Dual 1219 Turntable
Many of us have fond memories of Dual turntables. In the mid to late 70′s, these automatic, idler drive tables were top contenders, with stiff competition coming from the likes of Thorens and Garrard. Built like tanks, the underside was full of springs, gears and of course the big rubber idler wheel. About this time, Linn’s LP-12 hit the scene, offering a new level of musicality along with the direct drive tables from the Japanese that both stole some of the thunder from the idler drives. Dual would go on to produce belt (and direct) drive models before fading off into oblivion in the mid 80′s, but their legacy was definitely the idler drive tables.
With the vinyl revolution showing no sign of losing steam, many music lovers have turned to the classic turntables as an alternative to some of the budget offerings from Rega, Pro-Ject and Music Hall. On the upper end of the price range, the classic Garrard and Thorens tables have really been making a comeback in audiophile circles, with fully restored versions easily fetching prices in the $3,000 -$5,000 range, with diehard idler enthusiasts claiming better bass response and more lifelike tonality.
If you’d like a taste of the idler sound at a more reasonable price, consider a Dual. Whether you are new to spinning vinyl, or trying to find something to play those old Foghat albums that you’ve had tucked in the closet since high school, this is a fun record player and it’s fully automatic. Which can really come in handy if you revisit the state of mind that you were in the last time you listened to Foghat… If you want your audiophile buddies to think that you’ve really lost your mind, grab some dollar selections from your local record store or thrift shop and stack ‘em! Who needs iTunes and Cover Flow, when you can load up five albums to play non-stop.
The two most popular models, the 1219 and the 1229 are trading on eBay between $75 and $225, but this is not the way you want to roll. Like any fairly complex mechanism, turntables don’t respond positively to being bounced around in an adverse manner. Your chances of getting a clean example, and it not getting trashed in shipping by a non-audiophile are slim to none.
A turnkey solution
Just call Bill Neumann at www.fixmydual.com. He’s taken his hobby of restoring these tables and turned it into a full time job, thanks to the demand and word getting around on the Internet. He charges anywhere from about $100 – $300 to rebuild a table, depending on condition, or you can buy a fully restored model with cartridge installed for about $425, which is just what our publisher did. While a fair price for a budget turntable, this is a testament to the staying power of these turntables, as they were $185 when new in 1970-1972.
“I’ve always got at least a few on the shelf, ready to go,” Neumann said when we talked to him. His cartridge of choice a vintage Shure, or the Grado Black. As the big cheese just happened to have a spare Grado Red hanging around, that was the direction this table, a 1219 ended up taking. Neumann added, “The major difference between the 1219 and the 1229 is the later model has a window with a strobe for the speed control. They had to do that to keep up with Technics, but it’s really not necessary, these tables hold their speed very well.”
This is the perfect solution for the vinyl newbie, because the table arrives meticulously packed. All you need to do is affix the counterweight and set the tracking force. You’ll be playing music in five minutes.
Definitely a vintage sound
After the photos were taken we decided to explore the limits of the 1219′s performance envelope, before I took it home to a more “vintage” environment. I’m sure most Dual owners won’t be hooking this baby up to a $12,000 Audio Research REF Phono 2, but it was easy to see just what the table was capable of when doing so. It is definitely as I remember them sounding, somewhat warm and wooly, yet friendly. There is definitely something to be said for “the idler arm sound”, with a nice weight to the lower end.
Back in my batcave, hooked up to a recently restored Harmon Kardon Citation 18 preamp and Dynaco Stereo 70 driving a pair of JBL L-166′s, the sound was full and enjoyable with killer bass. When comparing this to a Rega P2 with Elys cartridge, the Rega table definitely has a livelier sound with more midrange detail now I remember how and why these tables were so exciting back in the 70′s when they arrived on the scene. However, I suspect that the 1219 may be severely limited by the cheapo stock tonearm cable. My tweakazoid sensibilities might get the better of me, so don’t be surprised if you see a follow up article after I’ve played with this table a little more, experimenting with some cable options as well as a few more budget cartridges. I’m convinced there is more performance to be had from the 1219.
I just couldn’t bring myself to use fully automatic mode, but the auto return feature was handy when I was getting busy later that evening. Foghat never sounded so good.
The official website for Pearl Harbor Historic Sites
including tickets, tour information, news, maps, and more.
Open Daily 7:00 am - 5:00 pm *
Join the 1.7 million visitors that visit the USS Arizona Memorial and learn about the day that launched the United States into World War II.
Battleship Missouri Memorial
Open Daily 8:00 am to 4:00 pm *
Three wars, spanning three generations. Climb aboard the last U.S. battleship, the “Mighty Mo,” as she stands silent guard over Pearl Harbor.
Pacific Fleet Submarine Museum
Open Daily 7:00 am to 5:00 pm *
Silent no longer. Delve into the history of America’s Submarine Force – the Silent Service – and learn of the vital role Navy submariners played in the war and beyond.
Pearl Harbor Aviation Museum
Open Daily 9:00 am to 5:00 pm *
Step into the WWII-era hangars of Ford Island. Walk among actual vintage aircraft, fully restored, and take flight in the museum’s interactive Combat Flight Simulator.
