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The audio preview of the audio part of my Book

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Melquiades SET Amplifier
Macondo Acoustic System
End of Life Phonostage
Audio Demoronizator AD-1
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» George Orwell and loudsp»
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» Midbass Horns and Real E»
» Tonality versus Frequenc»
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» Dannoy and oxytocin...
» About Stupid Dynamic
» Chicago Horn Loudspeaker»
» Closer to the musicians »
» Open Baffle Speaker Desi»
» Bermuda Triangles of Aud»
» Audio and Music: four le»
» Transition : Driver to t»
» Tube GU-29
» Philosophical approach t»
» Looking to brainstorm st»
» Conductors and Audio Sou»
» Vitavox’s S2 Survival Gu»
» It is possible to elimin»
» The Verklarte Nacht with»
» The low-power SET and de»
» The “Right of Spring” – »
» Micro SX8000I: noisy pum»
» Winter storm & Casals
» Adding one more spherica»
» Gas voltage reference 0A»
» Crash course on horns an»
» The mystery of reversed »
» Moerch DP6 and DP8 “anis»
» BAAS posting of two raw »
» Analog is Back 2011: Wav»
» For one day only
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» A complex Audio Question
» THE Show, 2016
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Romy the Cat's personal site dedicated to advanced audio and evolved music reproduction techniques
Thread WITH the new posts.

Legends: "Week" - last week posts, "Bold" - entered last 48 hours.
It takes balls to shop (never mind the nuts) 7164 
Selfdenial as Audio Tower of Babble? 7161 
Musical Messages 7161 
The Sound of Music by and for musicians 7161 
The Original Sound 7160 
Audio, visual art and Cesar salad. 7160 
Relative Contrast 7160 
aura of art 7160 
Why, why Abstract Audio? 7160 
Re: Relative Contrast 7160 
"Differences" versus "contrast" 7160 
I would shade some light about “abstract audio” 7159 
Color Theory 101 7159 
a healthy divide 7158 
Further musings on JD's ideas above. 7158 
not to be too picky, but it might be important 7155 
Let's put a positive, festive note to this 7155 
Sure why not! + optical ideas 7154 
Color hearing and foreign languages... 7154 
what's the problem. 7139 
one itsy bitsy clarification 7139 
Feline's consciousness.... 7139 
so 7139 
Repeatability is a key difference for music and SOUND 1951 
Changes With Consistency as a Backdrop 1951 
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