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Techno之书｜#03 提升者 Kevin Saunderson原作：Mark Petes-Varga编译：马海平/友好电波Kevin Saunderson（提升者）1964年9月5日出生于New York的Kevin，在12岁时通过Derrick May第一次遇见了Juan Atkins。当时他的母亲决定从Brooklyn搬到一个安静的郊区小镇——也就是我们现在熟知的Belleville。“贝尔维尔跟纽约完全不一样。那地方真的就是乡下，绿色一片，我也没有朋友。记得刚搬去时正值暑假，离开学还有两三个月。那时候我既不认识Derrick May也不认识Juan Atkins，完全就是谁也不认识。那里有湖可以钓鱼，但实在没什么可做的。而且那时候我肯定还没开始做音乐。所以等到终于开学，每天去上课后，我开始对体育产生兴趣——因为周围环境太无聊了，我需要（或者说想要）找点有意思的事情做。于是体育成了我的重心，而认识Derrick也是通过体育活动。我们在初中相识，大概十二三岁的样子，那就是我第一次见到Derrick May的情形。" Kevin Saunderson回忆到在学校里，Kevin和Derrick成为了队友，同时还结识了这场音乐运动的另一位标志性人物Eddie Fowlkes。 “我是通过Derrick认识Eddie和Juan的。其实我们几个——我、Derrick和Juan——都在同一所初中上学。所以某种程度上我们算是认识，但那时候我对音乐可没他们那么热衷。不过随着时间推移，我们成了很好的朋友，我也慢慢开始跟他们混在一起。”在学校里，他们还和Juan的弟弟Aaron Atkins成了好朋友。他们经常一起玩，但当Kevin第一次去Atkins家拜访时，Juan的态度并不热情。他刻意保持距离，甚至都没跟他们打招呼。"当时Aaron只是简单说了句：'那是我哥Juan。'仅此而已。" Kevin Saunderson回忆到。这显然不是一个好的第一印象。但Kevin在那里看到的音乐设备却牢牢吸引了他的注意力。Juan的音乐天地里摆满了各种混音设备、卡座、唱机和成堆的混音带，这番景象对Kevin来说无比震撼——他从未见过这样的阵仗。而那时候Juan早已深入音乐的世界，他对音乐和技术的理解给了Saunderson极大的启发。尽管深受震撼，Kevin并没有立刻投身音乐事业。那时候的他更像是个拿着体育奖学金的运动生，DJ对他来说只是个新鲜玩意儿，他还需要更多时间。大约又过了六年，Kevin才真正迈出音乐生涯的第一步。高中毕业时，他在家里办了一场派对，Juan Atkins以Cybotron的身份表演，而这一刻成为了Kevin人生的转折点。"当我看到Juan用那些超酷的唱片混音时，那种体验永远刻在了我的记忆里。" ——Kevin Saunderson而当 Juan 以 Cybotron 的名义发布单曲《Clear》时，Saunderson 对电子音乐的看法彻底改变了。我们知道 Derrick 和 Kevin 是在 Juan Atkins 出现之前就已经认识了，但其实他们的友谊并不像现在这样一直平稳顺畅。尽管 May 在音乐上深深启发了 Saunderson，但两人之间的关系从一开始就充满了竞争。如果 Derrick 发布了新歌，Kevin 也会立刻行动。Derrick 创办了自己的厂牌Transmat后，Kevin 也立即成立了 KMS Records。这种关系有点像是：“他能做到的，我也能做到”的较劲式竞争。他们甚至还因为一次失败的橄榄球赌局在学校里打过一架——而也正是那次打架之后，他们才真正成为了朋友。 “说真的，有时候就是要来一架，才能让对方尊重你。从那一刻起，他就开始对我肃然起敬了。我不是那种欺负人的人，虽然我长的高大，但我是个好人，喜欢和每个人都好好相处。所以我们从那时起成了朋友。”——Kevin Saunderson回忆到。后来，在他就读东密歇根大学（Eastern Michigan University）期间，Derrick 和他的关系更加紧密，甚至有段时间两人是室友。那段时间也成为了 Kevin 人生中非常重要的阶段。在 May搬来合租的最初几晚之一，当 Kevin 打算道晚安准备去睡觉时，Derrick显然有不同的打算。“他说，‘你要睡觉？不，兄弟，现在是 Electrifying Mojo 的时间了。'我当时根本没听说过 Mojo，完全不知道他是谁，我就说，‘好吧。'然后他打开了收音机，那就是我第一次的经历。那是我第一次接触Midnight Funk Association这个节目，是Derrick带我入坑的。”从那一晚起，他们就彻底被Mojo的魔力吸引，每晚聆听电台节目成为了他们的仪式，从此不曾错过任何一次节目。被这些天赋异禀的音乐人朋友包围着，同时也看到了一条充满希望与无限可能的电子音乐之路——这些都让 Kevin 开始重新审视自己的人生与未来方向。这位曾经的运动健儿，开始缓慢却坚定地走上了他真正的道路。“1983 年对我来说就是转变和启发的真正开始。那时我还在打橄榄球，然后我决定：‘我要成为一名 DJ。'我还没想清楚音乐方面的事，但我知道，我会成为一名 DJ。”Kevin Saunderson说“那是真正的开端。我觉得那也是我和音乐之间的联系，以及和我在纽约的根的延续。尽管我年纪还小，但我常回纽约看望哥哥和其他亲戚，同时听各种电台节目包括WBLS 等等。所以我和纽约有着音乐上的连结，我们开始讨论不同的音乐人。那时 Juan 刚开始做音乐，而 Derrick 一直试图向我解释这一切。Derrick 是 Juan的头号大粉丝，也是他的门徒。”当其他人都在制作音乐或演出时，Kevin 总是在一旁观察、学习。在这个阶段，他对电子音乐的真正学习和探索正式开始了。 “Derrick正在制作音乐，他在Wayne State附近的市中心有个地方，那里有一些设备。我也有一些设备，Eddie Fowlkes也有，Juan 也有，我们每个人手头都有点装备。有时候我们会把设备带到一起。如果他需要我的 909 鼓机什么的，我就会拿到他家去。曲子就是这么做出来的，因为我们终于可以把一个完整的track做出来，大家在做音乐的时候，我总是在旁边观摩。”Kevin Saunderson回忆说。“人们会说：‘这家伙是谁？我们以前根本没听说过他！'但我没花太久就证明了自己。”——Kevin Saunderson他开始用经典的TR-808、727、909等鼓机学习编曲，并将这些设备带到自己的派对现场。在当时混音素材匮乏的年代，这些鼓机成为了创造全新鼓声的利器。他认为，Techno音乐的诞生很大程度上源于人们"需要"和"渴望"能让自己尽情跳舞的音乐。“那时候的问题是，听那些唱片总会觉得少了点什么。909 在这方面帮了我很大忙，让我能去尝试，去填补那种空缺。”Kevin Saunderson说到。与 Derrick 或 Juan 不同，Kevin 的灵感来源是纽约。他经常提到自己在 Paradise Garage（天堂车库俱乐部）度过的时光，并幻想着有一天他的唱片会在那个俱乐部被播放，观众会对这些音乐产生怎样的反应。他一直都有一个想法——将 House 音乐与 Techno 融合。因为他的音乐影响更多来自 House 和 Disco 音乐，这也造就了他独特的风格。“我喜欢有人声的音乐，我喜欢旋律，我会想到 Paradise Garage。当我决定要制作第一首唱片的时候，不知为何，我就希望它是一张有人声的唱片。我就那样走上了这条路。”Kevin Saunderson说。Saunderson 作为制作人起步相对较晚——1986 年以艺名Kreem开始他的音乐生涯，后来的两个更著名名字分别是 E- Dancer和Reese，这两个项目在某种程度上意外地帮助他取得了一个先发优势。他的首支作品《Triangle Of Love（三角之爱）》差不多已经准备好发布，但在真正发行前，Saunderson 的这首歌还需要专业的润色和收尾。 “我跟 Juan 说：‘我有一首曲子，我感觉它快完成了，但我不知道怎么收尾。'因为那时候我的制作水平根本比不上Juan。我知道怎么编一些鼓点，可能能弹个贝斯线，再哼出个旋律，或者请个键盘手帮我弹出来我脑子里的旋律。所以我把这些都弄好了，一共有 8 个轨道，我当时用的是一台Fostex 的八轨录音机。准确地说是 7 轨，因为要留一轨做同步信号。但我不知道怎么去完成这首曲子，所有音轨就那么平铺直叙地播放，没有任何编排，鼓、音符、旋律就那样全开着播放。我心里就想，‘接下来到底该怎么办？'因为我从没真正看到过别人是怎么完成一首曲子的。我们经常聚在一起，也看到 Derrick 和别人在做音乐，但从来没人展示过怎么完成一个作品。所以我打电话给 Juan，告诉他我需要他帮我完成这首歌。Juan 直接问我，‘那你有多少钱？'我说，‘哥们我没钱。'他说：‘那你有什么设备？'”我那时候有一个采样器，但我其实不怎么用它。那台机器我记得是Akai 800 之类的型号。我就说：‘我有这台采样器。'他说：‘行，那就可以了。'于是他过来了，帮我把曲子做完。这次我就在他旁边，亲眼看着他怎么混音，怎么编排结构。他决定修改了我的贝斯线，后来我才知道那条贝斯线有点受了 New Order 的影响而那时候我完全不知道这些。他做完混音之后，我才意识到，我原本缺少的是混音、结构编排、怎么输出成母带、怎么剪接拼贴段落这些核心知识。我对这些完全是一窍不通。但一旦 Juan 向我展示了这些，我就起飞了。我知道该怎么做了，这是我的第一首作品，但因为在Juan 的指导，一切都提升了。之后这首歌先是在 Juan 的厂牌 Metroplex 上发行，再后来我成立了自己的厂牌，我就……再也不需要别人教我怎么做了，没有什么能拦得住我了。”（来自Red Bull Music Academy DJ History 档案）他的首支作品在 Metroplex 发行。在短暂的观察之后，Kevin 意识到：他完全可以独立推广自己的音乐并全面掌控制作过程。于是，Kevin 要求 Juan 将他的唱片和所有相关的版权归还给他， Atkins 对此没有异议，他便将所有权利签回给了Kevin，这也基本上奠定了KMS Records 的创立。“我不想让任何人告诉我如何发布我的音乐，如何播放它。我想控制这一切，我不想被束缚于别人的时间表。”后来Kevin Saunderson回忆到。他抓住每一次机会推广自己的音乐，希望能够将唱片交到对的人手中，让它能够在全球各地播放。Kevin 一直相信着这个理念：“当一扇门关闭时，另一扇门就会打开。”并且，这个理念最终奏效了。在以化名Kreem出道之后，E-Dancer项目启动之前，Kevin曾与James Paddinton、Derrick May合作，并与Santonio Echols展开Reese & Antonio联合项目。1988年，Saunderson开始爆发式创作经典曲目，陆续推出《Bounce Your Body To The Box》和《Just Want Another Chance》等作品。“实验，完全是无拘无束的实验。就是这么简单。”—— Kevin Saunderson他还与芝加哥的歌手 Paris Grey (Shanna Jackson) 组建了著名的乐队 INNER CITY。他们的声音基于House 和Detroit Techno的融合风格。1988年，他们发布永恒经典《Big Fun》，随后接连推出《Good Life》、《Paradise》、《Fire》等全球热门单曲。Inner City 全力以赴，影响力远超他们的预期。这个二人组在全球范围内获得了认可，8次登顶美国与英国舞曲榜，9次跻身UK Singles Chart Top 40，亮相包括Top of the Pops在内的知名电视节目，成为将Techno音乐推向全球的最大推手。到此为止，我们可以承认，Kevin 是一个活跃和具有雄心壮志的音乐人，他已经成为电子音乐界闪耀的明星。然而，名声从未改变他。根据其他音乐人和朋友对他的评价，Kevin一直是善良并 “脚踏实地”的那种人，这种态度也反映在他的音乐中。随着声誉的升起，Kevin的职业生涯也进入了辉煌时期。他也因此成为了底特律三杰中商业上最成功的一个。在 Neil Rushton成为他的经纪人后，Kevin 很快就卖出了600万张唱片，成为第一个将这类音乐带入主流的人。这一成就也使得整个底特律音乐人群体知名度飙升，原本的地下社群迅速在其引领下发展为受大众崇拜的音乐流派。在 80 年代末，他们对大西洋彼岸的电子音乐场景了解甚少。三人组中，Derrick May 是第一个开始巡演的人，他飞到了英国，因此他们最初关于欧洲的所有信息都基于 May 的见闻。Kevin 也希望了解欧洲的情况，开始访问法国、英国和德国等欧洲国家。1988 年 1 月，当他第一次踏上英国的土地时，他清楚地感觉到——某些事情即将发生，但那时一切还没有真正开始。后来，到了第二个夏天，当他再次返回英国时，他简直不敢相信全国范围内的电子音乐场景发生了多大的变化。“当我在七月和八月回去时，整个国家都疯了。”—— Kevin Saunderson他还注意到其他国家的发展，根据 Kevin的说法，法国在此时展现出与底特律风格最为相似的特点。他还提到，德国的风格非常激进且硬朗，这种风格至今依然保持不变。"他们都受到底特律的影响。所有人都想模仿Detroit sound，但始终无法真正复制。于是他们发展出了适合自己的风格——比如当时的德国电子乐异常强硬、高速且充满攻击性，这点我记忆犹新。英国则是典型的Rave风格，大量使用Loops和类似'Bricks'的采样元素。我认为法国巴黎在音乐性上与底特律最为接近。"Kevin Saunderson回忆到。无论发生了什么，看起来都像是一个声势浩大的文化现象，正如我们今天所知道的——那一年标志着 Techno 的诞生和 Rave 文化的兴起。回到美国后，Belleville Three开始在全美巡演，将Techno音乐传播到北美各地。不过巡演并不是Kevin最喜欢的工作——他始终认为自己更偏向制作人而非DJ，而Derrick和Juan则更享受DJ表演。尽管如此，Kevin还是很高兴看到他们的音乐正在成为一种持久的文化现象，而非昙花一现的潮流。"作为Belleville Three，我、Derrick和Juan决定一起巡演。最初的想法是：'让我们带着最棒的作品巡演，做一场真正的现场演出。去往我们最喜欢的城市，用我们从未尝试过的方式呈现，可能会加入各自的新作品，甚至合作两三首新曲目作为特别企划。'"他继续说道："做这样的项目完全是一种实验——因为这是三个不同思维、三种创作理念的碰撞。我们不会预先排练或设定框架，一切顺其自然发生。""如果底特律Techno有座总统山，Kevin Saunderso的面庞必将与Belleville Three其他成员一同铭刻于花岗岩之上。"——Red Bull Music Academy经历了数千张唱片的发行、多个艺名、在全球顶级的电音节演出，以及三十多年的职业生涯，Kevin Saunderson至今仍未失去他当年的那份活力。他对电子音乐制作的热情也传承给了他的两个孩子 —— Dantiez 和 DaMarii，两人如今也都是各自独立的制作人。父子三人与歌手 Steffanie Christi'an 一起重新组建了 Inner City。2024年，Kevin 与 Dantiez 合作推出了全新作品，以他传奇的艺名重新出发，发行了《Melodica》 —— 一首深邃、黑暗、直击底特律核心的Techno作品，标志着全新时代的 E-Dancer 的起点。“Dantiez 听起来就像我。在和他一起打造下一代 E-Dancer 的过程中，我比以往任何时候都更充满热情和活力。这是我们这些先驱者的火炬传递，我知道这份基因已刻在他的DNA里，他已做好准备”——Kevin Saunderson在这次发行之前，Kevin Saunderson 也刚好迎来了自己的60岁生日。他于2024年9月7日（星期六）举办了一场特别的“全白派对”（All-White Party）来庆祝这一时刻。在底特律 Spot Lite，并由 Paxahau 演出团队的协助下，他从开场一直表演到结束，在他最爱的地方——DJ台上，庆祝了自己的生日。Kevin Saunderson 非凡的音乐生涯激励了一代又一代人去热爱电子音乐。他以不可复制的正能量把这股声音带给了全世界。这就是那个让整个电子音乐世界提升（Elevates us）的声音。The Belleville Three（贝尔维尔三巨头）彻底改变了电子音乐的概念。他们创造并塑造了一整个全新的音乐类型，使Techno 运动发展成了一场全球性的文化现象。他们几乎征服了整个地球，而如今，Techno 已是全球最受欢迎的音乐类型之一，拥有来自世界各个角落的数以百万计的追随者。但这股浪潮的推动者，远不止他们......©️版权声明 “Techno之书”系列节目（包括音频，视频和文稿）版权归马海平、友好电波与 Mark Petes-Varga 所有。非商业用途可在注明出处的前提下分享与引用，但禁止任何形式的商业使用，未经授权的商业使用将依法追究责任。本期节目歌单：Inner City - Good LifeKevin Saunderson - The Sound (Power Mix)Kevin Saunderson,Reese – BasslineE-Dancer - Feel The Mood (N.Y. Groove Mix)Inner City - Set Your Body FreeInner City - ParadiseKreem,Kevin Saunderson - Triangle Of LoveReese & Santonio,Kevin Saunderson,Ben Sims - How To Play Our Music (Ben Sims 25th Anniversary Edit)Reese,Kevin Saunderson - Just Want Another Chance (Original Mix)Inner City - Big FunInner City,Jay Haze - Good Love (Jay Haze Edit)Inner City,Kevin Saunderson - Till We Meet Again (Carl Craig Remix)Kevin Saunderson,Todd Terry - I Can't Believe (Mixed)E-Dancer – MelodicaInner City - Hallelujah '92

