It Had To Be You - Silk (4) - Lose Control (CD, Album)

I let the rig warm up and read the manual. Perhaps it was the high altitude sub-freezing air cargo trip from California and a multi-week layoff that induced the mediocrity.

Or maybe it was my rig that had been idle for almost a month as late summer thunderstorms rolled over western New York. I let it play for Album) days without any listening time until life was interrupted by a week long visit from our daughter and three grandsons. With two babies and 8-year-old Izak who climbs mountains with me in the Adirondacks I was lucky enough to maintain access to my computer, but not listen to music.

When life returned to normal adulthood I resumed listening. Strong, prominent bass had almost become a signature of the Von Schweikert loudspeakers.

I liked this new approach. It was also evident that it is a very smooth, warm and detailed loudspeaker with very good transparency. With the front of the loudspeaker 63 inches in front of the windows, and the depth of them being about 25 inches, there was certainly the possibility of sliding them back toward the wall to reinforce the bass, had that been my pleasure.

The manual also gives several tips about stuffing the port and the use of various cable types to strengthen or tighten the bass. Since the bass unit is a triple chambered transmission line ported on the front, positioning the loudspeaker closer to the wall would not have been a problem.

The mid-tweeter module is a sealed enclosure. The trait that distracted me most in the initial listening was the more distant soundstage. The performers and musicians were further away than the presentation of my Kharmas, but not so far away as the razor sharp Escalante Design Pinyons. With the soundstage pushed back, the width of the stage remained It Had To Be You - Silk (4) - Lose Control (CD same, but because of the greater distance from the listening position, it occupied a narrower field of vision, just as if I had taken a seat further back in the theater.

With the Kharmas, on some recordings the musicians seemed to be out in my peripheral vision. The more I listened, the less this bothered me and eventually it became a non-issue. At this point the loudspeaker was appealing very much to me. It was besting my reference Kharma 2. But it was still not living up to the hype that Albert had laid on me in a phone conversation and several emails. As I was listening to music and admiring the way the very attractive wood cabinetry looked against my jade and ficus jungle it suddenly dawned on me that I had not removed the grille cloth after the grandpups left!

Well, that helps! But the point here is that it still sounds great even with the grills in place, as you might do when throwing a party. With the grills now off, I started to get more serious about listening as I waited for the Rocky Mountain Audio Fest to end and a couple of additional amplifiers to arrive.

At reasonable listening levels the Mahis were doing an admirable job with sufficient power, but they were an unlikely candidate for a loudspeaker almost five times their price. By the way, since the loudspeakers were shipped without either the computer grade bayonet type jumper, or jumpers for the conventional plastic covered binding posts, I bi-wired with two 8' sets of JPS Labs Super Conductor Plus, a combination that proved its merit in my review of the JRs.

Albert refrained from making any specific brand recommendation for cables, but a sticker on the binding post plate indicates that he uses Analysis Plus wiring internally.

As I learned in the JR review, bi-wiring was superior to using a jumper cable, and vastly Album) to using the bayonet jumper, which should only be used as a last resort. In fact, I'm surprised he still includes the option, but perhaps that connection is more corrosion resistant in tropical markets. All in all, to this point, I was very impressed with the way the Mahis were driving the SR.

They were certainly doing much better than with the original smaller JR, though the bass was not as tight as I prefer and it lacked the slam that is afforded by amplifiers with larger, more expensive transformers. The British Invasion Sound Dead Steel, you may recall from my earlier reviews, is the British company that makes an excellent turntable mat with a visco-elastic polymer sandwiched between dissimilar thicknesses of either aluminum or stainless steel.

At my request they made up a set of 3" squares from this Sonphonon material. It yielded outstanding results when used as vibration absorbers between footers and the chassis of a component. They also worked wonders under the spikes of a loudspeaker. These squares literally transformed my Linn turntable. But SDS did not bring the squares to market. Sensing the opportunity and reading about the synergy I found with the squares and his Boston Audio TuneBlocks, Austin Jackson picked up the ball and ran with it.

