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As I was packing my belongings for a new, quieter life in the Eastern Atlantic, I came across this curiosity.  A Blade-Runner themed guitar.  But.  Not even the ‘famous’ (relatively speaking, of course) Guild-Brand Blade Runner Guitar.  Close analysis of this obscure piece of content revealed a deep truth: there is still so, so much to be learned from digging thru endless piles of ancient audio-themed papers.  I cannot stop.  Yet.  There is still more work to be done.   Let us now examine the facts.

The Guild ‘Blade Runner’ (at left; source) utilizes the actual Blade-Runner-Film font on its body, suggesting that the Guild guitar was actually licensed by the film’s producers?

Initially, it seemed incredible to me that a second guitar-maker would enter the market with a guitar named after the film Blade Runner; which, as great a film as it is, features neither a guitar nor any guitar-music for its duration.  What could explain this seemingly totally unnecessary redundancy in the guitar marketplace?  Perhaps the answer is more complex than we have yet realized.  Perhaps the ‘licensed’ GUILD-brand Blade Runner Guitar was all too content to align itself with the orthodoxy imposed by the film’s producers (the same producers, naturally, that insisted on the inclusion of the humanizing ‘voice-over’ in the film’s theatrical release).  Perhaps the ARIA-brand Blade Runner guitar was part of an alternate explanation of events, one that perhaps comes closer to the truth?

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Above: at left, Daryl Hannah as the character Pris in the film Blade Runner.  At right: Some Model as Some Future Lady in the Aria Pro advert.  The similarities beg the question:  Is the man holding the guitar a surrogate for Roy Batty, the character with whom Pris was aligned in the film?  Or is the man-with-guitar intended to represent Deckard, the protagonist of the film? He definitely seems to have a stronger resemblance to Harrison Ford’s Deckard than to Rutger Hauer’s Roy Batty; yet the sunglasses are a confusing and highly suggestive twist.  In the grand tradition of Blade Runner Conspiracy Theories, I would like to put forth the following thesis:

In the so-named ‘Aria Thesis,’ Deckard is the 6th Nexus replicant; here he is shown, before the crash landing, with Pris; Batty was in fact an interloper who usurped Pris’ affections after attempting to kill Deckard prior to the crash, in fact causing the crash.  Batty attempted this murder by his indicated choice of killing technique: crushing the eyeballs into the brain. The Aria corporation signals this violation by covering Deckard’s violated eyes with their branded eyewear, eyewear that appears nowhere in the filmed narrative.  In the Aria Thesis, the police force discover Deckard’s near-dead body; re-suit him with replacement eyes and unicorn dreams, and then set him to the task of capturing his former associates.

Please direct all question and/or comments about this post to these guys.

Or these guys.

Good luck.

Download a three-page article from the September 1948 issue of RADIO ELECTRONICS on the subject of ‘Three Straightforward Amplifiers.”  Author is John Straede.  Schematics ETC are all included in the download.

DOWNLOAD: Three1948Amps

Above, the most interesting of the bunch: a single-ended 6L6 amp which uses fixed bias for the output stage.  I have never seen a fixed-bias SE power amp.  Seems like this could yield some unique overdriven textures for guitar applications.  Worth a look.

Above, the 13-watt 6V6 PP unit.  A couple of things to note: the input stage uses a 6U6 pentode.  I have never come across a 6U6.  Anyone use one of these?  Also: the 6U6 stage uses ‘Grid Leak Bias,’ in which the cathode is at ground potential and yet no DC bias is used on the grid.  I have never tried this type of bias.  Anyone?  Is it worth trying? What are the benefits/liabilities of grid-leak bias?

I continue to get a lot of readers here drawn to my earlier post on the MXL R40 ribbon mic.  Click here to read that earlier post.  In that article I describe replacing the stock transformer with an inexpensive Edcor unit and getting very good results.  Anyhow, shortly after i wrote that piece, the price of the MXL R40 shot up dramatically – to around $120.  Well I guess they couldn’t move ’em, cos they are back for $69.99.  A great deal IMO.  Click here to pick one up.

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Use the comments section to weigh in.  ‘Correct Answers’ circa 1961 to follow next week.

Download a nine-page piece first presented in 1952 by one Otto Bixler of the Magnecord Corporation.  Bixler describes Magnecord’s early work in the field of stereophonic recording and reproduction.

DOWNLOAD: BinauralRecordingSystem_Bixler

Thank you to a very helpful long-time contributor for sending this piece in.   This article was originally published right at the dawn on the stereo era, and it’s interesting to read some early speculation about the promise/usefulness that stereo sound offered.  I’ve been thinking quite a bit about stereo effects recently, as I picked up a Calrec Soundfield Mark IV earlier this season.    It’s currently being serviced, but look forward to some interesting experiments and reports on that exotic piece soon.

