Forgotten I ordered them. They arrived last night from Amazon.
Robert Johnson, Mythmaking, and Contemporary American Culture (Music in American Life)"Patricia R. Schroeder; Hardcover
Swordfishtrombones (33 1/3) David Smay
Celine Dion's Let's Talk About Love: A Journey to the End of Taste (33 1/3)Carl Wilson
The whole 33 1/3 series is marvellous and at around aus$10 a throw I'll be chucking at least one in all future Amazon orders as well as reading their blog.
I immediately stuck my nose into the Celine Dion book and despite being less than halfway through I already have my money's worth. Carl Wilson explores his own music snobbery, the meaning of cool, notions of low brow, high brow and non ironic middle brow and kitsch, in an effort to understand the appeal of his fellow Canadian Dion.
Those defenders of the faith in music blogging Flop Eared Amanda and Shaun "Leather Pants and Vest" Cronin had already given me the good oil but it was walking around Beijing last month and hearing that Titanic song everywhere and then a 4 day sell out concert in Beijing at the same time that propelled me to jump onto Amazon and swipe the plastic.
I'm already learning what I already know again about my tastes and I'm feeling more and more comfortable about my love of sentimentality in songs from Frank and Elvis through to smaltzy Irish pub ballads from The Fureys. (At this point I'm still snobby enough to reject Daniel O'Donnell).
A quote from Carl Wilson: To the extent we agree that coolness and lack of same are enormously influential-and that coolness is a social category, not a natural attribute (with the possible exception of Keith Richards)-we are all Bourdieuvians.
Tuesday, May 20, 2008
Saturday, May 03, 2008
Thursday, April 10, 2008
hutong happiness
Looking down our Hutong.
Looking out our bedroom window onto courtyard.
Looking across courtyard to bedroom.
Beijing's hutongs are intricate maze-like lanes, made up of courtyard houses built with incredible attention to detail in accordance with the principles of feng shui. Hutong is a Mongolian word meaning water well, indicating that homes like these were built around wells since the 13th century. Due to the imperial rule that no building should be higher than the palaces, these low-level buildings spread out from the Forbidden City, creating a large part of the physical landscape of the city. More importantly, hutongs formed the social framework of the city. With several families living in close proximity, using communal courtyards and toilets, the community network and support system was very tight. Still today in the hutongs of south Beijing and around Houhai, men drink beer on the streets while watching the world go by as women gossip and knit, and children chase and kick balls off the walls of the narrow alleys.
But increasingly, sprayed on the wall of a hutong in white paint, is the character 'chai' – demolish. The increase in land prices, combined with the urgent need for further infrastructure, has led to large swathes of hutongs being destroyed to make way for road expansion and new property developments. With almost no legal tenants' rights, combined with the rampant corruption of officials and property developers, land is cleared with almost no concern for either the heritage being destroyed or the people who once lived there. Residents are often offered paltry compensation and have to move outside the city – forced evictions are not uncommon, with families protesting and even using suicide as a tool to be heard.
Records show that there were 3,679 hutongs in the 1980s. That figure has dropped by over 40 per cent, with up to 600 hutongs destroyed each year. Homes, shops and restaurants have all been demolished, most notably in the south of Beijing around Qianmen and Dazhalan – home to some of the most interesting and famous hutongs in the city.
Walking through bulldozed Hutongs 8 April 2008
Looking out our bedroom window onto courtyard.
Looking across courtyard to bedroom.
Beijing's hutongs are intricate maze-like lanes, made up of courtyard houses built with incredible attention to detail in accordance with the principles of feng shui. Hutong is a Mongolian word meaning water well, indicating that homes like these were built around wells since the 13th century. Due to the imperial rule that no building should be higher than the palaces, these low-level buildings spread out from the Forbidden City, creating a large part of the physical landscape of the city. More importantly, hutongs formed the social framework of the city. With several families living in close proximity, using communal courtyards and toilets, the community network and support system was very tight. Still today in the hutongs of south Beijing and around Houhai, men drink beer on the streets while watching the world go by as women gossip and knit, and children chase and kick balls off the walls of the narrow alleys.
But increasingly, sprayed on the wall of a hutong in white paint, is the character 'chai' – demolish. The increase in land prices, combined with the urgent need for further infrastructure, has led to large swathes of hutongs being destroyed to make way for road expansion and new property developments. With almost no legal tenants' rights, combined with the rampant corruption of officials and property developers, land is cleared with almost no concern for either the heritage being destroyed or the people who once lived there. Residents are often offered paltry compensation and have to move outside the city – forced evictions are not uncommon, with families protesting and even using suicide as a tool to be heard.
Records show that there were 3,679 hutongs in the 1980s. That figure has dropped by over 40 per cent, with up to 600 hutongs destroyed each year. Homes, shops and restaurants have all been demolished, most notably in the south of Beijing around Qianmen and Dazhalan – home to some of the most interesting and famous hutongs in the city.
Walking through bulldozed Hutongs 8 April 2008
ich bin ein beijinger
Not only am I good at the lingo like Kev, I also have acquired Beijinger aspirations.
I want what all Beijingers want - a black Audi A6 with blacked out windows:
If I can't afford the Audi I'll settle for a Police bike:
Or an electric bike:
Or if I can't afford that I'll settle for a rusty but trusty old Flying Pigeon like everyone else.
I want what all Beijingers want - a black Audi A6 with blacked out windows:
If I can't afford the Audi I'll settle for a Police bike:
Or an electric bike:
Or if I can't afford that I'll settle for a rusty but trusty old Flying Pigeon like everyone else.
hi [gloss] fi in beijing
For Harry Clarke.
It don't mean a thing if it ain't got that bling. There are a bunch of audio / home theatre shops near XiSi Crossing in Xicheng.
It don't mean a thing if it ain't got that bling. There are a bunch of audio / home theatre shops near XiSi Crossing in Xicheng.
Saturday, April 05, 2008
sound advice 2.5
Speakers and Value
I was going to save this and write a longer post. But a few people have been nagging me. So here is the quick and dirty version.
Most decent speaker drivers are a comodity product all made by a few manufacturers. Most boxes and crossovers are designed and made overseas and a very large part of the cost is transport to import a large box. Added to this wholesaler and retailer margins and the cost of even very ordinary speaker is high.
It will come as no surprise then that the big savings to be made in purchasing speakers is to avoid transport and re-selling costs and if possible cabinet making costs.