I followed up with a rave review of his TuneBlocks in the August issue. Not long after, Les Thompson of SDS dropped me an email telling me he was sending his new Isofeet squares and a revised turntable mat.

The Isofeet squares arrived just before the Von Schweikerts. This also lowers the carbon footprint. Unwrapping the first square was an "Oh, wow! It was very nicely finished in the same mat black as the new turntable mat and the bottom side was neatly covered with neoprene foam that had a very sensuous feeling and would not likely slide on wood floors or various types of shelving.

Les said they switched to air-dried paint since it doesn't stress the material with high temperatures like the baked on powder coat that was previously used. The neoprene foam on the Isofeet is the same foam that comes with the new Isoplatmat, and it is offered as a turntable mat in its own right. The neoprene is quite unlike the acoustic foam SDS uses in their industrial enclosures and recording studios to reduce airborne noise.

Les tells me Sound Dead Steel has just been awarded the Rushlight environmental award for noise and vibration control, an honorable feather in their cap, for sure. If he could devise a material that would keep car audio systems from farting obnoxious bass notes I'd give him an environmental award, too.

The new Isofeet were just what I needed to tweak the VR-4s between the upper and lower modules without risking damage to the tops of the bass units. And with the cache of squares Les sent along, plus the original SDS prototypes and Boston Audio TunePlates, I had enough to treat the speakers and leave the rest of the rig intact with virtually everything supported on these plates.

It was an unexpected dream come true. The upper module of the VR-4 has Album). This system not only aligns the two units, but also provides an interlock that to a degree inhibits the upper unit from accidentally being pushed off the bass unit. While this is an elegant solution with an admirable nod to safety, I strongly suspected it compromised the audible results. I conjured up six hybrid footers, enough for three per loudspeaker.

The bottom layer of all was the new SDS Isofeet squares with the rubber contacting the top surface of the bass module.

On the other set I used Symposium Acoustics Couplers, which are perfectly machined brick shaped blocks of aircraft grade aluminum. I've often wondered if this would be necessary if I had a concrete floor like many Southern and Western homes, but for obvious reasons, I'm not about to relocate the rig to my basement to check this out.

Predictably, the bass tightened up, but there was little, if any, improvement to the rest of the spectrum. I was greatly impressed. My previous work with SDS and Boston Audio Design products led me to predict the outcome, but actually experiencing the results was extremely gratifying, as was the music itself. Chief among the benefits is more pinpoint localization of the musicians as well as improved micro-dynamics and inner detail.

You've heard these words before; I know. I've talked with manufacturers, including Albert himself years ago, about improving the interface of loudspeaker modules.

It is a tough sell. I've used the SDS Isofeet squares and Boston Audio TunePlates pretty much interchangeably since an earlier comparison of the prototypes of both yielded virtually indistinguishable outstanding results. The finished SDS product, however, may be preferable in situations where there is concern about scratching a wood floor or the surface of a component below. My experience shows that having the metal surface directly in contact with the bottom of the chassis of a component or the cabinet of a loudspeaker yields the optimum results.

Merely placing them under the existing feet of components is not nearly as beneficial. Note: the VAC amplifier. If your components are in this same build category you might not experience as much benefit, although the relative cost to check this out would be trivial. Cantaloop Us3. Understanding Xscape.

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Whoot, There It Is 95 South. So Alone Men at Large. It Had To Be You - Silk (4) - Lose Control (CD Onyx. Yes, you want your album to sound hot, but could you be losing record sales by hammering people to the point where they turn to another CD after a few brain-blowing songs? How many ways do the record companies subtly turn off potential customers with unnatural square wave mania? I don't have a complete answer to that one, but I have pondered it I guess we should just enjoy what we enjoy and somebody out there will figure out how to get the music business on the upswing somehow Maybe fewer swear words will get some groups more airplay and thus more exposure to the public not to mention pre-teen kids will have a bigger selection that language-conscious parents out there will allow them to buy!

