then at its height. Harlow used a light show in his act at the time. Orchestra Harlow Presenta A Ismael Miranda showcased the 18-year-old vocalist, and included the hit “La Contraria” written, along with two other songs, by Bobby Valentin, who played bass and shared arranger credits.
Harlow’s first gold disc winner Me And My Monkey - ‘Mi Mono y Yo’ featured a Latinized version of John Lennon and Paul McCartney’s “Everybody’s Got Something To Hide Except Me And My Monkey”, though the remainder was typical fare, including the hits “El Malecon” and “Mi Madre”, both co-written by Harlow and Miranda. A succession of hit albums followed, including Electric Harlow, the title denoting Harlow’s use of electric piano on the record; Abran Paso!, with the hit title track composed by Miranda; the notable Tribute To Arsenio Rodriguez in homage to the great Afro-Cuban musical innovator who died at the end of 1970; and La Oportunidad, featuring Miranda’s hit compositions “Señor Sereno” and “Las Mujeres Son”.
Eventually, Miranda departed to pursue a solo career while Harlow took time out to score and produce 1973’s highly regarded Hommy - A Latin Opera (based on the Who’s Tommy) written by Genaro “Heny” Alvarez. Both the studio album and stage presentation at New York’s Carnegie Hall, on 29 March 1973, featured a galaxy of Fania names, including Celia Cruz, Justo Betancourt, Cheo Feliciano, Adalberto Santiago, Pete “El Conde” Rodriguez and Heny Alvarez as the narrator.
Between 1971 and 1978 Harlow became a prolific producer for the Fania family of labels, working on recordings by Mark “Markolino” Dimond; the brilliant Brujeria, and Beethoven’s V, as well as Roberto Roena y Su Apollo Sound, La Conquistadora, Orchestra Dicup, Justo Betancourt, including his 1972 classic Pa Bravo Yo with the title track written by Ismael Miranda, Frankie Dante And Orquesta Flamboyan, Santos Colon, Latin Tempo, Sonora Ponceña, Lebron Brothers, Wuelfo, La Terrifica, Rafi Val Y La Diferente, Bronco, Junior Gonzalez, Tito Gomez and Latin Fever (an all-female group).
He also worked on his own, producing four albums on the Fania stablemate Vaya Records: 1972’s gold disc winner Sorpresa La Flauta, which included the smash hit “La Loteria”, and the less successful La Musica Brava, El Campesino and Latin Fever.
Harlow continued with 1974’s Salsa, regarded by some as a key album of the burgeoning 1970’s salsa boom, which featured elements presaging the charanga revival of the latter half of the 70s. The two-disc Live In Quad was the first and possibly the only salsa album recorded in quadraphonic stereo, with Justo Betancourt guesting as co-lead vocalist. The recording was not only brilliant technically but provided equally brilliant music, as this track, entitled Tumba y Bongo shows.
Gonzalez made two more albums with Harlow: El Judio Maravilloso (1974), with charanga touches provided by Felix “Pupi” Legarreta’s violin, and El Jardinero Del Amor, with the 1976 Harlow/Miranda reunion Con Mi Viejo Amigo sandwiched in-between. Revered veteran Cuban singer/former big band leader Marcelino Guerra contributed chorus vocals to Harlow’s albums between 1971, starting with Tribute To Arsenio Rodriguez, and 1974, with the exception of Live In Quad.
Gonzalez departed and released a string of solo albums, including: Tiempos Buenos/Good Times (1977), Mi Estilio/My Style and Naturalmente Jr. Gonzalez on Fania; Gracias on 7th Galaxy; Sabor Y Sentimiento on Caballo; M as Romantico Que Nadie on Mercury; Lo Pasado Pasado on EMI/Capitol; En Su Tiempo ... Siempre on Sony; Mis Raices on J&N/EMI. Additionally, Gonzalez was amongst various prominent vocalists on Tito Puente‘s first two tribute albums to Beny Moré, (1978 and 1979); and he was one of the lead singers in the Jose Mangual Jr. produced Salsa Ritmo Caliente and Salsa Ritmo Caliente, Vol. 2, backed by the cream of New York’s salsa session musicians.
Meanwhile Harlow’s 1977 salsa suite La Raza Latina, an ambitious “history of Latin music in musical genre” with Rubén Blades, was nominated for a Grammy Award. He replaced Gonzalez with the magnificent voice of albino sonero Nestor Sanchez, which was showcased in 1978’s El Albino Divino (Sanchez’s nickname), with Legarreta again guesting on violin, and Rumbambola. “If Nestor Sanchez takes a chord progression his voice would be his instrument and he improvises. He’d play jazz,” said Harlow in New York Latino, 1993.
In 1979, Harlow teamed-up with Dominican Fausto Rey for the lacklustre La Responsabilidad with Sanchez in the chorus; Sanchez returned to lead vocals on El Dulce Aroma Del Exito in 1980. That year, Harlow reunited with Gonzalez for Our Latin Feeling/Nuestro Sentimiento Latino. Harlow’s one-off release on Coco Records in 1981, Asi Soy Yo, featured Gary Carrion on lead vocals with Sanchez on background vocals. His final album on Fania, Yo Soy Latino was also Sanchez’s last with the bandleader.
Thereafter, reflecting the wane of New York salsa during the 80s, Harlow’s output became sparse. Señor Salsa, with lead singer Ray Perez, was an undistinguished album on Tropical Budda. In 1984 he produced La Verdad, the United States solo debut of vocalist/composer Israel “Kantor” Sardinas. Salsa Brothers/The Miami Sessions (1988), the first on Songo Records, was made in Miami with Andy, who had relocated there in 1977. The album marked the re-emergence on record of piano wizard Mark “Markolino” Dimond, who soloed on one track and co-arranged with Andy. Mi Tiempo Llego/My Time Is Now, again with Ray Perez, on Cache was a misjudged comeback attempt.
Harlow was a founder member of the Fania All Stars and performed on all their albums up to 1976 (plus 1979’s Habana Jam, recorded in Cuba), he also appeared with them in the movies Our Latin Thing (Nuestra Cosa), Live In Africa and Salsa. In 1994, he teamed up with Ray Barretto, Adalberto Santiago and cuatro guitar virtuoso Yomo Toro to found the Latin Legend Band, with the aim of both educating Latino and American youth about Latin music heritage and pioneering new ideas in the music, resulting in Larry Harlow’s Latin Legends Band 1998 and songs Palo Duro.
Harlow holds a BA degree in music from Brooklyn College and has an Master’s degree in philosophy from the New School of Social Research in New York City.
1975
The big quadrophonic receiver Sansui QRX-7001 in the rare european-version with black aplications
35 watt per channel x4
60 watt per channel x2
-
Thanks to Uli from Schwerte
.
Ein ganz grosser Sansui Quadro-Klassiker in der raren Europa-Version mit schwarzen Applikationen. Wunderschöner Zustand mit Echtholzgehäuse. Massivste Bauweise trifft High-End-HiFi.
1975
The big quadrophonic receiver Sansui QRX-7001 in the rare european-version with black aplications
35 watt per channel x4
60 watt per channel x2
-
Thanks to Uli from Schwerte
.
Ein ganz grosser Sansui Quadro-Klassiker in der raren Europa-Version mit schwarzen Applikationen. Wunderschöner Zustand mit Echtholzgehäuse. Massivste Bauweise trifft High-End-HiFi.
I lived in Nashville, TN, from 1971-73. My first job out of college was at a Kodak film processing center on West End Avenue, ruining our customers precious pictures by hanging their undeveloped Instamatic film in total darkness for 8 hours a day. Most of the film I hung on the automated developing thing fell into the developing bath and had to be fished out later; or it would stick to other people's film throughout the entire process. The people I worked for were incredibly laid back about my almost daily fuckups. I have no idea why I wasn't fired on the spot after my first day, but they all seemed to like me or something.
I decided working in total darkness wasn't my future, so that fall I applied for a job waiting tables at Friday's Restaurant on Elliston Place. I lied about my restaurant experience - none - and after a day as a busboy they started me with a full section of tables.
Friday's back then bore no resemblance to the horrible chain that you see everywhere today. In 1971 there were only three Fridays - the original in New York City, a second in Memphis, and the one in Nashville. Liquor by the drink had just been legalized in Tennessee when I arrived, and Friday's was the first place to capitalize on the new "singles bar" scene. Business was brisk.
A guy named Walter Harwood, another of the nighttime wait staff, saw instantly that I didn't know what the fuck I was doing and took me under his wing. He taught me everything I needed to know so I wouldn't get canned after my first month. I got to know the other waiters on both shifts, and we'd hang out together on our days off, smoking weed and cruising the bar scene. Before our shift we'd meet at the Elliston Place Soda Shop down the street for burgers and milkshakes.
I made a shitload of money at Friday's over the next ten months and saved all of it since I was paying only $40 a month rent - I slept on a guy's couch - and eating only at the Soda Shop (cheap) or Friday's (free). I left town for the summer, flew to London and stayed with friends off and on for six weeks, and returned to Nashville penniless.
