Gabby Williams | The Boneyard

Gabby Williams

Something that never entered into the recent threads devoted to her migraine issue is it's extremely unlikely that this is a recent development for our most improved player in the nation. What's more likely is that she's been working through these the whole time she's been at UConn and even before then. It sounds like everyone in here knows how much more impressive this makes her accomplishments but I'll point it out all the same. Supergirl wears shorts.
 
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Gotta love Gabby. I also admire Geno for selecting folks like her, who value their education in addition to their sport. A couple of things:

"I think the person who has already greatly affected my future has been my teammate/best friend Kia Nurse." -- If there's another reason to love Kia, this is it. She's really someone who makes those around her better.

"I also just like the idea of listening to one album at a time rather than a random playlist." -- I have gotten rid of all my vinyl (many hundreds of albums), but still listen only to albums, whether on the CD player or ipod. I was quite resistant to going digital, but love being able to listen to hours at a time by loading 6 discs in the changer.
 
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noirwestern said:
Ehhh, kids. Attention spans are about what they used to be.
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Im shocked cause she talked like a "collector". I sold a crate of albums back in 2007 and regret it every day. I was so excited about "downloading" music as needed and putting it on a memory I said the hell with lugging all this stuff around or moving it from room to room. I knew I'd never listen to any of them again so why do I need them smh. I still have a Technics turntable and a few of the albums (local talent only) but I regret it big time
 
DaddyChoc said:
Im shocked cause she talked like a "collector". I sold a crate of albums back in 2007 and regret it every day. I was so excited about "downloading" music as needed and putting it on a memory I said the hell with lugging all this stuff around or moving it from room to room. I knew I'd never listen to any of them again so why do I need them smh. I still have a Technics turntable and a few of the albums (local talent only) but I regret it big time
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I think the poster was saying that he got rid of his albums, not that Gabby got rid of hers.
 
I liked where she talked about how Kia supported her early on. We do get some really remarkable young women in this program. And it's by design, not happenstance.
 
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DaddyChoc said:
Im shocked cause she talked like a "collector". I sold a crate of albums back in 2007 and regret it every day. I was so excited about "downloading" music as needed and putting it on a memory I said the hell with lugging all this stuff around or moving it from room to room. I knew I'd never listen to any of them again so why do I need them smh. I still have a Technics turntable and a few of the albums (local talent only) but I regret it big time
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Over the years I've lost or had stolen about 200 records. I still have about 7K, and still buying and counting, so I can't complain.
 
DaddyChoc said:
oh... that makes sense, I knew Gabby is smarter than both of us
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To each his own -- I don't regret for a moment moving from LPs to CDs and a few downloads.

I ripped about 2-300 of my LPs to CD, thinking they might not ever be available again. I've bought most of those. For some reason the old Kicking Mule (folk label that went out of business maybe 1990 or so) catalogue is still in legal limbo, so hasn't been re-released. There's another album, Caress me pretty music by Alan O'Day, that I've been looking for that's also not available. There's loads of stuff that I've bought on CD that I never thought would be available -- from old jazz like Yusef Lateef to prog rock like Gentle Giant to folk like Steeleye Span and Richard and MimiFarina to Dvorak's symphonies by Istvan Kertesz and the London Symphony. It's really wonderful.

I have downloaded a handful of albums that either were not available as hardcopies or were prohibitively expensive -- a couple older Stevie Wonders, the two by the Doors after Jim died, a few classical.

So I have a lot of home-burned CDs digitized from LPs that reside in the workshop now, with fresh commercial copies in the living room.
 
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JordyG said:
Over the years I've lost or had stolen about 200 records. I still have about 7K, and still buying and counting, so I can't complain.
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Wow, and I thought I had a problem with "only" 2-3k CDs. ;)
 
Bigboote said:
To each his own -- I don't regret for a moment moving from LPs to CDs and a few downloads.

I ripped about 2-300 of my LPs to CD, thinking they might not ever be available again. I've bought most of those. For some reason the old Kicking Mule (folk label that went out of business maybe 1990 or so) catalogue is still in legal limbo, so hasn't been re-released. There's another album, Caress me pretty music by Alan O'Day, that I've been looking for that's also not available. There's loads of stuff that I've bought on CD that I never thought would be available -- from old jazz like Yusef Lateef to prog rock like Gentle Giant to folk like Steeleye Span and Richard to Dvorak's symphonies by Istvan Kertesz and the London Symphony. It's really wonderful.