Ok, I'll get off my soap box now! Avril Lavigne - Let Go Amazing production - a sonic journey from end to end. It's got level, it's got quite a bit of edge and cutting mids, it's got bottom end that goes from expert to adventure, vocal placement that finds unique characteristics from song to song, and a big sound that's mastered by Leon Zervos at Masterdisc. Not as smooth a frequency balance as Nickleback above but it's great mixing and mastering without the distortion found on some over-the-top records.

Some songs don't punch the way the still-classic Fuel above does, but for a cut-through anything female rock reference, it's excellent. Take 5 different Sting cds, listen to them all, and you'll hear some variety that has never stood in the way of his ability to make hits. I'd also de-ess this one a tad more, but it's still inspiring to listen to.

Yours truly mastered Sting's Live Concert Series show on the Warner Brother's web site a while back - and yep, I was on that de-esser a lot.

What a pleasure to work on the music of one of the true musical genius' of our time. Vlado's work always is pure silk on the top. With mixing genius, Humberto Gatica and the creme-de-la-creme of talent from all over the world, how can you miss? For grins, listen to Humberto's classic mixes of Chicago and numerous other platinum artists The goal of this production was to retain dynamics and have a warm, ultra silky-smooth sound. As a mix reference, this is opposite of Mariah's album [see below], which just goes to show Hits are more about songs and singers than they are about frequency tone spectrums.

Nine Days - The Madding Crowd It Had To Be You - Silk (4) - Lose Control (CD again great work by Stephen Marcussen and this one's important because it's brighter than Toad the Wet Sprocket and has a mid range that stands out in a good way. It's hot but not too hot - full but not bloated - hey it's really well done. The combo of this and Toad is an excellent reference for clarity, articulation, fullness, punch and delivery. Add in the Nickleback CD and you have another great reference. Great teamwork on this record.

Edwin McCain - Messenger Bob Clearmountain does a top-of-the-line mix job here, making it easy for Stephen Marcussen to master this puppy ultra -loud and ultra clear.

Do not try to get this volume level at home! This is an example of incredible work at every stage of the process which is the secret to how that volume is achieved. No wonder Clearmountain gets three-grand a day for his work. Well ok, maybe he doesn't get three grand, but trust me he's well paid! Match the volume of this album with your mix and then listen-compare-adjust. Match levels, listen-compare-adjust.

A superb reference CD. Mids and highs have a bit of edge, but it's smooth and the bottom is huge on this puppy. Good job, Mike. Yes, other CDs are louder, but the sonic content of this album shows Bob's expertise.

He keeps things sounding big, but not over the top with the limiting and compression. Crisp highs and even mid-bottom sound excellent here, although some boom boxes with super-duper hype-a-mundo tweeters may make this one spit a little.

But then chances are that the buyer heard some of that hype in the first place when they bought the unit Bob Ludwig and I both have classical music backgrounds - he plays trumpet, I play violin. Corrs- In Blue Bob Ludwig masters a smooth, lasting sound into this CD that seems to have a variety of mixdown source formats, from what I can tell.

Bob's not out to win the level wars here, just make it sound excellent. There is some sonic variety here and it should be a lasting favorite for many years. Eve6 - Horrorscope One of my heroes, Ted Jensen who also has a classical background did a terrific job of putting the pedal-to-the-metal on this one.

Yikes this thing is hot! It's got a huge bottom end beware mega-death-bass-boom-boxers and great mid-to-top sonics. How can you go wrong when Tom Lord-Alge mixes for you, though? I don't think this was a difficult one for Ted to master.

Usually, the best mixers know how to get it right up front However, it wouldn't be my choice to master it this loud, as you can really hear the compression in places.

