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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeWed Oct 29, 2014 5:12 pm

After months of back and forths between the new FUNAI and older Magnavox version I've come to my conclusions.

These are two similar but different sounding players. The way to decide which one is the way to go is how much you want to tweak of course but also what base line you wish to start from in getting to your sound. After this amount of time I have chosen the older version with the bigger circuit board as my personal favorite.

Both players give incredible amounts of detail and information, with the newer version the winner by a nose, but when looking for that relaxed space that feels more analog than digital the older version takes the cake. I'm not saying the original is sloopy by any means as it smokes all the high end players I have ever listened to in that department, but the newer version gives that even more instant detail. At the same time if a CD is played that has that digital lift to it the newer FUNAI with the smaller bottom board and bigger top board shows the tilt more until you level this out with careful tuning. The lazy (mg) mans version (the 2100 or 2300 version) gives more of that relaxed harmonic structure at the top of the scale and this to my ears makes for easier listening and all but removes that "when is it going to settle" feeling.

I can see me wanting to change players depending on systems and music but the overall easy on this old mans ears version has to be the winner if I was on that island only able to choose one. Listening to the FUNAI 100 is one of those on top of the detail type of experiences that allows you to see around the corner of the musics inner detailed structures. However you have to be able to tune your system in other areas if your wanting that warmth. I have been working on a custom mini platform for that model but it's slow going because I keep getting pulled back to the instant warmth of the DVD2100 that made me choose it as my favorite player from the first time I discovered it.

I'm fairly convinced that the warmth is coming from the larger circuit board being used as much as anything. There's a little more body with the older Magnavox version that comes up shy for me in the FUNAI 100. I'm not sure if I would call it tube-y but maybe as I said more body, completed notes in the fatness category.

So for now I choose the DVD2100 or 2300 versions or even the original I think it was Magnavox DP100 version of this player over the FUNAI 100. Both really fantastic units but there comes a time where ease of listening wins me over compared to the exacto-knife version of sound, plus with tuning it's only a matter of a simple turn to get all the detail any listener could ever hope for. For myself it's easier to have body and shape in the detail than to have the detail trying to achieve the body.

just my 2 cents about two great players

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PostSubject: Maggie   Michael's System - Page 24 Icon_minitimeThu Oct 30, 2014 6:55 am

Michael,

I purchased three of the Magnavox 2300 units fearing that I would be replacing one a year. My original 2300 is going strong so I have kept the spares in reserve for the future. Within the same period that I have used the 2300, other more expensive cd units needed laser replacements. These Maggies are world beaters for price and performance.

I have not had the need to acquire a FUNAI and based on your review, it would not suit my listening.
The Maggie sound signature is as you have described and got me back into the tune. My tube amp is more linear and neutral sounding with a taste of warmth yet provides the detail you are finding when combined with a digital amp or power source. So, I believe when comparing the Maggie to the FUNAI, its like a small flying insect moving across your soundstage passing gas. The Maggie presents the detail of gas big and round while the FUNAI appears to present gas as silent but deadly.
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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeThu Oct 30, 2014 3:23 pm

Hi garp

Laughing don't think I could top that description Exclamation

Yes, I would have to say the maggie version captures my emotional likes more. For my tuning I find the FUNAI version takes me, in the long run, to a place where I find myself looking at things through a microscope, and although that is cool when I pull back it's a little harder to get to the heartbeat again.

One thing about digital for me is, when it crosses over into sterile and tilted I loose my interest quickly. The Maggie version does a great job of complimenting other components and speakers and other conditions whereas the FUNAI makes it's statement a little more known. Call me mellow yellow, but as time marches on the ole ears want to take it easy on the highs and lean toward warmth and for me even to the point of lush with that very believable body that the 2100 and 2300 provide.

Even though I enjoy the FUNAI the Maggie is like coming home to a nice cozzy fire on a winter day. For myself it's the best digital I have ever heard.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeFri Oct 31, 2014 8:55 am

While listening to the new speaker line I've dipped into my Sonny Rollins.

Michael's System - Page 24 M547

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeSat Nov 01, 2014 9:40 am

thank you michael Laughing

Wait I'm getting ahead of myself again Rolling Eyes

I talk about a lot of music on here but there are times I say "stop the press, you gotta have this" well. You gotta have this Exclamation

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If you want a meaningful recording that doesn't know what speakers are "twentysomething" from the audiophile disappearing act is one of the greats. If you want to add a song selection being a perfect one, right on again.

Jamie because of this recording goes down on my classic list along side Elton John and Stevie Wonder, but more the Jazz spin put on these songs pulls it all together in a way that only very few have ever done and made you believe.

