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Българският форум за музиканти

Parni_Valjak

Нова тема: Vintage

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Уважаеми форумници! Моля спазвайте стила на темата. Не хвърляйте вътре каквото и както ви попадне.

Научете се да вкарвате изображения. Форума има добри възможности да изглежда културно. 

 

Когато искате да покажете нещо, което си заслужава, отделете малко време и отношение - допълнете картинките с обяснения, цитати, история.  Преценето добре дали публикацията се връзва с темата. Отберете важното. Нямаме за цел да пълним форума.

 

МОЛЯ ВИ! Не може модератор да ви върви отзад и да оправя. Или се старайте, или ще моля модераторите да трият!

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Като стана дума за Ампег и Джес Оливър, жалко е как през последните години хората забравиха, че тази марка е дала много не само на басистите.

 

Името е Еверет Хъл - годината е 1961, а изделието се казва Reverberocket. Това е първият усилвател с вграден Reverb ефект. Ироничното около този усилвател е, че създателят му ненавижда рокендрола, но точно рокендрол китаристите се влюбват в него. 

Първоначалният вариант на комбото се състои от предусилвателна секция с 2х6SL7 и 2х6SN7, изправител 5Y3GT, крайно стъпало 2х6V6GT с изходна мощност 15 W RMS @ 8ohm.

Комбото има три входа озаглавени - китара, микрофон, акордион; волюм, тон, ривърб контрол и два контрола за тремоло.

 

 

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Edited by patient
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Jess Oliver, значи, а?  :godbless:

 

jess-01.jpg

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А я да видим някой сеща ли се кой е този грамофон и с какво е толкова известен?

 

 

technics+sp-10.jpg

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SP-10.

Има много неща с които е известен. И това е нормално за грамофон от висока класа.

Да речем, че е впечатляващ инерционният момент от 1.1 ton.cm2. Това позволява да се запазва скоростта на въртене без промяна, ако случайно се докосне с ръка диска. Точността на поддържане на скоростта на въртене на диска е 0.001%, rumble  -92dB DINB (70...90 dB 16...200Hz)

Има и други технически особености.

Ако въпросът съдържа намек за известни потребители, не мога да помогна  :D. Аз не съм го ползвал ;) .

 

The SP-10mk3 is offered by Technics as being the best turntable that they make.

Edited by Parni_Valjak
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Всъщност отговорът, който търсех е, че това е първият грамофон с директно задвижване... Но както винаги, Валяк, по-подготвен си отколкото е необходимо :)

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Electronic Music Studios (London) Ltd. (usually abbreviated to EMS) is a synthesizer company formed in 1969 by Peter Zinovieff, Tristram Cary and David Cockerell.

 

Преди много години, в БНР беше инсталиран един от най-големите синтезатори тогава - SYNTHI 100, на Electronic Music Studios (EMS). С него се занимаваше Симо Лазаров - сега голямо име в областта на синтезаторната музика.

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EMS е известна също с малките си модели, SYNTHI A, AKS, VCS, вокодерите и различните модули 

 

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The EMS Vocoder
Promotional tape recording from the 1970's.

http://youtu.be/BSsXYisIE4E

EMS Vocoder 3000

Electronic Music Studios - EMS Vocoder 5000 Demo

http://youtu.be/ifKq9eHuy8Y

EMS Polysynthi

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This is one of the few and working EMS Polysynthi, produced between the '78 and 79 in ONLY 29 exemplars. As far I know the last Peter Zinovieff work.
Space look... totally amazing, its sound is magic!
It's fully polyphonic with built in analog delay and chorus (both CV/keyboard touch controllable) Two cv-lfo's with many combinations, modulable also from keyboard aftertouch, filter is very very nice selectable from 2 to 4 poles, envelope follower for external signals and many other features.
For me is one of the best polyphonic synthesizers ever made with unique sound and an incredible look.
This is a small space sounds demo with both the enevelopes auto triggered from one cvlfo.

Edited by Parni_Valjak
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The New Sound Of Music 1979

 

The New Sound Of Music 1979 (Part 1)

 

The New Sound Of Music 1979 (part 2)

 

The New Sound Of Music 1979 (part 3)

 

The New Sound Of Music 1979 (part 4)

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Симо Лазаров със синтито AKS и още...

lazarow.jpg

Edited by blr
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Peter Zinovieff and Electronic Music Studios
 

Peter Zinovieff's pioneering work into the fields of electronic music production and research led to many innovative electronic music instrument developments that were outstanding for the time. Peter was fascinated by electronic music and used his financial resources to develop a huge voltage-controlled studio that occupied an entire room in his home premises. There was a time when EMS (Electronic Music Studios) stood as equal to Moog and Arp. In many ways, EMS was more advanced with several pioneering ideas being investigated. Peter used two PDP8 minicomputers in the late 1960s to control the voltage-controlled analogue modules for research into electronic music exploration. Twenty years before affordable computing and sequencing packages, Zinovieff's computers could store and replay compositions, complete with sound shaping parameters even inventing a form of spectral or additive synthesis. Excerpts are edited from the television documentaries "What the Future Sounded Like" and "The New Sound of Music" featuring the first public performance of music by a computer in the Queen Elizabeth Hall in 1967. The spirit of EMS continues, and Peter's synthesizer innovations like the VCS3 and Synthi 100 have become outstanding analogue classics.

