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Dear Get Better Sound & Through the Sound Barrier owners,

Welcome to the twenty-third issue of Quarter Notes, published on December 10, 2018. Quarter Notes is a free newsletter for Get Better Sound and Through the Sound Barrier owners, expanding on both, as well as introducing new and timely subjects.



Best email address

Since you’re reading this, the e-mail address with which I sent this QNs must have worked. However, the only e-mail address I have is the one associated with your initial Get Better Sound or Through the Sound Barrier order. If you have an e-mail address that you’d prefer to use to receive Quarter Notes notifications, send it to jim@getbettersound.com. Be sure to include the e-mail address I used originally, along with the one that you want to use to replace it.



Time doesn't wait for anyone

Wow! It's been about 10 months(!) since the last Quarter Notes newsletter. Most of my health issues are handled at this point, and we are underway again!


This issue features several items:

  1. A to-date-not-too-well-known isolation system - compared to most of the audiophile products in this category, significantly less expensive - and at least as good...

  2. Computer audio updates

  3. An affordable product that can help you to make major inroads in your system's level of musical involvement. This same product is related and will be connected to the pending Through the Sound Barrier project.

  4. Special thanks & recognition

  5. TTSB update



QNs #23 features

1

I only recently discovered the Equipment Vibration Protectors (EVPs) from AV Room Service. Honestly speaking, on first glance they resemble some other "component isolators" that are not too effective, IMO. So I didn't pay much attention, until I saw Tom Gibbs' review in Positive Feedback, and Bob Katz's testimonial, both edited for brevity:

The overall effect of the EVPs in the listening room is an audiophile’s dream: deeper, blacker backgrounds; a less congested midrange; and more tuneful and well-defined bass. Here’s the part I wasn’t expecting: not only have the EVPs totally transformed the listening experience inside my room, but the EVPs underneath the subwoofers also have helped reduce the amount of vibrational noise transmitted to the main level of the house. I can now listen to most everything I normally listen to at my preferred volume level, without creating complete chaos elsewhere in the house. I’m blown away by the EVPs; the difference isn’t subtle, and the time I’ve spent listening over the past couple of weeks has been in amazement at the improvement wrought by these relatively unobtrusive devices. Very highly recommended! -- Tom Gibbs - Positive Feedback 9/1/18
When AV RoomService’s specially-designed and constructed EVP isolators arrived, I replaced the wood blocks and the difference was 'night and day': The sound not only tightened up, but it became quieter. -- Bob Katz, Mastering Engineer & 3-time Grammy winner

So I contacted Norman Varney at AV Room Service, and he sent me some EVP 4s to try out. They are far more thoroughly designed than I originally thought when I first saw pictures of them.


A bit of the reams of info from the AV Room Solutions website:

The EVP core is a matrix of precisely compressed high density molded glass fibers, which allows controlled air movement through the fibers. This action provides viscous damping, reducing physical motion, while widening the frequency bandwidth of attenuation. As sound energy moves fibers against fibers, the friction transfers sound energy to heat energy. The annealed fiberglass is produced by a multiple flame attenuation process which generates fibers having modulus of elasticity of 10.5 million PSI (738,223 kg/sq. cm) and nominal fiber diameters of less than .00027 inches (6.8 microns). The matrix of the glass leaf springs is bonded at all fiber intersections with a low VOC water-resistant binder during the molding process under controlled heat and pressure. The material is then stabilized by multiple precompression cycles to many times the maximum published load capacity for the specific density of the media. The cold-rolled steel plates on the top and bottom of the pad function to evenly deflect the weight across the whole surface for even weight distribution. They also allow cone or spikes to be used without damaging or compromising the performance of the pad. Our own RoomDamp 2 constrained-layer damping compound is used to bond the steel plates to the fiberglass core, and the rubber to the steel plates. This damping further improves the EVP absorption properties by lowering the Q-factor, which broadens the bandwidth, reduces ringing, etc. RoomDamp 2 is a viscoelastic paste that remains pliable and never hardens. The paint applied to the fiberglass pad is a very special formula that allows flexing. This elasticity means the pad can be compressed without the paint cracking or flaking. The formula contains low VOCs and is UV protected. The flexible paint does cause slow shape-return after pad compression. Unlike other elastomeric materials, EVPs are resistant to water, mold, sunlight, humidity, age and extreme temperatures. EVP materials, manufacturing and assembly is U.S.A. Made. They are not sexy, but they are very functional and affordable.