I have downloaded a handful of albums that either were not available as hardcopies or were prohibitively expensive -- a couple older Stevie Wonders, the two by the Doors after Jim died, a few classical.

So I have a lot of home-burned CDs digitized from LPs that reside in the workshop now, with fresh commercial copies in the living room.
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I think its just the "album" feel of things... vinyl
 
DaddyChoc said:
I think its just the "album" feel of things... vinyl
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How did this become OT?

As an audiophile for the last 35 years who actually bought his first audiophile system (and didn't know it) in 1972 (!), I get to hear the newest and best of all the formats: CD's, SACD's, HiRez downloads, and vinyl. Because I know a couple of people who review online I get to hear all of the latest equipment in a controlled environment with which I am intimately familiar, where subtle changes can actually become telescopically large. Components as cheap as a few thousand dollars to a few hundred thousand each. Why have I remained an analog lover when all of these other formats are clearly more manageable? Because vinyl remains the superior format.

When I began to seriously explore this stuff back in 1983 my hearing was impressive. I could still hear a 20k hz test tone. My hearing has narrowed since then, but there isn't a lot of information up or down there. I compare components to real music in a real space. I don't go to clubs in order to listen to much amplified music anymore. Most of the music I pay to listen to is unamplified, played by real musicians who are usually just a few feet away from me. This is my baseline, and vinyl does this (still) better than any format. It, to me, sounds like real musician's in a real space playing in real time. Vinyl pulls me into the music like no other, even when not done well, and gives me far less listeners fatigue. 35 yeas of ear and language training now means I can walk into a room analyze and state specifically what I like and don't like about a system within minutes. The common thing is to have someone whose ears I trust walk into the same room, walk out and give the exact same analysis. Geekdom at its finest.

I think this viewpoint remains controversial to some who will insist that digital is bit perfect and when viewed through their measurements is perfect. My argument has always been that music is not a digit, but an organic waveform that we experience not with our ears, but with our entire ear/brain/body. Music is a sensory, empirical experience, not a mechanical, objective one. I may no longer hear that 15K hz tone, but my brain/body senses it. I've often seen so many non audiophiles listen to digital and enjoy it. But when vinyl is put on their body and demeanor relaxes.

So, why do I love analog? Because.
 
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I agree that for many types of music, analog is better. Sound is a fundamentally analog thing. For a lot of classical, folk, etc., the incredible quiet parts are better with digital.

For me the biggest reason for going digital was merely convenience. I don’t spend much time at all just listening, so superior sound isn’t a driving factor. But being able to put six hours of music on the platter for me flat out beats having to put a new record on every 15-25 minutes. And as Jordy pointed out, CD’s take up much less space.
 
JordyG said:
How did this become OT?

As an audiophile for the last 35 years who actually bought his first audiophile system (and didn't know it) in 1972 (!), I get to hear the newest and best of all the formats: CD's, SACD's, HiRez downloads, and vinyl. Because I know a couple of people who review online I get to hear all of the latest equipment in a controlled environment in which I am intimately familiar, where subtle changes can actually become telescopically large. Components as cheap as a few thousand dollars to a few hundred thousand each. Why have I remained an analog lover when all of these other formats are clearly more manageable? Because vinyl remains the superior format.

When I began to seriously explore this stuff back in 1983 my hearing was impressive. I could still hear a 20k hz test tone. My hearing has narrowed since then, but there isn't a lot of information up or down there. I compare components to real music in a real space. I don't go to clubs in order to listen to much amplified music anymore. Most of the music I pay to listen to is unamplified, played by real musicians who are usually just a few feet away from me. This is my baseline, and vinyl does this (still) better than any format. It, to me, sounds like real musician's in a real space playing in real time. Vinyl pulls me into the music like no other, even when not done well, and gives me far less listeners fatigue. 35 yeas of ear and language training now means I can walk into a room analyze and state specifically what I like and don't like within minutes. The common thing is to have someone whose ears I trust walk into the same room, walk out and give the exact same analysis. Geekdom at its finest.

I think this viewpoint remains controversial to some who will insist that digital is bit perfect and when viewed through their measurements is perfect. My argument has always been that music is not a digit, but an organic waveform that we experience not with our ears, but with our entire ear/brain/body. Music is a sensory, empirical experience, not a mechanical, objective one. I may no longer hear that 15K hz tone, but my brain/body senses it. I've often seen so many non audiophiles listen to digital and enjoy it. But when vinyl is put on their body and demeanor relaxes.