A treasure not to be passed Smile

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeSun Nov 02, 2014 12:28 pm

In case your wondering "where has michael been?" Laughing  Those of you who know me can tell "he's up to something".

The Capacitor playoffs have begun.

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When your talking about a speaker cabinet (4 of them) that are so musically, I don't want to say the word revealing cause the industry has turned that word upside down, so let say...musical, every move is something that is almost historic in the harmonically balanced department. "Musically musical" I like that.

This morning maybe 3am I had to get up and go listen to the piano and cymbals playing. My God, what has happened is what went through my mind. No doubt it was the capacitors (one of them) open up. It was like sitting outside in Atlanta and the prettiest woman in the world handed you a perfect lemonade. Those of you who have had that happen know exactly what I mean. It was mind blowing how the right side smashed the sound of the left. I was still totally moved by the sound. I couldn't go back to sleep thinking how close I was to introducing a line of speakers so pleasing. So emotionally involving. I went downstairs to make a bite and by the time I came back up the left side had decided to open up as well. I could hear this coming up the stairs. "how weird for these two to open up so closely together". I completely forgot about my food, found it at the top of the stairs an hour later Rolling Eyes .

This has been a long road in the coming and am I really that close? I think about all the speaker companies out there and have no idea why they have not gone down this path. I think "is it too late for high end audio"? How could they have walked by something so common sense based, as I have wondered many times before and you have seen me write about it. And Yet! Here I am listening to it.

Guys, it's not in the complicated but in the voicing. Yes, I've said this before, but saying it and having it built are two worlds apart.

Something I am fairly certain of. I will not listen to an inductor again between my amp and drivers. Maybe in a sub setup but not my mains. My newest speakers are exploding in range and body.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeMon Nov 03, 2014 10:53 pm

It was painful moving on from Jamie. That recording did me in. I must have listened to it start to finish 10 times, in the room. Really highly recommended.

But if I'm going to voice these speakers correctly that means a wide range of music.

After Jamie I put on

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to loosen up more of my piano ears. Look who's on the recording and you see I got my monies worth with the trio+one . At the time this was recorded I was living in NY and would walk by the Blue Note and ocasionally got to take in some of the shows. Quite the music history setting. I also enjoyed taking in some of Chesky records live events, fun stuff. The NY days were good times. I couldn't do a lifetime of it, but a smaller dose was just right.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeThu Nov 06, 2014 12:41 pm

By now you guys are probably getting a feel for how I test my speakers while designing. As with everything I do and a part that drives people crazy, is I have to put time into my efforts. My design pie doesn't happen in 45 minutes and as much as I think there is an over night fix for sound it just doesn't work out that way. No I'm not talking about production runs and woodshops, I'm talking about those notes and music structures. Something that I look at other designers and don't see them doing very often. I do see the parts getting swapped out, but I don't see the voicing.

Here's what I mean

When I go into design mode everything starts from scratch and I try my best not to assume anything. The music becomes my guide and the deeper I get into things I shape the product around the music and not the music around the product. In the end I hope that this will bring me to a point where the product becomes something that is able to play everything, or at least I develope a pretty good sense of why not.

It's kinda like when you guys tell me your hearing something in your music and I take a stab at what it might be. This is done by being there myself and hearing things from a lot of different angles and emotions. It's done through my passion of learning rooms, structures parts and materials and then having that desire for another challenge. Finding a part of music or piece of music that has not yet been uncovered. This is something that can't really be understood by someone who has not been there, looking at music from the equipment out instead of the music in. The music in is the way I view a product.

My last week or two or...who's counting has been looking into the emotions of some of musics bigger instruments and one of the most telling, such as the piano. Not only is it about the sound of the piano, even more about bringing out the emotions of each piano and each artist playing and every condition of their playing.

Starting early this morning I have moved to Geri Allen with Telarc's spin on her performance.

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If you back up through the last couple of pages of my listening you can see my method, or madness. Not only different types of music but also looking into the emotion of each artist, for example the Jazz piano player. I don't want to hear frequencies or even notes, but the emotion and environment of every recording put on. If the music starts sounding like just a note from the point of view of a frequency, I know something needs voiced. None of these pianos or spaces should sound anything like the other.

It's not just a speaker, it's an instrument that has the job of being as much of the piano as the piano itself. You can't stretch plastic on a frame or build a dead box moving air and expect that piano to come to life. The speaker must become that piano and every piano that is played.

That speaker has to become a part of that music and a translator and interpreter to that, or any room. It's the performance and the speaker and the room, each one playing it's role as a team and never fighting to get to the music.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeSat Nov 08, 2014 1:56 pm

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I thought this review was interesting.