You can avoid all of this by buying an Australian designed speaker kit and putting it together yourself – this way you save on cabinet making labour, overseas shipping and retail and wholesale margins.
My favourite Australian kit speaker is the LoudSpeakerKit company’s M6 large bookshelf. I have a pair and so do many others I have helped. They are currently $599 a pair. In my listening I haven’t found a pair of made speakers under $2,000+ that sound as good. They are easy to put together and well designed crossovers and enclosure with a very good midrange sound. The Kit people started off in Essendon but then moved to Perth. The have a demo room in Narre Warren as well.
I have found the larger floor standers from the same company not as good in my listening. Too bassy and boomy. The M6 is easy to put together in about 4 hours over two night to allow glue to dry. The kit is precut mdf that slots together well and even includes the glue. MDF is in fact the preferred speaker material due to its density and rigidity. Dan’s Data has a review and pictures of M6s and howto.
The LoudSpeakerKit people also have another cheaper little ripper of a small shielded speaker for the price - the M4 at $99 each. Dan’s Data has a review and pictures of M4s.
There are other Australian kit speakers around.
A well regarded Australian designer seller of ready made speakers is in Melbourne Whatmoughs are out at 1352 Ferntree Gully Road, Scoresby. I think he designs them here and now has them made up overseas. But they have been generally well regarded for many years. The P33 series are well thought of.
I’m biased toward what used to be called the English sound of speakers such as Castle and B&W. The “English sound” s generally considered to be warmer and have good midrange and tight bass. The “American sound” on the other hand can be a bit harsh with louder looser bass and more high end. The Bose Sound on the other hand has managed to combine the worst of all worlds in domestic speakers and systems. Bose car systems however are amongst the best.
A weird and sometimes wonderful audio site is the delightful Italian TNT Audio. Baised toward DIY and with a great section on second hand gear it does however at times tend toward the homeopathic handwaving non evidence based end of audio such as "breaking in" amplifiers, cd players and wires. It's DIY speaker stands are a winner.
I was going to save this and write a longer post. But a few people have been nagging me. So here is the quick and dirty version.
Most decent speaker drivers are a comodity product all made by a few manufacturers. Most boxes and crossovers are designed and made overseas and a very large part of the cost is transport to import a large box. Added to this wholesaler and retailer margins and the cost of even very ordinary speaker is high.
It will come as no surprise then that the big savings to be made in purchasing speakers is to avoid transport and re-selling costs and if possible cabinet making costs.
You can avoid all of this by buying an Australian designed speaker kit and putting it together yourself – this way you save on cabinet making labour, overseas shipping and retail and wholesale margins.
My favourite Australian kit speaker is the LoudSpeakerKit company’s M6 large bookshelf. I have a pair and so do many others I have helped. They are currently $599 a pair. In my listening I haven’t found a pair of made speakers under $2,000+ that sound as good. They are easy to put together and well designed crossovers and enclosure with a very good midrange sound. The Kit people started off in Essendon but then moved to Perth. The have a demo room in Narre Warren as well.
I have found the larger floor standers from the same company not as good in my listening. Too bassy and boomy. The M6 is easy to put together in about 4 hours over two night to allow glue to dry. The kit is precut mdf that slots together well and even includes the glue. MDF is in fact the preferred speaker material due to its density and rigidity. Dan’s Data has a review and pictures of M6s and howto.
The LoudSpeakerKit people also have another cheaper little ripper of a small shielded speaker for the price - the M4 at $99 each. Dan’s Data has a review and pictures of M4s.
There are other Australian kit speakers around.
A well regarded Australian designer seller of ready made speakers is in Melbourne Whatmoughs are out at 1352 Ferntree Gully Road, Scoresby. I think he designs them here and now has them made up overseas. But they have been generally well regarded for many years. The P33 series are well thought of.
I’m biased toward what used to be called the English sound of speakers such as Castle and B&W. The “English sound” s generally considered to be warmer and have good midrange and tight bass. The “American sound” on the other hand can be a bit harsh with louder looser bass and more high end. The Bose Sound on the other hand has managed to combine the worst of all worlds in domestic speakers and systems. Bose car systems however are amongst the best.
A weird and sometimes wonderful audio site is the delightful Italian TNT Audio. Baised toward DIY and with a great section on second hand gear it does however at times tend toward the homeopathic handwaving non evidence based end of audio such as "breaking in" amplifiers, cd players and wires. It's DIY speaker stands are a winner.
sound advice 2
Listening, Speaker Placement and Room Dampening
I’m sorry it’s taken me so long to post no 2. I’m also off to Beijing tonight and so possibly won’t even be able to access blogspot due to censorship, for about the next 10 days.
The practical exercises herein require no one else in the house except you and your helper for a good 4 – 5 hour afternoon. The helper will need to be a sympathetic audio nut or a beginner nut. You will need the house empty not only because you will be playing strange bits of music and odd sounds but you will be doing some things that may appear stupid to an audio philistine and having to explain will be unrewarding. From much experience I can warn that this can easily turn into a 12 stubby job for two. Non drinkers should stock up on good coffee, biscuits and Lapsang Souchong.
I classify listening into two categories:
1. Active listening – where the listener is in their lounge room or similar and concentrating almost exclusively on the sound and is seated about 6 (1.8m) to 10 feet (3m) in front of the speakers in a sweet spot. (Most headphone listening is active.)
A subset of active listening, which I think is underutilised by household listeners, is Nearfield Listening. Nearfield listening is what recording studios use for monitoring and playback. The speakers are usually smallish or bookshelf size and placed anywhere from 6 inches (.15m) to 2 (.6) feet apart. The listener is not usually more than 3 feet away from the speakers. This tends to minimise many room effects and give a better sound at a lower volume.
I use this in my office with two Yamaha NS-10s on a shelf at ear height and about an arms length in front of me. (NS-10s are of course famous – mine cost me a slab of green tinnies). Nearfield listening and speaker placement can also work well for those in flats and or small rooms. Sitting close to speakers saves space and will allow lower volumes. You can even do this with your existing speakers (or those in a shop) to get an idea how they sound with minimal room interference. Just bring them to within one foot of each other, toe them in and drag a chair up to about 3 feet away so that you ears are roughly at tweeter level.
