That makes sense given the time period I think it’s from. Still can’t for the life of me figure out what it is.
B does not equal C-30 years. C contains a #1 on the Billboard Hot 100 chart and received significant 12" single plays.
Okay, here's a shot- A. Chevalier Theater, Medford, Maine B. Lead Me On, Jeff Balding C. Heart in Motion, Ted Jensen D. Amy Grant
Rikator for the near win. Medford, MA (Massachusetts...Maine is abbreviated ME) Original mastering engineer for the 1988 DMM release was Bob Ludwig at Masterdisk in NYC. Note that the 20th anniversary CD of (B) is overly compressed, typical for its era before the loudness wars largely ceased, although more sonically transparent due to improvements in A/D. The 30th anniversary CD of Heart In Motion is really excellent with a wide dynamic range, also done by Ted Jensen. The latter CD was so well done that it leads us to believe that physical CDs are still viable in 2021. You can buy the original Lead Me On on vinyl all day long on eBay for less than $20. There is a Word release (orange label) and an A&M release (black label) but our research indicates they were cut from the same lacquers sourced thru Masterdisk and likely pressed at the same plant on slightly translucent ~120 gram vinyl. Sales-wise of a "new" release LP to the non-audiophile general public was interesting, it looked like they sold out of roughly 10 LPs at a show with around 700 people even with a price 3X ($30) for the vinyl vs the equivalant $10 CD (which itself is a double set with many extras, outtakes and demos).
Ugh...went on autopilot on the MA translation, hadn't had the caffeine fix yet. The Lead Me On mastering engineer was a best guess effort, that was hard to track down. And that may have been a near win but the MP-7 is a solid score, loving it more and more daily. For those on the fence, jump and be satisfied. Word of warning, you will definitely be shopping for more vinyl after you hear the difference...
The SU-7 has landed, from an engineering perspective. After 2.5 years of development, 8 prototypes and 2 complete clean-sheet redesigns, we have auditioned the final prototype and it meets our sonic standards. We have a list of about 12 people who are already on the "Beta Tester" list and a shipment of chassis is about to arrive. We hope to get demo units built in the next two weeks and will get in touch with those individuals with whom we've already had contact. Other interested parties are invited to contact us for special pre-order pricing (our email can be found at Personalized Advice for selecting High Quality Phono Preamps for your LP Turntable and Record Player — Darlington Labs )
Placed an order for a MM-6 last week, the testimonials in this thread were very persuasive and Keith was great to work with, gave me good advice on the extras. Went with a black front plate, mono switch, and upgraded clone 805 jacks. Really looking forward to the upgrade, hopefully will receive in a couple weeks.
Can anyone who has MM-6 please give a ballpark estimate on the length of the power cord? Might have to do some reconfiguring of setup before it arrives
The cord is slightly greater than 6 feet (6 foot 5 inches in a random sample). The cube is the same for the MM-5, MM-6 and MP-7 and the 230V should be similar (same vendor).
Aka 2 meters for everyone outside the US. Don't forget that the cord should run hard left out of the rear panel socket to keep it as far as possible from the signal leads. This might take up some cord length if the outlet is far off to the right.
I'm still liking it, but I succumbed to upgraditis and ordered the MP-7. Keith very graciously allowed full credit upon return of the MM-6. It's still a costly gamble in many ways but I'm keeping my fingers crossed. I'm looking for a little more extension at the frequency extremes and the reports from others who've done the comparison suggest the MP-7 has it.
Costly gamble? Holy smokes, you got full credit for your old one, and got the latest. I mean who does that? I'd be tinkled pink, you sound almost reticent.
You'd think. But I'm paying the 40% premium (plus exchange fees....twice) on what appears to be the same specs, which is why I chose the MM-6 in the first place. And this time I'm paying shipping 3x, not just once. Plus I got lucky the last time as the box got through customs without incurring any taxes. I'm hoping lightening strikes twice. In short, I'm paying a chunk more than if I had just bought the MP-7 in the first place. And in the end I'm not even sure my ears are up to the frequency extensions I'm hoping to hear lol.
If you believe it to be then it shall be. Your ears couldn't have suffered as much abuse as mine has...unbaffled two-stroke motorcycle racing, stoned headphone sessions, front of the stage at Winterland more times than I can count. Yet, I can still hear people mumbling curses at 50 yards.
Different reasons, but similar outcome hear. Ears still working, but not what they used to be... ... and yet, there I was the other day, finish sanding with the Porter Cable vac running for dust collection, sanding the turntable bases I was building (see recent posts for pics), without hearing protection. Sigh. I never learn. Many concerts in the 80's and 90's, many more reasons I probably could have taken better care of my ears. Anyway back to regularly scheduled programming....
Hearing loss is a funny thing. I've always worn ear protection but was caught off guard when someone was setting up a small CNC millwork router. The router uses a 1/4" collet and the guy who set it up was taking too big a bite out of the material, causing the bit to chatter in the chuck at the ultrasonic spindle speeds. I didn't even notice it until my ears began to feel like they were bleeding. By then I was wearing foam ear plugs and ear cups. The right one still rings 5yrs later. They say we can't hear above 20khz but if the noise is loud enough it can still do permanent damage....even if you can't hear it happening...
That's what Drake calls his home town. Short for the 416 area code, aka Toronto, T dot, The Big Smoke. Ps, I'm not a Drake fan lol.
