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Sunday, March 29, 2026

Sound Techniques Studio 💫

 


At the Chime of a City Clock: If those walls could sing, sing, sing, sing, sing, sing, sing, sing, sing… The esteemed Richard Morton Jack will keep me honest, but if I’m tracking my London musical history spot on, through this door at 46a Old Church St. in Chelsea at one time or another walked the immortal Nick Drake, Syd Barrett and Pink Floyd, Richard Thompson and Fairport Convention, and Sandy Denny and Pentangle, as well as Cat Stevens, Elton John, Francoise Hardy, John Martyn, Elton John, Vashti Bunyan, The Incredible String Band, The Yardbirds and other musical luminaries—all to record at Sound Techniques, which was open from 1965 to 1976, with sessions overseen by the great engineer John Wood and producer Joe Boyd. 

https://en.wikipedia.org/wiki/Sound_Techniques



A book worth waiting for 

It beggars belief that “Arnold Layne” and “See Emily Play”—my fave Pink Floyd tracks—were done here. But my mind splits open because this is where John Cale of The Velvet Underground (on celeste, piano, and harpsichord) worked with Nick on “Northern Sky”—“the greatest English love song of all time”, to quote the New Musical Express. Nick recorded all three of his genius albums here: “Five Leaves Left” (1969), “Bryter Layter” (1971) and “Pink Moon” (1972) plus his final five tracks (never released in his lifetime). Can you imagine watching Nick put down “River Man” live in the studio with those ethereal strings behind him?

Thanks to Greg Ogarrio for the above text and here below picture.

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Love is in the air… core-less transformers

 

An essay by Misho Myronov 💫


It’s never too late to learn, to dig deeper, and to move to the next level.


For many years, I treated transformer cores as a necessary evil. Something unavoidable — helpful in many ways, but also inherently damaging. A compromise we could only try to balance, but never eliminate.


A few years ago, my perspective began to change.


If we cannot eliminate cores across the entire frequency spectrum, perhaps we can eliminate them where they do the most harm — in a narrover band. Exactly in the range where they stop helping and only do the damage to the signal.


Any magnetic core material introduces losses and distortions at all frequencies — even the most exotic cores. They differ in behavior, which is why certain materials are preferred in specific compromises. But the fundamental issue remains.


At low frequencies, we can tolerate these losses. In fact, we have no real alternative — a coreless solution at 10 Hz is unrealistic.




But at higher frequencies, the situation is different.


Here, we do not want anything that steals micro-details, introduces distortion, adds coloration, or affects frequency response.


For many years, I had no interest in multi-way amplification. I have always been — and still am — a big fan of full-range drivers. This realm requires the shortest and most transparent amplification path possible. I hope I’ve learned something along this way.


Discovering Altec two-way systems (and not only Altec, of course — you know), I faced a fundamental challenge: matching two very different transducers — a bass driver and a mid/high-frequency compression driver.


Compression drivers are significantly more efficient than bass drivers. Feeding both from the same amplifier inevitably requires attenuation of the mid/high band — and attenuation practically always means losses.


One solution was to use transformers for level matching. Transformation is always preferable to attenuation. This led me to design a series crossover where the transformer also functions as an inductor — resulting in a minimalistic network with only two elements, performing both frequency division and level matching.


But we are never fully satisfied, even with good results. We keep searching.


This search led me to a rather radical idea — one that seemed crazy at first (and even at second glance): using a coreless output transformer for the high-frequency channel in a two-way amplification system.


Since I had already been designing and building my own output transformers, and conducting extensive experiments, prototyping was a natural step.


This is how the first “Wooden Output Transformer” was born, along with an experimental two-channel amplifier.


It worked flawlessly with a crossover point at 2 kHz — and sounded absolutely fantastic with Altec duplex drivers. In fact, I had never heard the 604 sound this good — and I do have experience with Altecs…


Then the world changed — 2020 and everything that followed. Many things and ideas were postponed, some forgotten.


But the idea of extending the use of coreless transformers to lower frequencies — below 1.5–2 kHz — never left me.


Eventually, a new design was developed. After extensive testing, it proved to be a success.


The result: the first tube single-ended two-channel amplifier with a 500 Hz crossover point, using a coreless (air-core) output transformer.


Both objective measurements and subjective listening confirmed the result: exceptionally positive.


I will continue exploring this path — especially in the direction of multi-way amplification.


Stay tuned.


#WoodenAmp

#WoodenTransformer



Saturday, March 28, 2026

Flea - Honora 💫

 


Worth digging 💫


Thanking Frank for suggesting this 💫



Moondog (Columbia 1969)

 







The self-taught music genius, the street musician beloved by Igor Stravinsky, Morton Feldman and Philip Glass.