2. Everyday Listening – where the listener is in the room but perhaps wandering around to different rooms or reading or writing or eating at a table but not in the sweet spot. Most people, including me, do most listening in this mode. This is louder and more involved than background listening. Background listening is low volume and incidental. The effect is a bit like lift muzak. I generally disapprove of background listening but will sometimes have FM classical on very low.
One of the most common mistakes made in sound is speaker placement. It is also the easiest to fix and the most likely to make a difference in sound.
Whilst it is true that the room probably has the most impact on sound, the fact is that most of us do not have the luxury of a purpose built dedicated listening room. Generally the sound system is plonked in the lounge or living room and juggled around furniture, views, fireplaces, TVs, pathways, heater vents or partner needs.
In the ideal audiophile’s view, and in most hi-fi magazine articles, the listening room is at least 25 feet (7.6 m) X 20 feet (6m) and dedicated almost solely to the hi-fi setup. (Many American audio nuts seem to have much bigger rooms usually in the basement.) These rooms are well suited to large floorstanding speakers and need largish speakers with big woofers to fill the room properly.
Speakers consist of an enclosure (the box) and drivers (commonly called speakers) and a crossover or possibly more crossovers. In oversimplified terms: Drivers are the smallest called tweeters, which carry the higher sounds, midranges which carry the mid sounds (voices etc) and larger woofers which carry the low sounds. Subwoofers carry even lower sounds. Crossovers essentially separate out the signals and send high sounds to the tweeters, mid to mid and low to woofers. It’s not quite that simple but that’s the essentials.
The art and science of good sound is basically in the crossover design and the calculation of enclosure volume for the drivers. Despite all the marketing spin drivers are a mature commodity and very few speaker brands make their own. The well known Scandinavian driver manufacturers turn up in many top end brand speakers which incidentally is what makes speaker do it yourself kits with well designed crossovers extraordinary value. But more of that later.
Most speakers these days will be two way. That is they will have two drivers - a tweeter and a combined woofer/midrange. Older or floor standing speakers commonly are three way -one tweeter, one midrange and one woofer. Home theatre set ups commonly have a sub-woofer.
Think of the tweeters as relatively directional, that is the sound will travel in close to a straight line from the tweeter. Think of midrange / woofers as relatively non directional. Following on from this it is obvious that the tweeters should be at, or slightly above ear height when seated in the ideal active listening position. For most people that will involve raising the speakers off the floor. If you have bookshelf speakers you may eventually get proper stands but for the time being use anything solid to raise the tweeter height to ear height. Milk crates (all music lovers have a cache of milk crates) or small tables or even bookshelves. Bookshelves aren’t the best as we will see a bit later.
There are many complicated formulas for setting up speakers in a room which I will provide links for later if you are inclined but basically it boils down to having the speakers themselves about 6 feet apart and the listener at the apex of a triangle about 8 to 10 feet in front. Toe the speakers in a bit to aim the tweeters at about where the listeners ears might be. Depending in the size of your head and ears that should be around 8 inches apart at the listening point.
If at all possible the speakers should be a meter from any side wall and a meter from the rear wall. In most modern rooms this just isn’t practical but try as much as possible to have speakers away from walls.
Start off with the speakers a meter out from each wall but just say about sic inches away from each other while you sit directly in from about 6 – 8 feet away with tweeters at ear height. Get helper to move speakers slowly apart to eventual 6 – 8 feet apart while you listen.
Get your helper to move the speakers in toward each other and out and at slightly different angles whilst you sit and listen. At some point in the process you will begin to hear and understand stereo imaging and there will be a sweet point when the sound has some depth and seems to come from somewhere in the middle of the two speakers rather then from each speaker. Mark your listening spot and the speaker spots with something like blu tac or chalk on the floor not texta. It is most likely that this set of spots is not practical due to everyday use and other family members. But keep it marked as you will eventfully try to slyly creep to this arrangement over the next few months.
You will of course have been playing some well chosen music or sounds that has a good stereo image and a bit of depth. I can recommend any of the test discs from Chesky which these days usually also contain a good selection of well produced jazz music as well as test sounds. JB will have some at times.
Another extremely useful and supremely enlightening fiddle you can try now is room damping. Ths is where mny advice to have house empty will be appreciated.
Music will reproduce best where the room sound is flat and the room provides little or no additional echo or bouncing of sound waves around the room. (There are exceptions but this is a basic rule). Notice how a radio studio always is dampened and dead and how the music from the studio speakers sound great. Or a recording studio is similar.
Now most people cant realistically have a dead listening room but you need to hear your speaker at least a few times with the room as dead as possible in order to see if perhaps you speakers are ok and not really in need of replacement. Anyway, after this exercise you will be constantly seeking to deaden the room.
If the floor isn’t carpeted throw as many rugs as possible on the floor especially in front of the speakers to cover floorboards or tiles. Grab as many doonas and blankets as you can and somehow get them around the walls around ear height. A good but embarrassing way to prop them up is using brooms and sticks to prop up doonas on the walls. Or hang carpets from picture rails. Crowded book shelves also work well. The object is to cover all the floor and surfaces up to a bit above ear height or higher with soft sound absorbing material.
Now sit down and listen properly to a well produce bit of music for a long time – at least and hour. Your speakers are now in the best environment to perform for you.
Listen to see if they can reproduce a bass well – tightly without booming, listen to hear if the mid range reproduces voices guitars and piano well. Bad speakers will have a booming or non existent bass. The hardest bit to get right is the mid range. It seems to me that these days the emphasis is all on tweeters and woofers and midrange is ignored. Most cheaper and even a lot of the more expensive home theatre sound is all high end and low end with no midrange. You will find that this combination is fatiguing as well as missing out the wonderful sound of voices guitars and pianos.
If you have done all the above this last hour or so will be your peak experience with your current system. It is pointless getting new speakers without going through all this set up. Naturally you probably can’t leave the doonas and speakers and seats exactly where they should be forever. But you can know that this is where you are aiming and gradually dampen the room with furnishings like couches, carpets, wall hangings and book shelves full of books.
You will find that if you do the above even a crappy old all in one stereo will sound better than expected. It will even improve a boombox.
Good listening. Link to a page of mad speaker links to keep you busy for hours.
Next up in the series Choosing Speakers and perhaps fixing up good old speakers and I would like to do a list of true hi-fidelity recordings. Perhaps commenters could throw in a bunch of suggestions.
I’m sorry it’s taken me so long to post no 2. I’m also off to Beijing tonight and so possibly won’t even be able to access blogspot due to censorship, for about the next 10 days.