Now then, that's not a bad thing. That's just part of the new trend We can't help it. CDs can only be so loud at the peaks, which cannot exceed a certain level. That means we have to bring up the RMS overall level while leaving the peaks where they are. Spirit In the Sky 2 Norman Greenbaum. Heaven Bryan Adams. The Sound of Silence 2 Disturbed. Handwritten lyrics to three songs by internationally renowned songwriter Bob Dylan have been put on sale in an auction organised by Moments in Time.

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This CD is smoother, wetter sounding, and a more musical sonic follow-up to the Doc. Extremely clean highs, nice and open sound. Pre-Manley tube compressor era, I'd say. This has more of the "discrete" sound to it, like Bernie Grundman's stuff and mine does. This album's first cut, "Last Plane Out" is stellar, but the rest of the songs aren't nearly as sparkly. Did the producers want to keep this contrast? For me, the second cut, "Turn It On Salvador" is just a squeeze dull compared with the sheen and pizzazz of the first cut.

Here, then is a musical dilemma. Keep the original vibe, or tweak the rest of the album a bit more to get up to the level of one lone song. Remember rule 1 found on my Secrets of Mixing page. No Doubt - Return of Saturn I can just see it Bob Ludwig gets the word I'll give it to ya hot! Peg those meters, baby!

Nice 3-D stuff in the mixing, and it makes interesting "Missing Persons-meets-alternative" music. Just don't play an older record like some tame Led Zeppelin before you play this piece. Unless you're right next to the volume control, you'll find your speaker cones stuck to the opposite wall when this one comes on.

Bob also mastered Creed's "Weathered" album super -hot-a-mundo I communicated with Bob, and I asked him if the level was his idea or someone else's request. He said [paraphrased], "I sent two versions to the record company, one less hot than the other. They picked the hot version not my preference. You will flatten the heck out of the dynamics, lose punch, and box the mastering engineer into a corner so that any over-processing can't then be undone.

Great sound, Bob. This is a great record to listen to guitar, drum and vocal tones. Juice Newton - The Trouble with Angels Glen Meadows does a fine job of bringing a refined smoothness and high-end sizzle to this cd. I would have preferred more consistent levels from song to song, but the producer of this CD might have asked Glen to let more variation come through.

There is some tightly packed limiting and compression that's apparent here, but again, I don't know how much processing occurred at mixdown. Check my notes on compression. Clear and bright with a tight but conservative low end, you can't knock this blockbuster hit. When you compare this more naturally breathing album with the "in you face every second" sound of some other cds, one wonders Shania's new record "Up" is nicely mastered by Stephen Marcussen - full bodied and even levels from song to song Madonna - Ray of Light Ted Jensen's up to his usual great work.

Excellent levels, dynamics, warmth, smoothness, mood, musicality, you name it. Mariah Carey - Rainbow Bob Ludwig and Herb Powers at the mastering helm s let the dynamics breathe more musically than some pedal-to-the-metal CDs such as the recent Destiny's Child record. If the music industry ever decides to set a standard for CD levels, these gentlemen should be a couple of the chief people we listen to.

I do have to mention here that Bob and Herb have a distinctly different sound. Herb starts off the record with Mariah's voice being full of airy-crispy-sizzly hype top-end compared to Bob's more elegant, buttery sound.

As a mix reference, you may want to carefully study the liner notes to see who's sound you prefer Tevin Campbell - T. A nice variety of producers bring out Tevin's best on this album. I mean this is a compilation album of producers of the world! And of course, my hero, Bernie Grundman at the mastering helm. Nice level, but not as loud as newer records, but it's still big!

Bernie gets the hi-mid-low perspective as close to perfect as I've heard. I spoke with Bernie about Michael Jackson's "Invincible" album I believe him. Nice level Bob Ludwig at the mastering helm. This CD is extra smooth on the warmies, but if you listen to the voice, you'll hear an appropriate amount of highs. This means that the guitars and drums were somewhat dull in the mix. Ok, it's that early alternative sound. I would have added slightly more highs, some mids to make the guitars grind and the snare snap more, and then de-essed it so that the vocal didn't bite on the ss's.