Walter let me stay with him for awhile on my return, telling me that this new bar was about to open up on Division Street near Vanderbilt University and that he was in tight with the future manager. Still under construction, the place was going to be huge. One of the owners was this young rich guy who'd been one of the original investors in Friday's, and I knew he liked me ok. The other owner, though, was Tex Ritter, one of the great singin' cowboys who'd made his mark on Hollywood back in the 40s; and, along with Hopalong Cassidy, the Lone Ranger, and Roy Rogers, Tex was definitely one of my early tv heroes.
While the new bar - to be called the Cumberland Valley Jockey Club (or "Jock's") - was being built, Walter and I waited tables at another of the restaurants Tex owned, right across the parking lot. We were the ONLY waiters there too, working double shifts. We did our jobs well, but it was fucking easy after the utter chaos we were trained to endure at Friday's.
One day at lunch Tex Ritter came in to meet me and Walter, and I waited on his table. He was not tall, but he had an enormous gut. Smoked a meerschaum pipe, which I thought was oddly out of character. The other owner had warned me in advance that Tex didn't like hippies, and Tex kind of glowered at me throughout the meal.
He grew to like me, though. The two owners came in for lunch together often after that day, and I always waited on them. Tex actually asked to sit in my section. That was unbelievably cool. When he came to the table I'd greet him with, "Hello, Mr. Ritter!" and he'd look at me, smile, and say, "Hello, young feller!"
Jock's opened in the fall and was hugely successful. A lot of music people would come in, since Jock's was situated very close to the recording studios. Guitar legend Chet Atkins would come in. Dobie Gray, who was enjoying a huge hit with "Drift Away", was a regular who would hang out with us at the bar. Lots of people from Quadraphonic Studios - Norbert Putnam, David Briggs, Jerry Kennedy - were there every day. Waylon Jennings would sit with Shel Silverstein nearly every day at Happy Hour.
That December I finagled a week off to fly down to Charleston to visit with my family for Christmas. Before I left I bought an lp of Tex's "Greatest Hits" and asked him if he'd mind signing it for my sister Ruthie's Christmas present from me. He said he'd be delighted. He asked me what her name was, and I told him that her middle name was "Tisdale" and that she'd call herself "Dale" when we played cowboys and Indians as children. He thought that was hilarious, so he signed it just as you see it above. Film buffs will recognize his quote as the opening lyrics to the "Theme From High Noon", which Tex sang in the film.
Ruthie loved her gift and displayed it in her home in Washington, DC, for years. When she died in 2007 I inherited this from her estate. One of the many treasures Ruthie left for me to care for.
PAUL McCARTNEY: THE ESSENTIAL RARITIES 2 CD
New compilation of Paul rarities 1970-1979! 35 tracks - outtakes, alternate mixes, rough mixes,
live performances and more! Great compilation of rare tracks!
DISC ONE:
1. MAYBE I’M AMAZED (Multitrack Remix)
2. ANOTHER DAY (Stereo Remix)
3. UNCLE ALBERT / ADMIRAL HALSEY (Extended Version)
4. UNCLE ALBERT JAM (Studio Outtake)
5. EAT AT HOME (Live Version 1972)
6. SMILE AWAY (Live Version 1972)
7. GIVE IRELAND BACK TO THE IRISH (ICA Rehearsal)
8. MARY HAD A LITTLE LAMB (Early Take)
9. HI, HI, HI (Stereo Remix)
10. SEASIDE WOMAN (Rough Mix)
11. THE MESS (Studio Outtake)
12. MY LOVE (Basic Tracks)
13. LIVE AND LET DIE (Quadraphonic Mix)
14. HELEN WHEELS (Extended Version)
15. JET (Rough Mix)
16. BAND ON THE RUN (Single Edit Version)
17. JUNIOR’S FARM (Ernie Winfrey Mix)
18. SALLY G (Ernie Winfrey Mix)
19. SEND ME THE HEART (Ernie Winfrey Mix)
20. VENUS AND MARS (Studio Outtake)
DISC TWO:
1. ROCK SHOW (New Version)
2. LETTING GO (Extended Version)
3. LISTEN TO WHAT THE MAN SAID (Extended Remix)
4. SILLY LOVE SONGS (Extended Remix)
5. LET’EM IN (Extended Remix)
6. MULL OF KINTYRE (Unedited Full Version)
7. GIRL SCHOOL (Studio Outtake)
8. WATERSPOUT (Rough Mix)
9. WITH A LITTLE LUCK (Edited Version)
10. I’VE HAD ENOUGH (Early Take)
11. LONDON TOWN (Remix)
12. GOODNIGHT TONIGHT (Extended Version)
13. NO WORDS (Live In Glasgow 1979)
14. BAND ON THE RUN (Live In Glasgow 1979)
15. COMING UP (Live In Glasgow 1979)
Bolero, Sheherazade, Scheherazade, Rhapsodie Espagnole, Rapsodie, La Valse, Daphnis et Chloe, Tzigane, Valses Nobles et Sentimentales, Ma Mere l'Oye, Le Tombeau de Couperin, Pavane pour une infante defunte, Alborada del Gracioso, Menuet Antique, Une Barque sur l'Ocean, Konzert fur die linke Hand, Left, Klavierkonzert G-Dur, Piano Concerto G Major, Marcel Galiegue, Michel Garcin-Marrou, Andre Sennedat, Jean-Claude Malgoire, Choeurs Theatre Nat. Opera Paris, Jean Laforge, EMI Electrola C 191-02 583/87Q
please visit
for more details
Pioneer 4 Channel Receiver QX 4000
www.youtube.com/user/sakamatra1
Year 1974 − 1976
Specifications
FM Parts
Tuning range 87.5 − 108
Sensitivity (IHF) 2.2 micro volts
Equal wave selection 3 dB
Selectivity better than 40 dB
Image Frequency rejection better than 50 dB at 98 MHz
Spurious Response rejection better than 65 dB
Clear factor stereo better than 0.8% (100% Mod)
Stereo separation better than 40 dB
AM parts
Tuning range 525.5 − 1.605 KHz
Sensitivity (IHF) 1.5 micro volts
Equal wave selection (1000 KHz) better than 45 dB
Spurious Response rejection better than 50 dB
Amplifier parts
Continuos power output ( 1 KHz, 4 channels driven)
11 watts + 11 watts / 11 watts + 11 watts (4 ohms)
11 watts x 4 (4 ohms), 10 watts x 4 (8 ohms)
Power in the range of 20 to 20.000 Hz (2 channels driven)
10 watts + 10 watts / 10 watts + 10 watts (8 ohms),
Harmonic distortion less than 1 % (continuos power output)
Power Bandwidth (IHF) (4 channels driven)
15 to 20.000 Hz (8 ohm), harmonic distortion less than 1 %
Frequency Response 10 to 100.000 Hz +/- 3 dB
Dumping factor 40 ( 8 ohms 1 KHz)
Preamplifier parts
Input Sensitivity/Impedance (1KHz for rated output)
PHONO MAG 2.5 micro Volts/50 Kohms
TUNER 200 micro Volts/90 Kohms (4 Ch)
AUX 200 micro Volts/90 Kohms (4 Ch)
TAPE MONITOR 200 micro Volts/90 Kohms (4 Ch)
TAPE REC 200 micro Volts (4Ch)
TAPE REC DIN 35 micro Volts (4Ch)
Miscellaneous
Power Requirements 110v, 120v, 130v, 220v, 240v (switchable) 50 − 60 Hz
Power Consumption watts (max)
AC Outlets
Switched 1
Unswitched 1
Dimensions (overall) (w) x (h) x (d) mm
Weight without package kg
Video Games 1982 Electronic Games holds the third Arcade Awards, for games released during 1980-1981. Pac-Man wins the best arcade game award, Asteroids (Atari VCS) wins the best console game award, and Star Raiders (Atari 8-bit family) wins the best computer game award. Video Games presented in this video: Donkey Kong Jr. (Arcade By Nintendo) Dig Dug (Arcade By Namco / Atari) Time Pilot (Arcade By Konami) Pole Position (Arcade By Namco / Atari) Pitfall! (Atari 2600 By Activision) Moon Patrol (Arcade By Irem / Williams) Q*Bert (Arcade By Gottlieb) Joust (Arcade By Williams) Zaxxon (Arcade By Sega) Popeye (Arcade By Nintendo) Super Pac-Man (Arcade By Namco) Tron (Arcade By Bally Midway) River Raid (Atari 2600 By Activision) Mr. Do! (Arcade By Universal) Xevious (Arcade By Namco / Atari) Carnival (Colecovision) Jungle Hunt (Arcade By Taito) Robotron 2084 (Arcade By Williams) Bagman (Arcade By Valadon Automation) Berzerk (Vectrex) Wizardry II (Computer Game By Sir-Tech) Ultima II (Computer Game By Sierra On-Line) Frogs and Flies (Atari 2600 By Mattel) Night Stalker (Intellivision) Buck Rogers Planet of Zoom (Arcade By Sega) Millipede (Arcade By Atari) Pengo (Arcade By Sega) Swords & Serpents (Intellivision By Imagic) Oink! (Atari 2600 By Activision) Smurfs: Rescue in Gargamel's Castle (Colecovision) Spider-Man (Atari 2600 By Parker Brothers) Venture (Colecovision) Tron: Deadly Discs (Intellivision) Tron: Maze-A-Tron (Intellivision) Necromancer (Atari 8-Bit By Synapse Software) Shamus (Atari 8-Bit By Synapse Software) Incredible Wizard (Bally Astrocade) Dragonfire (Atari 2600 By Imagic) Demon Attack (Atari 2600 By Imagic) Shark! Shark! (Intellivision) Vote for Your Favorite Video Games of 1982: bit.ly/2vry4LL Computer Games 1982 Richard Garriott and Sierra On-Line released Ultima II: The Revenge of the Enchantress. However, controversy with Sierra over royalties led the series creator Richard Garriott to start his own