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#41
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Theft
On 2021-02-15 15:23, RichA wrote:
On Thursday, 11 February 2021 at 20:17:42 UTC-5, Alan Browne wrote: On 2021-02-09 20:42, RichA wrote: On Monday, 8 February 2021 at 13:46:42 UTC-5, Alfred Molon wrote: This is incredible: https://petapixel.com/2021/02/07/pho...-robbed-while- stuck-in-sf-traffic-lose-7000-in-camera-gear/ robbery in plain daylight on a busy street. But even more amazing are those comments at the bottom of the article (lots of people wishing the thieves had been shot). They should have been shot. You are one angry dude. Get help. No they should not have been shot. That would be extrajudicial punishment, vigilantism. Which is perfectly acceptable if the police can't do a good enough job. Crime is nowhere near as bad as it was in the 1970's though so I don't see vigilante justice happening on any kind of scale yet. Get help. -- "...there are many humorous things in this world; among them the white man's notion that he is less savage than the other savages." -Samuel Clemens |
#42
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Theft
On Feb 15, 2021, RichA wrote
(in ): On Thursday, 11 February 2021 at 20:17:42 UTC-5, Alan Browne wrote: On 2021-02-09 20:42, RichA wrote: On Monday, 8 February 2021 at 13:46:42 UTC-5, Alfred Molon wrote: This is incredible: https://petapixel.com/2021/02/07/pho...-robbed-while- stuck-in-sf-traffic-lose-7000-in-camera-gear/ robbery in plain daylight on a busy street. But even more amazing are those comments at the bottom of the article (lots of people wishing the thieves had been shot). They should have been shot. You are one angry dude. Get help. No they should not have been shot. That would be extrajudicial punishment, vigilantism. Which is perfectly acceptable if the police can't do a good enough job. Crime is nowhere near as bad as it was in the 1970's though so I don't see vigilante justice happening on any kind of scale yet. Is there a particular brand of handcuff you favor? Vigilantes don’t have a great history of success in criminal court. -- Regards, Savageduck |
#43
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Theft
On Mon, 15 Feb 2021 13:44:47 -0500, Alan Browne
wrote: On 2021-02-14 21:25, Eric Stevens wrote: On Sat, 13 Feb 2021 19:12:17 -0500, Alan Browne wrote: On 2021-02-13 19:01, Eric Stevens wrote: On Fri, 12 Feb 2021 18:59:33 -0500, nospam wrote: In article , Eric Stevens wrote: Years ago I had a pair of speakers stolen which the police later found had been sold for $45 for the pair in a local pub. It cost the insurance company $12,000 to replace them. The insurance company paid about $800 to replace them because they know you could never tell the difference in an ABx test. They were Quad ESL63 electrostatics it doesn't matter what they were. I expect even you could not avoid hearing the difference (although I don't expect you would admit it). I doubt very much there is a qualitative difference worth the money. BTW: hearing a difference between speakers is normal. Hearing one is "better" than another is the domain of about 0.01 .. 0.1% of humans, most of whom are also less than 30 years of age. If you haven't heard good electrostatics then you don't know what I'm talking about. I have. Long ago. And very nice. So were my friend's KEF's. But frankly, take people room to room, and few will do better than flipping a coin using music that they are not familiar with. I used to listen to live orchestras. I knew even then what musical instruments really sound like. Even today most speakers blur the fine detail. People who have never heard a real live orchestra cannot know this and jusdge speakers on the basis of what sounds best. That includes you when you were young most likely and certainly includes you at your ripe age... But I am familiar with a hell of a lot of real music, not just a recorded facsimile. -- Regards, Eric Stevens |
#44
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Theft
On Mon, 15 Feb 2021 13:46:25 -0500, Alan Browne
wrote: On 2021-02-14 21:27, Eric Stevens wrote: There is more to it than just frequency range. Of course. The point is I (and you) have lost a lot of the finer end of the range and likely have gain holes between 4 and 15K. IOW, no need for hyper expensive speakers. You're not getting anything beyond bragging rights out of them. That might be your experience. It's not mine. -- Regards, Eric Stevens |
#45
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Theft
In article , Eric Stevens