* Pearl Harbor Historic Sites are closed Thanksgiving, Christmas & New Year's Day
Stardew Valley Wiki
We currently have 1,564 articles about the country-life RPG developed by ConcernedApe.
Stardew Valley is an open-ended country-life RPG! You’ve inherited your grandfather’s old farm plot in Stardew Valley. Armed with hand-me-down tools and a few coins, you set out to begin your new life. Can you learn to live off the land and turn these overgrown fields into a thriving home? It won’t be easy. Ever since Joja Corporation came to town, the old ways of life have all but disappeared. The community center, once the town’s most vibrant hub of activity, now lies in shambles. But the valley seems full of opportunity. With a little dedication, you might just be the one to restore Stardew Valley to greatness!
Interactive farm planner (stardew.info)
Upload your farm map (upload.farm)
Character check (mouseypounds.github.io)
The central districts of Guangzhou stretch along a waterfront that runs south and then east along the Pearl River. The Old City (dating to the Ming dynasty and now mostly in the Yuexiu district), part of the district of Liwan to the west, and Tianhe district to the east are located on the north bank. On the south bank is the district of Haizhu, formerly largely industrial but now more given over to business offices, financial institutions, and other service-related activities. All these districts now comprise the core area of the city.
Turntablism, the Savior Subculture
But, of course, the ‘70s gave way to the ‘80s, and almost immediately the popularity of the record player declined. In the early ‘80s, the Compact Disc, CD for short, was released worldwide, along with CD players. They became extremely popular, shooting to the most-used method of audio playback with impressive quickness, particularly as the price of CD players declined. CDs were easily portable, boasted impressive technical specifications, and could even be played in cars. They seemed to outstrip vinyl in almost every way in the eyes of the population. However, one subculture kept the turntable vibrantly alive throughout the ‘80s and ‘90s: turntablism.
Turntablism, though not in the form we know it as today, essentially began in the ‘30s and ‘40s with experimental artists such as John Cage. Turntable use in music creation grew, and the first remixes were created, generally accredited to King Tubby in the late ‘60s. The turntable fell into the hands of hip hop DJs in the late ‘70s, with people like DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa being heralded as the forefathers of turntablism. All three used the turntable in unique and innovative ways to further techniques used in hip-hop music.
For instance, Kool Herc's signature breakbeat, which extends the break, or the climax of the song, indefinitely. Herc did this by using two copies of the same record on two separate turntables and using a mixer to switch back and forth between the two, thereby looping the breaks to a rhythmic beat.
Scratching was invented by Kool Herc’s protege, Grand Wizzard Theodore. You all know what scratching is -- that zippy ripping sound you get when you put your hand on a turning record, frequently used for comedic effect in TV and movies. Though Grand Wizzard Theodore was the first to develop scratching, Grandmaster Flash was the first to get it on an album. The song “The Adventures of Grandmaster Flash on the Wheels of Steel” was released in 1981, and is the first instance of scratching appearing on any record.
Turntablism as a term wasn’t used until the 1990s, though it grew and flourished as a culture in the late ‘70s and throughout the ‘80s. Most of the mainstream population, however, turned in their turntables and record players for CD players and Discmen, leaving those trusty turntables to gather dust in basements, attics, and pawn shops across the nation.
Many believed the inventions and release of the CD would be the ultimate downfall of the turntable however, they were most certainly wrong. A modern-day resurgence of vinyl and, consequently, the turntable has occurred, turning vinyl pressing, vintage turntable hunting, and gear refurbishment into legitimate, money-making businesses. We’ll explore this and more in the final installment of the History of the Record Player.
The sudden attack in Hawaii—at the time a territory of the United States, not a state—might have taken many by surprise, but the Japanese had been planning the operation for months.
Admiral Isoroku Yamamoto, commander in chief of the Japanese naval forces and architect of the Pearl Harbor attack, didn’t want a fight with America. But much of Europe and Asia, including Japan, were involved in World War II at the time. Yamamoto wanted to take over certain countries in southeastern Asia and use their oil to help fuel Japan’s military vehicles and naval fleet.
But because the U.S. base in Hawaii was relatively close to these countries, the Japanese worried that the United States would send soldiers from Pearl Harbor to defend the nations if they were attacked. By destroying the U.S. military presence in the region, the countries Japan wanted to target would be left vulnerable. So Yamamoto decided to move forward with a surprise attack on the U.S. fleet in Hawaii.
So on November 26, 1941, 31 warships carrying fighter planes and bombers slipped from Japan into the North Pacific. They moved silently until they closed in on the Hawaiian Islands. A small Japanese plane made a loop around the target and radioed back: “Pearl Harbor sleeps.”
Below are the details for the FACIT-Sp measure:
Available translations of the FACIT-Sp can be obtained by registering for permission. Users are not permitted to translate the FACIT-Sp without permission from FACIT.org. Permission from FACIT.org to translate the FACIT-Sp may also be contingent upon timeline expectations and availability of FACIT staff. Translations must undergo a rigorous methodology under the guidance of FACIT.org which includes multiple translators, QA steps and cognitive interviews with patients. For commercial use, FACITtrans is the approved translation vendor to translate the FACIT measurement system.