George heads out on a time-sensitive PSA to capture wild VO lines at an actor's house — and rebuilds a lean, one-case kit on the fly. We dig into what made the rig work, why he chose an onboard recorder for redundancy, mic choices (NTG-4 vs NTG-5), and a stack of road-tested tips from our early days hauling DA-88s, DATs and Franken-booms. What we cover: Packing everything into a Pelican 1510 (laptop, interface, mic, stand, boom) Primary vs backup: PortCaster with onboard record + laptop DAW Why the NTG-4 worked (once the low-cut was off) and when the NTG-5 is nicer Quiet-room scouting at talent's home (carpet, bookshelves, sofa placement) Redundancy paranoia that saves the day (and the gig) Old-school sync and remote workflows: clapper slates, Boom Recorder, Reaper, DA-88s, DAT, Ramza/Fostex rigs Gear & software mentioned: Pelican 1510, Sentrance MicPort Pro, PortCaster, RØDE NTG-4/NTG-5, Grace Lunatec V2, Sony & Tascam DAT, Boom Recorder, Reaper, DA-88, Fostex 9624, Ramza 8-bus. Sponsors: TRI-BOOTH — use code TRIPAP200 for $200 off your Tri-Booth. Austrian Audio — Making Passion Heard. Credits: Recorded via Source-Connect. Edited by Andrew Peters. Mixed by Robbo. Tech support from George “The Tech” Whittam. Got an audio issue? JustAskRobbo.com  