wrote: I used to listen to live orchestras. I knew even then what musical instruments really sound like. Even today most speakers blur the fine detail. People who have never heard a real live orchestra cannot know this and jusdge speakers on the basis of what sounds best. nonsense. That includes you when you were young most likely and certainly includes you at your ripe age... But I am familiar with a hell of a lot of real music, not just a recorded facsimile. that doesn't negate normal loss of hearing as people age. also, calling it a 'recorded facsimile' is highly disingenuous. |
#46
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Theft
On Feb 15, 2021, Whisky-dave wrote
(in ): On Tuesday, 16 February 2021 at 00:55:02 UTC, Savageduck wrote: . Is there a particular brand of handcuff you favor? Vigilantes don’t have a great history of success in criminal court. I have a pair of these but I don't think they are actually handcuffs . My hands go straight through them even when closed. https://www.dropbox.com/s/v6l2ifedvz..._1801.jpg?dl=0 https://www.dropbox.com/s/7n8ifnh5on..._1802.jpg?dl=0 They are solidly made and heavy at 1lb 13 oz (UK) Each end opens when the 'key' is screwed in, removing the key locks them. Any idea what they might have been used for, they have the name hiatt stamped on the key. Only thing I can think of is connecting a series of cuffed people together via chains. Also wondered about their age. That type of cuff is pretty old, and I don’t know of too many Departments that would use anything like them these days. I suspect they might have some sort of UK Colonial heritage. I am familiar with Peerless and Smith & Wesson handcuffs. https://www.peerless.net https://www.handcuffwarehouse.com/smith-wesson-handcuffs/ -- Regards, Savageduck |
#47
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Theft
On 2021-02-15 20:47, Eric Stevens wrote:
On Mon, 15 Feb 2021 13:46:25 -0500, Alan Browne wrote: On 2021-02-14 21:27, Eric Stevens wrote: There is more to it than just frequency range. Of course. The point is I (and you) have lost a lot of the finer end of the range and likely have gain holes between 4 and 15K. IOW, no need for hyper expensive speakers. You're not getting anything beyond bragging rights out of them. That might be your experience. It's not mine. ROFL. |
#48
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Theft
On Tue, 16 Feb 2021 07:14:11 -0800 (PST), Whisky-dave
wrote: On Tuesday, 16 February 2021 at 01:45:55 UTC, Eric Stevens wrote: On Mon, 15 Feb 2021 13:44:47 -0500, Alan Browne wrote: On 2021-02-14 21:25, Eric Stevens wrote: On Sat, 13 Feb 2021 19:12:17 -0500, Alan Browne wrote: On 2021-02-13 19:01, Eric Stevens wrote: On Fri, 12 Feb 2021 18:59:33 -0500, nospam wrote: In article , Eric Stevens wrote: Years ago I had a pair of speakers stolen which the police later found had been sold for $45 for the pair in a local pub. It cost the insurance company $12,000 to replace them. The insurance company paid about $800 to replace them because they know you could never tell the difference in an ABx test. They were Quad ESL63 electrostatics it doesn't matter what they were. I expect even you could not avoid hearing the difference (although I don't expect you would admit it). I doubt very much there is a qualitative difference worth the money. BTW: hearing a difference between speakers is normal. Hearing one is "better" than another is the domain of about 0.01 .. 0.1% of humans, most of whom are also less than 30 years of age. If you haven't heard good electrostatics then you don't know what I'm talking about. I have. Long ago. And very nice. So were my friend's KEF's. But frankly, take people room to room, and few will do better than flipping a coin using music that they are not familiar with. I used to listen to live orchestras. I knew even then what musical instruments really sound like. Even today most speakers blur the fine detail. People who have never heard a real live orchestra cannot know this and jusdge speakers on the basis of what sounds best. That includes you when you were young most likely and certainly includes you at your ripe age... But I am familiar with a hell of a lot of real music, not just a recorded facsimile. Well live music will always 'sound' different, and don't forget that the venue and it's acoustics also have an effect, and the conductor who leads the orchestra, he decides what needs to be heard not you, he interprets what the 'author' of the original piece wanted you to hear. There is a limit to what the conductor can do. Otherwise (for example) the orchestra could be equipped with Melodic (NZ$79) violins rather than Stradivari. Then there's the sound engineer back in the studio who adds his idea(s) based on the equipment used and the sound he wants recorded. And you want to see the equipment most of them use :-( I doubt many people today can say that know what the classic composers wanted you to hear. Quite true. They don't need better than $800 speakers unless they want to show off. So what is best depends on what an individual likes which is why sound engineers have so many knobs, buttons and sliders, and conductors have many hand and arm gestures. The likes of the sound engineer can be a barrier. -- Regards, Eric Stevens -- Regards, Eric Stevens |