company, Origin Systems. Sir-Tech Software, Inc. releases Wizardry II: The Knight of Diamonds, the second scenario in the Wizardry series. Koei releases Night Life, the first erotic computer game. Pony Canyon releases Spy Daisakusen, another early Japanese RPG. Synapse releases Necromancer and Shamus for the Atari 8-bit family. Hiroyuki Imabayashi’s Sokoban is released for the NEC PC-8801 and becomes an oft-cloned puzzle game concept. Console Video Games 1982 Atari releases the Atari 2600 version of Pac-Man. 12 million cartridges are produced, 7 million sold; it’s believed to be one of the causes of the North American video game crash of 1983. Activision releases Pitfall!, which goes on to sell 4 million copies. Atari releases Yars’ Revenge. Overlooked arcade games are revitalized as ColecoVision launch titles, including Cosmic Avenger, Mouse Trap, Lady Bug, and Venture. Atari releases E.T. the Extra-Terrestrial. Written in five and a half weeks, it’s one of the games that sparks the crash of 1983. Activision releases River Raid, Megamania, Barnstorming, Chopper Command, and Starmaster for the Atari 2600. River Raid becomes one of the all-time bestselling games for the system. Parker Brothers releases Star Wars: The Empire Strikes Back for the Atari 2600, which is the first Star Wars video game. Imagic releases Demon Attack, Atlantis, and Dragonfire for the 2600. Even though, Atlantis sells over a million copies, Demon Attack doubles that. Arcade Games 1982 Sega releases Zaxxon, which introduces isometric graphics, and looks far more 3D than any other raster game at the time. Midway releases Ms. Pac-Man, which is the sequel to Pac-Man, but was created without Namco’s authorization. They also release Baby Pac-Man and Pac-Man Plus without Namco’s authorization later in the year. Namco releases Dig Dug, manufactured by Atari in North America. Nintendo releases Donkey Kong Jr., the sequel to Donkey Kong. Taito releases parallax scroller Jungle Hunt. Namco releases Pole Position, one of the first games with stereophonic and quadraphonic sound. Featuring a pseudo-3D, third-person, rear-view perspective, it becomes the most popular racing game of its time. Other Arcade Video Games 1982 Sega releases maze game Pengo, starring a cute penguin. Namco releases Super Pac-Man, the third title in the Pac-Man series. Konami releases Time Pilot, Namco releases Xevious which sets the style for scrolling shooters to come. Gottlieb releases Q*bert. Bally/Midway releases the Tron arcade game before the movie. Williams Electronics releases Joust, Robotron: 2084, Sinistar, and the second game of the year with parallax scrolling, Irem’s Moon Patrol. Robotron popularizes the twin-stick control scheme for fast action games. Vote for Your Favorite Video Games of 1982: bit.ly/2vry4LL Thanks for watching the video and reading this description! Please Like and Subscribe! youtu.be/J5PNYMUjLcE
Sharing Music by Sharing Headphones ?
Not really Illegal - but I am sure the RIAA would like it to be that way.
:-)
Seriously - this would seem to indicate that artists are no longer panning sounds between the left and right audio channels (anyone remomber quadraphonics
?) - or perhaps predicting a trend in personal mp3 players becoming less personal and more group oriented (with multiple headphone jacks...) As I am no longer young enough to be tuned into what youngsters are doing - I am probably all wrong.
On 09.10.11 radio collective dublab turns LACMA into a sonic adventure with this exclusive, after-hours event. Tour the museum’s galleries with a tailor-made soundtrack, with performances and interactive projects along the way. Then check out an exploration of sound, both amplified and silent, in front of LACMA’s iconic Urban Light sculpture. This event is curated by dublab and presented by LACMA Muse, the museum’s premier group for young art patrons.
"LISTEN TO ART" CONTRIBUTORS:
DUBLAB DJ's
2true DJ's (Joseph Stewart + Max Krivitsky)
Aaron Drake
Alejandro Cohen
Anenon
Ashland Mines (Total Freedom)
Ben Knight
Bryan Ray Turcotte
Big Swell
Carlos Niño & Friends
Daedelus
Daniel Pineda (Nguzunguzu)
DJ Lengua
Emily Mast
Farmer Dave Scher
Fiona Connor
Frosty
Gabie Strong
Ganas
Goethe-Institut Los Angeles
Jake Viator
Jon-Kyle Mohr
KCHUNG Radio
Mitchell Brown
Nick Amato
Power Mallet (Sarah Rara & Ron Rege)
RareBit
Ryan Granich
Scott Cazan
Stephen / Steven (brendan fowler)
Solomon Bothwell
Turquoise Wisdom
Zen Mafia DJ's
+ Many more.
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PERFORMANCE & SOUND INSTALLATION DETAILS:
BP GRAND ENTRANCE:
KCHUNG is a micro-power AM/FM broadcast platform serving the Los Angeles community through temporary, localized broadcasts of music, news, live performance, talk, public service announcements and more. KCHUNG Radio will broadcast live dj sets and performances from LACMA's BP Grand Entrance over the AM/FM airwaves!
Featured performers include: Power Mallet (live), 2true (Joseph Stewart + Max Krivitsky) (dj's), Zen Mafia (dj's), Bryan Ray Turcotte (dj), Gabby Strong (dj), Emily Mast (live), Fiona Connor (reading the news), Stephen / Steven (Brendan Fowler) (live) and more.
KCHUNG's team of roving reporters will beam live news flashes and interviews throughout the evening from across the LACMA campus.
*** Bring an AM/FM radio with headphones to tune in! ***
+ Visual projections by Alex Pelly (dublab/the Masses).
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RESNICK PAVILION:
Daedelus presents…"Toil & Trouble," a musical menagerie inspired by LACMA's Tim Burton exhibition.
DOWNLOAD MIX: Daedelus presents…"Toil & Trouble," a musical menagerie inspired by LACMA's Tim Burton exhibition. Put this on your personal music player and listen while touring the show.
”Toil & Trouble," as inspired by the phenomenal Tim Burton Retrospective at LACMA thru Halloween; is an attempt to evoke some of the very disparate forces at play and playful in Mr. Burton's oeuvre. Here is a gentleman that has crossed every creative boundary with iconic style, so a daunting task indeed to try and reveal his unique spirit in song, but with much joy in my attempt. Deciding to have this mix be a sort of counter-soundtrack for the installation, as well a meditation on his considerable style. You'll find ancient and classic tracks with some modern musics from the likes of Shlohmo, Airhead, Flying Lotus with MatthewDavid, and much much more. I do so hope you enjoy, or at least revel in the airs solely Tim Burton." - Daedelus
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BCAM 1ST FLOOR - BAND:
A sub-frequency, quadraphonic, sound installation amidst Richard Serra's "Band" sculpture curated by Alejandro Cohen and featuring pieces by: Aaron Drake, Alejandro Cohen, Big Swell, Mitchell Brown and Scott Cazan.
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BCAM - ELEVATOR:
Farmer Dave Scher presents "Upstairs/Downstairs" a sound play in three floors with Ben Knight.
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BCAM 2ND FLOOR - ASCO: A RETROSPECTIVE, ELITE OF THE OSCURE, 1972-1987:
DJ Lengua and Ganas of Mas Exitos offer live audio accompaniment to Asco's retrospective Elite of the Obscure, 1972-1987. The djs, also accomplished visual artists, were featured alongside Asco in LACMA's "Phantom Sightings" exhibition so their familiarity with the work of this collective will surely lead to exciting results.
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BCAM 3RD FLOOR - BROAD COLLECTION:
TOTAL FREEDOM "SOUNDBANK": A cyclical, interactive dj system curated by Ashland Mines. "Soundbank" will feature a dj performance by Total Freedom and NGUZUNGUZU. The audience is encouraged to join in by triggering tones and rhythms from a bank vault of audio sources.
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AHMANSON 1ST FLOOR - SMOKE:
One of LA's most creative records labels, Non Projects, presents a series of live headphone performances from Anenon, Jon-Kyle Mohr, RareBit and others under the monumental sculpture Smoke.
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AHMANSON 1ST FLOOR - ART OF THE PACIFIC:
A sound installation by Frosty and Jake Viator conjuring an Oceanic voyage though the South Pacific Islands.
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AHMANSON 2ND FLOOR - MODERN ART:
360 Record Potluck hosted by Carlos Niño & Friends. A celebration of vinyl from around the World reflecting LACMA's 1950's-80's Modern Art collection.