Pro Audio Design Engineer Andy Bereza summarises his impressive career in a chat with Paul Gilby. Andy founded Allen & Heath Mixers before working for TEAC/Tascam, where he conceived the TEAC Portastudio the portable multitrack cassette tape recorder that revolutionised the home recording market in the 1980s. He then co-founded Bandive-Turnkey where he developed a range of budget signal processors and the famous Great British Spring reverb to sell to the rapidly expanding Home Studio Recording market. At the same time, he was a consultant for the Fostex X15 multitrack cassette as well as helping to steer further product designs. Chapters00:00 - Introduction00:34 - Getting Into Electronics01:45 - Building Custom Desks04:09 - Allen & Heath Mixers06:07 - The Minimixer08:54 - The Pink Floyd Desks12:24 - Allen & Heath Mod II Mixer13:20 - Expanding The Company15:23 - Moving To Tascam 16:58 - Constructing The Portastudio 21:57 - Setting Up Bandive / Turnkey24:55 - Creating Products For The Home Studio 29:03 - Fostex Releases in the 80s30:48 - Bandive Seck Mixers32:08 - Expanding Turnkey35:14 - Selling To Harman38:38 - Launching Digital Postcards41:07 - A Brief Career Summary42:13 - Proudest Career MomentAndy Bereza BiogAndy Bereza started his career as a Audio Design Engineer after moving to London in 1967 to study Electronics at Chelsea University. A chance encounter with Siggy Jackson in Tin Pan Alley gave him his first custom commission and many more soon followed, with Andy building mixers for Bill Shepherd (producer of the Bee Gees), Alan Price, Maurice Gibb and also a location recording mixer for the Clockwork Orange movie.In 1970 Andy became the Founder of Allen & Heath, where he initially developed the black range of mixers, then their first mass market product the Minimix. At the same time he creating custom quadraphonic live desks for The Who along with Pink Floyd's Pompeii and Dark Side Of The Moon touring desks.In 1975, Andy joined TEAC America and was employed to introduce Tascam into Europe. Then in 1976 he was contracted directly with TEAC Japan where he developed the iconic Portastudio that changed the face of the home recording industry. In 1977 he became one of the founders of Bandive Ltd and helped to develop further products for the home recording market and created the popular Turnkey By Mail catalogue during the late 1970s to mid 80s. Bandive then opened the Turnkey retail store in central London.Following the sale of Bandive / Turnkey to Harman UK in 1987, he briefly became their Marketing Director, before signing up to become Managing Director of Fostex in 1991. Later in the 90s Andy left the Pro Audio industry and turned his attention to multimedia where he developed interactive product catalogues on CD-ROM.Paul Gilby BiogPaul Gilby is the co-founder, along with his brother Ian, of Sound On Sound magazine in 1985. Having written many product reviews and interviews over the years he now heads up the Digital Media side of the business managing the team that looks after the SOS website as well as the video and podcast productions.Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

