JSngry

One could well argue that this want to see self has devolved into a need, and then further devolve into a total self-absorption, a generation of narcissists if you will. Not just musically either.

this one?

I had to look that up, glad I did! http://campber.people.clemson.edu/sd.html

Foreign language? You mean like calling a cassette a "K7" or the trunk of a car the "boot"? That kind of foreign language?

After taking this past season off so they could participate in the top secret (and tres experimentale) Holographic League, I'd say they be wise to do that for a few more years until they get better human players and staff.

I notice the discussion already trending towards so y'all c'mon in and grab a good hot cuppa cocoa and/or a supplemental beverage/accessory.

Steven Mackey - Orpheus Unsung Really interesting concept: https://stevenmackey.com/compositions/orpheus-unsung/ About my 3rd time through it, and yeah, the "rock" guitar tone put me off (or at least backed me off) at first. But damn, Mackey is a fine, fine composer and inevitably that comes out. This would sound great played by a string quartet, but that's not what it is. It's electric guitar and percussion. So, I adjust, and feel all the more better rewarded for it.

they merge you into one person with the patented Magical eBay Ray, so you both do, just not so as that you'd know it.

That's what sexy album cover are for, duh.

Would the tracking force have been significantly higher than that of a jukebox that played records vertically?

No, I had a turntable along that I ran through the tape deck's internals and played the records that way, in the room, not on the road. The speakers came with the deck, and when it was all assembled, they formed the "cover" of the deck. Easily transportable like that, at least by 1981 standards. When you stayed in a town for a week or two, this was a really handy setup. We travelled by van and played cassettes there. Of course, the trunk I carried the records in was not particularly easily transportable, especially after a trip to L.A. or Chicago, or Las Vegas, anywhere that had a Tower and/or a good used store tor two, but, hey, analog reality.

Oh, my player was an "all in one", meaning that it came with its own detachable speakers. You could run a line out, though. It sounded pretty good doing that when playing back gigs and rehearsals. You could also run a turntable into it, which made it a perfect companion for being on the road...every town had record shops, so there was no reason to buy them and then wait until you got home to hear them! But hell, the machine I have is pretty close to 50 years old now. Hardly worth it, except as sentimental clutter. Of which I have no shortage....On of my kids' friends, now well into his 20s and a total digital geek (he's doing programming for Apple now) was over last year, and I mentioned reel to reel, and his eyes nearly popped out of his head when I told him I had one in my closet. He had never seen one, machine or tape, so I got it out and put a reel on, and he's looking at the technology for speed change and play transport and all this and just about shitting himself about how totally analog the whole thing was, every single part of it. Of course, that was when I found out that the tapes and the machine were both crippled to a significant degree, but the kid couldn't care less. It was like he was in a time machine and was communing face-to-face with his ancestors. That part of it was pretty cool. I think this is my model? People got them the home studios these days, that's nothing new. It's just a lot more compact and efficient technology now.

Correct correlation, wrong application. And the commercial RTRs, they did have a higher tape speed (some played at 3 3/4, but anything that was serious played @ 7 1/2. And I think they were wider tape, too (I could be wrong about that). So, in principle, especially waaaaay back in the day, your could have a home experience that very closely mirrored what was on the master tape. Thus the audiophile appeal, especially in classical music.

Sony made really good RTRs that also offered "sound on sound" recording, meaning that you could bounce tracks and overdub. They were about as big as two turntables with dust covers. I still have mine, actually. It still powers up, but the belts are old and it plays slowly. I hijacked a big lot of my old high school tapes and also bought jazz RTRs in Half-Prices (you can still find some there) just for grins, but unless and until I get the player tuned up, they're useless, and may very well be even if. Tape stretches when left untouched, especially if rewound before storing. The whole thing's a pain in the ass from a consumer standpoint, but at the time, a 7 1/2 IPS reel of an album that was relatively virgin could top an LP. Could, mind you, not would. not even.

I'm wanting to say that there was a slight difference in dimension between 4 & 8 track, that you couldn't get them to fit in the slot interchangeably. But don't quote me on that, and if it was, it was minimal. Pretty sure that they both played at the same speed, though, 3 3/4 IPS.

Reel-to-Reel was actually considered audiophile at one point.

You guys are young! All the cars I rode around as a teen in had cart players.

Yes, skin-wise he was white. Culturally, though, he decided to "live as black" pretty early on and did so until his death. I'd use the word "psychologically" but that implies that there's a race-specific/genetic psychology, and of course there's not. But there is definitely an experiential mindset that comes from living black in America. Otis not only realized that, he embraced it fully. Fully. His books are required reading, imo.

I know he was Greek-Caucasian, but white? That's pushing it!!!!!

As I recall the format evolution(s)...cassettes were for a long time used mainly for recording voices, dictations, birthday parties, speeches, meetings, that type of thing. They're weren't viewed as "acceptable" for commercial music presentation because of the narrow tape and the slow speed. 4/8 tracks were the big car formats and had begun to be popular-ish in standalone portable players. 4-Tracks were, iirc, inflexible in terms of rewinding/etc. 8-Tracks brought that, how/why. I don't know. But 8-tracks killed 4-tracks rather quickly as far as consumer popularity. There were 8-track recorders, which as you can imagine, were a big hot mess. Besides the advent of cassette car players and the Walkman, the other thing that made cassettes really viable was Dolby. I myself never really got that much out of it as a consumer, but anyway... Reel-to-reel hung on for a while as a recording medium for schools/etc. who wanted quality recordings of their own internal activities. Once cassettes got Dolby-ized and all that, home studio/etc. that was that. Interestingly, perhaps, The Recovery Room, the Dallas club where Marchel Ivery played for years, would record nightly on and 8-track recorder. They did this for years.

No, there was an overlap for a few years. The death of the 8-Track was accelerated once cassette players on cars became dominant, and finally killed with the Walkman. But there for a while, believe it or not, there was resistance to cassettes because of their slower sapped, like 3 3/4 IPS was hi-fi. Hey, I didn't name the formats. Actually, it's a California thing, Earl Muntz, to be specific. https://en.wikipedia.org/wiki/Stereo-Pak