So, why do I love analog? Because.
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can you dance... on beat? :D
 
JordyG said:
How did this become OT?

As an audiophile for the last 35 years who actually bought his first audiophile system (and didn't know it) in 1972 (!), I get to hear the newest and best of all the formats: CD's, SACD's, HiRez downloads, and vinyl. Because I know a couple of people who review online I get to hear all of the latest equipment in a controlled environment in which I am intimately familiar, where subtle changes can actually become telescopically large. Components as cheap as a few thousand dollars to a few hundred thousand each. Why have I remained an analog lover when all of these other formats are clearly more manageable? Because vinyl remains the superior format.

When I began to seriously explore this stuff back in 1983 my hearing was impressive. I could still hear a 20k hz test tone. My hearing has narrowed since then, but there isn't a lot of information up or down there. I compare components to real music in a real space. I don't go to clubs in order to listen to much amplified music anymore. Most of the music I pay to listen to is unamplified, played by real musicians who are usually just a few feet away from me. This is my baseline, and vinyl does this (still) better than any format. It, to me, sounds like real musician's in a real space playing in real time. Vinyl pulls me into the music like no other, even when not done well, and gives me far less listeners fatigue. 35 yeas of ear and language training now means I can walk into a room analyze and state specifically what I like and don't like within minutes. The common thing is to have someone whose ears I trust walk into the same room, walk out and give the exact same analysis. Geekdom at its finest.

I think this viewpoint remains controversial to some who will insist that digital is bit perfect and when viewed through their measurements is perfect. My argument has always been that music is not a digit, but an organic waveform that we experience not with our ears, but with our entire ear/brain/body. Music is a sensory, empirical experience, not a mechanical, objective one. I may no longer hear that 15K hz tone, but my brain/body senses it. I've often seen so many non audiophiles listen to digital and enjoy it. But when vinyl is put on their body and demeanor relaxes.

So, why do I love analog? Because.
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Two thumbs up.

PCM digital = pre-echo, post-echo, phase issues etc. These are still with us, although the new MQA (which I have not heard) appears to be a big improvement in this regard.

Such artifacts can be much more offensive to the ear/brain than simple low level noise. Filters and jitter reduction have both improved a lot since early digital of the '80s so the sound is much better, despite both the '80s digital file and today's file being bit-identical when compared. So as you rightly infer and Yoda might say, "S/N ratio, THD and raw bandwidth do not the whole story tell!" Recreating the illusion of a live space is--for many listeners--more complicated than that.
 
BigBootie Go here, found with simple google search, I can't say whether the web site is good or bad, but looks like a legit on for your Alan O'Day; Alan O'Day - Caress Me Pretty Music

When you go to this page, go on the right side where it states "12 for sale" click that and there is info and price for each recording.



Bigboote said:
To each his own -- I don't regret for a moment moving from LPs to CDs and a few downloads.

I ripped about 2-300 of my LPs to CD, thinking they might not ever be available again. I've bought most of those. For some reason the old Kicking Mule (folk label that went out of business maybe 1990 or so) catalogue is still in legal limbo, so hasn't been re-released. There's another album, Caress me pretty music by Alan O'Day, that I've been looking for that's also not available. There's loads of stuff that I've bought on CD that I never thought would be available -- from old jazz like Yusef Lateef to prog rock like Gentle Giant to folk like Steeleye Span and Richard to Dvorak's symphonies by Istvan Kertesz and the London Symphony. It's really wonderful.
Expand ...
 
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CTexpatinFL said:
BigBootie Go here, found with simple google search, I can't say whether the web site is good or bad, but looks like a legit on for your Alan O'Day; Alan O'Day - Caress Me Pretty Music

When you go to this page, go on the right side where it states "12 for sale" click that and there is info and price for each recording.
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Thanks, Expat.

I was actually looking for a CD copy; this is an LP. I have ripped the LP to CD. I've been listening to it a LOT lately; I just love the album.
 
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VAMike23 said:
Two thumbs up.

PCM digital = pre-echo, post-echo, phase issues etc. These are still with us, although the new MQA (which I have not heard) appears to be a big improvement in this regard.

Such artifacts can be much more offensive to the ear/brain than simple low level noise. Filters and jitter reduction have both improved a lot since early digital of the '80s so the sound is much better, despite both the '80s digital file and today's file being bit-identical when compared. So as you rightly infer and Yoda might say, "S/N ratio, THD and raw bandwidth do not the whole story tell!" Recreating the illusion of a live space is--for many listeners--more complicated than that.
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Well lookee here another audiophile. Where did you come from? I thought we were rarer than hen's teeth.