So how did they work? I was frankly amazed - especially at the huge improvement from my REL 212 SE subs. Countless audiophiles had said that the bass here was the best, most natural they had heard. But now, the bass is at an entirely different level. Not wanting to miss any benefits, I ended up using them under all of my components.


The things that impressed me most were the increased Dynamic contrast, the enhanced sense of Presence from the performers and their instruments, as well as the overall more pure sound, which meant more musically involving Tone.


Rather than go on & on, below is a link to the AV Room Service section re the EVPs. Pricing and more is there, as well as all that you need for determining which model best meets your needs. Best of all, Norman allows a full return if you are not satisfied!

Click here --> http://avroomservice.com/evp-2/

Below is a photo that I took to more easily compare the size of the EVP 4s. The EVP 2s (not shown) are about one-fourth the width & length of the 4s. The two different finishes depend on the surface to which they will be mounted. They operate the same:

EVP 4 HDs under my REL 212 SEs. These (in this case, they are mounted on carpet) have the foam grid as shown above on the left. The plate between the RELs and the floor is not about acoustics -- it helped me to get the RELs (mine are mass weighted to 225 lbs.) mounted on the EVPs. FWIW - the little copper wire is used to ground a nearby component, unrelated to the RELs. :)

EVP 4 HDs under my ASR Emitter II amplifier:

EVP 4 HDs under my Tannoy Canterbury loudspeakers:




2

For those of you who use a computer as a source for digital files to go to a server or DAC, I recently ran into some issues that could affect the overall sound quality of such a set-up. Some of you probably know all about this, but I confess it was larger than I had considered, so I thought it might prove worthwhile to some QN subscribers...

I think it was way back in QNs #2 that I mentioned that some CD players sounded significantly better if - after beginning the playback of a CD - you put them in pause for 30 seconds or so, then restarted the playback. Not all CD players exhibited this behavior, but more than a few did.

Recently, with one of my laptop computers, I noticed a similar phenomenon. Somehow, the track pre-load function (I assume this was the culprit) was not working so well, as I noticed that if I restarted a track after 5-10 seconds, it sounded better -- not a subtle difference at all.

I also noticed a lesser quality sound if I hadn't restarted my computer before using it, in order to clear out all of the unneeded memory info that had collected from the latest use.

On some computer music programs such as Audirvana, you have the option to adjust the track preload capability, in conjunction with the size of your computer's ram storage. IME, it takes a bit of listening to find the optimum settings. If you choose 'play' and then restart after 5-10 seconds, and the sound is better, you probably have some investigating and adjusting work ahead of you.



3

One thing has become very apparent in the last couple of years, and I regret not having discussed it adequately.

The reaction to the RoomPlay Reference sessions here has been overwhelmingly positive - in fact, 100%. The idea is to give audiophiles a reference for what is possible, and to show them how they can achieve it, without spending more money on equipment. I am NOT saying don't buy more equipment. I AM saying that getting your system to 'play the room' will literally SWAMP the effects of any new audio gadget, no matter how highly reviewed.

Additionally, many of my RoomPlay & RoomPlay Reference playlist tracks are licensed for TTSB. A RPR session literally makes the TTSB project come alive. Honestly speaking, I no longer have the time to perform as many RoomPlay sessions as I once did. The RoomPlay Reference session is intended to assist you in learning how to do it yourself. No amount of money spent on the latest & greatest electronics, cables, & other tweaks can remotely compare to the value of RPR.

The new issue of Stereophile - that comes out in January - has this ad:


Get the keys to unlock your music...


Fabulous electronics and cables, as well as the latest and greatest tweaks, in a system not fully integrated with the room, will most certainly NOT sound as fabulous as they could have.

Having observed this event occur constantly, Get Better Sound author and RoomPlay system set-up guy Jim Smith wanted to offer audiophiles a rewarding way out of the “I just need to buy the (“latest & greatest)” morass. He calls it RoomPlay Reference.


RoomPlay Reference

Designed to help audiophiles establish a true reference standard for their systems’ sound, and—more importantly—to learn how to achieve it with their own systems, RoomPlay Reference has achieved a 100% success rate for its participants, with everyone indicating the extraordinary value of the session.


During your session, you’ll be hearing and learning about the importance of addressing Dynamics, Presence, and Tone to unlock previously unattained musical involvement from your system. All of the common audiophile aspects are improved, but your focus will be on the music.


Getting your system optimized to work with your room—rather than against it—will not only mean vastly increased musical enjoyment and involvement, it also will mean that when you do try out a new audio device, you will actually be able to fully evaluate its performance in your system.