How y’all doin.  Been a little slow on the new material this week as I’ve been super busy in the studio workin on a exciting new record for a fine artist…  more to come on that.   Anyhow, wanna thank JBW aka SWAY for inviting me to join him behind the decks at Firehouse 12 in New Haven this coming Wednesday the 3rd.  We’ll be spinning from nine til one for their ‘UNSPUN’ party; i’m diggin deep into my collection of ye old rocknsoul for this one.  Expect loud drums and a whole lotta tambourine.  If you haven’t been to Firehouse 12, it is really a fantastic bar, great space, great libations.

…we need to call it a day and try again tomorrow.

What is this plastic oval? What does it mean?

Apparently, we used to buy SO MANY compact-discs that a tool needed to be invented just to facilitate opening the goddamn things. Apparently, no existing household implement was sufficient to accomplish this task, considering the huge bulk volume of CDs that we purchased on a regular basis from Tower, Sam Goody, Trash American Style, etc.

Furthermore, this tool (which could serve absolutely no other purpose than opening a CD) was so crucial to our lifestyle that it included A FKKNG CHAIN to attach it to our keychains.  Cos what does one really need on his/her keychain anyway?  Car key, house key, maybe one of those mini LED flash lights, oh and right a CD OPENER.

I apparently used mine so much that I actually damaged it, chipping of part of the channel-guide.  I wonder: what was the particular album that inspired this frenzied use of the device?  What CD needed to be opened with such speed, such force, that the injection-molded nylon was shattered ?

*Did a corresponing product exist in the LP or compact-cassette era?  How about in the days of sheet music?  Some type of special brown-paper-wrap-cutter?

*Is there a similar modern tool for unpacking ZIP’d folders of bootlegged MP3s?

*Anyone out there have a pile of CD Longboxes saved in their attic, just couldn’t throw the things out?

Alright already: it’s time to get away from the arch-obscuro-mixtapes, the pseudo-clever cultural commentary, and the puff pieces on electronic music ‘mavericks’ and get back to the core values of this website: time-consuming scans of ancient catalogs full of antique sound equipment of interest to 20, maybe 30, cranky retired men somewhere in the U.S.

Download a 25pp excerpt (I’ve omitted the telecommunications equipment) of the 1950 Stromberg Carlson Audio Equipment Catalog:

DOWNLOAD: StrombergCarlson_1950

Products covered, with text, specs, and photos, include: Stromberg-Carlson AU-29, AM-48, AM-49, AR-37, AU-32, AU-42, AU-33, AU-34, AM-43C, AP-25, AU-35, AU-36, AV-44, AV-45 amplifiers; AV-38, AV-39, AV-44, AV-45, and AV-46 preamps; Stromberg Carlson PS-29, PS-32, PS-33, PS-34, PS-37, PS-42 portable sound systems; plus a shit tonne of re-branded dynamic mics, speaker enclosures, drivers, including the RF-71, RC-13, RC-14, RC-15, RC-23, RC-25, RC-55, RC-57; Matching transformers, klaxons, and mic stands.

Above: The Stromberg-Carlson AU-35, the top of their mixing-amp range.  Interesting piece: it has two separate 25-watt 6L6 output stages, each driven by the same mix. Also touts ‘resistor board’ construction, which I imagine indicates a turret-board rather than terminal strips; even the RCA PA amps of this period uses terminal strips so this is certainly a notable feature in PA sound equipment of the period.

The AR-37 ‘record amplifier,’ a ten-watt amp with a variety of frequency-compensation features intended to adapt it to the various record response-curves prior to RIAA standardization.

Above: the only Stromberg-Carlson piece that I have spent a (regrettable) span of time with, the AV-38 pre-amplifier.  Loaded with shielded RCA input transformers and a very nice Triad (IICRC…) output, it worked fine out-of-the-box and it was certainly worth the $200 that I paid for it.  But, despite replacing several of the 6SC7s, recapping, adding a choke, and removing some extraneous crap, I could never get it to be ‘studio-quiet.’  And it probably never was intended to be such.  Anyhow…it’s gone to a better place now.  The AV-39 lacked the input transformers and the meter; otherwise identical.

Above: the RF-71, SC’s top-end driver of the period.  At some point they made some more sophisticated units, including these guys… good god that price!

Stromberg Carlson didn’t manufacture microphones that I am aware of, but you can find a huge variety of SC-branded Shures, EVs, and Turners on eBay to-this-day.