I think it would have retained the alternative vibe, and been more immediate sounding. Keep in mind, however, anyone the band, the label, the lawyers could have influenced the sonics on this record.

Donna Lewis - Now In A Minute I think the producer of this record wants that warm analog sound, and it's there, but it could be more transparent and immediate sounding. It's got that big level, and that smooth Bob Ludwig sigh sound, but there's some audible compression here and many places along the engineering path where it can show up.

I think there's something to be said for a little less sound saturation when you're not trying to do blood-and-guts punk alternative metal music. If it's metal, then hey, make it hurt just kidding! I wonder if Amy's producer wanted it this loud, or if it was Bob's idea?

I mean, it's Amy Grant, not Courtney Love! Either way you look at it, Bob always gives a nice hi-mid-lo balance to everything, letting a little extra high-end hype come out on Amy's wonderful voice. More clarity than some of today's alternative records that emphasise more warmth.

Ok, it's a sound. It's a hit. So what if you hear the compression. Good point. Remember Rule 1. There are no rules. Never Keeping Secrets Babyface. Dre Day Dr. Stay Eternal. Informer Snow. Girl U For Me Silk. I Get Around 2Pac. Wendal Arrested Development. Reminisce Mary J. Something's Goin' On U. Who Is It Michael Jackson.

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Dreams Fleetwood Mac. Heat Waves 2 Glass Animals. Forever After All Luke Combs. Brightside The Killers. Spirit In the Sky 2 Norman Greenbaum. And here, the Mk2 did not let me down, delivering almost every word on the first pass.

Really spacious! The way this loudspeaker evokes real emotions, not just goose bumps, is uncanny. The Mahavishnu Orchestra's The Lost Trident Sessions, recorded inbut resurrected in and digitally re-mastered in bit digital form, shows how the Mk2 can take the "confusion" out of classic fusion.

This album really showcased the incredible speed of the Mk2's drivers. Joni Mitchell's Blue first brought to my attention the Mk2s ability to reproduce height. My ears fall slightly below the center of midrange and even further below the tweeter. Perhaps the vaulted ceiling had something to do with it, too. John Marks' bit recordings on Music for a Glass Bead Game were another set that seemed especially analog-like thru the Mk2. The transparency of these recordings of string instruments showed off the superb tweeter that took the harmonics far higher than I can cognitively recognize.

Yet there was no denying the openness and sense of fresh air up there. The tip-off was the fluidity and the absence of irritation.

You could hear the edge of the notes, but they didn't cut off your ear. This was truer when the Mk2 was powered by the VAC rather than the solid state Plinius, although the Plinius sounded considerably better through the Mk2s than I anticipated. Hugh Masekela's "Stimela" revealed the dynamic contrast capabilities of the Mk2 as the "coal train" pulled into the station and when his trumpet cut through the live venue.

The choir in Lyle Lovett's "Church" revealed the outstanding clarity at the back of the soundstage, as did Bruce Springsteen's overdubbed refrain "57 channels and there's nothin' on" in the song "57 Channels". This was the clearest I've ever heard the refrain.

The soundstage itself is slightly recessed, but the depth of the soundstage goes way back, virtually to analog dimensions. Paul Simon's "Diamonds on the Souls of Her Shoes" and Bob Seeger's live version of "Turn the Page" are conspicuous for their lack of transparency in comparison with the other recordings on my compilation disc.

But with the Mk2 and all the other goodies now in my rig, the difference was greatly diminished. The fourth movement of Mahler's 1 st Symphony with Leonard Bernstein conducting the New York Philharmonic embodied most of what I think of when I think of classical music. It came across with force and finesse, allowing me to experience both the whole orchestra and zoom in on individual sections.

The vastness of the venue was convincingly recreated. The list goes on and on without the Mk2 ever stumbling. The only quirk I noticed was in the rear-firing ambience tweeter. It did not seem to have the range of volume adjustment of the earlier VR-4 models I've used. Nonetheless, the goal of holographic sonic imagery with outstanding clarity was certainly achieved and the depth of soundstage was as manifest as Albert suggested it would be.