#49
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Theft
On Tue, 16 Feb 2021 17:51:33 -0500, Alan Browne
wrote: On 2021-02-15 20:47, Eric Stevens wrote: On Mon, 15 Feb 2021 13:46:25 -0500, Alan Browne wrote: On 2021-02-14 21:27, Eric Stevens wrote: There is more to it than just frequency range. Of course. The point is I (and you) have lost a lot of the finer end of the range and likely have gain holes between 4 and 15K. IOW, no need for hyper expensive speakers. You're not getting anything beyond bragging rights out of them. That might be your experience. It's not mine. ROFL. -- Regards, Eric Stevens |
#50
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Theft
On Fri, 19 Feb 2021 15:15:03 -0800 (PST), Whisky-dave
wrote: On Friday, 19 February 2021 at 04:01:08 UTC, Eric Stevens wrote: Well live music will always 'sound' different, and don't forget that the venue and it's acoustics also have an effect, and the conductor who leads the orchestra, he decides what needs to be heard not you, he interprets what the 'author' of the original piece wanted you to hear. There is a limit to what the conductor can do. Otherwise (for example) the orchestra could be equipped with Melodic (NZ$79) violins rather than Stradivari. well not everyone can afford a Stradivari, I doubt even the violin players in the London philharmonic all have them. Actually I have a violin under my sofa (in a case) don't know much about it myself, a friend left it he worked as a session musician for a while although being Irish he says he's a fiddle player. Then there's the sound engineer back in the studio who adds his idea(s) based on the equipment used and the sound he wants recorded. And you want to see the equipment most of them use :-( well most don't have the money and they depend on the Venue to have them. Some years ago I was following this subject on Youtube and found a number of professional sound engineers who were discussing their work. They all had enormous and expensive control desks filled with knobs and sliders, and they all knew a great deal about the various forms of digital encoding and the respective problems and how to deal with them. The youngest was at least 55 and several were much older. The all worked in relatively long and narrow rooms with the long control desks placed lengthways in the rooms. They all had their favourite reference speakers which without exception were built around 10" base units or larger. They all were "old" favourites from the previous 10 or 15 years. (I kid you not.) So there they were sitting at their sound desks, facing across the room, listening to a pair of ancient speakers on the opposite wall. I was apalled! The listening environment was acoustically awful. There was no sign of what could be regarded as a studio monitor speaker and, as nospam loves to point out, at their age they could not even hear at least half the signal they were editing. These people have been responsible for much of recorded pop, punk, reock and roll etc which is let loose on the world. No wonder there is a small group of afficianados are picky about the details of the way the music they listen to has been recorded. I assume abbey road have some decent kit. Unlike the local pub that puts on bands. They have an a large desk, engineer facing the wall. They appear to be using B&W 803 speakers which are very expensive bookshelf speakers with the the B&W's diamond tweeter. They probably produce an 'adequate' sound for most purposes but the best classical recording companies would not use them or their listening environment. It also looks as though there are some kind of flat panel speaker behind louvres in the side wall. Quite what they are and what they do I do not quite know. One thing is certain, flat panels are weak on base so it is unlikely they are woofers. See https://www.abbeyroad.com/recording-engineers I doubt many people today can say that know what the classic composers wanted you to hear. Quite true. They don't need better than $800 speakers unless they want to show off. So what is best depends on what an individual likes which is why sound engineers have so many knobs, buttons and sliders, and conductors have many hand and arm gestures. The likes of the sound engineer can be a barrier. A barrier to what's recorded irrespective of the listeners sound system. What does the birdie song sound like on your setup, does it improve it ;-) https://www.youtube.com/watch?v=ESViOhqRdlE I think the only thing that would improve it is playing it from deeper underwater. :-) -- Regards, Eric Stevens |
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