It is a pity that longboarding so fast went out of blasting bros carving concrete”waves” into a sidewalk-clearing hippie apparatus for dog sledging. Thankfully Stereo Vinyl is on the scene to provide the skater that is casual a compact, less hemp-flavoured cruiser deck.
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As the title would suggest, Stereo takes its design cues where additional tabletop brands combine punk and surf rock. Even the specially cutout centrepiece on the deck is created especially to get a .45 RPM adapter-looking emblem decal (Vinyl Stereo comprises a few sets of decals to give your deck a customized look).
The Vinyl Cruiser rides easy and stable once, if you are like me, then your size 13 feet become accustomed to the board’s width and length. After absorbing some ribbing on how foolish a guy of my size looked riding this thing, I started to test the board for speed wobbles down steep roads, for flex, during carves through bendy areas, and for a response during power slides onto the smoothest concrete I might find. I suggest skating bud to start out since a few bailing is required by the board. Wheels that are not-very-absorptive and its small size make stones and road crack a scale danger, but find some concrete that is smooth and the ride is smooth and quick.
Where does this plank fit in your mountain city commuter quiver? Well, it is less safe-feeling after beers so I do not suggest it for nights out but with all senses engaged, it’s a powerful fun break out of the fixie or fat-tired cruiser bicycle. Turns through the bowls of your skatepark or for joyrides the Creek Trail down, it’s a blast. And best of all, no hemp required.
The Stereo Vinyl Cruisers are quite possibly the most famous (and popular) cruisers out there. Designed by pro skaters (and Stereo owners) Jason Lee and Chris Pastras, they had been inspired by three things – music, skateboarding and enjoyable!
Jason Lee and Chris Pastras started out riding what they (tongue-in-cheek) refer to as banana planks’ way back in 1979 and now, two years later, these experts still love riding their cruisers – that have directly inspired this’vinyl series’.
Cruisers are designed with smaller decks that make them easy to store you’re not riding! They’re fantastic for commuting to college, school or work and are easy storage in a locker, bag or rucksack or even under your desk!
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Since that time, we have waited for a new, updated, version to look. Throughout mid-2013, that finally happened as individual LP sparks along with a magnificent box set.
The latest 2013 set itself features original stereo mixes for all the Beatles albums, from Please Please Me Let It Be, such as Magical Mystery Tour and Past Masters 1 & 2, pressed on 180gm vinyl and current in thick card sleeves along with, in the box set, a magnificent, 253-page hardback book detailing each album and showing superb production criteria with lots of spot gloss work on thick paper. The contents of this box set are included within a sturdy, flip-top box having an outer card sleeve encasing the box.
Abbey Road mastering engineer, Sean Magee, worked with this vinyl set for almost four decades. The first issue regards the origin. Apparently not.
“We couldn’t really,” said Magee. “We have the cutting edge notes left by Harry Moss (the original cutting engineer for The Beatles’ recording output) but we don’t have the same equipment. We could sort of recreate the analogue chain and kind of recreate what Harry Moss didn’t find that noise but it wouldn’t be the same.”
Another reason is the requirements of Apple: that amalgamation of the remaining Beatles plus the estates of the remainder. Apple wants any Beatles recordings to have a particular’sound’, a traditional presentation depending upon the first records which, to some extent, constrained the mastering engineers at Abbey Road. To acquire the essential sound required a considerable amount of EQ (Equalisation: fostering or reducing the levels of different frequencies in a signal), “To physically do so instantly whilst cutting out of the original analogue masters could have been nearly impossible to perform,” said Magee.
The approved EQ should not be taken lightly, either. It took four and a half years to create it, before the launch of the CD box sets at 2009.
Instead, hence, the vinyl has been remastered from electronic sources. These were created, until the CD box sets were released, at a rate of 24bit/192kHz. Magee discovered, however, that those files were likely to be a problem when remastering the stereo because of the EQ requirements. Over that, on the earlier albums, the crude stereo processing placed vocals on one channel and instruments on the other that meant that “There are different EQs on the left than there is on the right since the content is different on both sides. Also, you can’t do separate jobs at 192kHz. You can’t de-click, subsequently EQ and so on. You must do the lot whilst cutting. There is not the equipment at 192 to do that. Not easily, at any speed. The practicality and time of doing that process at 24bit/96kHz would have taken about a year. You’d also require a good deal of double-checking.”
It happened that the complex EQ software had already been done for the CD version, “To utilize the 192kHz sources now would have included recreating the EQ source that we failed at 24bit/44.1kHz, that was not viable.”
So the decision was made, so, to learn the vinyl at 24bit/44.1kHz. I can listen to the sound of fainting audiophiles throughout the land.
Regardless of the extra time that a 24bit/192kHz or even a 24bit/96kHz master would have taken to make there was, according to Magee, no real deadline for this particular project. Therefore that the impetus for utilizing the 44.1kHz files was? “I had been told to use these 24bits, so that’s what we used, it was the most practical.”