In this episode: Listen to a conversation between your host Vivienne Aerts and Sound Engineer Jess Fenton as they analyze their work together on creating the album 'Typuhthâng' About Jess Fenton Jess' longest running passion is music production. As an awkward teen multi-instrumentalist, she spent many evenings and weekends in her parents' basement recording songs on cassette with her Fostex 4-track. She has since caught up with technology and prefers her Mac & Pro Tools combo. She records in her humble yet highly efficient home studio in Brooklyn, NY with many analog signal chains to choose from in addition to a large variety of virtual and real instruments. After constantly hearing that "women don't do music production" and "women aren't interested in studio work" and "I'd hire a women but can't find any," Jess snapped one day and decided to prove those statements to be entirely false. She bought some basic video gear, taught herself how to use Adobe Premiere, and booked flights all over the country to interview some of the most talented women in music production. And with that, the Proof In Music series was born. ⁠Instagram⁠ / ⁠YouTube⁠ About ViviTalks - Interviews with the Women Behind Typuhthâng. Introducing ViviTalks, a podcast hosted by Dutch New York-based musician Vivienne Aerts. Join us as we celebrate 100 talented female musicians from Vivienne's latest album "Typuhthâng," with a mission to empower female cacao farmers in the Virunga State Park of Congo and contribute to rainforest restoration. We delve into the musical journeys, creative processes, and unique perspectives of these talented women, seeking to bring greater balance to the music industry. It's a safe space for honest and authentic conversations with artists and trailblazers. Let's amplify the voices of remarkable women in music and stay tuned for inspiring stories and meaningful dialogues on ViviTalks. ⁠⁠ Stream⁠⁠ the Album or ⁠⁠Buy it on Bandcamp⁠⁠ and get the chocolate! ⁠⁠More about Vivienne here. --- Send in a voice message: https://podcasters.spotify.com/pod/show/vivienne-aerts/message

Linda Smith in conversation with David Eastaugh https://lindasmith2.bandcamp.com/ https://capturedtracks.com/artist/linda-smith/ A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks' compilation of Smith's work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith's catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats. Recorded at Smith's home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: ”I was working for Ringling Bros at their corporate headquarters in Northern VA and driving there and back to Baltimore on the DC beltway,” Smith remembers. “I aimed for detachment and some degree of humor in order to see things more clearly.” Traffic noises on the charmingly boisterous “Little To Be Won” showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants' “Salad Days.” Despite its homespun inception, the arrangements are sophisticated, as in the bright, percussive opener “The Answer To Your Question.” This complexity is also reflective of Smith's evolving recording techniques – having outgrown her 4-track tape machine, she'd purchased a Fostex 8-track, on which she recorded both Nothing Else Matters and I So Liked Spring.