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American Gothic 💫

 






Friday, March 27, 2026

Living like it’s 1970, with no regrets 💫😎☺️😎💫

 


I’m enjoying same music I was enjoying 55 years ago, and I feel so shamelessly comfortable…

Today I found three gems and couldn’t resist also if only a sought after NM copy on RCA of Steeleye Span’s “Hark! the Village Waits” wasn’t already in my collection.




Only had this amazing album on a Mooncrest reissue: this is a masterpiece and sounds like a super-disk!

Amazing appreciating the unbelievable earlier, faster and more straightforward version of “The Blacksmith” on “Hark!…” and the slower, epically majestic, richer rendition on “Please to see the King”.




This B&C 1971 NM copy (the second I buy in a few weeks!) is including the original insert… I guess it’s about time I’ll give away my Mooncrest’s copy.



A Desert Island disc, nice getting a spare… 



These records - also if half a century old - sound so different than the nowadays more commonly found reissues: the sparingly heard clicks and pops aren’t annoying but like little wrinkles on your loved one face… you loved her most of your life so you also love the time passing signs.

These discs and music are heirloom and DNA to me.

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David Sylvian - Camphor II (2026)

 


A David Sylvian’s new record is always a joy for the soul and ears… also if it’s “just” a compilation of remixed old music and some new material, BUT, wow!!! 

What a remix and what music: it sounds brand new and amazingly fresh and intriguing.





A kind of white 







That’s a nice one, don’t to be missed!

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Wednesday, March 25, 2026

John Coltrane - A Love Supreme 💫

 


This “Platinum Edition” 4 x SHM disks, made in Japan 🇯🇵 contains several gems: studio outtakes and alternate takes and a Seattle concert truly worth the expense.





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The Stooges

 

Iggy Stooge and his acolytes, produced by John Cale, in 1969: this music aged sooo well… it didn’t age, at all.





It’s fresh, raw and young, so full of life.

I never get tired of The Stooges’ eponymous one.

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Kuzma CAR-70 cartridge 😳

The world’s most expensive phono cartridge - a $42,000 engineering

 masterpiece (diamond cantilever!!!) that only a handful of people will ever 

see or hear.

 



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Another Pentangle’s member passed away - RIP Terry Cox 💫

 


After Bert Jansch, John Renbourn and Danny Thompson… also Terry Cox left us 💫




He was such an unique drummer and musician 💫



Tuesday, March 24, 2026

Kraftwerk’s TEE reimagined on Reel to Reel 💫

 








Dust never sleeps 😳

 




I know, I know… those rags covering my audio gears are ugly, but better than dust-covered stuffs minutes after cleaning.


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Nico 💫

 



 – Nico playing her beloved harmonium...



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Monday, March 23, 2026

Lucio Battisti and his ReVox A77

 


This (apparently) humble tape machine was enough for demos and home recordings of his masterpieces.

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The one and only Telefunken VF14

 


As used in Neumann U47









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A Studer C37 is for sale in UK

 


The Studer C37 is a professional-quality, valve-based, stereo (2-track) machine, on which the J37 4-track was built, both used extensively on many recordings by The Beatles at Abbey Road Studios. Manufactured in Switzerland by STUDER, known for its tank-like build quality, modular design, and exceptional sound. 

Provenance: This specific C37 master recorder was acquired by Morgan Studios in the late 1960's and was eventually bought by a sound engineer in the 1980's. I acquired this machine in the late 1990's. In 2019 a professional nut and bolt restoration was undertaken by Neil Perry at Raw State Audio in Box, Wiltshire (ref. Real World Studios). 

This short video shows my C37 in action last year (2025)
https://www.youtube.com/watch?v=_G89uIku8lY











The machine is mounted in a cabinet with wheels (see photos) plus instruction manual and a set of spare valves. 


List of historic recordings from this machine at Morgan studios:

Long playing:


