Currently six people I know are building preamps with DHTs as a result
of hearing the difference in their systems.

So do tell me about this 'difference'. Even better, what's the reason
for it ?

You have to hear it - nothing else will enable you to understand what
I'm talking about. We can discuss DHTs but I can't "tell" you what they
sound like.

A "cor" is the name commnonly used by musicians to
denote a French horn,

Well, actually, in UK orchestra slang "cor" almost always refers to cor
anglais. Horn is horn. In European languages, different story, hence
how it's marked on scores.

Andy Evans wrote:

Currently six people I know are building preamps with DHTs as a result
of hearing the difference in their systems.

So do tell me about this 'difference'. Even better, what's the reason
for it ?

You have to hear it - nothing else will enable you to understand what
I'm talking about. We can discuss DHTs but I can't "tell" you what they
sound like.

You can't even begin to describe it ?

Graham

"Eeyore" wrote in
message ...


Andy Evans wrote:

Currently six people I know are building preamps with DHTs as a result
of hearing the difference in their systems.

So do tell me about this 'difference'. Even better, what's the reason
for it ?

You have to hear it - nothing else will enable you to understand what
I'm talking about. We can discuss DHTs but I can't "tell" you what they
sound like.

You can't even begin to describe it ?

Graham


Probably no more than one could describe the sound of a
Bosendorfer concert grand piano to someone who has never
heard one. You need to hear it, Graham.

Iain

"Jim Lesurf" wrote in message
...
In article , Iain Churches
wrote:

"Jim Lesurf" wrote in message
...


[2] Who also moved on from valves to SS in due course and despite
being a keen musician tended then to be puzzled by the ongoing
arguments about valve amps. I can't recall him ever complaining that
without valves he couldn't tell an oboe from a cor any more...


Jim. A "cor" is the name commonly used by musicians to denote a
French horn, (the instrument first developed in France from the "cor de
chasse") and marked "cor" on most symphonic full scores.

Happy to accept what you say. That doesn't seem the usual practice in the
small collection of pocket scores I have, but I'd appreciate that full
professional scores may well be very different. Indeed, when I looked
just now in one of my old books on score reading, etc, some of the
examples show 'cor' for the horns, although others do not.

Yes of course there are variants. Most French and many German
composers seem to have used "cor", for French horns, the English
and Americans use "Horns"

I just typed cor to be brief in what was an aside. Afraid I'd long
forgotten this practice. Probably never had any idea it was common.

I'd be surprised if anyone genuinely misunderstood my meaning, given the
context, but apologies if anyone was.

No apologies needed Jim:-) My reply to you was "tongue in cheek"
If we had been speaking together in person, there would not have
been the slightest doubt of the meanings intended on either side,
I am sure. But as I mentioned elsewhere, you are renowned for
your precision in writing.


I don't think anyone on this planet could fail to discern between a
French horn and an oboe:-)

I think I'd agree. Particulary if they use full scores. :-)

You would be surprised how many do. I get tickets sometimes,
to attend the dress rehearsals of opera, ballets and symphony
concerts. The first five rows are packed with students armed
with scores and a selection of coloured pencils!

One also sees people at concerts with miniature scores, but
thankfully not often.

Regards
Iain

Iain Churches wrote:

"Eeyore" wrote
Andy Evans wrote:

Currently six people I know are building preamps with DHTs as a result
of hearing the difference in their systems.

So do tell me about this 'difference'. Even better, what's the reason
for it ?

You have to hear it - nothing else will enable you to understand what
I'm talking about. We can discuss DHTs but I can't "tell" you what they
sound like.

You can't even begin to describe it ?

Graham

Probably no more than one could describe the sound of a
Bosendorfer concert grand piano to someone who has never
heard one. You need to hear it, Graham.

Iain

I'm curious for sure. I'd want to measure it too or would that be some kind of
heresy ?

Graham

In article , Eeyore
wrote:


Iain Churches wrote:


Probably no more than one could describe the sound of a Bosendorfer
concert grand piano to someone who has never heard one. You need to
hear it, Graham.

I'm curious for sure. I'd want to measure it too or would that be some
kind of heresy ?

I'd also be interested in any evidence that it was real, due solely to the
sound, and wasn't something trivial/obvious like an alteration in the
frequency response. IIRC Andy made similar claims a while ago, but although
someone else commented on a possible reason for a different in device
(electronic) characteristics, no-one was able to provide anything more than
assertions of an audible difference that wasn't for a trivial reason.

Slainte,

Jim

--
Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm
Audio Misc http://www.st-and.demon.co.uk/AudioMisc/index.html
Armstrong Audio http://www.st-and.demon.co.uk/Audio/armstrong.html
Barbirolli Soc. http://www.st-and.demon.co.uk/JBSoc/JBSoc.html

In article , Iain Churches
wrote:

"Jim Lesurf" wrote in message
...


I don't think anyone on this planet could fail to discern between a
French horn and an oboe:-)

I think I'd agree. Particulary if they use full scores. :-)

You would be surprised how many do. I get tickets sometimes, to attend
the dress rehearsals of opera, ballets and symphony concerts. The first
five rows are packed with students armed with scores and a selection of
coloured pencils!

One also sees people at concerts with miniature scores, but thankfully
not often.

When I was younger - and even more foolish - than now, I did do this kind
of thing for a while. I still have some pocket scores with markings in
them. At the time some people regarded this as 'essential' if you really
wanted to detect all the nuances, etc. There was a sort of snobbery about
it as you might guess.

I just found it often got in the way of listening, and was a distraction
once you were reasonably familiar with the piece. So I decided it was a
waste of time for anyone who didn't have to 'study' the work. I prefered to
enjoy the music rather than wanting to study it.

Slainte,

Jim

--
Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm
Audio Misc http://www.st-and.demon.co.uk/AudioMisc/index.html
Armstrong Audio http://www.st-and.demon.co.uk/Audio/armstrong.html
Barbirolli Soc. http://www.st-and.demon.co.uk/JBSoc/JBSoc.html

"Andy Evans" wrote in message
oups.com...
A "cor" is the name commnonly used by musicians to
denote a French horn,

Well, actually, in UK orchestra slang "cor" almost always refers to cor
anglais. Horn is horn. In European languages, different story, hence
how it's marked on scores.

Andy, I covered the slang eventuality when I stated that a
saxophone was not a horn either (though the word is often
used in slang for both saxophone and trumpet) As a jazz player
you will be familiar with the term.

The only book on orchestration and notation to I have to hand,
is Davidson, "The Instruments of the Orchestra". It states:
"Cor. The pitch of the instrument should be specified at
the start of the first stave i.e Cor Bb"

This cannot possibly refer to the cor Anglais which is
a transposing instrument in the key of F (i.e. one plays the
note C to reproduce F concert) So the part must be written
a perfect fifth higher than it is to sound.

Just as you say, there are bound be variants of usage. I some
countries, what we call the viola is known as the alto-violin.
The musical scale in German notation contains the note "H" !!

So that the standard annotation of A, Bb, B, C becomes
in German nomenclature ABHC. Students of Bach all
recognise the frequent use of the four note B-A-C-H
motif in the Art of Fuge which the composer used to spell
his name.

Music should be fun!

But, let's not take this all too seriously. It's purely
academic. But then, on second thoughts, Jim *is*
an academic:-)

Regards to all
Iain

I'm curious for sure. I'd want to measure it too or would that be some
kind of
heresy ? Gr

I intend to put the preamps through a whole load of tests when the
prototype is ready. No heresy at all in tests. Andy