Details

A RoomPlay Reference session (about 3-4 hours) is $370, including the listening session, the Q & A, the training, and 90-days access via phone or e-mail.


Additionally, should you wish to engage Jim's services for a RoomPlay session, the $370 is fully credited against the RoomPlay session.


Much more detail can be found on the Get Better Sound website. Jim encourages those that are interested to contact him with their questions. See contact info below.


RoomPlay Reference comments (addressed to Jim, edited for brevity)

Jim has received a huge number of satisfied comments. Here are a few of the briefest ones:


I’ve been pursuing this hobby for about 35 years. The improvements I’ve gotten with equipment upgrades through the years have all been good, but just incrementally better. Yesterday really gives me hope of taking things to a whole new level. —W. T., Alabama
…I learned a lot! It’s certainly clear to me that there is so much more contained in my CD collection that I’ve never heard before.... I was blown away by the session in your room… I have ‘seen the light’ (or heard it as the case may be.) —S. K., Rhode Island
…Monday’s RoomPlay Reference session was one of the top three audio experiences of my life. (the other two were intimate live concerts.) I had three goals, going in. #1 was to better understand what I should be listening for. #2, I wanted an opportunity to hear 'what great sounds like,' truly benchmarking my reference. And #3, I wanted to pick up some insights into a roadmap I’m building for a new ground-up system. You absolutely hit all three goals right out of the park! I think a RoomPlay Reference session is one of the very best values in hifi. I could not recommend it more highly. —M. O., Georgia

Take Action

Visit www.getbettersound.com for info on RoomPlay Reference, as well as Get Better Sound. For additional info, contact Jim at jim@getbettersound.com, or call 770-777-2095.


Doesn’t it make sense to hear all of what you purchased? More musical involvement and less money wasted—what’s not to like?


Get Better Sound: Reference Set-up Manual, DVDs, Quarter Notes, StraightTalk, and RoomPlay™ System/Room Voicing Internet: www.getbettersound.com • Phone: 770-777-2095 • E-mail: jim@getbettersound.com



4

I want to shout out a special thanks to the AudioShark audio message board - www.audioshark.org. So many boards devolve into a meaner-than-I-want-to-read style. Not AudioShark. The owner, Mike Bovaird, has kept it fun & informative. I highly recommend it.


I also want to thank Mike for allowing/making numerous posts about my work. Here is a recent thread:

https://www.audioshark.org/general-audio-discussion-15/jim-smith-come-town-15555.html


Also, Mike is involved in bringing a high-end audio show to Florida this coming February. The list of exhibitors to a totally new — untested — event is impressive. If you can get there, it should be a good one!



5

Finally, a Through The Sound Barrier update. I just replied to a backer in New Zealand, so it's easier if I simply repeat most of what I said to him:


Hi Xxxx,

Thanks for your note.

Some updates:

I have largely recovered from the unexpected (& expensive) health issues I had for the past nine-ten months.

Due to the ridiculously long delays, for which I am deeply embarrassed and so sorry, I have felt that I needed to add to the value of the project.

The good news is the project has expanded even more in its capabilities for the owner, so that I don’t know of anything else like it.

Here is the relevant info/update:

  • Book One is completed.

  • Book Two is a bit over ¾ completed. As this is being written, I am working on the description/application of each music track (of 45) from my RoomPlay playlist. I'm at the most complex part - slow going. That’s the bad news.

  • The System Log is underway.

  • All 22 (not just 10 as was planned) (also at my originally unplanned & considerable extra expense) of the CD tracks from my RoomPlay voicing playlist (CDs 2 & 3) have FINALLY been fully licensed, and are at the mastering facility, as well as CD #1 (5 mechanical tracks with one requiring approval and which is now fully licensed as well).

  • The DVD will be produced when Book Two is completed. It has very helpful info that I’ve not seen elsewhere. It should go fairly quickly.

  • The System Log booklet can be produced relatively quickly, at any time when the design and copy is completed.

There are a couple more items that will be included (not small in time nor expense) - but I plan to announce them when all is ready.

Given that info, I would say that TTSB is still several months out.

Hope to get a QNs out soon as well (within the next week or so).


a) Last QNs issue's question re the DVD content - best as is, online, or other options - requesting your feedback concerning the video format question. I was quite surprised to receive only about two dozen replies that requested an online version, rather than the DVD. So it will remain as a DVD.


b) For those of you that pledged at the RoomPlay, RoomPlay Reference, or Barrier Talk (StraightTalk) level, you can use your pledge at any time. No need to wait for TTSB to finally arrive. Fully half of all backers at those pledge levels have already done so. Contact Jim - jim@getbettersound.com - to discuss scheduling your session.