My guest is Producer/Engineer John Pfiffner, who has worked with Geggy Tah, Mitch Easter, and Church Girls. John is based in Winston-Salem, North Carolina. In this episode, we discussNorth CarolinaMitch EasterREMGrowing Up In MichiganBecoming a SouthernerAtticus Finch For DadCulture ShockSanford and SonSouthern AccentsSchool ChorusSister In BalletMTVVHS TapesGuitarPiano RegretsGreat TeachersSmoke Breaks and CoffeeAwareness of RecordingFostex X15Tascam 246James BrownTrying to Keep a Band TogetherLiving in AtlantaDrinking Sweet TeaPlaying CoversPlaying with McKay GarnerBad Run of TapeEarly Studio LessonsLearning PhaseNo Real JobsCover BandsCollege Radio & Hair MetalDentist Office StudioLiving LeanMagic in MusiciansFeeling IsolatedSusan Rodgers1176 KnobsMitch EasterJohn KeaneTape to ADATS to Pro ToolsPlanning AheadCalendarsScott SolterSocioeconomics Matt's Rant: CreditsLinks and Show NotesJohn's SiteCreditsGuest: John PfiffnerHost: Matt BoudreauEngineer: Matt BoudreauProducer: Matt BoudreauEditing: Anne-Marie Pleau WCA Theme Music: Cliff Truesdell Announcer: Chuck Smith

My guest is Producer/Engineer John Pfiffner, who has worked with Geggy Tah, Mitch Easter, and Church Girls. John is based in Winston-Salem, North Carolina.  In this episode, we discuss North Carolina Mitch Easter REM Growing Up In Michigan Becoming a Southerner Atticus Finch For Dad Culture Shock Sanford and Son Southern Accents School Chorus Sister In Ballet MTV VHS Tapes Guitar Piano Regrets Great Teachers Smoke Breaks and Coffee Awareness of Recording Fostex X15 Tascam 246 James Brown Trying to Keep a Band Together Living in Atlanta Drinking Sweet Tea Playing Covers Playing with McKay Garner Bad Run of Tape Early Studio Lessons Learning Phase No Real Jobs Cover Bands College Radio & Hair Metal Dentist Office Studio Living Lean Magic in Musicians Feeling Isolated Susan Rodgers 1176 Knobs Mitch Easter John Keane Tape to ADATS to Pro Tools Planning Ahead Calendars Scott Solter Socioeconomics     Matt's Rant: Credits Links and Show Notes John's Site Credits Guest: John Pfiffner Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith  

Good ‘morrow my bright new things! I bid, “welcome OwlHeads”, to episode 45 of my songwriting podcast series. After the necessary health warnings are issued by the government (these shows can be hazardous to your health), I hope you can settle down and enjoy the rare demos offered freely at this month's feast. I'll start by playing you a song I wrote and recorded with the fine Welsh vocalist and artist, Steve Balsamo. It's a 16 track analog demo that I was very chuffed to discover in my rarities suitcase. Collaborating with Steve was a soulful experience… and it's lovely that we're still in touch after all these years. And I'm thrilled to play you a newish unfinished song I was writing for (and potentially with) Robbie Williams. After playing a soccer game with him he asked me to write some traditional folk songs for him. Yes, you heard right - Robbie Williams was planning to do a folk record with me. All Fiddles, harps, bodhrans, mandolins and roaring drunken sea shanties! Can you imagine … would have been fun. I'm more than a little enamored with this little rough home demo track I'll play you here. Remember the cult teen movie, “Say Anything”? I'll play you the original demo for a song that opened the soundtrack album…. and tell you the story of dumbfounded movie executives giving me the evil eye! I'll have a little fun playing you a brand new jam of an 80's-drenched track being written for my alter-ego band (Krautrock techno groove rules here). And I'll stay in the 80's to play you the original Fostex 8 track analog demo of the most successful song I've ever had the fortune to write ... I'm still amazed how this song continues to reverberate a good 40 years after it was written

The resurgence of reel-to-reel, whilst great, has brought with it a few myths and misnomers and, shall we say, less than best practice in using them. In part 2 of this 3 part mini-series on supporting reel-to-reel, Iain Betson of Reel Resilience discusses with his guests, Rob Brinkworth and  Gary Hedge, about looking after the audio format we love. Support the show

In the 1960s to 1980s, when tape recorders were in regular use, there were many people to fix them. Half a century down the line, the number who now do this has reduced for many reasons. So who's going to keep these recorders running for the next generation to enjoy? In part 1, of this two-part podcast, Iain Betson of Reel Resilience is in conversation with Rob Brinkworth and Gary Hedge, two UK based people who do just that.  We talk "Guinea pigs", Fostex reliability and why a hit making studio of the 1980s hated their Studer A800! Support the show

In this week's episode we're featuring the one album release for dobro-maestro Randy Kohrs and his short-lived band The Reel Deal: "Now It's Empty" (2003). Produced by the Iowa native in his own Slack Key Studio, "Now It's Empty" was mostly recorded without overdubs using Royer, Vintage RCA and Fostex ribbon microphones to emulate a 1950s feel. With several originals fitting the mould beautifully, well-chosen covers from the George Jones catalogue, James O'Gwynn and a couple from Stonewall Jackson slide into that old school vibe nicely and Kohrs bluegrass-suited tenor lead vocal gives a strong foundation on which to lean. Production remained understated yet twangy and with steel guitar from the sensational John Hughey (still sounding magnificent even in his late 60s), "Now It's Empty" is a solid album that went under the radar at the time and is worth a re-listen.

Radio Owlsnest Episode 36 Settle down with your hot cuppa - or in some cases I'm sure - harder stuff, dear “OwlHeads”…. for It's time to relax into episode 36! I just realized this show has many subliminal references to my bass playing, which is lovely, as that is where my music career started from. Somehow the “bottom end” doesn't get enough justice, but in this show we'll show it some well deserved reverence. I'll start off proceedings with a brand spanking new song which highlights my rhythm section playing with the great drummer Trevor Thornton. It's hard to believe we began playing together back in the 70s. I'll spin an outrageous demo I wrote for the well endowed page 3 girl, the irrepressible Samantha Fox. I'm being rather brave here because this highlights the manic, high energy, youthful “Pagey” ... an irrepressible creature himself from the distant past - when supersonic tempos ruled the world! It's a treat to play you the original cassette demo of the first “Q.Feel” single, “Doctor on the Radio”; The song that launched a thousand ships … I mean launched my professional songwriting and recording career. I'll introduce you to Chris Sutton, a singer that truly knocked me out - reminding me of the best of Alison Moyet and George Michael before he vanished into the ether - his apparently short career becoming an enigma. I'll play you a very rare 8 track Fostex demo we did together. Where is he now? Along with various other vintage tracks from my songwriting vault, I'll attempt to enlighten you regarding some little known facts about myself ... hard liquor is definitely mandatory at this point. And I'll play a special little demo of a song recorded by “Starship” that I wrote with Bernie Taupin (a personal favorite of mine) that conjures up a romantically dark story, haunted on the periphery by the band's own San Francisco home. So please be my guest today for episode 36