While the listening chair was the best seat in the house, even sitting off axis when friends came to visit provided very enjoyable listening. The Question of Value Like Dave Wilson with the Watt series, Bobby Palkovic with the VSM Merlin, Israel Blume with the Coincidents, Richard Vandersteen with his whole line, and some other less visible Album) who escape me at the moment, Albert Von Schweikert has a design philosophy which reviewers have repeated endlessly and you can read on his website.

And like these others, he has continually refined driver and crossover technology and improved cabinet integrity to maximize the design concept over many years. All these men sweat the details. Albert talked about the oversized crossover coils and driver magnets he used to prevent distortion at high volume. They do LOUD very well. I spent some time at dB at the listening chair without feeling like I was punishing myself. And he spoke of the crossover as the "heart" of the speaker system with extremely expensive German Mundorf capacitors and Analysis Plus internal wire made here in the USA.

He praised the speed and detail of the Audax Aerogel midrange driver from France with a composite cone made of carbon fiber powder, Kevlar threads and cellulose acetate pulp. The Vifa dual ring silk tweeter from Denmark contains no metal, diamond, ceramic or other harsh additives. It sings all the Album) to 40kHz, he claims. I can't hear that high, but there was no denying the sweetness of string instruments and the seemingly unlimited air at the top end.

Do I repeat myself? Moreover, these are all highly customized drivers made to Von Schweikert's specs so they will integrate at the designed crossover points. Likewise, even the inductors in the crossover are wound to specific values required by the specific drivers he uses.

Nothing is "off the shelf" here. And the results? As someone sang, the sweat pours out like honey. It Had To Be You - Silk (4) - Lose Control (CD even more important, where most successful businesses have a board of directors, Albert has a review group of peers who listen to his new creations and give him feedback on how they compare with the competition he has targeted. I've only heard these loudspeakers at shows where the rooms were less than optimal and the supporting systems far outstripped the cost of the rig that has come together for this review.

But like a rock in a sling, the listening room and how a system is tweaked can be powerful equalizers. From what I've heard, it would not surprise me if a lot of people considering the targets mentioned above pocket the difference and come away with Mk2s.

And many who are considering lesser loudspeakers may very well dig deeper into their pockets once they've heard the Mk2s. They're that good, if not even better. The two-box format obviously has certain limits, which opens the door to a series of loudspeakers above the VR-4 group at substantially higher prices with evolving cabinet designs and driver complements. While this leaves the company in some pretty heady territory, I expect this decision maximizes Albert's energy and the expertise of the entire Von Schweikert team.

Not having heard the SR version since the New York show in where it was shown in a small room, it is difficult to estimate how worthwhile the upgrade would be. If you own the SR now and have the opportunity to audition the MK2, I emphatically recommend doing so.

And the closer you live to Temecula, CA, the easier your decision may be. You should most certainly take advantage of the benefits of the SDS Isofeet whether you decide to keep your SR as-is, or upgrade to Mk2 specs. Check, Double Check I find it helpful to revert back to the original system to verify my findings.

Because so many variables were changed in the rig, I backtracked in stages. First I removed the Isofeet from between the upper and lower modules. There was an immediately apparent loss of focus, but the transparency remained pretty much intact. Then, I swapped out the Mk2s for my reference Kharmas. They came across as being sharper and more aggressive than the Mk2s. I realized that the soundstage of the Kharmas was not more forward than Album) Mk2s, but rather it was the distortion on the edges of the notes, the harder sound that made it seem like the musicians were closer.

In contrast the Mk2s had a much smoother overall presentation and the bass was noticeably deeper. The bass of the Kharmas, however, is often under rated. It is quite tight and goes down deeper than most people probably It Had To Be You - Silk (4) - Lose Control (CD, but not into the very deep bass as does the Mk2. Where they were positioned, neither loudspeaker exhibited a mid-bass hump that is so highly prized by head bangers.