That's all, folks.

Keep on listening!


Questions or comments?

E-mail me: jim@getbettersound.com


Dear Get Better Sound & Through the Sound Barrier owners,

Welcome to the twenty-second issue of Quarter Notes, published on February 10, 2018. Quarter Notes is a free newsletter for Get Better Sound and Through the Sound Barrier owners, expanding on both, as well as introducing new and timely subjects.



Delay since last issue

It's been about 9 months(!) since the last Quarter Notes newsletter. I had planned to do another in August or so, but then some new developments with Through the Sound Barrier arose, and I had to push the QNs newsletter - as well as other commitments such as the Copper e-mag articles and a number of RoomPlay system/room voicing sessions - back a bit. This is discussed in the latest (brief) Breaking Though podcast (link below).


Also, you will notice that this IS the Quarter Notes newsletter - no link to a page on the GBS website. I will get that done later - not able to take the time just now.



Re: mass loading from last issue

The mass loading topic from the last QNs newsletter received a lot of comments and questions. It didn't end there for me, either. As time passed, I tried even less mass loading, even back to none at all. What I found was interesting & informative.


While there is a noticeable improvement with some type of loading, it seems that there is definitely an optimum weight, and the only way to arrive at it is to listen. In other words, what works for another system may not work as well for yours. I ended up reducing the weight by another third or so to ultimately arrive at the optimum performance. The sound is even more dynamic, effortless & pure. More importantly, the musical engagement factor has gone up noticeably.


I also found that the speaker-to-mass-loading weight ratio of my Tannoy Canterburys was different than my REL 212 SE subs. In my specific case, the RELs seemed to prefer a higher percentage of damping as compared to the Tannoys.



Uptone Audio ISO REGEN

Some time back, I wrote about the positive benefits of the affordable-but-high-performance Uptone Audio REGEN when employing a USB cable in between my computer and my DAC. Recently, there has been a lot of discussion on various audio forums about the new ISO REGEN. It interested me, so I contacted Alex Crespi (great guy that I have known for sometime - a true man of integrity) at Uptone about trying it out, as well as their LPS-1 power supply.


Since there has been so much written about these products, all I will say is that I bought them and cannot imagine being without them. A nice increase in performance for a relatively small price. What's not to like?



PS Audio Direct Stream DAC & Memory Player

PS audio's Bill Leebens (another top class audio guy), recently sent me the PS Audio Direct Stream DAC & Memory Player to audition. Hey Bill, finders keepers!!! :)


Having heard and worked with some of the top digital gear out there - including rigs that sell in the six figure price range - over 10 times the PS Audio's price(!) - the PS Audio combo easily holds its own. Honestly speaking, the performance difference between the PSA and many other much higher priced set-ups is not that great, and in some cases, the PSA is better, IMO.


Then, add in the FREE updates - that you can easily do yourself - and it's a relative no-brainer.


And did I say that it is imminently involving musically?



No Copper articles for a while – until TTSB is completed.

As mentioned above - and in the accompanying Breaking Through Podcast - I have abstained from further contributions to Copper e-mag until the TTSB project is completed. This is a great—and free—bi-weekly magazine about audio, music, and much more. The 50th issue is available now.


http://www.psaudio.com/issue/issue-50/



Breaking Through podcasts

In addition to the free Quarter Notes newsletters, you also receive the free Breaking Through podcasts. The twelfth installment of the Breaking Through podcast is brief (about 16 minutes), but well worth the listen, if we do say so ourselves. This time Randall and I focus exclusively on Through the Sound Barrier updates, and I have a couple of important announcements to make. I also need and request your feedback concerning a video format question.


http://breakingthrough.libsyn.com/episode-twelve-through-the-license-barrier

That's all, folks.

Keep on listening!


Questions or comments?

E-mail me: jim@getbettersound.com


Dear Get Better Sound & Through the Sound Barrier owners,

Welcome to the twenty-first issue of Quarter Notes, published on April 9, 2017. Quarter Notes is a free newsletter for Get Better Sound and Through the Sound Barrier owners, expanding on both, as well as introducing new and timely subjects.



Best email address

Since you’re reading this, the e-mail address with which I sent this QNs must have worked. However, the only e-mail address I have is the one associated with your initial Get Better Sound or Through the Sound Barrier order. If you have an e-mail address that you’d prefer to use to receive Quarter Notes notifications, send it to jim@getbettersound.com. Be sure to include the e-mail address I used originally, along with the one that you want to use to replace it.