Kicking off 2022 with my top 10 albums of 2021Support the artists mentioned on this episode -500 Miles To Memphis - Hard To Love -https://500milestomemphis.bandcamp.com/album/hard-to-loveTurnstile - Glow On - https://turnstile.lnk.to/GlowOnSincere Engineer - Bless My Psyche - https://sincereengineer.bandcamp.com/album/bless-my-psycheGlitterer - Life Is Not A Lesson - https://glitterer.bandcamp.com/album/life-is-not-a-lessonLOVEBREAKERS - Primary Colours - https://lovebreakers.bandcamp.com/album/primary-coloursTigers Jaw - I Won't Car How You Remember Me - https://tigersjaw.bandcamp.com/album/i-wont-care-how-you-remember-meThe Dirty Nil - Fuck Art - https://thedirtynil.bandcamp.com/album/fuck-artLiquids - Life Is Pain Idiot - https://liquids1.bandcamp.com/album/life-is-pain-idiotGreg Eklund - Muffled Tears - https://gregeklund.bandcamp.com/album/muffled-tearsPardoner - Came Down Different - https://pardoner.bandcamp.com/album/came-down-differentTop 10 Albums of 2021 Playlist - https://open.spotify.com/playlist/0GyxYXtRZYuqqXgOQYUJfi?si=Vfrh6zKIQteKfSoGtjFlngCheck out the Power Chord Hour radio show every Friday night at 10 est on 107.9 WRFA in Jamestown, NY, stream the station online at wrfalp.com/streaming/ or listen on the WRFA mobile appemail me for FREE Power Chord Hour stickers - powerchordhour@gmail.comFacebook - www.facebook.com/powerchordhourInstagram - www.instagram.com/powerchordhour/Twitter - www.twitter.com/powerchordhour/Youtube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg

On this episode, Ted and Dan are joined by recording engineer, mix engineer, audio archivist, and the editor of TapeOp Magazine, Larry Crane. They discuss the ability to visualize sound, the importance of finding a collaborator, learning how to record through interviewing people, and a whole lot more!

https://www.proofinmusic.com/ 

Brian and Blake are back for another episode of the Chasing Tone Podcast.Putting a microphone on an amp to capture your tone can be a very frustrating experience. The guys discuss the different techniques they use. Brian doesn’t mic his amps anymore?Home recording has come a long way from the Fostex 4 track days. The guys talk about the evolution of DAW’s and what their first platform was and what they use now.It’s all in this week’s Chasing Tone Podcast.DIY modshttps://modyourownpedal.com/collections/booksFind us at: http://www.WamplerPedals.com http://www.Facebook.com/WamplerPedals http://www.Twitter.com/WamplerPedals http://www.Instagram.com/WamplerPedals http://www.Facebook.com/ChasingTonePodcast http://www.facebook.com/groups/wamplerfanpage/Contact us at: podcast@wamplerpedals.com

2017上半年，冒出来的新旗舰不是很多，D7200是最受关注的一个。Denon 这个传统音响厂经历了D7000 的辉煌，D7100 的跑偏之后，这次给我们端上了一道什么样的大菜？为什么D7200 没有掀起很大的话题波澜？这只定位低调的新旗舰，究竟是一次涅槃重生，还是只是一个投石问路的新系列发端？由此，我们发散地谈了D5000 开始之后，天龙的一系列耳机作品，它与Fostex 和丰达千丝万缕的联系，以及推测了一下天龙几代产品设计飘忽不定的原因。插曲：Beirut - Goshen结尾曲：Albert King - Gonna Make It Somehow

2017上半年，冒出来的新旗舰不是很多，D7200是最受关注的一个。Denon 这个传统音响厂经历了D7000 的辉煌，D7100 的跑偏之后，这次给我们端上了一道什么样的大菜？为什么D7200 没有掀起很大的话题波澜？这只定位低调的新旗舰，究竟是一次涅槃重生，还是只是一个投石问路的新系列发端？由此，我们发散地谈了D5000 开始之后，天龙的一系列耳机作品，它与Fostex 和丰达千丝万缕的联系，以及推测了一下天龙几代产品设计飘忽不定的原因。插曲：Beirut - Goshen结尾曲：Albert King - Gonna Make It Somehow

Last September, 2016, I spent 2 hrs talking to composer and sound designer Richard Feren. We spoke about his early career in radio, at the age of 13, through his time in the explosion of indi theatre in Toronto in the early 90's and his work with iconic directors like Daniel Brooks. We land on his process for producing sound scapes and scores for theatre and the genesis of his modern method, from the early days of the Fostex 4-track cassette to Qlab. We finally land on his work in organizing designers to fight back against the cuts to fees in Canada. This is a 2 hr chat, but one that holds on to you at every minute. To see Richard's theatre bio go here

Nuestra versión de "Vuelve a Casa", una de nuestras canciones favoritas de nuestros amigos de Excursionistas (que recomendamos sigan https://www.facebook.com/losExcursionistas/) y que grabamos con mucho cariño. Para grabarlo y mezclarlo usamos un celular, una multitrack Fostex y una Zoom H1N. Si querés saber cómo lo hicimos entrá este viernes a www.youtube.com/acidcaramels que se viene un VLOG mostrando todo! Si querés escuchar más covers entrá a nuestro canal de YouTube www.youtube.com/acidcaramels. Foto cortesía de Brian Rappaport. Vuelve a casa Vuelve a casa ya Vuelve que este es tu hogar Porque te extraño Y este es tu lugar Ya no quedan más Cosas para recordar Porque hacen daño Pero este es tu lugar Te fuiste tan lejos Dejaste un hueco Finalmente aquí estás Y no hay más Vuelve a casa ya

Constructed on a Fostex 260 Multitracker, this is the full version straight from the master tape. It was released on vinyl (minus the intro drop) as Bits & Pieces 89 under the mix name R/U/DEf/BOY? … a play of words with my nickname at the time, DJ Rude Boy.

