USED HIGH END STEREO EQUIPMENT. END STEREO EQUIPMENT

Used High End Stereo Equipment. Backyard Playground Equipment.

Used High End Stereo Equipment


used high end stereo equipment
    equipment
  • The act of equipping, or the state of being equipped, as for a voyage or expedition; Whatever is used in equipping; necessaries for an expedition or voyage; the collective designation for the articles comprising an outfit; equipage; as, a railroad equipment (locomotives, cars, etc.
  • Mental resources
  • The process of supplying someone or something with such necessary items
  • an instrumentality needed for an undertaking or to perform a service
  • A tool is a device that can be used to produce or achieve something, but that is not consumed in the process. Colloquially a tool can also be a procedure or process used for a specific purpose.
  • The necessary items for a particular purpose
    high end
  • Denoting the most expensive of a range of products
  • (High Ends) A misalignment of can body edges equal to 1/32" or more.
  • In economics, a luxury good is a good for which demand increases more than proportionally as income rises, in contrast to a "necessity good", for which demand is not related to income.
  • Most sophisticated or expensive; Appealing to sophisticated or discerning tastes
    stereo
  • Sound that is directed through two or more speakers so that it seems to surround the listener and to come from more than one source; stereophonic sound
  • two photographs taken from slightly different angles that appear three-dimensional when viewed together
  • A sound system, typically including a CD, tape, or record player, that has two or more speakers and produces stereo sound
  • reproducer in which two microphones feed two or more loudspeakers to give a three-dimensional effect to the sound
  • stereophonic: designating sound transmission from two sources through two channels
used high end stereo equipment - Shure A15LA
Shure A15LA Line Adapter To Connect & Attenuate High Level Line Outputs To Low Impedance Mic Inputs
Shure A15LA Line Adapter To Connect & Attenuate High Level Line Outputs To Low Impedance Mic Inputs
This unit has a balanced bridging input with 100 kilohm input impedance and 50 dB loss. Use the A15LA to connect high-level line or Aux Outputs to low-impedance microphone inputs. It will attenuate the output from such devices as mixers, tape recorders, tuners, or phono preamps to make them compatible with balanced low-impedance units. The A15LA can be directly connected to either balanced or unbalanced sources. If the source is unbalanced, connect it to pin 3 ("hot") and pin 1 on the A15LA input; no connection is required to pin 2. Specifications: • Frequency Response: 20 to 20,000 Hz ± 0.5 dB • Impedance, Input: 100 kohms; Output: 300 ohms • Attenuation: 50 dB • Maximum Input Signal Level: 40 dBV • Connectors, Input: 3-socket female XLR; Ouput: 3-pin male XLR • Case: Full magnetic shield, steel with gray enamel finish • Dimensions: 19 mm (3/4 in.) diameter; 114 mm (4 1/2 in.) long • Weight: 80 g (2.8 oz.)

79% (13)
Micro Shots II 004
Micro Shots II 004
An audio system typically consists of a number of components. These include one or more source components, one or more amplification components, and (for stereo), two or more loudspeakers. In addition, specialty cables or wires are often used to link these components. There may also be a variety of accessories. These include equalizers, including digital equalizers, specialized equipment racks, speaker stands, power conditioners, devices to reduce or control vibration, and peripheral devices such as record cleaners, anti-static devices, phonograph needle cleaners, and many others. The interaction between the loudspeakers and the room plays an important part in sound quality. Sound vibrations are reflected from walls, floor and ceiling, and are affected by the contents of the room. Room dimensions can create standing waves. As a result, audiophiles sometimes design their listening rooms specifically for optimum audio reproduction. There are devices for room treatment that impact the sound quality. Soft materials, such as draperies and carpets, reflect high-frequency sound less than hard walls and floors. While mass-market electronics are almost always solid state, some audiophiles appreciate the tube sound, buying audiophile components that use a mix of vacuum tubes and solid-state electronics. In addition to its sound quality, much high-end gear is designed for visual aesthetic appeal as well. Many devices, however, although striking in appearance, do not have universal appeal. They are often large or must occupy specific locations in the listening room, which may be the living room. This leads to the issue humorously known among audiophiles as the wife-acceptance factor (WAF). As with many hobbies, audiophiles use a certain amount of jargon. This includes a variety of language describing the sound of a system. Examples include bright (excessive energy in the upper frequencies), dark (excessive midbass), or lean (insufficient midbass).
The Joy of Big Sound (89/365)
The Joy of Big Sound (89/365)
People think short wave broadcasting sounds tinny. It doesn't. The radios they make for it sound tinny. Short wave brodcasting sounds great, if a trifle undermodulated, on equipment designed for it. This speaker is an R-42, and I was happy to find one. Not only is it the right impedance, no small thing, but it's a bass reflex design with pretty good flatness. Hallicrafters designed it in 1947, to go with their SX-42 and SX-62, which were high-end entertainment receivers with (relatively) high fidelity audio sections. 10 watts from the SX-62 shown elsewhere in my 365 will rattle the room on a good signal. The next step up from this kind of thing would be a used R-390A with its line-level audio fed to a stereo system. This can sound absolutely staggering. Short wave broadcasting declined after the Cold War, because governments stopped spending the big bucks to promote themselves. The private media monopolies were pretty well committed to satellite distribution by then, and they couldn't (or wouldn't) figure out how to make money on international terrestrial radio. It's too bad this happened, because for every hour of dreary propaganda there was another hour somewhere of great music and news from different cultures worldwide. It really helped people start to understand one another. Someday, plain old-fashioned worldwide short wave will be rediscovered by someone other than the whack-job fringe. It'll be either digital (DRM mode) or just good old analog. They'll promote it as The New Big Thing. The ionosphere, after all, doesn't cost anything to use.

used high end stereo equipment
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