The Doughnut in Granny's Greenhouse (1968) – Bonzo Dog Doo-Dah Band
Disposable (1968) – The Deviants
Tons of Sobs (1969) – Free
Audience (1969) – Audience
Blind Faith (1969) – Blind Faith
Ahead Rings Out (1969) – Blodwyn Pig
Free (1969) – Free
Led Zeppelin II (1969) – Led Zeppelin (partially)
Ssssh (1969) – Ten Years After
Stand Up (1969) – Jethro Tull
Supertramp (1969–1970) – Supertramp
1970s
McCartney (1970) – Paul McCartney
Lola Versus Powerman and the Moneygoround, Part One (1970) – The Kinks
Open Road (1970) – Donovan
Gasoline Alley (1970) – Rod Stewart
It'll All Work Out in Boomland (1970) – T2
Benefit (1970) – Jethro Tull
Tea for the Tillerman (1970) – Cat Stevens
Friend's Friend's Friend (1970) – Audience
Long Player (portions) (1971) – Faces
Meddle (1971) – Pink Floyd
Every Picture Tells a Story (1971) – Rod Stewart
St Radigunds (May/June 1971) – Spirogyra[citation needed]
Anticipation (1971) – Carly Simon
Can I Have My Money Back? (1971) – Gerry Rafferty
A Tear And A Smile (1971) – Tir na nOg
Madman Across the Water (portions) (1971) – Elton John[citation needed]
America (1971) – America
Teaser and the Firecat (1971) – Cat Stevens
Thick as a Brick (1972) – Jethro Tull
Waterfall (1972) – If
The Six Wives of Henry VIII (1972) – Rick Wakeman
Lou Reed (1972) – Lou Reed
Catch Bull at Four (1972) – Cat Stevens
Wringing Applause (1972) – B. A. Robertson
Never a Dull Moment (1972) – Rod Stewart
Lady Lake (1972) – Gnidrolog
The Chieftains 4 (1972–1973) – The Chieftains
Greenslade – (1972–1973) Greenslade
There Goes Rhymin' Simon (1973 – one song) – Paul Simon
Camel (1973) – Camel
A Passion Play (1973) – Jethro Tull
Tales from Topographic Oceans (1973) – Yes
Billion Dollar Babies (1973) – Alice Cooper
Sabbath Bloody Sabbath (1973) – Black Sabbath
Bedside Manners Are Extra (1973) – Greenslade
Orexis of Death (1973) – Necromandus
Berlin (1973) – Lou Reed
War Child (1974) – Jethro Tull
Back to the Night (1974) – Joan Armatrading
Jumblequeen (1974) – Bridget St John
The Psychomodo (1974) – Cockney Rebel
Smiler (1974) – Rod Stewart
Spyglass Guest (1974) – Greenslade
Now We Are Six (1974) – Steeleye Span
Phenomenon (1974) – UFO
The Prince of Heaven's Eyes (1974) – Fruupp
The Myths and Legends of King Arthur and the Knights of the Round Table (1974–1975) – Rick Wakeman
Time and Tide (1975) – Greenslade
Sabotage (1975) – Black Sabbath
Commoners Crown (1975) – Steeleye Span
Force It (1975) – UFO
Return to Fantasy (1975) – Uriah Heep
Fish Out of Water (1975) – Chris Squire
Dance (1975) – Arthur Brown
Sad Wings of Destiny (1976) – Judas Priest
No Heavy Petting (1976) – UFO
Answer Me (1976) – Barbara Dickson
Electric Savage (1976–1977) – Colosseum II
Baris Mancho (1976) – Barış Manço
She Wouldn't Understand (1976) – The Goodies
The World Starts Tonight (1977) – Bonnie Tyler
Songs from the Wood (1977) – Jethro Tull
Peter Gabriel I (1977) – Peter Gabriel
Chisholm in My Bosom (1977) – Arthur Brown
The Quiet Zone/The Pleasure Dome (1977) – Van der Graaf Generator
At the End of a Perfect Day (1977) – Chris de Burgh
Crna dama/Black Lady (1977/1978) – Smak
Squeeze (1978) – Squeeze
Natural Force (1978) – Bonnie Tyler
Variations (1978) – Andrew Lloyd Webber
Back on the Streets (1978) – Gary Moore
Three Imaginary Boys (1979) – The Cure
1980s
Seventeen Seconds (1980) – The Cure
Wild Cat (1980) – Tygers of Pan Tang
Lampefeber (1980) – C. V. Moto [5]
The Affectionate Punch (1980) – The Associates
Bucks Fizz (1981) – Bucks Fizz
Spellbound (1981) – Tygers of Pan Tang
Renegade (1981) – Thin Lizzy
Teddy Boys Don't Knit (1981) – Vivian Stanshall
Faith (1981) – The Cure
Iron Fist (1982) – Motörhead
Tight Fit (1982) – Tight Fit
Heartbeat City (1984) – The Cars
Secret Secrets (1985) – Joan Armatrading
The Colour of Spring (1986) – Talk Talk[6]
The Stone Roses (1989) – The Stone Roses[7]


Singles:


"Pinball Wizard" (1969) – The Who
"Riki Tiki Tavi" (1970) - Donovan
"Lola" (1970) – The Kinks
"Woodstock" (1970) – Matthews Southern Comfort
"Anticipation" (1971) – Carly Simon
"Hi, Hi, Hi" (1972) – Wings
"C Moon" (1972) – Wings
"Step into Christmas" (1973) – Elton John
"American Tune" (1974) – Paul Simon
"Monkey Jive" (1975) – Tiger Lily
"Your Generation" (1977) – Generation X
"News of the World" (1978) – The Jam
"Jumping Someone Else's Train" (1979) – The Cure
"C·30 C·60 C·90 Go" (1980) – Bow Wow Wow
"A Forest" (1980) – The Cure
"Primary" (1981) – The Cure
"Charlotte Sometimes" (1981) – The Cure
"Making Your Mind Up" (1981) – Bucks Fizz