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AHMANSON 2ND FLOOR - GERMAN EXPRESSIONISM:
dublab dj Turquoise Wisdom mixes selections from the Goethe-Institut Los Angeles Media Lounge to create a soundtrack for LACMA's German Expressionism Collection. Continue your German music explorations by visiting the Goethe-Insititut Los Angeles.
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The event runs 8:30pm-12:30am. Enjoy late night access to special exhibitions Tim Burton and Asco—plus LACMA's modern, contemporary, and Art of the Pacific galleries.
Admission includes complimentary beer, wine, and parking. Complimentary beer and wine provided by Heineken and Malibu Family Wines, plus craft cocktails available for purchase at Stark Bar.
Tickets: $25 Muse Members; $40 General Admission (Enter promo code "DUBLAB1" for $30 discount tickets).
Call 323 857-6010 or purchase online.
You must show Muse membership card to pick up discounted member tickets. $2 convenience fee added to all online and phone orders.
please visit
for more details
Sansui 4 channel rear amplifier QS 500
www.youtube.com/user/sakamatra1
Year 70s
Specifications
Rated power 30 watt
Into 8 ohms RMS per channel
THD at rated power (both channels driven at 1000 Hz)
Left 0.12 Hz Right 0.12 Hz
Max power at 1 % THD (both channels driven at 1000 Hz)
Left 36 w Right 36 w
Signal to Noise Ratio (at rated out put)
Left −90 db Right −89 db
Frequency and Balance Check 20 Hz (referenced to 1000 Hz)
Left −1.0 db Right −1.0 db
Frequency and Balance Check 20 kHz (referenced to 1000 Hz)
Left −0.5 db Right −0.5 db
Miscellaneous
Power type and voltage
Alternating Current supply (AC) / 100; 110; 117; 127; 220; 230; 240; 250 Volt
This model requires external speaker(s)
Wooden base
Book-shelf unit
Dimensions
382 x 167 x 337 mm
15 x 6.6 x 13.3 inch
Notes
4 Channel Rear Amplifier
(Quadro Amplifier)
20 diodes,1 CI, 7 modules, 2 zenerdiodes.
(radio museum)
On 09.10.11 radio collective dublab turns LACMA into a sonic adventure with this exclusive, after-hours event. Tour the museum’s galleries with a tailor-made soundtrack, with performances and interactive projects along the way. Then check out an exploration of sound, both amplified and silent, in front of LACMA’s iconic Urban Light sculpture. This event is curated by dublab and presented by LACMA Muse, the museum’s premier group for young art patrons.
"LISTEN TO ART" CONTRIBUTORS:
DUBLAB DJ's
2true DJ's (Joseph Stewart + Max Krivitsky)
Aaron Drake
Alejandro Cohen
Anenon
Ashland Mines (Total Freedom)
Ben Knight
Bryan Ray Turcotte
Big Swell
Carlos Niño & Friends
Daedelus
Daniel Pineda (Nguzunguzu)
DJ Lengua
Emily Mast
Farmer Dave Scher
Fiona Connor
Frosty
Gabie Strong
Ganas
Goethe-Institut Los Angeles
Jake Viator
Jon-Kyle Mohr
KCHUNG Radio
Mitchell Brown
Nick Amato
Power Mallet (Sarah Rara & Ron Rege)
RareBit
Ryan Granich
Scott Cazan
Stephen / Steven (brendan fowler)
Solomon Bothwell
Turquoise Wisdom
Zen Mafia DJ's
+ Many more.
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PERFORMANCE & SOUND INSTALLATION DETAILS:
BP GRAND ENTRANCE:
KCHUNG is a micro-power AM/FM broadcast platform serving the Los Angeles community through temporary, localized broadcasts of music, news, live performance, talk, public service announcements and more. KCHUNG Radio will broadcast live dj sets and performances from LACMA's BP Grand Entrance over the AM/FM airwaves!
Featured performers include: Power Mallet (live), 2true (Joseph Stewart + Max Krivitsky) (dj's), Zen Mafia (dj's), Bryan Ray Turcotte (dj), Gabby Strong (dj), Emily Mast (live), Fiona Connor (reading the news), Stephen / Steven (Brendan Fowler) (live) and more.
KCHUNG's team of roving reporters will beam live news flashes and interviews throughout the evening from across the LACMA campus.
*** Bring an AM/FM radio with headphones to tune in! ***
+ Visual projections by Alex Pelly (dublab/the Masses).
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RESNICK PAVILION:
Daedelus presents…"Toil & Trouble," a musical menagerie inspired by LACMA's Tim Burton exhibition.
DOWNLOAD MIX: Daedelus presents…"Toil & Trouble," a musical menagerie inspired by LACMA's Tim Burton exhibition. Put this on your personal music player and listen while touring the show.
”Toil & Trouble," as inspired by the phenomenal Tim Burton Retrospective at LACMA thru Halloween; is an attempt to evoke some of the very disparate forces at play and playful in Mr. Burton's oeuvre. Here is a gentleman that has crossed every creative boundary with iconic style, so a daunting task indeed to try and reveal his unique spirit in song, but with much joy in my attempt. Deciding to have this mix be a sort of counter-soundtrack for the installation, as well a meditation on his considerable style. You'll find ancient and classic tracks with some modern musics from the likes of Shlohmo, Airhead, Flying Lotus with MatthewDavid, and much much more. I do so hope you enjoy, or at least revel in the airs solely Tim Burton." - Daedelus
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BCAM 1ST FLOOR - BAND:
A sub-frequency, quadraphonic, sound installation amidst Richard Serra's "Band" sculpture curated by Alejandro Cohen and featuring pieces by: Aaron Drake, Alejandro Cohen, Big Swell, Mitchell Brown and Scott Cazan.
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BCAM - ELEVATOR:
Farmer Dave Scher presents "Upstairs/Downstairs" a sound play in three floors with Ben Knight.
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BCAM 2ND FLOOR - ASCO: A RETROSPECTIVE, ELITE OF THE OSCURE, 1972-1987:
DJ Lengua and Ganas of Mas Exitos offer live audio accompaniment to Asco's retrospective Elite of the Obscure, 1972-1987. The djs, also accomplished visual artists, were featured alongside Asco in LACMA's "Phantom Sightings" exhibition so their familiarity with the work of this collective will surely lead to exciting results.
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BCAM 3RD FLOOR - BROAD COLLECTION:
TOTAL FREEDOM "SOUNDBANK": A cyclical, interactive dj system curated by Ashland Mines. "Soundbank" will feature a dj performance by Total Freedom and NGUZUNGUZU. The audience is encouraged to join in by triggering tones and rhythms from a bank vault of audio sources.
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AHMANSON 1ST FLOOR - SMOKE:
One of LA's most creative records labels, Non Projects, presents a series of live headphone performances from Anenon, Jon-Kyle Mohr, RareBit and others under the monumental sculpture Smoke.
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AHMANSON 1ST FLOOR - ART OF THE PACIFIC:
A sound installation by Frosty and Jake Viator conjuring an Oceanic voyage though the South Pacific Islands.
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AHMANSON 2ND FLOOR - MODERN ART:
360 Record Potluck hosted by Carlos Niño & Friends. A celebration of vinyl from around the World reflecting LACMA's 1950's-80's Modern Art collection.
--------------------
AHMANSON 2ND FLOOR - GERMAN EXPRESSIONISM:
dublab dj Turquoise Wisdom mixes selections from the Goethe-Institut Los Angeles Media Lounge to create a soundtrack for LACMA's German Expressionism Collection. Continue your German music explorations by visiting the Goethe-Insititut Los Angeles.
--------------------
The event runs 8:30pm-12:30am. Enjoy late night access to special exhibitions Tim Burton and Asco—plus LACMA's modern, contemporary, and Art of the Pacific galleries.
Admission includes complimentary beer, wine, and parking. Complimentary beer and wine provided by Heineken and Malibu Family Wines, plus craft cocktails available for purchase at Stark Bar.
Tickets: $25 Muse Members; $40 General Admission (Enter promo code "DUBLAB1" for $30 discount tickets).
Call 323 857-6010 or purchase online.
You must show Muse membership card to pick up discounted member tickets. $2 convenience fee added to all online and phone orders.
David Brieske on a moog, tape recorder and fx pedals
… Missa della Grande Transizione: for Live Processed Voice and Stereographic Video, a piece composed and performed by Liza Seigido …
… also, the premiere of L5 (2013) by Jose Hernandez Sanchez, music for computer with sections of controlled improvisation. His music encompasses a variety of media; he has written pieces for acoustic instruments, electronic music and collaborative works comprising different artistic disciplines. His latest musical interests include composing by combining and juxtaposing different types of musical expression, such as disparate styles (electronic, contemporary, popular) and sound materials (signaling sounds, noises, recordings of other musics) within the same work. His pieces have been shown at international festivals, galleries and non-conventional spaces in Latin America, Europe and the United States. José attained a BFA in music composition at CalArts mentored by Barry Schraeder and James Tenney among others. He later earned his MFA in music composition at SDSU and attended workshops with Pierre Boulez, Tristan Murail, Vinko Globokar and Toshio Hosokawa. He worked as professor and coordinator of the department of composition at Javeriana University in Bogotá, Colombia from 2004 to 2010. He is presently based in Miami, composing music and independently researching aesthetics.
