Schroder sq and the new talea


I heard there was to be a fun time of learning and comparing of these two arms at the rmaf. Since the talea is relatively new, it still has to stand the test of time with comparisons on other tables, other systems and the selective and subjective tastes of discerning audiophiles! There is to be a comparison in one of the rooms at the rmaf this year, which i wasnt able to make. I would be curious to hear some judicial, diplomatic, friendly talk about how they compared to each other in the same system and room. I currently own the origin live silver mk3 with a jan allaerts mc1bmk2 and am enjoying this combo but have become curious about the more popular "superarms" Hats off to both frank and joel.

I hope this thread draws more light rather than heat. If someone preferred one arm over the other it would be OK. With all the variables it doesnt mean that much to me. What matters to me is what it sounds like to me and in my room. With that said...

What was your bias? was it for the schroder or the talea?

cheers!...
vertigo
Dgarr, I say "bread on the water" and you bite, saying, a progression towards Spiritual vampirism. You make an assumption; that trans-cognitive knowledge is a product of a failure of knowledge. That is a bias to categorize all perception beyond one's own as a negative, as a No-thing-ness, as the place of dragons. It will keep you from going places...

As for Latin, I do not speak it, so you will have to tell me if I missed anything. Here is a story. Many years ago, I looked into a PhD in philosophy at the Univ of Chi & they said fine, but wanted me to learn a dead dialect of Greek. Studying primary souces is good, as those things go, but it takes a lot of time away from actually be-ing a philosopher. I then looked at their syllubus and the last thing they had on psychology was Freud! No Jung even. My, my, how the logical positivists have plied their way...

Everyone, here is my request: stop telling me what other philosophers told you about what they saw. That is looking into a mirror. Tell me your philosophy/meta-narrative, or better, just what you *see.*

Nandric: thank you for asking me back, and not in semiotics, etc., which makes my old head hurt these days!

You also make an assumption, again, one symptomatic of an attachment/bias (I do not mean disrespect in saying this, its just the most concise way of saying it...). You assume that a metaphor/symbol, in order to convey knowledge to the "brain," must do so in thought-constructs, which we then use to talk to each other in sentences. Yes, that is knowledge too. But I have a question: when you are not think-ing, who/what are you? Do you disappear when you are not-thinking? If not, then the silence between thought-constructs, like the silence between notes, must be prior to that construct. And, if prior, then actually its ground.

When you are deeply listening to the music, and the attachment to cognitive/objective grasping and control has faded into an open silent ground, do you cease perceiving meaning in the music-constructs greeting you from your stereo?

I would love to take credit for the Geese metaphor, but it was written many centuries ago by someone who knew more than me and is, in fact, not a metaphor - that is another assumption. That is part of its trap, for the mind that grasps to see its knowledge in terms of only thought-constructs (and even though, illogically, that same mind experiences musical meaning from a symmetry of consciousness that is absent of thought). It is actually a koan, meant to produce silence in the mind. How? Because the harder your thinking mind tries to wring its meaning through cognicizing, the more cognitive turmoil it catalyzes. It is a letting-go exercise, or a putting-down exercise, however you want to shake that rattle.

When you stop shaking the cognitive-attached rattle, what can you *see*? If you can logically concede that a knowledge may exist that integrates all cognitive knowledge while at once transcending it, are you not, as minds on a knowledge search, at least obligated to be open to that possibility?

But to the cognicizing mind, attached to the mirror, this feels like a death, with concurrent recoil.

The recoil is from the possibility of a deeper symmetry of perceptive consciousness, one that is equally all of our potential.

As I said, argue for your limitations and, sure enough, they are yours (another stolen quote).

Now, I have to go clean out the gutters. Wish me luck...
Good Luck.

If you are not thinking, then you are present. This is not possible with thought; your thoughts are trying to convince you that they *are* you, and seek to place you in the past or the future; neither is a place where anything happened or will happen. Happening is only in the present.

So life is, as the Gladius is, as these tone arms are. We as humans attach the 'value' to such things, and the 'meaning' thereof. As a designer, one likes to think that the value and meaning is built into the design, but when that design makes its way into the world, like any fine art the values and meanings attached are rarely that of the origin.
Hello Ralph. Yes, thought is necessarily dualistic and temporally bounded, but I truly believe that there is correspondence between your designing mind and the mind that listens, and I think it can be more than a simulcrum of your original intent, or vision. I know this in your case because I have conducted the empiric injunctive of listening to your preamps. Their musical-ity (defined here as the ability to catalyze the mind to deeper symmetries of perception of meaning), I would kindly submit, is not a random occurence. The MP-1 is one of my favorites, for many reasons; some of them to be explained in words, some of them ineffable.

True, from a mechanical perspective, the creation of technology, or tools, is nothing more that the manipulation of matter into various forms, and it is certainly a tough row to hoe to embue the creative mind within that material creation...and yet, you keep on.

Funny how that happens...

M-
Asa, I was not saying that trans-cognitive knowledge stems from a failure of knowledge. Rather, in literary terms at least, there is merely a caution that any attempt to rationalize full absorption of the Other contains inevitably parasite potential that indicates "a crack" in the original notion of perfect symmetry. With respect to gladius, its quality(sharpness, hardness) cannot be entirely separated from its value or purpose in the context of its use in the service of imperialism. Similarly(but without the martial implication)a tonearm's quality cannot be separated from its value or purpose as a transcriptor. However, unlike the Gladius, there is enough deviation in theory, design, execution & measurement of tonearms(unlike the simple kill-shot of Gladius) to mostly confuse distinctions between quality and value, and to relegate judgment to opinion. For example, while debate continues regarding long vs. short pivot arms and even shorter linear arms, there has really been no success in ranking all of the variables of these divergent designs. As there is no reasonable prospect of synthesis, there is probably no possibility for a sine qua non of tonearms. And yet audiophiles yearn for this convergence, probably from the false assumption that these are at bottom simple devices.