Alternate placement can change that if you wish. This took much of the edge off the Kharmas and made them easier to like by softening the image slightly. This is just the opposite of the effect the Von Schweikert cables had on the Mk2s where it tightened the focus and sharpened the edges to bring the music closer to the ultimate quality of the recording.

There was also a small loss of transparency in reverting to the JPS Labs cables, though to be fair, they were much less expensive than the Von Schweikerts, and certainly made the music with the Kharmas more listenable. At this point, it became obvious that much of the increase in transparency I experienced with the Mk2s was due to the cables and the VAC amplifier. This tells me that the Mk2s are extremely qualified to pass on whatever signal they are given and deserve to be preceded by very fine components.

How fine, you ask? Probably the best you can afford with out being foolish or jeopardizing your net worth. Given the amount of work required to switch back to the Manley Album) and my CAT preamplifier, I didn't backtrack that far. Nor did I go to the trouble of making an in-room frequency response chart. The tonal balance was extremely smooth to my ear and I didn't hear anything I wanted to change, though other folks may have a larger appetite for bass. I could feel the bass in my chest at the appropriate times, but it didn't pin me to my chair.

Summary It wasn't until the final combination of products came together that the Mk2 became as fast and coherent as electrostatics, as Albert claimed. That is quite an achievement. True, my front end could use some upgrading, but I think I've pointed you in the right direction here.

Be clear; this is a Real World loudspeaker that is capable of world-class performance in medium to moderately large rooms.

To reach that goal, you will need to surround it with very fine components connected with high quality cables. Tweak your system and tune your room and you will be handsomely rewarded. The Sound Dead Steel Isofeet will be very helpful in this regard. In small to medium size rooms the newer version of the JRs with the right amplification might do you very well.

Specifications Type: Dynamic-driver four-way system using a triple-chambered transmission line and two-piece stacking enclosure system to eliminate resonance and ensure image focus. Driver Complement: Two 8. All drivers use proprietary Advanced Motor System with low distortion design.

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9 thoughts on “It Had To Be You - Silk (4) - Lose Control (CD, Album)

  1. View credits, reviews, tracks and shop for the CD release of "Lose Control" on Discogs. Everything Releases Artists Labels. Advanced Search Menu. Explore Silk (4) – Lose Control. Label: Elektra – , KEIA Records – 9 Format: CD, Album, Club It Had To Be You. Keyboards, Drum Programming – Roy Murray (3.

  2. This CD is worth the asking price just for track 4, Girl U For Me. One of my favorite songs, it is just lovely. If you love a woman, this song is just for you. The CD is solid, I recommend tracks 1, 4,5,8,9, and It's a really good CD if you like R&B, some gems on this disk are classic and still will be fresh throughout time/5().

  3. Lose Control by Silk - CD () for $ from blueskyservices.biz R&B / Soul - Order by Phone /5(28).

  4. Nov 17,  · Lose Control. Roy Murray / Keith Sweat. Silk. Spotify Amazon. 9. It Had to Be You. Gary Jenkins / Roy Murray / Keith Sweat.

  5. Silk. () Lose Control is the debut album by Silk. The album went to number-one on the R&B Albums chart. Included the hit single " Freak Me " which peaked at number one on the Billboard Hot chart and was later covered in by British band Another Level. Lose Control was certified platinum by the RIAA in

  6. Mar 24,  · Silk's third single, "Girl U For Me" peaked at #26 on the Billboard Hot and #25 on Billboard's Rhythmic Top 40 chart. Their last singles from the album, "It Had to Be You" and "Lose Control" managed to become moderately successful on the R&B charts as well.

  7. Nov 17,  · Lose Control Silk. Released November 17, It Had To Be You Lyrics. I Gave About “Lose Control” “Lose Control” Q&A. Album Credits. Label By Elektra Records & Elektra. Album.

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