… a performance of a work for cello from, Circles and Edges by Jennie Gottschalk from Massachusetts, as interpreted by cellist Carl Baron …
… the work, Apotheosis, for contrabass and electronics, composed and performed by Kyle Motl …
… an improvised performance by Plata o Plomo a collaboration between Omar Angulo and collaborator Ed Matus, ranging from noise and soundcapes to beats and melodies using electronics …
… Miami electronic musician Nicole Martinez will perform her latest collection of custom and readymade toys …
… also in the program are two sound performances by visual artists …
… one by Miami based Kerry Ware …
… and another by Wes Kline—to close his show, Minotaurocracy, on exhibit next door, at Project 924 Exhibition Space …
… Wolfgang Gil will offer his performance of a long piece in quadraphonic sound …
please visit
for more details
Sansui Solid State Quadraphonic Synthesizer 1
Specifications
Year circa 70s
Form Four-channel synthesizer
Input sensitivity/impedance Rated input: 130mV / 50kohm (2ch)
The minimum input: 90mV (2ch)
Tapes monitor 2ch:130mV /, 50kohm
4ch: 775mV / 50kohm
Output voltage
Output power (0VU) Low output:130mV(4ch)
High output:430mV(4ch)
Maximum output Low output:1V(4ch)
High output:3.5V(4ch)
Sound-recording output 130mV(2ch)
775mV(4ch)
Frequency characteristic Front: 20Hz-20kHz±1dB
Rear Solo: -10dB (10kHz)
Concert hall 1:20Hz-20kHz+1 -2 dB
Concert hall 2: The right of +6dB (50Hz), left +6dB (10kHz)
Surround: +6dB (50Hz)
Synthesizer circuitry An SANSUI QS matrix scheme, a PE
Rear channel phase modulation A maximum of 180 degrees (based on 10kHz and an SANSUI PE)
The semiconductor used Transistor: 20 pieces
IC: Eight pieces
Diode: 12 pieces
Zener diode: One piece
Supply voltage AC100V, 50Hz/60Hz
Dimensions Width 395x height 127x depth of 278mm
Weight 5.5kg
Hah, some people think they are gadget queens, but check out my new toy! This technology will revolutionize the 1970s.
I bought this for a good reason; I have a micro-cassette recording of my grandmother telling her old stories maybe 10 years ago, who has passed away a few years back. I've been wanting to put it into some digital form.
Can't wait for the 8-Track deck to get here! Gonna be rocking quadraphonically in the '7s Nova! (that is a private joke)
please visit
for more details
Akai CR 80D SS surround stereo
www.youtube.com/user/sakamatra1
Specifications
Year 1971
Recording/playback system: 8-track, 4-channel/2-channel stereo
Tape speed: 3.75 ips
Wow and flutter: less than 0.25%
Frequency response: 30Hz to 16kHz
Signal to noise ratio: better than 47dB
Distortion: within 2%
Cross talk: less than -40dB
Dimensions: 485 x 138 x 280mm
Weight: CR-80D-SS 11kg
Liza Seigido, this was beautiful!! … Missa della Grande Transizione: for Live Processed Voice and Stereographic Video, a piece composed and performed by Liza Seigido …
… also, the premiere of L5 (2013) by Jose Hernandez Sanchez, music for computer with sections of controlled improvisation. His music encompasses a variety of media; he has written pieces for acoustic instruments, electronic music and collaborative works comprising different artistic disciplines. His latest musical interests include composing by combining and juxtaposing different types of musical expression, such as disparate styles (electronic, contemporary, popular) and sound materials (signaling sounds, noises, recordings of other musics) within the same work. His pieces have been shown at international festivals, galleries and non-conventional spaces in Latin America, Europe and the United States. José attained a BFA in music composition at CalArts mentored by Barry Schraeder and James Tenney among others. He later earned his MFA in music composition at SDSU and attended workshops with Pierre Boulez, Tristan Murail, Vinko Globokar and Toshio Hosokawa. He worked as professor and coordinator of the department of composition at Javeriana University in Bogotá, Colombia from 2004 to 2010. He is presently based in Miami, composing music and independently researching aesthetics.
… a performance of a work for cello from, Circles and Edges by Jennie Gottschalk from Massachusetts, as interpreted by cellist Carl Baron …
… the work, Apotheosis, for contrabass and electronics, composed and performed by Kyle Motl …
… an improvised performance by Plata o Plomo a collaboration between Omar Angulo and collaborator Ed Matus, ranging from noise and soundcapes to beats and melodies using electronics …
… Miami electronic musician Nicole Martinez will perform her latest collection of custom and readymade toys …
… also in the program are two sound performances by visual artists …
… one by Miami based Kerry Ware …
… and another by Wes Kline—to close his show, Minotaurocracy, on exhibit next door, at Project 924 Exhibition Space …
… Wolfgang Gil will offer his performance of a long piece in quadraphonic sound …
David Brieske live
… Missa della Grande Transizione: for Live Processed Voice and Stereographic Video, a piece composed and performed by Liza Seigido …
… also, the premiere of L5 (2013) by Jose Hernandez Sanchez, music for computer with sections of controlled improvisation. His music encompasses a variety of media; he has written pieces for acoustic instruments, electronic music and collaborative works comprising different artistic disciplines. His latest musical interests include composing by combining and juxtaposing different types of musical expression, such as disparate styles (electronic, contemporary, popular) and sound materials (signaling sounds, noises, recordings of other musics) within the same work. His pieces have been shown at international festivals, galleries and non-conventional spaces in Latin America, Europe and the United States. José attained a BFA in music composition at CalArts mentored by Barry Schraeder and James Tenney among others. He later earned his MFA in music composition at SDSU and attended workshops with Pierre Boulez, Tristan Murail, Vinko Globokar and Toshio Hosokawa. He worked as professor and coordinator of the department of composition at Javeriana University in Bogotá, Colombia from 2004 to 2010. He is presently based in Miami, composing music and independently researching aesthetics.
… a performance of a work for cello from, Circles and Edges by Jennie Gottschalk from Massachusetts, as interpreted by cellist Carl Baron …
… the work, Apotheosis, for contrabass and electronics, composed and performed by Kyle Motl …
… an improvised performance by Plata o Plomo a collaboration between Omar Angulo and collaborator Ed Matus, ranging from noise and soundcapes to beats and melodies using electronics …
… Miami electronic musician Nicole Martinez will perform her latest collection of custom and readymade toys …
… also in the program are two sound performances by visual artists …
… one by Miami based Kerry Ware …
… and another by Wes Kline—to close his show, Minotaurocracy, on exhibit next door, at Project 924 Exhibition Space …
… Wolfgang Gil will offer his performance of a long piece in quadraphonic sound …
Liza Seigido this was beautiful!! … Missa della Grande Transizione: for Live Processed Voice and Stereographic Video, a piece composed and performed by Liza Seigido …
… also, the premiere of L5 (2013) by Jose Hernandez Sanchez, music for computer with sections of controlled improvisation. His music encompasses a variety of media; he has written pieces for acoustic instruments, electronic music and collaborative works comprising different artistic disciplines. His latest musical interests include composing by combining and juxtaposing different types of musical expression, such as disparate styles (electronic, contemporary, popular) and sound materials (signaling sounds, noises, recordings of other musics) within the same work. His pieces have been shown at international festivals, galleries and non-conventional spaces in Latin America, Europe and the United States. José attained a BFA in music composition at CalArts mentored by Barry Schraeder and James Tenney among others. He later earned his MFA in music composition at SDSU and attended workshops with Pierre Boulez, Tristan Murail, Vinko Globokar and Toshio Hosokawa. He worked as professor and coordinator of the department of composition at Javeriana University in Bogotá, Colombia from 2004 to 2010. He is presently based in Miami, composing music and independently researching aesthetics.
… a performance of a work for cello from, Circles and Edges by Jennie Gottschalk from Massachusetts, as interpreted by cellist Carl Baron …
… the work, Apotheosis, for contrabass and electronics, composed and performed by Kyle Motl …
… an improvised performance by Plata o Plomo a collaboration between Omar Angulo and collaborator Ed Matus, ranging from noise and soundcapes to beats and melodies using electronics …
… Miami electronic musician Nicole Martinez will perform her latest collection of custom and readymade toys …
… also in the program are two sound performances by visual artists …
… one by Miami based Kerry Ware …
… and another by Wes Kline—to close his show, Minotaurocracy, on exhibit next door, at Project 924 Exhibition Space …
… Wolfgang Gil will offer his performance of a long piece in quadraphonic sound …
please visit
for more details
Sansui 4 channel rear amplifier QS 500
www.youtube.com/user/sakamatra1
Year 70s
Specifications
Rated power 30 watt
Into 8 ohms RMS per channel
THD at rated power (both channels driven at 1000 Hz)
Left 0.12 Hz Right 0.12 Hz
Max power at 1 % THD (both channels driven at 1000 Hz)
Left 36 w Right 36 w
Signal to Noise Ratio (at rated out put)
Left −90 db Right −89 db
Frequency and Balance Check 20 Hz (referenced to 1000 Hz)
Left −1.0 db Right −1.0 db
Frequency and Balance Check 20 kHz (referenced to 1000 Hz)
Left −0.5 db Right −0.5 db
Miscellaneous
Power type and voltage
Alternating Current supply (AC) / 100; 110; 117; 127; 220; 230; 240; 250 Volt
This model requires external speaker(s)
Wooden base
Book-shelf unit
Dimensions
382 x 167 x 337 mm
15 x 6.6 x 13.3 inch
Notes
4 Channel Rear Amplifier
(Quadro Amplifier)
20 diodes,1 CI, 7 modules, 2 zenerdiodes.