Please contact us for more information.
Licensing fees are assessed on a per trial/per measure basis for commercial use. There is no fee for use of the English version, but a license should be obtained.
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To license an available version of this measure for commercial or non-commercial use, please complete our registration form . All of the information provided in the form will be kept strictly confidential. For questions, please contact us .
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Pearl SP-1219 - History
T he Japanese attack fleet left its home waters on November 26 steaming a circuitous route towards Pearl Harbor. Fleet Commander, Vice Admiral Nagumo, received his final orders on December 1 and on the morning of December 7 the battle group was in position 275 miles north of Hawaii. At 6:00 AM the first elements of the air attack consisting of fighter aircraft, torpedeo bombers, high-level bombers and dive-bombers were aloft and assembling in the pre-dawn gloom.
Commander Mitsuo Fuchida led the first wave of the air attack and published his recollections in 1951. These were later published in English in 1955. We join his story as he approaches the Hawaiian coast:
|Japanese attackers prepare|
for take off
Veering right toward the west coast of the island, we could see that the sky over Pearl Harbor was clear. Presently the harbor itself became visible across the central Oahu plain, a film of morning mist hovering over it. I peered intently through my binoculars at the ships riding peacefully at anchor. One by one I counted them. Yes, the battleships were there all right, eight of them! But our last lingering hope of finding any carriers present was now gone. Not one was to be seen.
It was 0749 when I ordered my radioman to send the command, 'Attack!' He immediately began tapping out the pre-arranged code signal: 'TO, TO, TO. '
Leading the whole group, Lieutenant Commander Murata's torpedo bombers headed downward to launch their torpedoes, while Lieutenant Commander Itayay's fighters raced forward to sweep enemy fighters from the air. Takahashi's dive-bomber group had climbed for altitude and was out of sight. My bombers, meanwhile, made a circuit toward Barbers Point to keep pace with the attack schedule. No enemy fighters were in the air, nor were there any gun flashes from the ground.
The attack was opened with the first bomb falling on Wheeler Field, followed shortly by dive-bombing attacks upon Hickam Field and the bases at Ford Island. Fearful that smoke from these attacks might obscure his targets, Lieutenant Commander Murata cut short his group's approach toward the battleships anchored east of Ford Island and released torpedoes. A series of white waterspouts soon rose in the harbor.
Lieutenant Commander Itaya's fighters, meanwhile, had full command of the air over Pearl Harbor. About four enemy fighters which took off were promptly shot down. By 0800 there were no enemy planes in the air, and our fighters began strafing the airfields.
My level-bombing group had entered on its bombing run toward the battleships moored to the cast of Ford Island. On reaching an altitude of 3,000 meters, I had the sighting bomber take position in front of my plane.
As we closed in, enemy antiaircraft fire began to concentrate on us. Dark gray puffs burst all around. Most of them came from ships' batteries, but land batteries were also active. Suddenly my plane bounced as if struck by a club. When I looked back to see what had happened, the radioman said: 'The fuselage is holed and the rudder wire damaged.' We were fortunate that the plane was still under control, for it was imperative to fly a steady course as we approached the target. Now it was nearly time for 'Ready to release,' and I concentrated my attention on the lead plane to note the instant his bomb was dropped. Suddenly a cloud came between the bombsight and the target, and just as I was thinking that we had already overshot, the lead plane banked slightly and turned right toward Honolulu. We had missed the release point because of the cloud and would have to try again.
While my group circled for another attempt, others made their runs, some trying as many as three before succeeding. We were about to begin our second bombing run when there was a colossal explosion in battleship row. A huge column of dark red smoke rose to 1000 meters. It must have been the explosion of a ship's powder magazine. [This was the Battleship Arizona ] The shock wave was felt even in my plane, several miles away from the harbor.
We began our run and met with fierce antiaircraft concentrations. This time the lead bomber was successful, and the other planes of the group followed suit promptly upon seeing the leader's bombs fall. I immediately lay flat on the cockpit floor and slid open a peephole cover in order to
|The USS Arizona in flames|
When an armor-piercing bomb with a time fuse hits the target, the result is almost unnoticeable from a great altitude. On the other hand, those which miss are quite obvious because they leave concentric waves to ripple out from the point of contact, and I saw two of these below. I presumed that it was battleship Maryland we had hit.'
As the bombers completed their runs they headed north to return to the carriers. Pearl Harbor and the air bases had been pretty well wrecked by the fierce strafings and bombings. The imposing naval array of an hour before was gone. Antiaircraft fire had become greatly intensified, but in my continued observations I saw no enemy fighter planes. Our command of the air was unchallenged."
As the first wave of the attack made its way back to its carriers, Commander Fuchida remained over the target in order to assess damage and to observe the second wave attack. He returned to his carrier after the second wave successfully completed its mission.
Fuchida, Mitsuo and Masatake Okumiya, Midway, the Battle that Doomed Japan (1955) Lord, Walter, Day of Infamy (1957).