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Topic: In a scale of audio industry hierarchy….

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Posted by Cody@TARA on 12-31-2014

Hello all! My name's Cody; just a disclaimer: I am an employee of TARA Labs. I'm not here to promote TARA Labs products, I was just hoping to have some worthwhile discussions with other audiophiles.

Our listening room has recently been graced by the presence of a pair of Martin Logan Montis loudspeakers. I have quite a bit of experience with electrostatic speakers, and I thought these sounded fantastic! They're currently setup with Cary components and TARA Labs Omega Evolution cables. The MartinLogans sounded clean, open, and extremely musical, especially listening to The Rolling Stones' 2013 live concert in Hyde Park (fantastic album by the way). I thoroughly enjoy the unique sound of electrostatic speakers, but I know they're not for everyone. I'd be curious to hear others' experiences with Martin Logan speakers, or any other electrostatic speakers such as JansZen, Immersion, etc.?

Posted by rowuk on 12-31-2014

How the hell can a miserable recording of a live Rolling Stones concert be any reference for advanced playback. I'll bet that everyone that attended the concert was amazed - and that had to be about the shittiest sound known to mankind produced by almost deaf rock and roll audio "engineers". It for sure was loud enough......
I have a fair amount of experience with Martin Logan speakers in Germany, mostly broken! They seem to have real issues with slightly more humidity than in the US..............

Cody@TARA wrote:

Hello all! My name's Cody; just a disclaimer: I am an employee of TARA Labs. I'm not here to promote TARA Labs products, I was just hoping to have some worthwhile discussions with other audiophiles.
Our listening room has recently been graced by the presence of a pair of Martin Logan Montis loudspeakers. I have quite a bit of experience with electrostatic speakers, and I thought these sounded fantastic! They're currently setup with Cary components and TARA Labs Omega Evolution cables. The MartinLogans sounded clean, open, and extremely musical, especially listening to The Rolling Stones' 2013 live concert in Hyde Park (fantastic album by the way). I thoroughly enjoy the unique sound of electrostatic speakers, but I know they're not for everyone. I'd be curious to hear others' experiences with Martin Logan speakers, or any other electrostatic speakers such as JansZen, Immersion, etc.?

Posted by Paul S on 01-01-2015

Cody, this is a kinder, gentler GSC than in earlier times, but FYI your ingenuous intro is just the sort that used to draw heavy fire here. The only reason I have responded at all is because you got me thinking about what I do and don't like about electrostatic speakers. What I like is the incisive articulation they can have at times. What I don't like is that they tend to stress and fall apart and or compress easily, also they tend to be tonally challenged. Of the 'stats I've heard, the best by far are the big Sound Labs. Of the Martin Logans I've heard, the "best" were the old CLS, which serve as great examples of both the best and the worst of "stats as a genre, IMO. I did like my old RTR ESR6 HF arrays - when they were paralleled with old, paper Peerless tweeters.

BTW, while I am an omnivore, musically speaking, IMO there are better ways to "evaluate components" than the source you cited.

Best regards,
Paul S

Posted by Romy the Cat on 01-02-2015

Cody, sweat hart, why do you do it to me? Why are you making me at the very first day to destroy the very best in me? Just last night I made a New Year resolution promising to be kinder to the idiots who are forming high-end audio industry and today you are reminding me why I despise most of your people and why I need to grossly violate my New Year promise.

You know, in high-end audio industry hierarchy there are different functional roles. There are people who think that they "design" something. Then, at the lower scale, there are people who build something. Then there are people who market the built to public. Then there are people who move boxes with packaged built and distribute the boxes to the end users. Then there are people who go to the users listening rooms and trying to do something there, mostly upselling them for new carp. Then, in the progressively lower hierarchical scale, there are temporary people that some companies hire to parch the production wholes after some blabbering reviewer publishes their propaganda pamphlets. Then, at the even lower scale of worthiness, there are all of that audio reviewing, publishing, writing and the rest of audio human waste. Going lower in the industry hierarchy you can even see the internet yahoos who perform public on-line hara-kiri with the names of a favorite brand, hoping to find among audio hoodlums some full-of-sympathy soul mates and do not feel lonely in their own aimless audio misery. Then there are audio-uninformed secretaries who do corporate spreadsheets and wash cars of audio makers. Going even lower you can observe the rats and cockroaches that live in the building walls of the audio manufacturers. Then there is a Black Mold‎ in the basements of psychologically disturbed Morons who sitting in their basement closets soldering new great "audio" each Saturday. Do you think that mold is the lowest thing in audio? Nope, Cody, you are wrong, after the mold there is you.