Mass loading loudspeakers

I used to (over 15 years ago) employ this tweak on certain systems, but had frankly forgotten about it. Recently saw a post on Audio Asylum.com by Jeff Medwin (aka Dr Lowmu on AA) and it all came back.


Mass loading – adding weight to your loudspeaker – can result in some pretty amazing improvements. Contrary to what you might think, the system will sound louder than pre-mass-loading. The sound takes on a purity & authority that you didn’t know was there. Musical dynamics improve as well. The result is even more musical involvement, for relatively little money.


IMO, a slight increase in weight has an exceedingly slight effect. With mass loading, I tend to think of percentages. In past experiments, I found that – whenever possible - adding about 50% or more of the original speaker’s weight made a significant difference.


My Tannoy Canterbury loudspeakers weigh 150 lbs each. My REL 212/SE subs weigh 122 lbs. each.


I added two 57 lb. patio blocks to the top of each of my Tannoys. So I added approximately 114 lbs each – over 75% increase in weight!


I added four 15 Lb. patio blocks to each of my RELs – for a total of 60 Lbs./speaker (about 50% of the REL original weight).


Although the results were a wonderful improvement to my already musically engaging sound, the issues that accompany performing this tweak are many:


1 – Ummm, it does not improve the appearance!!! At minimum, you will probably need a dedicated room or a man-cave for such a tweak.


Here’s a look at mine, before I substituted another 57 lb. block for the 3 15 lb. blocks on top. This is also before I ever thought about reducing the visual effects:

After a quick ‘n easy attempt to cover up my work:

Still not exactly “attractive”, but I am still working on it. That’s a REL 212/SE behind my left channel Canterbury. It has four covered 15 lb. patio blocks on it as well.


I will add some weight (about 65 lbs.) to the bottom (Canterbury stand) as well – in this case, for stability, in case someone bumps into the speaker. Who knows, there may be a further improvement to sound! Fortunately, this time it will not be visible. :)


2 – You have to have a speaker that is amenable to adding weight. In other words, you need somewhere to mount the weights.


3 – You need to be sure that your speakers are in their best location, as moving them post mass-loading will be difficult…


4 – Never tried it on inherently solid and weighty speakers such as the larger Magicos & Rockports, so I have no idea if it will work for them.


The good news:

1 – As already noted, the improvement is quite noticeable, with no negative sonic effects. Well, you may need to isolate the blocks from one another, as they can find amazing ways to vibrate against one another. I used foam-core poster board. Not the thin, almost paper-thin stuff but the compressible thicker stuff (eighth inch thick or more)


2 – This is cheap!!! I got my 16 patio blocks at Lowe’s hardware store for less than $40.00!



Evolution of RoomPlay Reference

This service was not much more than an afterthought back in 2009 when it began after I did some RoomPlay sessions around North America. Clients loved it and I subsequently began to think of ways to make it more valuable. Now, it has evolved into something considerably more worthwhile.


For many years, I have realized that audiophiles simply do not have a reference for what is possible. They have thought that if they could only acquire the latest & greatest component, they would hear a tremendous improvement in their systems.


I guess it depends to some extent on what they would call tremendous. The fact is that if they depend on audio shows or audio dealer sound, they will not likely be able to establish a usable reference for what is possible with their existing systems (without buying more equipment).


If and when they do acquire a “new & improved” component, they will actually be able to recognize improvements that they probably wouldn’t have before. And they may hear that the component in question does indeed produce a different sound, but not necessarily a sound that is more musically involving.


So the RPR sessions became as much about what to expect as how to get it yourself. Some call it teaching. I was a teacher briefly, and this is NOT teaching. :)


Here are a couple of comments from recent RoomPlay Reference clients. FWIW, they are knowledgeable audiophiles and each is multi-degreed in their fields:


