When hi-fi became architecture.

The Rosita Vision 2000, designed by Thilo Oerke in the 1970s, is a true icon of German space-age design — where technology and aesthetics merged into one sculptural object.

Paired with two white Audiorama 4000 speakers by Grundig, this set delivers not only immersive sound, but a powerful visual presence that defines the entire room.

There is a Green Day floppy disk – Dookie Demastered 💾🦖🧸

"The album that exploded punk rock 30 years ago, re-exploded onto obscure, obsolete, and inconvenient formats." Formats and more include: Player Piano Roll, Floppy Disk, Teddy Ruxpin, Doorbell, Game Boy Cartridge, Toothbrush, Big Mouth Billie Bass, HitClip, 8-Track, Wax Cylinder, X-Ray Record, Answering Machine, MiniDisc, Fisher Price Record, and Music Box.

SONY TA-88 an ST-88L (1972)

There’s a very specific kind of satisfaction in a matching amp+tuner pair, and this combo nails it: clean brushed metal, restrained typography, and that classic analog tuning vibe.

ST-88L is the star visually: an AM/FM tuner with long wave support, old-school superheterodyne guts (IF listed as 455/10.7 MHz), made for real “sit down and tune in” listening. Specs you’ll see quoted for the ST-88-L include FM/MW tuning, 1.7 µV FM sensitivity, 65 dB FM S/N, and a compact, almost “component-jewelry” footprint.

REWIND TEST // signal path check (RX-150A + RD-15F)

Short clip in this post: the counter / ticker counting down as I rewind signal // NOISE back through the deck — time running in reverse, information rethreading itself.

Stills: vintage Rotel stack doing what it was built for:

Rotel RX-150A (amp / tuner)

Rotel RD-15F (tape deck)

signal // NOISE cassette in the window like a tiny monochrome title card: “DSP • signal // NOISE”

Dolby System badge sitting there like a quiet joke about “cleaning up” a signal that was never clean to begin with.

This is me quality-checking the test run of cassettes (as best I can with my hearing) — not “is it perfect?”, more “does the artefact behave?”: level, balance, dropouts, any obvious faults… and the more subtle question: does it still feel like the same machine when it comes back out?

Also: I’ve now got the Avantree Audikast 3 (Bluetooth 5.3 transmitter) hooked up to the amp so I can stream the tape output straight to my CI/HA. Analogue tape → vintage amp → Bluetooth → prosthetic hearing. A whole relay chain of translation layers… which, honestly, is basically the album’s thesis in miniature.