(radio museum)
please visit
for more details
Pioneer QA 800 A 4 channel amplifier
www.youtube.com/user/sakamatra1
Specifications
Year 1973
Semiconductors
FETs : 2
Transistors : 65
Diodes : 15
Preamplifier
Output voltage : 500 mV (rated output)
Harmonic Distortion less than 0.08%
Frequency Response 20 to 40.000 Hz, +/- 1 dB
Input Sensitivity/Impedance (1KHz, for rated output)
PHONO 1 MAG ; 2.5 mV/50 Kohms
PHONO 2 MM ; 2.5 mV/50 Kohms
TUNER ; 200 mV/100 Kohms (4 CH)
AUX 1,2 ; 200 mV/100 Kohms (4 CH)
TAPE MONITOR 1, 2 ; 200 mV/100 Kohms (4 CH)
Recording Output
TAPE REC 1,2 (pin jack) ; 200 mV (4CH)
BASS control ; - 10 dB, + 10 dB/100 Hz
TRABLE control ; −10 dB, + 10 dB/10 Hz
LOW Filter ; - 10 dB/50 HZ (6 dB/oct)
HIGH Filter ; - 10 dB/10 KHz
Equalization Curve ; PHONO ; RIAA S.T.D
Loudness Contour ; + 11 dB/100 Hz, +7 dB/10 KHz with volume control set at - 40 dB position
Muting ; - 20 dB
Hum and Noise (IHF)
PHONO ; more than 80 dB
TUNER, AUX ; more than 90 dB
Power Amplifier Section
Music Power Output (IHF) ; 204 watts (4 0hms), 144 watts (8 0hms)
Continuos Power Output ( 1 KHz, 2 channels driven)
34 watts + 34 watts / 34 watts + 34 watts (4 ohms)
27 watts + 27 watts / 27 watts + 27 watts (4 ohms)
Continuos Power Output ( 1 KHz, 4 channels driven)
24 watts x 4 (4 ohms), 20 watts x 4 (8 ohms)
Power in the range of 20 to 20.000 Hz (2 channels driven)
23 watts + 23 watts / 23 watts + 23 watts (8 ohms), harmonic distortion less than 0.5 %
Harmonic Distortion ; Less than 0.5 % (continuos power output)
Intermodulation Distortion ; Less than 0.8 % (continuos power output)
Power Bandwidth (IHF) (4 channels driven) ;
15 to 50.000 Hz (8 ohm), harmonic distortion less than 0.5 %
Frequency Response ; 8 to 70.000 Hz +/- 1 dB
Input Sensitivity/Impedance ; 500 mV/50 Kohms (1 KHz, continuos power output)
Speaker ; 4 to 16 ohms
Dumping factor ; 40 ( 8 ohms, 1 KHz)
Headphone Jacks ; Front and Rear
Miscellaneous
Power Requirements ; 110v, 120v, 130v, 220v, 240v (switchable) 50 − 60 Hz
Power Consumption ; 290 watts (max)
AC Outlets ; Switched 1, Unswitched 1
Dimensions (overall) ; 430 (w) x 138 (h) x 337 (d) mm
Weight ; without package 10.9 kg / 24 lb
please visit
for more details
Sansui QS 4 Channel Amplifier QA 7000
www.youtube.com/user/sakamatra1
Year 1973 − 74
Specifications
Four-channel Integrated Amplifier.
The new synthesizer functionality / decoder functionality by the newly developed 2-4 translation encoder are carried.
All schemes, such as 4ch source not only by a regular matrix but the formation of 4ch and SQ scheme of 2ch and a discrete, are supported.
The pure complimentary OCL circuitry is adopted as a power part.
The three-step hardwired-connection equalizer circuitry is adopted, and it has become 270mV of maximum permissible inputs.
The BTL interconnection of 40W+40W is possible.
Synthesizer Section
Synthesizer / decoder
Sansui QS matrix circuit Regular
90 degree phase shifter
QS circuit Bariomatorikkusu
Music Power 108W (4Ω)
Effective output 15W × 4 (8Ω)
Total harmonic distortion 0.1%
Input sensitivity Phono: 2.5mV/50kΩ
Miscellaneous
External dimensions 440 × 140 × 322
Weight 14kg
(audio database)
please visit
for more details
Pioneer QA 800 A 4 channel amplifier
www.youtube.com/user/sakamatra1
Specifications
Year 1973
Semiconductors
FETs : 2
Transistors : 65
Diodes : 15
Preamplifier
Output voltage : 500 mV (rated output)
Harmonic Distortion less than 0.08%
Frequency Response 20 to 40.000 Hz, +/- 1 dB
Input Sensitivity/Impedance (1KHz, for rated output)
PHONO 1 MAG ; 2.5 mV/50 Kohms
PHONO 2 MM ; 2.5 mV/50 Kohms
TUNER ; 200 mV/100 Kohms (4 CH)
AUX 1,2 ; 200 mV/100 Kohms (4 CH)
TAPE MONITOR 1, 2 ; 200 mV/100 Kohms (4 CH)
Recording Output
TAPE REC 1,2 (pin jack) ; 200 mV (4CH)
BASS control ; - 10 dB, + 10 dB/100 Hz
TRABLE control ; −10 dB, + 10 dB/10 Hz
LOW Filter ; - 10 dB/50 HZ (6 dB/oct)
HIGH Filter ; - 10 dB/10 KHz
Equalization Curve ; PHONO ; RIAA S.T.D
Loudness Contour ; + 11 dB/100 Hz, +7 dB/10 KHz with volume control set at - 40 dB position
Muting ; - 20 dB
Hum and Noise (IHF)
PHONO ; more than 80 dB
TUNER, AUX ; more than 90 dB
Power Amplifier Section
Music Power Output (IHF) ; 204 watts (4 0hms), 144 watts (8 0hms)
Continuos Power Output ( 1 KHz, 2 channels driven)
34 watts + 34 watts / 34 watts + 34 watts (4 ohms)
27 watts + 27 watts / 27 watts + 27 watts (4 ohms)
Continuos Power Output ( 1 KHz, 4 channels driven)
24 watts x 4 (4 ohms), 20 watts x 4 (8 ohms)
Power in the range of 20 to 20.000 Hz (2 channels driven)
23 watts + 23 watts / 23 watts + 23 watts (8 ohms), harmonic distortion less than 0.5 %
Harmonic Distortion ; Less than 0.5 % (continuos power output)
Intermodulation Distortion ; Less than 0.8 % (continuos power output)
Power Bandwidth (IHF) (4 channels driven) ;
15 to 50.000 Hz (8 ohm), harmonic distortion less than 0.5 %
Frequency Response ; 8 to 70.000 Hz +/- 1 dB
Input Sensitivity/Impedance ; 500 mV/50 Kohms (1 KHz, continuos power output)
Speaker ; 4 to 16 ohms
Dumping factor ; 40 ( 8 ohms, 1 KHz)
Headphone Jacks ; Front and Rear
Miscellaneous
Power Requirements ; 110v, 120v, 130v, 220v, 240v (switchable) 50 − 60 Hz
Power Consumption ; 290 watts (max)
AC Outlets ; Switched 1, Unswitched 1
Dimensions (overall) ; 430 (w) x 138 (h) x 337 (d) mm
Weight ; without package 10.9 kg / 24 lb
Toshiba 37" is my third monitor and ultimately home theatre.
Running 25' of HDMI to TV and toggle displays with a hot-key. Panasonic mini-system handles audio from pre-outs on Cambridge amp. Can run quadraphonic sound for when the neighbours want to hear the music.
