Knuckledragger

Doing lights in the biggest club in NoHo, which is a lot less exciting than it sounds. It's not even 11:30 and the dnb DJs are slinging the temper tantrum techstep like it's going out of style (which hopefully it is.) There was an MC in here, who was so bad I was seriously considering putting my lighting rig on autopilot and going out to smoke a backwoods. In fact, I think I might do that anyway.... As an aside, when I smoke Backwords cigars at events that attract WASPafarians and other would-be Rastas, I invariably get questioned "Is that a blunt" or "yo, let me get a hit." One of these days, I'm going actually let them do that and watch the coughing fit ensue.

There are a few remotely danceable tracks on Selected Ambient Works: 85-92 (henceforth referred to as "SAW8592") and when it came it out, "Digeridoo" was something of an underground dancefloor anthem. That's no mean feat as the track is 150BPM. As I said before, "IDM" is more than a bit of a misnomer, and the meaning of the term has changed significantly over the years. RDJ's label (Rephlex) has never endorsed the name "IDM." They prefer the eyeroll-inducing "Braindance" instead.

All of those lenses are nice, but make sure you really want the 100-400L. At the short end, its performance is weak by L standards (and not great by "normal" standards). It is a heavy piece of glass (over 3 lbs) and a push-pull zoom. Certainly, nothing else covers the range of focal lengths as well as the 100-400L, but personally, I'd rather have a 70-200 F/4 IS and maybe a 300mm or 400mm prime, later. YMMV, of course, but deffo try out the lens (try to rent it for a day or two) before you cough up for it. The 17-40L wins on full frame, APS-C, and APS-H sensors. It's also a "bargain" by L standards. I'd start with it.

- Knock knock. - Who's there? - To. - To who? - To whom. ...I'll get my coat.

Only 17 years after it came out, 15+ years since I first heard of the artist, over a decade since I was aware of the album's existence, I finally bought myself a copy of YAP's 1993 self-titled release.

This is a very specific "deal" but it's worth noting nonetheless. I have previously mentioned how much I like the first Young American Primitive album. The CD itself is quite rare and will never be repressed because of sample clearance issues. Copies change hands for well over a hundred dollars. Back in 2001, I let a copy slip through my hands for $40, and I'm still kicking myself for it. Well.. This outfit apparently has a pile of NOS copies: Young American Primitive by Young American Primitive - eBay (item 250633619515 end time Jun-14-10 12:58:21 PDT) They sold through a lot of 10 at $30 each and now they're working through another 10. Several people I know on Discogs ordered from the first lot and said that the service was slow, but the CD did evenetually arrive. I just bought my copy, so there's 5 left.

I was le tired, so I had a nap. Now I must fire ze missiles prepare to do lights in a nightclub tonight. It's a "local heroes" night, which means there will be a hoard of reggae, dubstep and dnb DJs (none of whom I particularly like). It's events like this that pay for things like last weekend's madness, however.

I like Bluetech. In my observation his music gets lumped under the "downtempo" umbrella. He also gets included with the "psy chill" scene, which in spite of its rather awkward name, has produced some real gems. His debut release was on the mighty Waveform Records, so I'm going to call him ambient dub. ...and ye, Dusty, you should. I've got an extended post in the works, but right now I have to put together a lighting rig for a reggae/dubstep/dnb party. Good thing I've got earplugs.

I got a bottle of Zyrtec, as my doctor prescribed. I also ordered eight 8x10" prints. One of this: RIP, Kiki Two each of these: This one came out really poorly, I'm afraid. \ ...and 3 of these: The idea with the IR prints is that I'm going to frame them and sell them. I'll, uh, let you know how that goes.

If the 5400 had a digital input, I'd already have one. The local Spearit Sound is a Cambridge Audio dealer. Over the years I have heard quite a few CA CDPs. A friend of mine has owned two of them. So far, none have been overly to my liking. From what I remember, the lower end ones are overly bright, and the upper models lack impact. To be fair, I have not heard the 840c. Likewise, I haven't auditioned any Cambridge gear in about 3 years now so perhaps I'm due. For purposes of this discussion, I'm really only talking about units that are dedicated DACs, or have a digital input. I don't do much with physical media these days except for ripping it.

Picked some prints I ordered, and gave my NeilMed neti pot system its first go. Fortunately, it went better for than this:

I've had my CDP-2 for a year and a half now, and I really like it. It's the best source I've ever owned. It doesn't have all of the slam that the four DAC chips inside my Adcom GCD-750 produce, but it's much more nimble sounding. Oddly enough, it has great synergy with my 12L Actives. It's not a fair fight, but I prefer the sound of my CDP-2 to my humble Pico DAC (which is great for what it is.) In fact, I like it better than any of the other DACs in my house. The CDP-2 goes for $1200-ish new, AFAIK. What I'd like hear about is any DACs in the price range that best it. I read in another thread on here that the $1500 price bracket for DACs is a crowded one. A number of head-casers own or have owned the CDP-2 as well as other shiny DACs. I'm curious how the CDP-2 holds up against similarly priced competition. Also, how much more would one have to spend to thoroughly best it. I'm guessing most candidates would cost at least twice as much and involve tubes. Two obvious examples would be the Capitole and this damn thing.

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My Art Shame: The Made-Up Movie They Tried To BAN!