Many thanks Jim for a rich and rewarding session!  I learned a lot and very much appreciated expanding my musical horizons as well.  I have a number of questions and will send them along as soon as I process a bit. It is certainly clear to me that there is so much more contained in my cd collection that I have never really heard before and that the quest for hi-res and multi-channel is not where most listeners should be putting their energies (and money).  There is a whole world of music on my shelves waiting for the right room conditions to emerge!!... ...As you can tell, I was blown away by listening in your room… I have 'seen the light' (or heard it as the case may be.)" – S.K., RI.
Hi, Jim. I just wanted to write and say again how much I enjoyed seeing you, and how much I learned. My brain was on overload on the way back. It seemed so surreal, going there and back in 24 hours and listening and learning so much from you. Your generosity and willingness to spend the time and share your expertise was heartwarming, and meaningful. Thanks again so much! BTW, you were right - I checked when I got back and the Quads are sitting with the center of the speakers ~6-9 inches down from my ears. Even with the spikes added and the weight, they’d be a minimum 4-5 inches down, and maybe still 6-7 inches down. So this is job one. After I raise and forward-tilt them, I’ll work with moving them closer together and play more with toe, then see what moving them forward on the toed axis reveals, to see if I can’t get more of the 'you are there' sense I felt in your room. Once again, thank you hardly seems adequate. Take good care and stay well. Looking forward to talking with you again…" – J.B., VA.

If you are interested in taking your music system to a higher level of musical engagement, we should talk about a RoomPlay Reference session. Plus, should you ultimately decide on purchasing a RoomPlay session later, the RPR fee is credited to your RoomPlay account!


http://getbettersound.com/roomplay.html


RoomPlay Reference sessions are held here, at my office/listening room, next door to our house (about 40 miles north of Atlanta):



Latest Copper e-mag issues #26, #28 & #29:



Effects of equipment cabinet between your speakers explained. – from Copper Issue #29 reader reply


Reader blang replied:

Thanks for your continued contributions to this magazine, Jim. I understand why keeping the space between the speakers unoccupied is ideal, but I’m surprised by just how important you feel it is. My number one reason for placing my equipment rack in between the speakers is just because it allows me to run shorter cables, which make a significant price difference. Also, I think it’s widely accepted that shorter runs of cable sound better if it can be helped.

My reply:


Blang,

As my answer, please permit me to tell this story (similar events have occurred numerous times as well).

I was at a RoomPlay voicing session. The client did not want to move his equipment cabinet to the sidewall, as his relatively short – but very expensive – speaker cables would not reach.

I suggested that we go up to the nearest hardware store and purchase 50 feet of 18 gauge lamp cord(!) I said that an unsullied acoustic wave launch into the listening room was well over ten times more effective than the type of cable he used, no matter its claims or its price…

Even though he seriously doubted me, he went along with my suggestion. We moved his equipment to the sidewall and replaced his exotic speaker cable with 18 GA lamp cord.

He was astonished at the sense of presence and sheer musical involvement he now had.

I asked him if he would rather go back to using his short & expensive speaker cables and he said NO WAY! You would be amazed how at often this happens.

That doesn’t mean that I am against better sounding cables. In fact, quite the contrary. But there are priorities, even in audiophile land!

I suggested that the client invest in longer cables of the brand & model that he liked. In some cases, the amp can stay by itself and the user can employ longer ICs. Depends a bit on the component, especially the preamp’s ability to drive a longer line…

But NO cable – at any price – that affects how electrons flow in the wire – can come anywhere close to the effect of a vastly improved acoustic wave-launch into the room.

IMO, of course.



New TTSB Podcast!

Until now, Randall & I have not had a chance to produce another Breaking Through podcast (Since #10).


We have just produced a new episode :)


If you haven’t heard them yet, I suggest you give them a try – you might pick up a useful tip or three.


Here is a link to all of the Breaking Though podcast episodes on iTunes:

The Breaking Through Podcast (iTunes)


If you are not an iTunes subscriber or user, go here for the latest podcast:

http://breakingthrough.libsyn.com/episode-eleven-we-like-mike


Go here to access all eleven episodes:

http://breakingthrough.libsyn.com/



Facebook Updates

As I mentioned in the previous QNs, there are times that there may be news that I might want to send sooner than the next Quarter Notes newsletter. In fact, that’s now happened on several occasions. 


So I have combined my Facebook pages to include occasional audio info as well as the personal posts that you would expect. If you have a Facebook account and you are interested, go here:


https://www.facebook.com/profile.php?id=1057521805


Ask to make friends & let me know you are a GBS owner, or simply click on Follow. If for any reason you change your mind, it’s easy to un-friend or un-follow someone.



TTSB Update

Pretty much the same news as last issue - The CD has been fully licensed and has been mastered. It is ready.


Book One is complete.


I am ready to begin the DVD production, but cannot just yet, as Book Two needs to be completed.


I fully expect to produce the entire package before the end of this year, and hopefully in the next six months or so.



Questions or comments?

E-mail me: jim@getbettersound.com


That’s all, folks.

Keep on listening!


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