"In the early '60's, jazz elites thought the only place to hear cutting edge hard bop was New York, and the only significant tenor had the initials J.C. But at Lennie's On the Turnpike in West Peabody, Massachusetts, stellar spontaneous bop was exploding on April 15, 1965. These tapes stayed on the shelf for decades, which is usually a sign of second rate music or alternative takes. The session's critically acclaimed first volume ('Jaki Byard Live') has been out for years. But this one is even better, mainly because you get plenty of Joe Farrell's tenor. The previous album has several cuts where Farrell plays drums while the drummer switches to vibes.
Here we have the genius of Jaki Byard, who learned from master Mingus how to be a leader. Not since 'Mingus at Antilles' (a true masterpiece) had there been a live session of such spontaneous passion, with a leader who shouts directions like a quarterback changing signals in mid-count, while each player responds to the ensemble measure by measure, laying down a counterpoint of jazz architecture that could never be written or anticipated. The exquisite drummer, Alan Dawson, who also came through the Mingus dynasty, shows here why he's among the most under-rated of masters, providing a kind of melodic percussion that is another voice in the counterpoint. Their usual bassist Steve Davis was not available on this night, so George Tucker fills in masterfully. Byard's piano incorporates the whole history of jazz, from Willy the Lion Smith's stride to Cecil Taylor's dissonant chord-clusters.
As a tenor student, I find Joe Farrell to be the real revelation here. He floated into '70's fusion as part of Chick Corea's Return to Forever - when groups have names like that, you know bebop is dead!- but in the 60's Farrell was a virile tenor influenced by Sonny Rollins and Eric Dolphy. The only other tenor of the time approaching his level of energy is Rashaan Roland Kirk - who also worked with Mingus and Jaki Byard. With this session, Farrell proves himself one of the truly important tenors of serious modern jazz. I place him among the 10 great under-rated masters of the instrument*. This music is all up-tempo and edgy: there are no mellow ballad statements. Yet the music never veers outside into the frenzied chaos of much mid-60's avant garde. Due to the craftsmanship and clarity of the four musicians, each measure of sound is coherent and melodic. Jazz historians, get this one!
*(The other nine would include: Bud Johnson, early Benny Golsen, Harold Land, Warne Marsh, Bill Perkins, Tina Brooks, Booker Ervin, David Murray, and Ernie Watts.)"

This is a fanscinating recording to hear played out.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeSun Nov 09, 2014 6:33 pm

I love this hobby because of the painting of pictures. It will never grow old and there are more than I will ever see in my lifetime. When I hear a recording that makes me feel the message, or the artist personality there's a connection that is like meeting a friend. Michael Franks does this for me and so does Eliane on most of her recordings.

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There's debate over her voice, but I'm like sit down and shutup Laughing

This CD is mostly her playing and is right up there with the very best of Eliane's music. It's a smooth ride into her world, and I love when she is going after the middle of the keyboard letting the other musicians do their filler as if they to are part of her piano. Her music also has the right amount of Brazil in it, leaning toward the mellow side instead of the in your face. Kinda like a beautiful woman who has a hint of accent but not so much that you can't understand.

Yep, this is a picture I can live with Smile

If you guys don't have "Paulistana" yet I think you would enjoy it in your music collection.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeTue Nov 11, 2014 3:04 pm

It's been an Elias couple of days.



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Any recording that starts off with a version of "The Girl from Ipanema" is something that starts me off the right way.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeWed Nov 12, 2014 5:39 pm

and now

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeSat Nov 15, 2014 4:23 pm

Sorry world I have been in my listening room and have no idea want outside life is up to Laughing

Today, I'm listening to Fred, Fred Hersch that is.

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Round Midnight, is another one of those songs that grabs me by the ears when I hear it, and Fred's spin on it does me just right. Fact is this whole recording does me just right.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeFri Nov 21, 2014 5:25 pm

Multi-dimensional

This is how I describe

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At first I had to think about what was going on. I'm I listening to old school or new school, then "planet rock" starts and I'm thrown into Kaftwerk land. If you are on the edge of Jazz still diping your toe in the water, this might be your chance to go swiming without going to far under the first time.

I could have easily been in my teen rock daze, and had "modernistic" play and be right at home. There's something going on here that is the beginning of new traditionalism that makes sense. A blend of ulta-electro without the electric. Some of the spins are right out of science fiction but presented in almost a classic way. Maybe I was in the right frame of mind when this recording started to take me over, but I find it as mind spinning as any electronic-new age trip, yet I have to give credit to the grounding roots of being brought back to Earth.

bravo Exclamation and even encore

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeThu Nov 27, 2014 1:39 am

I've decided to head a little back to tradition but not all the way.

