E_Schaaf

Are the boxes one solid piece!? I am a sooning you have access to rather large printers!!

All the side walls are one solid piece, but the front and rear panels will screw on with some threaded brass inserts and a soft sleeve at the coupling points to prevent rattling. The max build area on my machine is about 12L - kind of middle size.

Los Tacos 1 for a quick taco, Ootoya for more traditional japanese, All'Antico Vinaio for a good italian sandwich(Only been at the original florence location). I haven't been there in a while. I hope the Uli gets released in the near future. The hype on them have been real.

I'll definitely look for you on Sunday!! I'd love to introduce you to Goldwerger, he's a Head-Fier who does a LOT of writing. I think if he heard ETA you'd get a lot of positive exposure.

how were you low-passing them before?

Inductors chosen by the previous owner, it was never quite right for my room/mains

I still treasure the short time I spent in Valdez, where the eagles flew around like gulls.

Brother is traveling to Alaska by cruise next month. Sounds like a most excellent destination to visit.

Interesting item and reasonably priced

I'll take tight transient response and low distortion. I can always add a sub to a 2.1.

It depends but ideally, I need 2:
- tone - not FR, but traits of sound
- realistic transients - much harder said than done because not all instruments have tight transients

excusable:
headphone extension - can't over come physics
low distortion - distortion can be made to sound good. see electronics in music.
good spatial - very nice to have, but can succeed with ok enough spatial. see hd580/600/650.

Tone, transient response, low end extension. Spatial cues would be next, distortion last.

Something tells me the answer is actually some really cheap disposable IEM or earbud. I really don't get why you're chasing ultimate efficiency when, if anything, people need the opposite to keep to sane volumes without engaging digital volume control. This feels like the early 2000s with everyone making smaller phones just because.

I wouldn't say it's a chase as much as a curiosity. And mostly for 30-60mm drivers for headphone use. I like exploring extremes, taking things too far and then dialing back to a sweet spot

Some of the most sensitive headphones (excluding IEMs) I've seen:
mW to produce 110 dB SPL @ 1 KHz
1.6 Denon D7000
4.0 Focal Clear
4.0 Focal Utopia
2.5 Focal Stellia
2.5 Sony 7506
2.0 SoundMagic HP100

Bigger and longer is always better on R2R, just like you know what.

Tarantino said for cinephiles DVD's are like marijuana but when you start collecting film prints that's heroin and I think R2R is that for audiophiles. When you're paying $500+ per recording you're shooting smack.

I think that my first experience of real stereo was when I left home and spent a lot of time with a bunch of hippies, a house that I later moved into for a couple of years.

That was great. But one of my friends had a dad who used his living room as a pro recording studio. His Quad-plus-Tannoy system was amazing.

Just one of the many variables unaccounted for in the discourse of how graphs and perception align... Sometimes I wish physical analysis of design features were more of the focus than abstractions of performance output. Sound is categorically mechanical after all.

Every driver will sound best at critical damping and at the appropriate distance and angle vs the ear according to the dispersion pattern. This may look like a wildly different FR curve in every case. Better to let the driver tell you how it should be tuned than force-tune to a target while disregarding all other variables

Driver size is max aperture?

@Tachikoma that's a thought! I can see driver surround compliance (perhaps related to impedance response?) also being akin to max aperture. I'm sure there are many points where this analogy falls apart, but it scratches a particular brain itch

That's why I still really appreciate the "free-air" measurements @purr1n sometimes does, haha. It does reveal issues that greater acoustic impedance couplers might mask

Nice pics! The 5D is great. Easy to use and has excellent color and contrast. My only gripe was the slow and somewhat inaccurate focus. And of course only 12MP.

99% of the time I use manual lenses and shoot JPGs. I don't edit much, it's a very casual thing for me - I could probably even get away with less :)

Did you get that Mind Fuzz album?

They didn't have Mind Fuzz, just some other tapes I hadn't heard as much about and priced a bit high (there was no way to demo tapes there, just records). The headphone I brought was similar to an O2, just with a couple flavor tweaks

Great way to discover music! Especially at well-curated shops. I often take photos of what I leave behind and listen later. Have also been finding good recs on various collector feeds on IG. Though, of course, it also drives up the price of records all around.

probably. on my list of stuff to look into.

1: Yes, very likely
2: Not sure I understand, but I don't think there's much there
3: It definitely changes with damping, etc. What I'm most interested in is how much nonlinearity we can see with headphones. At maximum excursion in either direction, how does the impedance change?

3: They do this stuff for speaker drivers regularly and that's one of the advantages of low inductance designs (copper cap). Low inductance -> less of an impedance change. Less distortion.

Couldn’t get into Rag 1.5. Must have been a synergy thing, was too sharp and steely on HD650 and Elex (no surprise on the 2nd one). Always felt fatigued by it. Similar feelings I had with Jot 1 as well. Only way I could tolerate it was to put Freya+ in between in buffer mode and set the rag on low gain and turn the volume all the way up (unity gain).

If not for the size I would have a Rag 1.5 on my desk right now, also no need for the speaker outs. But the Rag is what the Mjolnir 1 grows up to be! The endgame moniker fits in my mind. It was great pushing the Genesis G, and also the PM-1!

Have owned one for 5+ years. It's a solid amp, but didn't mesh well with HD600/Utopia nor did it have enough juice for Maggies. I also could only tolerate low gain with most headphones. The unit is so versatile I can't bring myself to sell it, so it's in a closet for now in case I need a backup amp for anything.

Since you're shooting film, I'd suggest find a more special lens which flavors match your taste, and also spend some time on Flickr lens groups. Leave the generic duties to the cell phone.

Think your 35 is already a winner. If you plan to do indoor shoots, 21 might be a good addition. If you’re planning to shoot portraits, the 85 is good.

I always liked the 85mm for walkabout/street photography. 28mm was my "sunsets" lens for all those film years, but I am not sure it'd be worth picking up if you already have 35mm in the bag.

YGPM :)

I mostly agree with @bixby and @Thad E Ginathom but I think something good that was lost with cassettes was everyone making mixtapes. I'm grateful to my Dad for giving me a Kenwood receiver, Sansui tape deck, and some big woofer 70's speakers around age 9 and saying that music would become very important to me soon, so I should start finding what I like.

There's nothing competitively hifi about cassette sound quality in general but I deeply enjoy it for certain genres of music where the sense of pumping and saturation enhances the textures in the mix. House, lofi of various kinds, hip hop, reggae, dub, rnb... I do have some jazz cassettes that beat some lemon vinyl pressings of the same music. Give and take

Also helps that cassettes are often 1/3 the cost and a fraction of the size of a record. Plenty of nice sounding tapes of contemporary music still being released in Japan and Europe