The practical exercises herein require no one else in the house except you and your helper for a good 4 – 5 hour afternoon. The helper will need to be a sympathetic audio nut or a beginner nut. You will need the house empty not only because you will be playing strange bits of music and odd sounds but you will be doing some things that may appear stupid to an audio philistine and having to explain will be unrewarding. From much experience I can warn that this can easily turn into a 12 stubby job for two. Non drinkers should stock up on good coffee, biscuits and Lapsang Souchong.
I classify listening into two categories:
1. Active listening – where the listener is in their lounge room or similar and concentrating almost exclusively on the sound and is seated about 6 (1.8m) to 10 feet (3m) in front of the speakers in a sweet spot. (Most headphone listening is active.)
A subset of active listening, which I think is underutilised by household listeners, is Nearfield Listening. Nearfield listening is what recording studios use for monitoring and playback. The speakers are usually smallish or bookshelf size and placed anywhere from 6 inches (.15m) to 2 (.6) feet apart. The listener is not usually more than 3 feet away from the speakers. This tends to minimise many room effects and give a better sound at a lower volume.
I use this in my office with two Yamaha NS-10s on a shelf at ear height and about an arms length in front of me. (NS-10s are of course famous – mine cost me a slab of green tinnies). Nearfield listening and speaker placement can also work well for those in flats and or small rooms. Sitting close to speakers saves space and will allow lower volumes. You can even do this with your existing speakers (or those in a shop) to get an idea how they sound with minimal room interference. Just bring them to within one foot of each other, toe them in and drag a chair up to about 3 feet away so that you ears are roughly at tweeter level.
2. Everyday Listening – where the listener is in the room but perhaps wandering around to different rooms or reading or writing or eating at a table but not in the sweet spot. Most people, including me, do most listening in this mode. This is louder and more involved than background listening. Background listening is low volume and incidental. The effect is a bit like lift muzak. I generally disapprove of background listening but will sometimes have FM classical on very low.
One of the most common mistakes made in sound is speaker placement. It is also the easiest to fix and the most likely to make a difference in sound.
Whilst it is true that the room probably has the most impact on sound, the fact is that most of us do not have the luxury of a purpose built dedicated listening room. Generally the sound system is plonked in the lounge or living room and juggled around furniture, views, fireplaces, TVs, pathways, heater vents or partner needs.
In the ideal audiophile’s view, and in most hi-fi magazine articles, the listening room is at least 25 feet (7.6 m) X 20 feet (6m) and dedicated almost solely to the hi-fi setup. (Many American audio nuts seem to have much bigger rooms usually in the basement.) These rooms are well suited to large floorstanding speakers and need largish speakers with big woofers to fill the room properly.
Speakers consist of an enclosure (the box) and drivers (commonly called speakers) and a crossover or possibly more crossovers. In oversimplified terms: Drivers are the smallest called tweeters, which carry the higher sounds, midranges which carry the mid sounds (voices etc) and larger woofers which carry the low sounds. Subwoofers carry even lower sounds. Crossovers essentially separate out the signals and send high sounds to the tweeters, mid to mid and low to woofers. It’s not quite that simple but that’s the essentials.
The art and science of good sound is basically in the crossover design and the calculation of enclosure volume for the drivers. Despite all the marketing spin drivers are a mature commodity and very few speaker brands make their own. The well known Scandinavian driver manufacturers turn up in many top end brand speakers which incidentally is what makes speaker do it yourself kits with well designed crossovers extraordinary value. But more of that later.
Most speakers these days will be two way. That is they will have two drivers - a tweeter and a combined woofer/midrange. Older or floor standing speakers commonly are three way -one tweeter, one midrange and one woofer. Home theatre set ups commonly have a sub-woofer.
Think of the tweeters as relatively directional, that is the sound will travel in close to a straight line from the tweeter. Think of midrange / woofers as relatively non directional. Following on from this it is obvious that the tweeters should be at, or slightly above ear height when seated in the ideal active listening position. For most people that will involve raising the speakers off the floor. If you have bookshelf speakers you may eventually get proper stands but for the time being use anything solid to raise the tweeter height to ear height. Milk crates (all music lovers have a cache of milk crates) or small tables or even bookshelves. Bookshelves aren’t the best as we will see a bit later.
There are many complicated formulas for setting up speakers in a room which I will provide links for later if you are inclined but basically it boils down to having the speakers themselves about 6 feet apart and the listener at the apex of a triangle about 8 to 10 feet in front. Toe the speakers in a bit to aim the tweeters at about where the listeners ears might be. Depending in the size of your head and ears that should be around 8 inches apart at the listening point.
If at all possible the speakers should be a meter from any side wall and a meter from the rear wall. In most modern rooms this just isn’t practical but try as much as possible to have speakers away from walls.
Start off with the speakers a meter out from each wall but just say about sic inches away from each other while you sit directly in from about 6 – 8 feet away with tweeters at ear height. Get helper to move speakers slowly apart to eventual 6 – 8 feet apart while you listen.
Get your helper to move the speakers in toward each other and out and at slightly different angles whilst you sit and listen. At some point in the process you will begin to hear and understand stereo imaging and there will be a sweet point when the sound has some depth and seems to come from somewhere in the middle of the two speakers rather then from each speaker. Mark your listening spot and the speaker spots with something like blu tac or chalk on the floor not texta. It is most likely that this set of spots is not practical due to everyday use and other family members. But keep it marked as you will eventfully try to slyly creep to this arrangement over the next few months.
You will of course have been playing some well chosen music or sounds that has a good stereo image and a bit of depth. I can recommend any of the test discs from Chesky which these days usually also contain a good selection of well produced jazz music as well as test sounds. JB will have some at times.
Another extremely useful and supremely enlightening fiddle you can try now is room damping. Ths is where mny advice to have house empty will be appreciated.
Music will reproduce best where the room sound is flat and the room provides little or no additional echo or bouncing of sound waves around the room. (There are exceptions but this is a basic rule). Notice how a radio studio always is dampened and dead and how the music from the studio speakers sound great. Or a recording studio is similar.
Now most people cant realistically have a dead listening room but you need to hear your speaker at least a few times with the room as dead as possible in order to see if perhaps you speakers are ok and not really in need of replacement. Anyway, after this exercise you will be constantly seeking to deaden the room.