please visit
for more details
Specifications
Year 1973
Form : Solid-state 4ch control Integrated Amplifier
Circuit system
Power amplifier part
Perfect complimentary whole page hardwired-connection OCL circuitry
Power amplifier part
Music power (IHF)
120W (4ohms)
98W (8ohms)
Effective output (IHF)
42W/42W (4ohms)
35W/35W (8ohms)
Power Band Width
5Hz - 50kHz-3dB
Frequency characteristic
5Hz-100kHz+0 -3 dB
Distortion (at the time of an effective output) 0.2% or less
Cross modulation distortion (60Hz:7kHz=4:1) 0.2% or less (at the time of an effective output)
SN ratio (IHF) 110dB or more
Dumping factor 50 (at the time of an 8-ohm load intensity)
Input sensitivity/impedance 1V/50kohm
Input sensitivity/impedance
Phono : 2mV / 30kohm, 50kohm, 100kohm
Tuner, AUX : 100mV /, 80kohm
Tapes monitor Rec Out : 100mV / 10kohm
Playback : 100mV / 60kohm
Rec/Play(DIN) : 100mV / 60kohm, 50mV / 80kohm
An Output voltage/impedance Output power : 1V/200 ohm
Maximum output voltage : 3V
Phono maximum permissible input 100mV (1kHz)
Frequency characteristicDeflection of less than ±0.5dB from a Phono : RIAA standard curve
Tuner, AUX : 5Hz - 60kHz, and +0 -3 dB
Tone control
Bass :50Hz, ±16dB
Turnover frequency : 150Hz, 500Hz
Treble : 20kHz, ±14dB
Turnover frequency : 2kHz, 6kHz
Loudness control 100Hz : +10dB (Volume −30dB)
An Output-power voltage
/Output load impedance 600mV / 10 kohm
Maximum output voltage 2.5V
Frequency characteristic 10Hz-20kHz+0 -3 dB
The semiconductor used Transistor : 37 pieces
Diode : Seven pieces
Power source AC 100V, 50/60Hz
Power consumption At the time of an Output power : 70W
Dimensions
Width 410x height 140x depth of 300mm
Weight 10.3kg
source : audio-database.com
please visit
for more details
Akai CR 80D SS surround stereo
www.youtube.com/user/sakamatra1
Specifications
Year 1971
Recording/playback system: 8-track, 4-channel/2-channel stereo
Tape speed: 3.75 ips
Wow and flutter: less than 0.25%
Frequency response: 30Hz to 16kHz
Signal to noise ratio: better than 47dB
Distortion: within 2%
Cross talk: less than -40dB
Dimensions: 485 x 138 x 280mm
Weight: CR-80D-SS 11kg
Verdi - Ein Maskenball Un Ballo in Maschera (italian) - Placido Domingo, Martina Arroyo, Piero Cappuccilli, Fiorenza Cossotto, Reri Grist, Gwynne Howell, Richard van Allan, Giorgio Giorgetti, Kenneth Collins, David Barrett - Royal Opera House Chorus, Covent Garden (Robin Stapleton), Haberdasher's Aske's Girls School Choir Elstree, Medici String Quartett & Rodney Slatford Contra Bass, New Philharmonia Orch., Riccardo Muti, EMI Electrola 1 C 157-02 679/81 (Box 3Lp) QUADRO 1975
This is an autobiography of the greatest composer of the 20th Century. Yes, it's a bold claim. But look at the evolution of music if my statement is a hard pill to swallow. Bare with me.. Music started with Gregorian chants where melody was only offered. Duo-phonic music was introduced in the renaissance period. Music now had a with a bass line and melody. Then Bach and Vavaldi, changed the old into new with counterpoint, introducing multiple melodies all happening simultaneously. This was dubbed the baroque period. Classical music introduced sonata form. Music was written in three to four movements and used full orchestras. The first movement being fast, then slow, then fast, and maybe another movement like a rondo. For long periods of time this is how things were done. But music and art constantly evolve. A true artist changes the old into the new. The audience resits change and are slow to catch new ideas - just like Dana Carvey's character on SNL "we did things this way and we liked it!!" Never does the Dana Carvey character deviate from the norm. Franz Liszt introduced a triangle to his 1st piano concerto. The audiences' horrified reaction was, "what the hell is that doing on stage with the orchestra?" Focusing more on the triangle than the music. To this day Franz Liszt's 1st piano concerto in E major is called the triangle concerto. Disc jockeys broke Elvis Presley records - again resistant to change. I personally wrestle with rap being called music. The point being, without artist's innovations we'd still be listen to Gregorian chants! Keith Emerson started the progressive rock movement. Like Liszt's triangle, some critics have yet to understand Keith Emersons's music especially the synthesizer. It will only take time.Keith Emerson's first introduction with the synthesizer was Walter Carlos's album switched on Bach. What happened in succeeding years with ELP was nothing short of remarkable. Keith was the 1st to take the synthesizer on the road with help from friend and inventor of the synthesizer Bob Moog. ELP was the first rock band to tour with a full orchestra. Keith introduced audiences to sounds never heard. He was well versed in a cornucopia of music influences including counterpoint, jazz, rock, and classical. His delivery frenzied and dazed audiences. Rock fusion was born. New sounds of the synthesizer, married with Hammond organs and grand piano, put ELP on the map. Music's new movement fusion or progressive rock was equivalent to modern physic's discovery of nuclear fission. One could compare the sublime experience of seeing an atomic bomb exploding or Emerson Lake and Palmer play live! Yes, it had an impact on that scale for those who understood the music!! Not able to finish a concert in Japan, the band ran for their lives from a frenzied crowd. If Franz Liszt thought he had critics with his triangle, imagine what Keith Emerson has endured?! Most musicians have one instrument to master. With a synthesizer, there are infinite possibilities of tonal or sound qualities. Another way of looking at it. Imagine if you had just a pencil to do art? Now your given a full pallet of color? Suddenly, the horizon for creative expression has exponentially grown along with criticism. Keith Emerson was and is the Rembrandt of the synthesizer. Listen to Aqua Tarkus on ELP's live album, "Welcome Back My Friends to the Show That Never Ends Ladies and Gentleman ELP." Keith is playing a Hammond organ with his left hand and a scorching synthesizer solo with his right. Mixed with a quadraphonic speaker system, you can almost see/feel/hear a helix like object with a jet engine running through it, metaphorically speaking! For lack of word's it's music PLUS. Somehow Giger's art on album cover Brain Salad Surgery made sense, syncopating ELP's music on a subconscious level? Both music and art being surreal. Pink Floyd and others used synthesizers but it was musicianship that set Keith Emerson apart. With his screaming ostinato bass and interesting meolodic time signatures on Tarkus, to his piano concerto on Works, he was a musical breath-taker. Emerson's music was so cutting edge that critics and fans are still caught in debate. This spotlight's Keith Emerson as a true artist and history will embrace his contribution with loving arms. His talents for composing, virtuosity, pioneering use of the synthesizer, and musical influences firm my statement. With a figure so important to the world of music, I had to read his book.I read Keith's book while vacationing in Hawaii and truth be told could not put the book down. I enjoyed Keith's historical time line playing with Gary Farr and the T-Bones, The VIP's, PP Arnold, the Nice, and then ELP. From his keyboard apprenticeship with the early bands all the way to creating masterpieces with ELP. Keith's book is filled with amusing anecdotes. For instance, I was surprised that he had to talk Greg Lake into producing Tarkus? Other interesting stories include, giving Ringo Starr a ride on his motorcycle, Carl Palmer driving Keith's boat over a reef, jamming with Jimmy Hendrix, getting crazy with John Bonham Led Zeppelin's drummer and the list goes on...I found the book wonderfully entertaining and an absolute must for anyone interested in ELP. I'm pleased that Mr. Emerson took the time to write a book and share his involvement with perhaps the best rock band of the 20th Century. For those who wish to compare Keith's writing skills to his musical talent, you might be disappointed. Not to say it's poorly written. On the contrary, it reads easily with good humor and flow. Some set expectations too high. Just remember he's not superman! Well maybe with keyboards... But the book is an honest account shedding light on two sides of a coin - his life and music. For a sense of history about an immortalized musician, Keith Emerson's Pictures of an Exhibitionist is a must read.-Ken Fritz author of The United States Radio Directory: A Traveler's Favorite Companion 2008-2009 For More 5 Star Reviews Pictures of an Exhibitionist: From the Nice to Emerson Lake and Palmer - The True Story of the Man Who Changed the Sound of Rock by Keith Emerson
Verdi - Ein Maskenball Un Ballo in Maschera (italian) - Placido Domingo, Martina Arroyo, Piero Cappuccilli, Fiorenza Cossotto, Reri Grist, Gwynne Howell, Richard van Allan, Giorgio Giorgetti, Kenneth Collins, David Barrett - Royal Opera House Chorus, Covent Garden (Robin Stapleton), Haberdasher's Aske's Girls School Choir Elstree, Medici String Quartett & Rodney Slatford Contra Bass, New Philharmonia Orch., Riccardo Muti, EMI Electrola 1 C 157-02 679/81 (Box 3Lp) QUADRO 1975
Circa 1975 Quadraphonic Sony reel-to-reel tape recorder and Harman Kardon Receiver, seen at the National Museum of Scotland in Edinburgh.
didn't i pay fro season 2...skippy...innovtive more from the overseas markets...
Other boys may turn me on
But I let temptation slide
Used to be so plain to see
The hunger in my eyes
But now I'm buying, trying
Hi Fidelity High
Hi Fidelity High
Keeping it right
Keeping it tight
All right
Quadraphonic sounds stereo desire
Coming to you loud and clear
Like a brand new fine tuned radio
And I'm so glad you're here
Someone to lie with, fly with
Hi Fidelity High
Hi Fidelity High
Keeping it light
Keeping us tight
All right
Is it real or synthesized
Maybe I'm hypnotised
I need you baby my feelings are true
I'm saving my love for you
You're in my dreams and in my heart
On my frequency
I'm the number one song on your chart
It's where I want to be
Someone to lie with, fly with
Fly with
Hi Fidelity High
Hi Fidelity High
Keeping it light
Keeping us tight
All right
Hi Fidelity!
while they all sing
Mr. Stuart:
The parts of a flower are so constructed that very, very often the wind will cause pollination.
If not, then a bee or any other nectar gathering creature can create the same situation.
