MillerCarbon, is the German word you were looking for: Fahrvergnugen? 😄
Soundsmith - Thank you to everyone.
Beautiful
Too beautiful to go back to sleep
The morning sprite before the sun
black silhouetted trees that edge the world
respeak stillness as night’s undone
in quiescent twilight day is birthed
So perfect in its offering
infinite outcomes by love conceived
Immaculately separate from our suffering
To taste the dew that’s offered up
One would have to sacrifice
The comfort of one’s darkened view
The tradeoff believed that will suffice
So it’s a crow that breaks the dawn
Unravels peace that must unwind
And signals end to mornings birth
To usher deeds of manunkind
Too beautiful to be believed
timeless in its continuing
Miraculous to be conceived
So fragile in its offering
Peter Ledermann
No, w the Straingauge, Peter is going for the straight resolution angle. Because w resolution comes natural warmth, lifelike speed, dynamic contrast, tonal density and differentiation, and timbral accuracy. That's what I gleaned from Uwe's review. That's what I thought was supposed to be the goal of all our gear- to reveal. Not to be warm, or cold, or any particular way at all. To not even be there. That at least to me is the ideal. Which is why its in my system description. https://systems.audiogon.com/systems/8367 Of course we never truly get there. We fall short, always. But that's the aim. Then yes a lot of records, even some treasures, will be revealed to be less than perfect. Oh well the recording engineers have all the same problems. Some do better than others. Even if they do a really good job it can still be screwed up later- look how many crap pressings there are! But that still leaves the magic. Here and there. Which when you do come across it, always seems to me, the less your system imposes the more of the magic you get. So yeah my impression is the Strain Gauge is the bomb. Figures. Like everything else. Whenever I narrow it down to the best, its nowhere to be found. By which I mean no way to audition. You just have to take a pass.... or bite the bullet. |
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MC, you do know that after WW2, when Germany was in ruins, and the British Civil Service went over there, expecting the population to be on it's knees, what they found were the people literally rebuilding their car factories from the rubble w their bare hands. Within 5 years, they were already ahead of us. By the 80s, esp w the release of the VW Golf, they were in a whole different race. And today, the Germans spend whole weekends visiting their car factories, seeing the synergy of engineering and lifestyle as a patriotic display. Peter in his own way is taking a hyper engineering approach. Not for him the typical Japanese warm Koetsu signature of the typical European cool and collected Clearaudio signature. No, w the Straingauge, Peter is going for the straight resolution angle. Because w resolution comes natural warmth, lifelike speed, dynamic contrast, tonal density and differentiation, and timbral accuracy. Despite him being American, this is almost German uber engineering married to art...basically, life. And the Straingauge is the closest source component I've owned that's got me closer to the life of performances on lp. |
Wish I could say the poetry surprises me, but not from Peter. Not after hearing his a record is a beautiful woman metaphor. Oh and I found the SG thread over at whatsbestforum.com and found a surprise in there from Peter. See, over in the Soundsmith having issues thread, a discussion inexplicably now closed, I had said the Strain Gauge has the look of a purpose made scientific instrument. So what a pleasant surprise to read Peter in the other thread saying there are two camps, the musical instrument camp and the scientific instrument camp, and his SG is the first to be mostly in the scientific instrument camp. To you Peter I will say how your work reminds me of a story told among Porsche owners. It is said the German people have a word for when functional engineering is elevated to such a sublime level it merges with and becomes art. I don’t know the word. Don’t even know if the story is true. But it would be nice if it is. We would know what to call what you do. |
Peter, just to reiterate, we don't all go around on Möbius Loops of steel trap logic. Some of us actually need to live a bit. And listen to music. So, ignore the shrill noise from some, and be assured you, your employees, your operation...however it's run Lol...really totally valued by those of us who see in you a true artisan, happy to share, and producing products examples of which we can all afford I'll aim to keep a bit more contact w you prior to sorting my SG repl stylii in short order. |
My love does not set me
free But holds me down upon my knees Upon the dirt, amongst the shoots Hidden here within the trees
To weep so deep inside of war To cry so loud outside of love Till I become a river flow Which into all other rivers go
If I could cry to water Spring To wash each seed and whisper (grow!) And thus become part of nurturing So all the spring my heart could know
Through deepest soil my soul bestowed If I could feel each shoot break free I would feel the ice and snow Recede into eternity Peter Ledermann |
Pretty good, Peter. Reminds me of my favorite poem, Wordsworth's Daffodils I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed—and gazed—but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. |