Indeed as you know the human ear/body/brain is the final arbiter of your preference in sound and music. I've had many an argument with objectivist's on and off line who say if the waveform entering their measuring devices is identical to the one exiting that proves the sound is perfect. I of course have argued that if the human ear existed in a vacuum that would indeed be the case, and that unfortunately for objectivist's it doesn't. It is inextricably connected to a brain/body. I've argued that if the human ear/brain/body can perceive frequencies below 20hz's why do they think that same gestalt can't perceive those frequencies above 2oK hz's? I've argued to little avail that those very indices and equipment they rely on today were invented to measure what the human ear/brain/body already perceives. If what I hear cannot be measured then perhaps those indices are at fault because the appropriate equipment hasn't been invented yet. Objectivist's ignored these comments until the well known factor of jitter was shown to be far more important than they'd believed. They were also shown by cognitive scientists how people react to odd order distortions above 20K hz. Then, which is their nature, objectivist's moved their goalposts.

For years as you know audiophiles complained about the odd order distortions introduced by the filters used in digital, some of which are embedded in the recording process. We complained that even order distortions, those introduced in analog production and reproduction are better not because they are merely pleasing to the ear, but occur in abundance in the natural universe: The sound of a bird singing, the rush of the wind, the human heartbeat. All use even order harmonics. Odd order harmonics sound odd to us because they occur far less frequently and are harsh to the human experience. We explained that phono cartridges are able to convey frequencies far above 20k hz. Some as high as 50k. This allows all of the overtones of instruments, which by nature produce a wealth of even order harmonics, to be reproduced. Even things such as groove rush (not tics and pops) are even order. I believe in cleaning records. For that I own an Audio Desk ultrasonic cleaner. There is nothing else like it. No vacuum cleaner comes within spitting distance.

Again as you know, MQA is a logarithm that essentially repackages the digital signal, then unpacks it at the user end. It has its adherents, and boy does it have its detractors. I've just purchased the Mytek Brooklyn DAC+ along with the Schiit Audio Ragnarok, a 3m run of Audioquest Diamond USB cable, Synergistic Audio power cables, and Synergistic Audio Tungsten IC. I'm still awaiting my Wywires Platinum headphone cable and my JPS Abyss 1266 Phi headphones. I haven't had much if any experience comparing MQA with standard Red Book or HiRez files, but that's upcoming. I'm a big fan of DSD (native) rather than PCM, although much DSD sounds more homogenized than analog. I'll keep you posted.
 
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Scud49 said:
But I sure miss those big cover photos/art work...!
In my den, I used to put them on my old wood wall, along with a poster or 2 of some of my fav artists/groups. :D
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Oh, yeah, try to follow the lyrics and story of Lamb Lies Down on Broadway from the little CD liner. I’m not sure it’s even one point.
 
JordyG said:
When I began to seriously explore this stuff back in 1983 my hearing was impressive. I could still hear a 20k hz test tone. My hearing has narrowed since then, but there isn't a lot of information up or down there.
So, why do I love analog? Because.
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Youth is wasted on the young.

I enjoyed your post. Color me envious.

Had the pleasure of listening to a $100K system many years ago. The owner played several things, including something from the late '50s. Woodwind quintet maybe. (I remember a flute). He made the point that recording technology (analog) exceeded reproduction technology--the artists never heard the playback as well as it could be heard decades later.
 
Gus Mahler said:
Youth is wasted on the young.

I enjoyed your post. Color me envious.

Had the pleasure of listening to a $100K system many years ago. The owner played several things, including something from the late '50s. Woodwind quintet maybe. (I remember a flute). He made the point that recording technology (analog) exceeded reproduction technology--the artists never heard the playback as well as it could be heard decades later.
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Indeed, indeed. Today's cartridges with their unique stylus forms are still digging more and more information 0ut of the grooves. It's amazing. Of course these hi-end cartridges are hand made with the tiny transformers wound slowly by hand by a single person. In a room with a microscope. Not that many are made and the best are stratospherically priced. Even the lesser priced ones, 1K or so, are hand made and wound. My buddy writes for Positive Feedback, and online magazine. His speakers were about 70K brand new, and yes, his system well exceeds 100K.
 
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