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   Home » Analog Playback» Joël Durand Interview, Durand Tonearms (3 posts, 1 page)
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12-30-2015 Post does not mapped to Knowledge Tree
xandcg


Rio de Janeiro, BR.
Posts 137
Joined on 09-07-2014

Post #: 1
Post ID: 22367
Reply to: 22367
Joël Durand Interview, Durand Tonearms
fiogf49gjkf0d
I found this interview with Joël Durand from Durand Tonearms:

http://www.dagogo.com/an-interview-with-joel-francois-durand-of-durand-tonearms

I think is a good reading!



Think for yourself, do not be sheep.
12-30-2015 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,394
Joined on 05-28-2004

Post #: 2
Post ID: 22368
Reply to: 22367
A good interview.
fiogf49gjkf0d
Indeed a good interview and it is possible that it is a good tonearm. I wish this guy do not cash out at his site in each sentence his musical background. He is making tonearms not interpreting music and the skill sett that he need demonstrate are not necessary come from ONLY from his music school. There are plenty of great tonearms that where made not by musicians and I do not remember a lot of companies ran by musicians that do good products or demonstrate demonstrate a sensible judgment.


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
12-31-2015 Post does not mapped to Knowledge Tree
xandcg


Rio de Janeiro, BR.
Posts 137
Joined on 09-07-2014

Post #: 3
Post ID: 22374
Reply to: 22368
Marketing.
fiogf49gjkf0d
I believe he found out his academic/musical background serve well as marketing for the most of his potential clients. But funny he was the first to say, in others words, it means nothing for audio purposes:

"...
It’s not that they necessarily listen to different things, it’s just that when you know a piece of music very well, either by having played it or having studied the score, or having heard it many times in concert, you don’t necessarily need a reproduction system that helps you hear all the details, because you compensate mentally for what isn’t so clear in the reproduction. If, for example, you can’t clearly hear all the notes in dense or complex textures, you can mentally separate out what’s going on if you know the piece well; then it’s not so bad if it sounds like a bit of a mess to an audiophile ear, in that sense. So it’s true that as a professional musician, it doesn’t necessarily matter how much you can hear through the recording when you already know what’s there. ..."



Think for yourself, do not be sheep.
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