If the floor isn’t carpeted throw as many rugs as possible on the floor especially in front of the speakers to cover floorboards or tiles. Grab as many doonas and blankets as you can and somehow get them around the walls around ear height. A good but embarrassing way to prop them up is using brooms and sticks to prop up doonas on the walls. Or hang carpets from picture rails. Crowded book shelves also work well. The object is to cover all the floor and surfaces up to a bit above ear height or higher with soft sound absorbing material.
Now sit down and listen properly to a well produce bit of music for a long time – at least and hour. Your speakers are now in the best environment to perform for you.
Listen to see if they can reproduce a bass well – tightly without booming, listen to hear if the mid range reproduces voices guitars and piano well. Bad speakers will have a booming or non existent bass. The hardest bit to get right is the mid range. It seems to me that these days the emphasis is all on tweeters and woofers and midrange is ignored. Most cheaper and even a lot of the more expensive home theatre sound is all high end and low end with no midrange. You will find that this combination is fatiguing as well as missing out the wonderful sound of voices guitars and pianos.
If you have done all the above this last hour or so will be your peak experience with your current system. It is pointless getting new speakers without going through all this set up. Naturally you probably can’t leave the doonas and speakers and seats exactly where they should be forever. But you can know that this is where you are aiming and gradually dampen the room with furnishings like couches, carpets, wall hangings and book shelves full of books.
You will find that if you do the above even a crappy old all in one stereo will sound better than expected. It will even improve a boombox.
Good listening. Link to a page of mad speaker links to keep you busy for hours.
Next up in the series Choosing Speakers and perhaps fixing up good old speakers and I would like to do a list of true hi-fidelity recordings. Perhaps commenters could throw in a bunch of suggestions.
Saturday, March 01, 2008
sound: one hand typing
>
How To Bandage A Hand
pause. paws. afk.one armed pundit. two days or so 'til digits recomence digital dancing. see above for reasonable fascimile.
Tuesday, January 22, 2008
sound advice 1
People often come to me and ask “Unca FX tell me how I can get good music sound cheaply”. Ignoring the implied cheapskate slur and choosing instead to accentuate the positive implication that I know a bit about good sound I usually oblige. So when Shaun from Rock n Roll Damnation and Lardarse Rodeo and Harry Clarke from Kalimna who also spends a lot of time here sent out plaintive bleats on the net I put up my hand. And promptly didn’t do anything. Now with New Year and all that – here/hear I am.
Over the years having set myself soundwise up cheaply and family members and friends and relatives I have accumulated a certain wisdom. A wisdom fed by experience listening, mainly to music, but lets not forget its not always all about music, in different settings and with various technologies.
I first heard a lot of reproduced music on an old wind up 78 player in a shed. “Come Down Come Down from Your Ivory Tower” still takes me back to my childhood in the bush. I first heard “Hey Joe” and "My Generation” on a crystal set in bed. Later when we got electricity and a radio in a modest radiogram I went halves in a Sonny Terry LP with my dad. My Fair Lady and Camelot were on high rotation as was a Dave de Hugard collection on bush songs which we got a bit later.
Then on to buying my own records – I think my first record was 12 X 5 by the Rolling Stones, although my first music purchase was the sheet music and words to Dylan's Like Rolling Stone, so Chris Shanley could play it on the piano while I sang.
I got older, shifted houses, got my own systems, bought vinyl, cassettes, CDs, and so on.
So Harry and Shaun who have asked and any others can join me on this interactive journey titled : “How to achieve pretty bloody good sound without wasting money”
Sound reproduction is a complicated business involving much science, some art and a lot of old husbands' tales and myths and a lot of strongly held views.
As an aside the nastiest USENET group I ever participated in was aus.hifi, there was stalking, online and in real life, bannings and denial of service, identity theft, threats of violence and threats of legal action. All in a group occupied by hi-fi nerds who might to an outsider seem like a pretty harmless bunch of bearded losers in corduroy pants and tweed sportscoats with leather elbow patches. I’d had an easier ride when I was active on alt.religion.scientology in the early days
I’ll conduct this imparting of wisdom with a dialogue in which I will make some simple but big statements of principle and allow others to argue. I probably won't put up all references or sources first unless a stoush develops or people want further reading. I’m biased. I’m biased toward fact rather than folklore. Evidence rather than woowoo and handwaving and a distinct bias toward a cheapskates kind of Ockams razor in this field. For example if I, and most people, can’t hear any difference between when a $60 DVD player is used to play CDs and when a $5,000 CD player is used – I would say buy the $60 DVD player.
Mostly people want to uprade from an existing system.
My First Big Statement is: Don’t throw the old system out. It quite possibly is very ok. Or at least parts of it are. The amp may be a lot better than some around now and speakers don’t usually wear out and with a small fix may well be very good.
Next big statement: The biggest effect on your sound is your room. The size of the room and the shape of the room but very importantly the “aliveness/deadness” of the room.
Even though the most important effect on your quality sound is your listening room it is also, at least at first glance, the most difficult to control and tweak.
Next biggest effect on your quality sound is your speakers.
The next biggest effect on your sound is the input or content container which will most likely be a CD or perhaps a vinyl LP. Increasingly this content container may be a hard drive or a flash drive carrying digital music.
The least effect on your music will be the CD player, the amplifier and the wires.
The CD player simply has to read the information off the CD and send it to the amplifier. All the amplifier should do is take that signal, amplify it, and send it to the speakers where it is turned into acoustic energy and it moves air in the speaker box and in your ear.
Let us say our defendant has around $1,000 to spend on a music stereo set up.
Allocating money in line with the hierarchy. We get:
1 Most money on room. In theory – but in practice this money will be already “sunk costs” and may be difficult to do more than some simple tweaking around the edges. Don’t worry, to use econo talk there is some “low hanging fruit” and “gains can be made at the margins” – say $200 or less
2 Next most on Speakers – spend about $600
3 A little money on a decent amplifier- I’ve had my last 3 given to me or you can get one off eBay for around $80 - $100
4 Even less money on a CD player – grab an old DVD player or buy a cheap new one for $80
5 and as little as possible on connecting wires. $15
If your budget goes to more money hold everything the same and up the investment in speakers.
Some Homework and background reading:
1 Why the music you are listening to probably sucks
2 The Death of Dynamic range
Next time I’ll go into why and what about the room and some experiments with your existing system and room. Later on I hope we can get input from Floppy and dogpossum on integrating digital music (other than CDs) into the system. Not a mature solution around as far as I can see. I hope also to get commenter Carl to chip in with his Recording Studio experience.