Yes, anything that gets the pollen to the pistils, write it on the list.
I'll try to make it crystal-clear:
The flower's insatiable passion turns its life into a circus of debauchery!
Mr. Stuart: Now you see just how the stamen gets its lusty dust onto the stigma.
And why this frenzied chlorophyllous orgy starts in spring is no enigma!
We call this quest for satisfaction a what, class?
Sorority girls: A photo-periodic reaction!
Mr. Stuart: Oh, that's good, that's very good.
Hey, I'm lost where are we? Chapter 2, page 5...
Reproduction, reproduction!
Put your pollen tube to work.
Reproduction, reproduction!
Make my stamen go berserk.
Reproduction!
I don't think they even know what a pistil is!
I got your pistil right here...
Where does the pollen go?
Mr. Stuart: Next chapter, In an abstract way, the same thing applies
To the reproductive organs of the more complex life forms.
But now we are dealing with sexual response.
Are there any questions before we begin reading?
Is it possible the female member of some sex on a couch
Could like get this guy all hot and she never even knew it?
When a warm-blooded mammal in a tight little sweater
Starts pullin' that stuff, is she sayin' that she wants to do it?
Johnny: Can't prove it by me, cause they change their tune
When you got 'em in the back seat.
With his heart beatin' fast! Sorority girls: They make it sound like a track meet, gross!
Yeah, then all they can do is say "No, no, no, no, no, no, no, no, no!"
Reproduction, reproduction!
Baby, give it to me now.
Reproduction, reproduction!
Is that all you think about?
Reproduction!
Come on baby show me that you really love me so!
Ohhh, I think I'm gonna throw up!
Where does the pollen go?
Mr. Stuart:
The human is the only being capable of consciously controlling its number of offspring.
Any comments on this?
Paulette: Mr. Stuart, is it true that guys like you, you know, mature and all,
Carry some protection with them for sexual occasions?
Johnny: What's the big deal? Can't a girl just do that thing in a book
Where she adds up the days of her, uh, what do you call it, mentalstration?
Oh, that's really neat! Yeah, and what will the guy say when the numbers don't add up right, huh?
Yeah, yeah, yeah!
Reproduction, reproduction!
Hope he's proud of what he's done.
Reproduction, reproduction!
He was only pokin' fun.
Reproduction!
See what happens when a boy and girl
Don't know how to play it safe?
Reproduction, reproduction!
Reproduction, reproduction!
Reproduction, reproduction!
Reproduction!
Where does the pollen go?
they're not as per manifest....and Author-fornication certificate...
oh thanks gates....that really screwed my forum log on...
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Pioneer 4 Channel Receiver QX 4000
www.youtube.com/user/sakamatra1
Year 1974 − 1976
Specifications
FM Parts
Tuning range 87.5 − 108
Sensitivity (IHF) 2.2 micro volts
Equal wave selection 3 dB
Selectivity better than 40 dB
Image Frequency rejection better than 50 dB at 98 MHz
Spurious Response rejection better than 65 dB
Clear factor stereo better than 0.8% (100% Mod)
Stereo separation better than 40 dB
AM parts
Tuning range 525.5 − 1.605 KHz
Sensitivity (IHF) 1.5 micro volts
Equal wave selection (1000 KHz) better than 45 dB
Spurious Response rejection better than 50 dB
Amplifier parts
Continuos power output ( 1 KHz, 4 channels driven)
11 watts + 11 watts / 11 watts + 11 watts (4 ohms)
11 watts x 4 (4 ohms), 10 watts x 4 (8 ohms)
Power in the range of 20 to 20.000 Hz (2 channels driven)
10 watts + 10 watts / 10 watts + 10 watts (8 ohms),
Harmonic distortion less than 1 % (continuos power output)
Power Bandwidth (IHF) (4 channels driven)
15 to 20.000 Hz (8 ohm), harmonic distortion less than 1 %
Frequency Response 10 to 100.000 Hz +/- 3 dB
Dumping factor 40 ( 8 ohms 1 KHz)
Preamplifier parts
Input Sensitivity/Impedance (1KHz for rated output)
PHONO MAG 2.5 micro Volts/50 Kohms
TUNER 200 micro Volts/90 Kohms (4 Ch)
AUX 200 micro Volts/90 Kohms (4 Ch)
TAPE MONITOR 200 micro Volts/90 Kohms (4 Ch)
TAPE REC 200 micro Volts (4Ch)
TAPE REC DIN 35 micro Volts (4Ch)
Miscellaneous
Power Requirements 110v, 120v, 130v, 220v, 240v (switchable) 50 − 60 Hz
Power Consumption watts (max)
AC Outlets
Switched 1
Unswitched 1
Dimensions (overall) (w) x (h) x (d) mm
Weight without package kg
Verdi - Ein Maskenball Un Ballo in Maschera (italian) - Placido Domingo, Martina Arroyo, Piero Cappuccilli, Fiorenza Cossotto, Reri Grist, Gwynne Howell, Richard van Allan, Giorgio Giorgetti, Kenneth Collins, David Barrett - Royal Opera House Chorus, Covent Garden (Robin Stapleton), Haberdasher's Aske's Girls School Choir Elstree, Medici String Quartett & Rodney Slatford Contra Bass, New Philharmonia Orch., Riccardo Muti, EMI Electrola 1 C 157-02 679/81 (Box 3Lp) QUADRO 1975
Verdi - Ein Maskenball Un Ballo in Maschera (italian) - Placido Domingo, Martina Arroyo, Piero Cappuccilli, Fiorenza Cossotto, Reri Grist, Gwynne Howell, Richard van Allan, Giorgio Giorgetti, Kenneth Collins, David Barrett - Royal Opera House Chorus, Covent Garden (Robin Stapleton), Haberdasher's Aske's Girls School Choir Elstree, Medici String Quartett & Rodney Slatford Contra Bass, New Philharmonia Orch., Riccardo Muti, EMI Electrola 1 C 157-02 679/81 (Box 3Lp) QUADRO 1975
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Sansui Solid State Quadraphonic Synthesizer 1
Specifications
Year circa 70s
Form Four-channel synthesizer
Input sensitivity/impedance Rated input: 130mV / 50kohm (2ch)
The minimum input: 90mV (2ch)
Tapes monitor 2ch:130mV /, 50kohm
4ch: 775mV / 50kohm
Output voltage
Output power (0VU) Low output:130mV(4ch)
High output:430mV(4ch)
Maximum output Low output:1V(4ch)
High output:3.5V(4ch)
Sound-recording output 130mV(2ch)
775mV(4ch)
Frequency characteristic Front: 20Hz-20kHz±1dB
Rear Solo: -10dB (10kHz)
Concert hall 1:20Hz-20kHz+1 -2 dB
Concert hall 2: The right of +6dB (50Hz), left +6dB (10kHz)
Surround: +6dB (50Hz)
Synthesizer circuitry An SANSUI QS matrix scheme, a PE
Rear channel phase modulation A maximum of 180 degrees (based on 10kHz and an SANSUI PE)
The semiconductor used Transistor: 20 pieces
IC: Eight pieces
Diode: 12 pieces
Zener diode: One piece
Supply voltage AC100V, 50Hz/60Hz
Dimensions Width 395x height 127x depth of 278mm
Weight 5.5kg
From the mid 1970s, these "cans" contained two earpeice capsules each side for use, in the short lived quad-hifi era of that decade, with 4 channel amplifiers.
This was an analogue foreunner of todays Dolby Surround and similar systems.
All quad equipment by now is quite rare and collectable.
A selector switch on these converts them to ordinary stereo use and they reproduce such audio very well.
Koss were a top of the range name in headphones although several of their products were akin to having one's head in a vise if worn for more than 20 minutes! These are somewhat more user friendly than that.
www.discogs.com/Ravel-Orchestre-De-Paris-Jean-Martinon-Al.... Bolero, Sheherazade, Scheherazade, Rhapsodie Espagnole, Rapsodie, La Valse, Daphnis et Chloe, Tzigane, Valses Nobles et Sentimentales, Ma Mere l'Oye, Le Tombeau de Couperin, Pavane pour une infante defunte, Alborada del Gracioso, Menuet Antique, Une Barque sur l'Ocean, Konzert fur die linke Hand, Left, Klavierkonzert G-Dur, Piano Concerto G Major, Marcel Galiegue, Michel Garcin-Marrou, Andre Sennedat, Jean-Claude Malgoire, Choeurs Theatre Nat. Opera Paris, Jean Laforge, EMI Electrola C 191-02 583/87Q. Rare Record
www.discogs.com/Hesp%C3%A8rion-XX-El-Barroco-Espa%C3%B1ol....
This album contains a selection of Spanish secular music from the baroque period. The ensemble is small and intimate with Montserrat Figueras, soprano, together with a fine quartet of musicians: Ton Koopman on harpsichord, Hopkinson Smith on guitar and theorbo, Christophe Coin, on viol, and, of course, Jordi Savall on viol as well.. The pieces are almost all scored differently, ranging from solo harpsichord pieces (the Toccata and Gallarda by Cabanilles), to pieces for viol and guitar (Martín y Coll's Diferencias sobre las Folias, a set of variations on the famous La Folia theme), to songs with soprano and instruments