Nouvelle émission résidents en ce jeudi 12 mai, avec comme à l'accoutumée une sélection très éclectique qui va taper aussi bien dans l'acid-techno ou l'ambient sur bandes magnétiques que dans la musique psychédélique du Caire. Tracklist : Flug - Forced to Exploit (In Safe Hiding, 2016) HOLOVR - Corporeal Crust (Cthelll Core) (Trace Realm EP, 2016) Ran Slavin - Category: Murdered Entertainers (Bittersweet Melodies, 2016) Clark - Back to Belgrade (The Last Panthers, 2016) Lucy - Vibrations of a Circular Membrane (Self Mythology, 2016) The Dwarfs of East Agouza - Hungry Bears Don't Dance (Bes, 2016) Palms Trax - Cloud City (High Point on Low Ground, 2016) Max Gra€f et Glenn A$tro - Guwno Na Patetschuko (Money $ex 01, 2015) Andy Stott - New Romantic (Too Many Voices, 2016) Ian William Craig - Banking on the Activity of the Pieces (Zugzwang for Fostex, 2016) Brian Eno - Fickle Sun - (III) I'm Set Free (The Ship, 2016) Radiohead - Burn the Witch (Burn the Witch / Spectre, 2016) Tonight Will Be Fine - Sons (Elephant Island, 2016) Photo : Détail de la pochette de Bittersweet Melodies, par Ran Slavin (2016)

Nouvelle émission résidents en ce jeudi 12 mai, avec comme à l'accoutumée une sélection très éclectique qui va taper aussi bien dans l'acid-techno ou l'ambient sur bandes magnétiques que dans la musique psychédélique du Caire. Tracklist : Flug - Forced to Exploit (In Safe Hiding, 2016) HOLOVR - Corporeal Crust (Cthelll Core) (Trace Realm EP, 2016) Ran Slavin - Category: Murdered Entertainers (Bittersweet Melodies, 2016) Clark - Back to Belgrade (The Last Panthers, 2016) Lucy - Vibrations of a Circular Membrane (Self Mythology, 2016) The Dwarfs of East Agouza - Hungry Bears Don't Dance (Bes, 2016) Palms Trax - Cloud City (High Point on Low Ground, 2016) Max Gra€f & Glenn A$tro - Guwno Na Patetschuko (Money $ex 01, 2015) Andy Stott - New Romantic (Too Many Voices, 2016) Ian William Craig - Banking on the Activity of the Pieces (Zugzwang for Fostex, 2016) Brian Eno - Fickle Sun - (III) I'm Set Free (The Ship, 2016) Radiohead - Burn the Witch (Burn the Witch / Spectre, 2016) Tonight Will Be Fine - Sons (Elephant Island, 2016) Photo : Détail de la pochette de Bittersweet Melodies, par Ran Slavin (2016)

Nouvelle émission résidents en ce jeudi 12 mai, avec comme à l'accoutumée une sélection très éclectique qui va taper aussi bien dans l'acid-techno ou l'ambient sur bandes magnétiques que dans la musique psychédélique du Caire. Tracklist : Flug - Forced to Exploit (In Safe Hiding, 2016) HOLOVR - Corporeal Crust (Cthelll Core) (Trace Realm EP, 2016) Ran Slavin - Category: Murdered Entertainers (Bittersweet Melodies, 2016) Clark - Back to Belgrade (The Last Panthers, 2016) Lucy - Vibrations of a Circular Membrane (Self Mythology, 2016) The Dwarfs of East Agouza - Hungry Bears Don't Dance (Bes, 2016) Palms Trax - Cloud City (High Point on Low Ground, 2016) Max Gra€f & Glenn A$tro - Guwno Na Patetschuko (Money $ex 01, 2015) Andy Stott - New Romantic (Too Many Voices, 2016) Ian William Craig - Banking on the Activity of the Pieces (Zugzwang for Fostex, 2016) Brian Eno - Fickle Sun - (III) I'm Set Free (The Ship, 2016) Radiohead - Burn the Witch (Burn the Witch / Spectre, 2016) Tonight Will Be Fine - Sons (Elephant Island, 2016) Photo : Détail de la pochette de Bittersweet Melodies, par Ran Slavin (2016)

Nouvelle émission résidents en ce jeudi 12 mai, avec comme à l'accoutumée une sélection très éclectique qui va taper aussi bien dans l'acid-techno ou l'ambient sur bandes magnétiques que dans la musique psychédélique du Caire. Tracklist : Flug - Forced to Exploit (In Safe Hiding, 2016) HOLOVR - Corporeal Crust (Cthelll Core) (Trace Realm EP, 2016) Ran Slavin - Category: Murdered Entertainers (Bittersweet Melodies, 2016) Clark - Back to Belgrade (The Last Panthers, 2016) Lucy - Vibrations of a Circular Membrane (Self Mythology, 2016) The Dwarfs of East Agouza - Hungry Bears Don't Dance (Bes, 2016) Palms Trax - Cloud City (High Point on Low Ground, 2016) Max Gra€f & Glenn A$tro - Guwno Na Patetschuko (Money $ex 01, 2015) Andy Stott - New Romantic (Too Many Voices, 2016) Ian William Craig - Banking on the Activity of the Pieces (Zugzwang for Fostex, 2016) Brian Eno - Fickle Sun - (III) I'm Set Free (The Ship, 2016) Radiohead - Burn the Witch (Burn the Witch / Spectre, 2016) Tonight Will Be Fine - Sons (Elephant Island, 2016) Photo : Détail de la pochette de Bittersweet Melodies, par Ran Slavin (2016)

Nouvelle émission résidents en ce jeudi 12 mai, avec comme à l'accoutumée une sélection très éclectique qui va taper aussi bien dans l'acid-techno ou l'ambient sur bandes magnétiques que dans la musique psychédélique du Caire. Tracklist : Flug - Forced to Exploit (In Safe Hiding, 2016) HOLOVR - Corporeal Crust (Cthelll Core) (Trace Realm EP, 2016) Ran Slavin - Category: Murdered Entertainers (Bittersweet Melodies, 2016) Clark - Back to Belgrade (The Last Panthers, 2016) Lucy - Vibrations of a Circular Membrane (Self Mythology, 2016) The Dwarfs of East Agouza - Hungry Bears Don't Dance (Bes, 2016) Palms Trax - Cloud City (High Point on Low Ground, 2016) Max Gra€f & Glenn A$tro - Guwno Na Patetschuko (Money $ex 01, 2015) Andy Stott - New Romantic (Too Many Voices, 2016) Ian William Craig - Banking on the Activity of the Pieces (Zugzwang for Fostex, 2016) Brian Eno - Fickle Sun - (III) I'm Set Free (The Ship, 2016) Radiohead - Burn the Witch (Burn the Witch / Spectre, 2016) Tonight Will Be Fine - Sons (Elephant Island, 2016) Photo : Détail de la pochette de Bittersweet Melodies, par Ran Slavin (2016)