Today I'm listening to Lyle Mays, yes that Lyle Mays. The guy who makes everyone one around him sound great.

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I personally think his solo work is some of his best even though you usually hear about him as part of....

This is a great example of his precision and dynamics. It's one of those where, if your systems not playing it you won't get, but if it is every note has meaning.

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There's a gentle touch here that is beautifully played out and remains even during the speed. He's not playing the keyboards he's romancing them.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeMon Dec 01, 2014 7:28 pm

I'm now enjoying John Pizzarelli

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeWed Dec 03, 2014 11:56 pm

If your going to do traditional male standup Jazz vocals, than it's a must to include Kurt Elling.

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When ever I listen, I'm thinking this is the voice of someone who performed in the 1950-60's age of Jazz. And what's tough for me, is a lot of these voices were done right when the recording age was on the border of being great but sadly many were a few years off production wise. You listen to them and wish they would have been done maybe a little later so there is no guess work.

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Then you put on Kurt and say right on, the kid's only 47 now.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeSun Dec 07, 2014 8:19 am

Tonight I've been listening to

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and

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Why do I put them in the same post?

There's traditional, fussion, old school, smooth, contemporary, swing and probably a few other types. But there's also a Jazz that takes me personally close to the edge of rock over even folk rock. Both of these recordings took me there, Billy with his composition, and then Pat, which brought me to the edge of tears. You'll hear it when it happens. Kinda creeps up on you as you find yourself in the middle of "both sides now".

I'm glad Pat came back, it was too early to go Exclamation

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeWed Dec 10, 2014 1:26 pm

Your eyes are not deceiving you.


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We have the Mini Mod and now the Mini Viola (almost) done. The Mandolin needs more work (those hardwood speakers Rolling Eyes ).

The Mini Mods and the Mini Viola are in the bag pretty much with only a Cap decision to be made yet.

The Madolin is a little trick-E-er, and you guys know me.

Here's the big surprise, the Music Ply is knocking me on my butt. I knew they would be good, but there's music magic going on with the newer music ply that has been curing. 60 classics, sorry I loved you but you'll have to sit this one out.

The older music ply was fantastic, but the newer wood has even more body and openess. Maybe I would call it transparently rich, if that makes sense. I have a newer proto almost here and I'm pretty sure that's going to nail it. That's the one in the picture. I added a hair of dimension change, because of re-voicing the tuning bar. We also re-pitched the tuning bolts a tiny bit. The protos I have now has this incredible separation between each string on all instruments and have to say opened up my ears a little to the spacing for classical and Jazz. It's like putting your hand in front of you, fingers touching, then opening them up, you can hear the spread. The size change I believe will do the same with all the notes all the way from bottom to top.


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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeSat Dec 13, 2014 6:11 pm

Sometimes you only have to look as deep as the artists to know you've got something special.


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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeSun Dec 14, 2014 6:36 pm

Wow Exclamation

just put on my

i have the room above her

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and was greeted with warmth plus. Paul Motian is a perfect mate for ECM records. Between the performance and the recording balance this is one smooth recording.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeMon Dec 15, 2014 11:44 pm

Can I ask you something study

are you looking at your future, cause I'm sure looking at mine   Cool

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I have waited for this for so so long

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I hope you guys can hear the bodies of instruments from these pics

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Some may get this and some not, but your looking at a huge step forward in high end audio sound

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeFri Dec 26, 2014 3:37 pm

First off, Merry Christmas santa

My listening has been going all over the place this week, but I wanted to spot light two particular artist, both drummers.

GRAMMY®️ Award-winning drummer, composer and bandleader, Terri Lyne Carrington, was born in 1965 in Medford, Massachusetts. After an extensive touring career of over 20 years with luminaries like Herbie Hancock, Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Joe Sample, Cassandra Wilson, Clark Terry,

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and

Joe Morello, a man who I wish would have done more solo work back in or after the Brubeck days, he is that great  Exclamation

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Two styles from two generations of influence is maybe not the truest form to describe these two, but with these recordings it makes sense for me. With Terri I can hear the more mod jazz happening and with Joe the 60's sound. Joe plays some special treats that I think you guys will really enjoy.

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeFri Dec 26, 2014 7:51 pm


Lately Melody Gardot has been my commitment.

Seasons greetings ALL.

Tim
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Join date : 2009-09-12
Location : Vegas/Ohio/The Beach

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitimeFri Dec 26, 2014 8:05 pm

That's a lot of talent.

Michael's System - Page 24 M667

Happy Holidays Tim Exclamation

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PostSubject: Re: Michael's System   Michael's System - Page 24 Icon_minitime

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