Practical? Because of the cutter head, based on Magee, “It has a limited frequency response and cuts off at 24kHz. There is nothing over that. As a cutting edge engineer, anything of significance level above 16kHz is dangerous, you do not want that going to your cutter head since it gets really hot and can destroy it. It wouldn’t have mattered if the sign had gone to 192kHz or 96kHz, it would not happen to be on the record as you can not cut you can not hear it and I would not want it there anyway because a stray sign at 60kHz would destroy the lathe head.
The most significant part the figure is the 24bit although not the 96kHz or 192kHz since the cutter head will not cut that material up to 48kHz.”
According to Magee, you’re far better using a decent ADC (Analogue-to-Digital Convertor, a high-specification Prism, in Abbey Road’s case) and a blank 24bit signal to capture all of those additional sonic highs,”The reason 24bit is significant is because, in 16bit sound CD play, when you get down to Indus 50Hz something you then start getting quantisation. The sign can’t make up its mind whether it is a one or a zero. You get a buzzy sound. At 24bit, you receive no perceivable sound.”
Audiophiles will be delighted to hear that no compression was added to the vinyl masters as a choice to use DMM cutting procedure to improve additional detail on the inner groove has been rejected by Apple in favour of the warmer sound of lacquers. The only processing done was a collection of targeted and precise removal of sibilance which, together with CEDAR Retouch applications, is surgical in its precision and does not affect adjoining frequencies as older systems did and do.
On other points of note, the controversial George Martin 1986 stereo mixes for Help! And Rubber Soul that surfaced at the CD version of the Stereo box set has also appeared within this vinyl box set. The stereo mixes can now be found inside the CD Mono box set.
Stereo vinyl skateboard Review
The Jopostar Bluetooth Vinyl Record Player With Stereo Speakers is a budget player with a lot of Excellent features. It certainly does not look like it ought to be selling at this low cost.
So what’s the catch?
Honestly? There isn’t really one.
There are some weak places and of course, this turntable won’t fit more expensive versions, but for the price tag, you’re getting a lot here.
That doesn’t necessarily mean it is the right model for you. As mentioned, it does have its flaws.
We’ll have a closer look and see if those flaws are deal-breakers for you or those you can easily live with.
The Kinks’ mesmerizing, oft-breathtaking and all-in-all fabulous 1968 record went virtually unnoticed by much of the world despite an array of positive reviews and assistance from the audio cognoscente. But like its religious brother — The Zombies’ Oddessey and Oracle, a virtually unreleased album produced in 1967 but efficiently not released until 1969 — The Kinks Are The Village Green Preservation Society has gone to wider recognition as a great musical announcement, a stone classic standing proud along with more famous titles from that period.
Over the years, many have portrayed the record as”out of step” with its times. I disagree.
For anybody who says that songs had gotten”heavy” in 1968 — it had in some circles — I direct them to equally lighthearted and nostalgic offerings that season no less than The Beatles (“Honey Pie,” Martha My Dear,” etc.). Have a look at what was on Top 40 radio that season and it was not all”heavy metal thunder.” No, a number of the biggest hits included the whimsical retro-sounding”Those Were The Days” by Mary Hopkin and the groovy”Classical Gas” by Mason Williams. Click the link to read more of that record.
But… what about Hendrix ‘ Steppenwolf ‘ Blue Cheer? Yeah, they had been there but for each high flying Led Zeppelin and Iron Butterfly at that point there were arguably many more pop strikes driving the graphs: Herb Alpert’s”This Guy’s In Love With You;” Georgie Fame’s”The Ballad of Bonnie & Clyde;” Tom Jones'”Delilah;” Simon & Garfunkel’s”Mr Robinson.” Heck, The Beatles'”Hey Jude” was top of the pops and that is almost Gospel in its flavour.
Jump forward to some of the big hits of 1969 and you’ll realize that not what was as heavy as historians might want you to think it’s: By the Billboard Top 100 that season:”Jean” from Oliver,”Love (Can Make You Happy)” by Mercy;”This Magic Moment” by Jay & The Americans;”Games People Play” by Joe South; “Everybody’s Talkin'” by Harry Nilsson; “Atlantis” by Donovan.
And then there is The Band’s super powerful Music From Big Pink that came out in 1968 — a recording which might be thought of a North American cousin to The Kinks’ very British Village Green concept, what with its own acoustic signatures, rural laid back country nostalgic feel and such.
No. The more I think about it, I can’t help but feel The Kinks Are The Village Green Preservation Society was a victim of circumstance beyond the group’s control rather than any problem with the music. Weak radio promotion? Perhaps lingering issues in The Kinks’ mid-60s U.S. vacationing ban? There are normally multiple reasons for matters in history so it can have been that and more.
However, there was nothing” out of step” concerning the music.
Perspective: I recently played the record for a friend who had never heard it before and he thought I was playing a Beatles record! Food for thought as you research this compositionally wealthy, emotionally intricate record, among the excellent song cycles of the period.