Over the years having set myself soundwise up cheaply and family members and friends and relatives I have accumulated a certain wisdom. A wisdom fed by experience listening, mainly to music, but lets not forget its not always all about music, in different settings and with various technologies.
I first heard a lot of reproduced music on an old wind up 78 player in a shed. “Come Down Come Down from Your Ivory Tower” still takes me back to my childhood in the bush. I first heard “Hey Joe” and "My Generation” on a crystal set in bed. Later when we got electricity and a radio in a modest radiogram I went halves in a Sonny Terry LP with my dad. My Fair Lady and Camelot were on high rotation as was a Dave de Hugard collection on bush songs which we got a bit later.
Then on to buying my own records – I think my first record was 12 X 5 by the Rolling Stones, although my first music purchase was the sheet music and words to Dylan's Like Rolling Stone, so Chris Shanley could play it on the piano while I sang.
I got older, shifted houses, got my own systems, bought vinyl, cassettes, CDs, and so on.
So Harry and Shaun who have asked and any others can join me on this interactive journey titled : “How to achieve pretty bloody good sound without wasting money”
Sound reproduction is a complicated business involving much science, some art and a lot of old husbands' tales and myths and a lot of strongly held views.
As an aside the nastiest USENET group I ever participated in was aus.hifi, there was stalking, online and in real life, bannings and denial of service, identity theft, threats of violence and threats of legal action. All in a group occupied by hi-fi nerds who might to an outsider seem like a pretty harmless bunch of bearded losers in corduroy pants and tweed sportscoats with leather elbow patches. I’d had an easier ride when I was active on alt.religion.scientology in the early days
I’ll conduct this imparting of wisdom with a dialogue in which I will make some simple but big statements of principle and allow others to argue. I probably won't put up all references or sources first unless a stoush develops or people want further reading. I’m biased. I’m biased toward fact rather than folklore. Evidence rather than woowoo and handwaving and a distinct bias toward a cheapskates kind of Ockams razor in this field. For example if I, and most people, can’t hear any difference between when a $60 DVD player is used to play CDs and when a $5,000 CD player is used – I would say buy the $60 DVD player.
Mostly people want to uprade from an existing system.
My First Big Statement is: Don’t throw the old system out. It quite possibly is very ok. Or at least parts of it are. The amp may be a lot better than some around now and speakers don’t usually wear out and with a small fix may well be very good.
Next big statement: The biggest effect on your sound is your room. The size of the room and the shape of the room but very importantly the “aliveness/deadness” of the room.
Even though the most important effect on your quality sound is your listening room it is also, at least at first glance, the most difficult to control and tweak.
Next biggest effect on your quality sound is your speakers.
The next biggest effect on your sound is the input or content container which will most likely be a CD or perhaps a vinyl LP. Increasingly this content container may be a hard drive or a flash drive carrying digital music.
The least effect on your music will be the CD player, the amplifier and the wires.
The CD player simply has to read the information off the CD and send it to the amplifier. All the amplifier should do is take that signal, amplify it, and send it to the speakers where it is turned into acoustic energy and it moves air in the speaker box and in your ear.
Let us say our defendant has around $1,000 to spend on a music stereo set up.
Allocating money in line with the hierarchy. We get:
1 Most money on room. In theory – but in practice this money will be already “sunk costs” and may be difficult to do more than some simple tweaking around the edges. Don’t worry, to use econo talk there is some “low hanging fruit” and “gains can be made at the margins” – say $200 or less
2 Next most on Speakers – spend about $600
3 A little money on a decent amplifier- I’ve had my last 3 given to me or you can get one off eBay for around $80 - $100
4 Even less money on a CD player – grab an old DVD player or buy a cheap new one for $80
5 and as little as possible on connecting wires. $15
If your budget goes to more money hold everything the same and up the investment in speakers.
Some Homework and background reading:
1 Why the music you are listening to probably sucks
2 The Death of Dynamic range
Next time I’ll go into why and what about the room and some experiments with your existing system and room. Later on I hope we can get input from Floppy and dogpossum on integrating digital music (other than CDs) into the system. Not a mature solution around as far as I can see. I hope also to get commenter Carl to chip in with his Recording Studio experience.
Wednesday, January 16, 2008
sort of dunno nothin'
For a long time I've lamented the demise of the "quality" novelty song. I haven't heard one around for years. Maybe Ween's Pushin th' Little Daisies. But not much of any substance that has everyone from grannies to kinda kids singing it like Ahab the Arab (now there's one due for revival) or Snoopy and The Red Baron, or Monster Mash or the daddy of them all Purple People Eater.
A good novelty song not only has to be catchy and an ear worm but a bit clever and operate on a few levels for the knowing hepcats and the unknowing great unwashed. And it needs another ingredient - in some way it should grab a bit of the zeitgeist like King Tut and Hot Rod Lincoln.
Peter Denahy's Sort Of Dunno Nuthin grabbed me the first time I heard it on John Nutting's Saturday Night Country around xmas time. Luckily the video doesn't spoil it at all. Deserves to be a hit.
Especially after the rush to international fame of Cory the "Numbskull from Narre" in yellow sunnies and hoodie.
PS: I didn't mention that Denahy is a superb muso who spent time in Slim Dusty's touring band, always a good recommendation, and some of his growing up and musical learning was done in his mother's country of Japan.
Monday, December 31, 2007
Friday, November 30, 2007
music offspring espy cd
They're young, it's loud, it's heavy, it's tight, it's at the Espy, he's my kid, I'll be there, it's free.
What more can you ask for.
You're invited
Wednesday, November 07, 2007
Thursday, October 18, 2007
shoelaces
Know what this is below?
1 (Bottom, Longer): H×INT((P+2)÷2)+V×P+L
2 (Second, Shorter): H×INT((P+1)÷2)+V×(P−1)+L
You're right. It's the formula for getting the lace length right for Bi-Colour Lacing.
The most famous Shoelace site in the world is run by Ian Fieggen, a Melbourne bloke. It includes 33 different ways to lace shoes, plus comparisions of lacing methods by comfort, difficulty, visual appeal and ease.
His photos and diagrams are helpful, to the point and a pleasure to view.
Top photo is Black Bam shoes with cyan trim and cyan & black Checkerboard Lacing. Diagram is Lattice lacing.