Dan and Eric talk about football, Matt Cassel, Jason Pierre-Paul, Miss Universe, Steve Harvey, corpse flower, FAA, drones, Martin Shkreli, Oklahoma earthquakes, Comcast, Apple, iPhone, iPad mini, Netflix, Fostex headphones, Lemmy, Courtney Love, Kesha, Peaches, George R.R. Martin, Game of Thrones, Columbia House, Sunn O))), Ricki and the Flash, Creed, Star Wars: The Force Awakens, Point Break, The Hive, Hidden, Hateful Eight, A Landmine Goes Click, River, Orange Is The New Black, Homeland, Making a Murderer

NOTE:  If you can't see the embedded video above, please CLICK HERE to see the video.   Massdrop has collaborated on some cool audio products, like the AKG x Massdrop K7XX and the Grace Design x Massdrop m9XX. In this episode of Head-Fi TV, we take a first look at their latest collaboration: The Fostex x Massdrop TH-X00 headphone.     Products mentioned in the video:  Fostex x Massdrop TH-X00 semi-closed around-the-ear headphone Fostex TH-900 semi-closed around-the-ear headphone Fostex TH-600 semi-closed around-the-ear headphone Fostex T40RP Mk3 closed around-the-ear headphone Fostex T50RP Mk3 semi-closed around-the-ear headphone Fostex T50RP Mk2 semi-closed around-the-ear headphone AKG x Massdrop K7XX open-back around-the-ear headphone Grace Design x Massdrop m9XX DAC/headphone amp     We will occasionally post Q&A episodes of Head-Fi TV.  If you want to submit any questions (or comments), you can do so via email to tv@head-fi.org.

I've been messing with my Fostex MR-8HD recording machine over the past week as I had a little time. Someone asked me about the Don Reno tune Sockeye. I never really played it so I decided that would be a good song to learn and record so I could practice using the Fostex. I've had the machine for several years but could never find the time to really learn how to use it. Anyway, I had a lot of fun messing around with this tune.

I've been messing with my Fostex MR-8HD recording machine over the past week as I had a little time. Someone asked me about the Don Reno tune Sockeye. I never really played it so I decided that would be a good song to learn and record so I could practice using the Fostex. I've had the machine for several years but could never find the time to really learn how to use it. Anyway, I had a lot of fun messing around with this tune.

I've been messing with my Fostex MR-8HD recording machine over the past week as I had a little time. Someone asked me about the Don Reno tune Sockeye. I never really played it so I decided that would be a good song to learn and record so I could practice using the Fostex. I've had the machine for several years but could never find the time to really learn how to use it. Anyway, I had a lot of fun messing around with this tune.

I've been messing with my Fostex MR-8HD recording machine over the past week as I had a little time. Someone asked me about the Don Reno tune Sockeye. I never really played it so I decided that would be a good song to learn and record so I could practice using the Fostex. I've had the machine for several years but could never find the time to really learn how to use it. Anyway, I had a lot of fun messing around with this tune.

A number of exhibitors from CanJam at Rocky Mountain Audio Fest tell us a bit about some of the items they brought to the show. In this episode, we feature Audeze, Schiit Audio, Fostex, and HiFiMAN.

NOTE:  If you can't see the embedded video above, please CLICK HERE to see the video.     In this episode of Head-Fi TV, Jude chats with Hiroaki "Kawa" Kawahata about the new Fostex TH-600 and the TH-900 over-ear headphones, the HP-P1 portable DAC/amp, the HP-A3 DAC/amp, and the HP-A8C DAC/amp.     Products mentioned in the video:   Fostex TH-600 over-ear headphone Fostex TH-900 over-ear headphone Fostex HP-P1 portable DAC/Amp Fostex HP-A3 portable DAC Fostex HP-A8C Desktop DAC/Amp     Fostex: CanJam @ RMAF 2012 Coverage, Head-Fi TV produced by Joseph Cwik and Jude Mansilla     We will occasionally post Q&A episodes of Head-Fi TV.  If you want to submit any questions (or comments), you can do so via email to tv@head-fi.org.  

Tomek Bilecki opisuje wygląd i możliwości kolejnego rejestratora audio, tym razem z nieco wyższej półki.

In Episode 010 of Head-Fi TV, we take a look at the Fostex HP-P1, a portable DAC (based on the AKM4480 32-bit DAC chip) for iDevices (iPhone / iPod / iPad), that has its own built-in headphone amp.  You may recall in Head-Fi TV Episode 003 we looked at another portable iDevice DAC--the Cypher Labs Algorhythm Solo--and we do discuss the Fostex HP-P1 relative to the Algorhythm Solo in this episode.     This episode is brought to you by CanJam @ Rocky Mountain Audiofest and Rocky Mountain Audiofest.  Find out more about the best high-end headphone show in the world by visiting http://www.canjam.org     Products mentioned in the video: Fostex HP-P1 portable digital iPod/iPhone/iPad DAC and headphone amplifier Cypher Labs Algorhythm Solo portable digital iPod/iPhone/iPad DAC Apple iPod 160GB portable media player Apple iPhone mobile phone and portable media player Apple iPad tablet computer and media player HiFiMAN HM-801 portable media player, DAC and headphone amp JH Audio JH-16 Pro custom in-ear monitors Westone ES5 custom in-ear monitors Ray Samuels Audio Shadow headphone amplifier TTVJ Slim portable headphone amplifier HeadAmp Pico Slim portable headphone amplifier Audeze LCD-2 planar magnetic headphones AKG K 340 hybrid electret / dynamic headphones (discontinued) Sennheiser HD 800 headphones HiFiMAN HE-6 headphones Ray Samuels Audio SR-71B fully balanced portable headphone amp Sennheiser HD 558 headphones Sennheiser HD 598 headphones Grado HF-1 (Grado Head-Fi Series) headphonest V-MODA Crossfade M-80 headphones Sennheiser / adidas HD 25-1 II Originals headphones beyerdynamic DT 1350 headphones     We will occasionally post Q&A episodes of Head-Fi TV.  If you want to submit any questions (or comments), you can do so via email to tv@head-fi.org.

Everything in good working order.Serial #'s on request.Optional 'Sound Department' engraved sign.Upgrade in process, so I'm highly motivated to sell.