Can you get any perspective on what you know, who you are and what you do? Apparently you are too stupid and TARA Labs does not allow you ship UPS, to comfort the visitors with coffee or to wash company toilets. So, they send you to cruse the internet and flood the audio forums with ridicules posts. I understand that it was all that you're audio IQ allows you to do but can you for sake of humanity to ask your employers to write text to you? Then you will be ending with something more lucid, something like this: " Hello, my name is Cody, I am not qualified to be a Moron, I am juts an Idiot who have no understanding neither audio or music and absolutely clueless what I am doing. However, my employer told me to upload the following text and I love to do it even though I have no cerebral capacity to transposition the posted words into anything sensible". Well, Cody, the job is well done. Welcome to the GSC! Do not be discourages. In a few month you might be qualified to be editor-in-chieff of a main audio publication…

Rgs,
Romy the Cat

Posted by clarkjohnsen on 01-02-2015

What a pleasant bunch we are!

How does everyone know what's in this new kid's heart and mind?

Has he indeed been flooding the Net?

Is he a surreptitious employee of M-L?

Does that Stones concert recording have great sound, or not? Who's heard it before opening his big mouth?

(A relevant question would be, did he listen to the CD, DVD or Blu-ray?)

Romy may be right, or he may be wrong. But mainly the kid's post got him belaboring his same old themes.

cj

Posted by Romy the Cat on 01-02-2015
fiogf49gjkf0d Clark, I just for fan Goggled "My name's Cody; just a disclaimer" and I got a dozen audio forums where this Moron expressed "his opinion". Who cares whose employee he is? He is an idiot who not even able to fake a sensible comment.

Posted by clarkjohnsen on 01-02-2015
fiogf49gjkf0d I just did it and found only four -- still too many, though. I could go for two maybe. c

Posted by rowuk on 01-02-2015

Hi Clark,There are two things that come to mind on this thread:
1) the combination of Rock and Roll and Martin Logan
2) the lack of reading anything at this site before posting

It as not although it is hard to figure out what GSC is all about. 10 minutes of superficially looking around would give ANYONE a basic taste of the goals and direction here.

Is there really a problem with a wakeup call?

The CD sounds better than the LP. The production "distortion" from the mix really sticks out on the LP.

Posted by clarkjohnsen on 01-03-2015
fiogf49gjkf0d Still, one wonders how the Blu-ray audio sounds.

Posted by Paul S on 01-03-2015

Happy New Year, Clark.

Though I have not heard much of purely sonic interest from Blu-Ray, I have enjoyed the full Blu-Ray/home theater experience for opera, and even for a rock concert or two. It can be "fun" if I'm in the right frame of mind.

OT, I hope you will respond to my search for a better iteration of the 1947 VPO/von Karajan version of Brahms' Ein deutches Requiem. I suppose if it was originally a 78, then you have it (!). I am looking for the earliest possible/"most original" LP, or maybe a better-sounding CD, since the performance is so great.

If you deign to respond, it would be nicer to post to my Musical Discussions post, apropos.

Best regards,
Paul

Posted by clarkjohnsen on 01-03-2015

Nor even *of* it. Not a huge vonK fan here, but when he's on...

For my money the man to have in this work is Mengelberg.:

http://www.pristineclassical.com/paco012.html

Willem Mengelberg, Concertgebouw Orchestra, Amsterdam Toonkunst Choir, Max Kloos, Jo Vincent (1940, Turnabout LP, 65')

This first recording of the German Requiem was a propitious match of artists and repertoire. Willem Mengelberg conducts the Brahms German Requiem (Turnabout LP). From the outset, Mengelberg extends the logic of Brahms' musical architecture to a microcosmic scale, sculpting each phrase of the opening movement with constant swells of sound and adjustments of tempo to create mini-climaxes that animate the generally level terrain. Yet in the more segmented movements he manages to differentiate the individual sections, thus maintaining their integrity and distinctive character, even while integrating them through logical transitions. In keeping with the two soloists' respective functions, the baritone aptly quakes with excitement, while the soprano is serene. The pacing is a swift 65 minutes (and since this was a concert its speed cannot be attributed to pressure to fit segments onto 78 rpm sides), abetted by attentive articulation and ardent accentuation. Even though Mengelberg culminates with a slowly unfolding and majestic VI fugue and a ruminative finale, the overall impression is not one of mournful regret, but rather a contemplative celebration of life. The recording quality is decent and the only trace of the rapt audience is their light stirring between movements. Mengelberg's fusing of warmth and vitality produces an intensely human document that set a high standard for those that would follow.

This CD may or may not be the same:

http://www.cduniverse.com/search/xx/music/pid/1532556/a/brahms%3Aa+german+requiem+op.+45.htm

Sorry, no vonK info here.

c

Posted by Romy the Cat on 01-04-2015
fiogf49gjkf0d With exception that any person with any sense of audio or … ethics shall not buy anything from pristine classical. I trashed any singe CD I had from them. It is unfortunate that in case of Pristine good music became a hostage of the fraudulent sleaziest industry dirt, aka Andrew Rose the pristine owner.

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