Tuesday, October 16, 2007
musical chairs
The other day we were at what I suppose was Jen & Ken's (Spanish Style) Kitchen Tea and TonyT had hijacked the convo towards fillums. Mel Brooks came up and Cat on Tin Roof then Singing in the Rain.
I supplied a small rant on the Art Deco style of Top Hat from intro lettering, to room design to music to clothes and even how Fred dances rectilinear and not, say, Art Nouveau and curvy like Gene Kelly. Anyway in the first of many mistakes, thinking I’d be clever, I asked TriviaTonyT “What was the first colour musical”?. He quickly counter feinted; “Wizard of Oz”, just as I mumbled out “Gigi”.
Now I‘d always had in my mind that Gigi was the first colour musical but no, TonyT and his coterie of female admirers insisted that the first colour musical was “the wiz”. Overwhelmed I subtly shifted the conversation across to The Producers or Curb or something.
Now I’ve looked it up:
“Gigi is a 1958 motion picture musical”
“The Wizard of Oz premiered at the Strand Theatre in Oconomowoc, Wisconsin on August 12, 1939 and Grauman's Chinese Theater in Hollywood on August 15, 1939. The New York City premiere at Loew's Capitol Theater on August 17, 1939 was followed by a live performance with Judy Garland and her frequent film co-star Mickey Rooney. They would continue to perform there after each screening for a week. The movie opened nationally on August 25, 1939.”
However:
“the first all color all talking musical feature was entitled On with the Show (1929). The most popular film of 1929 was in fact the second all-color all-talking feature which was entitled Gold Diggers of Broadway (1929).’
So there.
Listen to Tip-Toe Through The Tulips (mp3) from Gold Diggers
I supplied a small rant on the Art Deco style of Top Hat from intro lettering, to room design to music to clothes and even how Fred dances rectilinear and not, say, Art Nouveau and curvy like Gene Kelly. Anyway in the first of many mistakes, thinking I’d be clever, I asked TriviaTonyT “What was the first colour musical”?. He quickly counter feinted; “Wizard of Oz”, just as I mumbled out “Gigi”.
Now I‘d always had in my mind that Gigi was the first colour musical but no, TonyT and his coterie of female admirers insisted that the first colour musical was “the wiz”. Overwhelmed I subtly shifted the conversation across to The Producers or Curb or something.
Now I’ve looked it up:
“Gigi is a 1958 motion picture musical”
“The Wizard of Oz premiered at the Strand Theatre in Oconomowoc, Wisconsin on August 12, 1939 and Grauman's Chinese Theater in Hollywood on August 15, 1939. The New York City premiere at Loew's Capitol Theater on August 17, 1939 was followed by a live performance with Judy Garland and her frequent film co-star Mickey Rooney. They would continue to perform there after each screening for a week. The movie opened nationally on August 25, 1939.”
However:
“the first all color all talking musical feature was entitled On with the Show (1929). The most popular film of 1929 was in fact the second all-color all-talking feature which was entitled Gold Diggers of Broadway (1929).’
So there.
Listen to Tip-Toe Through The Tulips (mp3) from Gold Diggers
Tuesday, September 18, 2007
ac/dc gs-t & nabakov melbourne tuesday
For Shaun Cronin
Fans, under signage and behind cameras, and smokers on crutches, in low key homage.
Adelaide visitor snaps memories of vibrant lane culture to take home.
(As always. Click on image for more involving experience)
Friday, September 14, 2007
train fragments
"Nah.Yeah. No I haven't moved far. Born,brought up and went to school in Resso. Now I've moved to Tommo."
van curries favour - again
Director Alan Parker and a smattering of the non-stars of The Commitments reminisce about the "small film with a big heart and a foul mouth". The best backstage story comes when it emerges that Van Morrison was briefly considered for the role of Joey "The Lips" Fagan. According to writers Dick Clement and Ian La Frenais (of Porridge fame) Morrison, the soul of charm as ever, began their meeting by brandishing the script and growling, "Well this is crap, isn't it?"
From: Radio Times. Movie Connections, Monday 17 September, 10:35pm - 11:15pm, BBC1, The Commitments
From: Radio Times. Movie Connections, Monday 17 September, 10:35pm - 11:15pm, BBC1, The Commitments
Wednesday, September 05, 2007
i know it was father's day but wtf?
Singer Van Morrision is a dad again.
His wife Michelle Rocca gave birth to a baby boy in Mount Carmel at the weekend but details have just emerged.
The couple had kept the pregnancy a secret from the public as they did with their first child - a baby girl who was born last year.
No other details of the new arrival were revealed.
From Radio TelefÃs Éireann
Eolas faoi RTÉ
Is Craoltóir SeirbhÃse Poiblà é RTÉ, eagraÃocht neamhbhrabúis faoi úinéireacht mhuintir na hÉireann. Is é RTÉ ceannródaà tras-mheán na hÉireann, a sholáthraÃonn seirbhÃsà teilifÃse, raidió agus seirbhÃsà ar lÃne saor go haer, seirbhÃsà atá cuimsitheach agus éifeachtach ó thaobh costais de, ar seirbhÃsà iad atá ar ardchaighdeán agus atá neamhchlaonta de réir oibleagáidà reachtúla RTÉ.
His wife Michelle Rocca gave birth to a baby boy in Mount Carmel at the weekend but details have just emerged.
The couple had kept the pregnancy a secret from the public as they did with their first child - a baby girl who was born last year.
No other details of the new arrival were revealed.
From Radio TelefÃs Éireann
Eolas faoi RTÉ
Is Craoltóir SeirbhÃse Poiblà é RTÉ, eagraÃocht neamhbhrabúis faoi úinéireacht mhuintir na hÉireann. Is é RTÉ ceannródaà tras-mheán na hÉireann, a sholáthraÃonn seirbhÃsà teilifÃse, raidió agus seirbhÃsà ar lÃne saor go haer, seirbhÃsà atá cuimsitheach agus éifeachtach ó thaobh costais de, ar seirbhÃsà iad atá ar ardchaighdeán agus atá neamhchlaonta de réir oibleagáidà reachtúla RTÉ.
Sunday, September 02, 2007
happy birthday (& father's day) van
My favourite grumpy old musical pioneer and genius was 62 on Friday. All the best Ivan George. The big surprise is that Van is, allegedly, a father again. His partner, the extremely attractive TV presenter and former Miss Ireland, Michelle Rocca and Van are said to be the parents of 17 months old Aibhe Rocca Morrison. Silly old bugger. Serves him right to be up all night I say. Anyway happy Father's Day Van.
To celebrate I'm watching the DVD of Van Morrison: Live At Montreux 1974/ 1980 through again. You can pick it up at JBs for about $14. Do yourself a big favour. (I'm looking at you Amanda Flop). To tide you over until then this clip of Van doing Summer time in England gives a good example of the man in action. I worry that YouTube sound is substandard and played through small computer speakers is even more degraded. I just hope that sensible people don't restrict their listening to lossy compressed sound over computer speakers. But I'm afraid they do.
Anyway. It's traditional amongst true believers (and shoddy journalists) to celebrate Van's milestones with stories of grumpiness. Here's my latest; Glen Hansard from The Frames, support group to Bob on the recent tour, went to a birthday party for Van:
About 10 years ago I was invited by a mutual friend to Van’s 50th birthday. Me and my girlfriend drove to his huge country house. Van was there, Jerry Lee Lewis and his wife, some friends and children as well as some dogs (smiles). An all intimate small circle and a unique experience. Some time during the evening a woman came to us and whispered: “Come to the living room, Van sings some songs.” So we all went there, Van and Jerry were singing and it was incredibly touching.
Q: You must have been in seventh heaven?
A: Both were drunk, sang country songs and I WAS in heaven. A bit later that evening, Van asked whether anyone would like to hear a certain song. I was completely insecure whether I should say something or not and refrained. When he shortly afterwards asked again, whether there was nobody who had a request I worked up the courage and said: “Hungry for your love”. “Hungry for your love” is a song from the “Wavelength” album which I adore. Van looked at me coolish and said: “You don’t know me!” I turned around and left the room. That was exactly, what you never want to hear from your idol. It was rude and impolite.
Q: So he really is the grumpy man that everyone thinks he is?
A: He often is grumpy. A little bit later my girlfriend came to look after me and made me go in again. Van was still singing and I enjoyed it. At the same time I was very hurt. He asked whether anybody wants to sing something and my girlfriend said: “Glen will play!" Van looked around, came up to me, handed me his guitar and left the room. I felt so terrible. I played a song and people liked it. When I played a second song, Van returned and after I finished he asked me: “What was it that you wanted to hear?” I replied: “Hungry for your love.” “Do you know it?” I said: “Yes”. And he said: “Okay then sing it!” He really asked me to sing his song.
Q: Your favourite song.
A: My favourite song by him. I really sang it on his request. When I had finished we went into another room. Van sat down with me, handed me his guitar and said: “Play for me!” So I played for him and we then spent the whole night there singing his songs. It was completely unreal and a giant challenge. One of those stories you can make a film of: Young man meets his idol, is spurned by him and in the end wins his recognition. It was fantastic. When I should sum up the whole thing: I was in the company of a great artist, watched his fingers, his mouth and the way he was forming words. A top-class lesson, having the chance to watch the master at work. It is hard to explain, how much you can learn in such a situation, just to watch a great artist. But it is unbelievable how much you learn. I literally sucked in the information. I was 21 or 22 years old, open and absorbed everything. And I am sure that he wasn’t aware of how much he gave me. But I still live on today from what he gave me then. And “Yes” I would love to do an album with him.
To celebrate I'm watching the DVD of Van Morrison: Live At Montreux 1974/ 1980 through again. You can pick it up at JBs for about $14. Do yourself a big favour. (I'm looking at you Amanda Flop). To tide you over until then this clip of Van doing Summer time in England gives a good example of the man in action. I worry that YouTube sound is substandard and played through small computer speakers is even more degraded. I just hope that sensible people don't restrict their listening to lossy compressed sound over computer speakers. But I'm afraid they do.
Anyway. It's traditional amongst true believers (and shoddy journalists) to celebrate Van's milestones with stories of grumpiness. Here's my latest; Glen Hansard from The Frames, support group to Bob on the recent tour, went to a birthday party for Van:
About 10 years ago I was invited by a mutual friend to Van’s 50th birthday. Me and my girlfriend drove to his huge country house. Van was there, Jerry Lee Lewis and his wife, some friends and children as well as some dogs (smiles). An all intimate small circle and a unique experience. Some time during the evening a woman came to us and whispered: “Come to the living room, Van sings some songs.” So we all went there, Van and Jerry were singing and it was incredibly touching.
Q: You must have been in seventh heaven?
A: Both were drunk, sang country songs and I WAS in heaven. A bit later that evening, Van asked whether anyone would like to hear a certain song. I was completely insecure whether I should say something or not and refrained. When he shortly afterwards asked again, whether there was nobody who had a request I worked up the courage and said: “Hungry for your love”. “Hungry for your love” is a song from the “Wavelength” album which I adore. Van looked at me coolish and said: “You don’t know me!” I turned around and left the room. That was exactly, what you never want to hear from your idol. It was rude and impolite.
Q: So he really is the grumpy man that everyone thinks he is?
A: He often is grumpy. A little bit later my girlfriend came to look after me and made me go in again. Van was still singing and I enjoyed it. At the same time I was very hurt. He asked whether anybody wants to sing something and my girlfriend said: “Glen will play!" Van looked around, came up to me, handed me his guitar and left the room. I felt so terrible. I played a song and people liked it. When I played a second song, Van returned and after I finished he asked me: “What was it that you wanted to hear?” I replied: “Hungry for your love.” “Do you know it?” I said: “Yes”. And he said: “Okay then sing it!” He really asked me to sing his song.
Q: Your favourite song.
A: My favourite song by him. I really sang it on his request. When I had finished we went into another room. Van sat down with me, handed me his guitar and said: “Play for me!” So I played for him and we then spent the whole night there singing his songs. It was completely unreal and a giant challenge. One of those stories you can make a film of: Young man meets his idol, is spurned by him and in the end wins his recognition. It was fantastic. When I should sum up the whole thing: I was in the company of a great artist, watched his fingers, his mouth and the way he was forming words. A top-class lesson, having the chance to watch the master at work. It is hard to explain, how much you can learn in such a situation, just to watch a great artist. But it is unbelievable how much you learn. I literally sucked in the information. I was 21 or 22 years old, open and absorbed everything. And I am sure that he wasn’t aware of how much he gave me. But I still live on today from what he gave me then. And “Yes” I would love to do an album with him.
Subscribe to:
Comment Feed (RSS)