 

 

Peter Zinovieff’s pioneering work into the fields of electronic music production and research led to many innovative electronic music instrument developments that were outstanding for the time. Peter was fascinated by electronic music and used his financial resources to develop a huge voltage-controlled studio that occupied an entire room in his home premises

There was a time when EMS (Electronic Music Studios) stood as equal to Moog and Arp.

In many ways, EMS was more advanced with several pioneering ideas being investigated. Peter used two PDP8 minicomputers in the late 1960s to control the voltage-controlled analogue modules for research into electronic music exploration. Twenty years before affordable computing and sequencing packages, Zinovieff’s computers could store and replay compositions, complete with sound shaping parameters even inventing a form of spectral or additive synthesis.

Excerpts are edited from the television documentaries “What the Future Sounded Like” and “The New Sound of Music” featuring the first public performance of music by a computer in the Queen Elizabeth Hall in 1967.

The spirit of EMS continues, and Peter’s synthesizer innovations like the VCS3 and Synthi 100 have become outstanding analogue classics.

JeffreyPlaide

Edited by Parni_Valjak

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Simo Lazarov Layer 7S with EMS Synthi 100 & Synthi AKS 1983

 

Simo Lazarov UFO 1981

Simo Lazarov (Simon Lazar) is Bulgaria's first composer, performer and promoter of electronic music. He has specialized in several European studios and has taken part in many electronic and computer music festivals all over Europe and USA.
He founded and directed the first Bulgarian studio for Electronic music at the Bulgarian National Radio (1973 - 1999). Since 1977 he has been a lecturer on sound engineering and electronic music at the Music Academy, Technical and Sofia's Universities. In 1996 he created a brand new programme-course on "Computer Systems and Technologies in the Music" at the New Bulgarian University.
Over the years Simon Lazar has performed more than 2000 concerts. In recent years he has organized open-air concerts which are synthesis of the various arts, attracting large audiences for his contemporary music.
He was co-initiator of the Festival for Electro-Acoustic, Electronic and Computer Music and of the multimedia forum Computer Space. In 1999 he created International Forum-Festival Computer Music Space witch is held in different countries.
Simon Lazar has released 9 LP, 30 CD's, more than 80 soundtracks and 9 books. For 30-th year Anniversary of first Bulgarian Electronic Music Studio was released 30 CDs Special Edition - Anthology of his music. He has received many prizes and in 1995 was named Bulgarian Musician of the Year. He is a member of Bulgarian and Israeli Composers League and SEAH Czech Electro-Acoustic Composers.
In 2008 Simon Lazar was named "Artist of the Year" of National Culture Center.

 

Simo Lazarov Love Theme from Christmas on the Sky 1991

 

Simo Lazarov Traditional but Electronic 1975 Electronic Music

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Интересни събития от дневника на Зиновиеф, отнасящи се до нас, българите:

 

  • At last the Bulgarians arrive with Denis Tyler. They are 6 not 3. They all seem very similar. Large, moustachiod and with huge baggy turnupped trousers. They smile and say hello in Russian and bring out a 2 litre bottle of yellow vodka with some herb in it. I reckon thev must have been given cups of tea all day at the BBC. I go upstairs to get glasses. Perhaps the vodka will do instead of a demonstration. I wish I spoke Russian better.
  • I hate demonstrating the computer system. I feel rather like a conjuror. I usually choose speech as a source to analyse and change. Often I end up destroying carefully prepared tables or settings that I am currently using. However, today is clear. I turn on the Radio Microphone; the Bulgarians talk into it; they lauch as I alter the tone and character of their voices and then transform their laughter into a marvellous rainstorm. Rabbits out of a top hat. They don't understand much. We drink some more Vodka.
  • They are all impressed by the VDU and the mechanised curtains in the listening room. It's going to he an important decision what to do when~ we lose the listening room later this year.
  • Tim comes down from his room. He looks very scruffy. Been raining then he says looking at the floods, Who are these geezers?, Boozed up, I see. Tim helps himself to half a pint of Vodka. What's this muck - camel's piss? He always talks like this when there are foreigners. Like Uncle Mathew he can't believe that foreigners talk English.
  • Tim then gives a smart demonstration on the Vocoder. His most serious design yet. He is able to do similar transformations of speech to those that I can next door - except his machine is analogue and is unable to distort any time parameters.
  • The Bulgarians are sweating and are obviusly exhausted. Technological demonstrations and scientific apparatus are much the same east or west. Chicago or Novosibirsk.
  • We go upstairs. Rose has lit the fire. We drink some more Vodka and raise our glasses to friendship between our countries and Radio Stations in general. The Bulgarian flag flying on the flagpole at the end of the garden is noticed. It will probably be this rather than anything the Bulgarians have seen downstairs that will make them buy a Synthi 100 or Vocoder. They admire my Polish poster of Lenin and we talk about Warsaw Radio and Josef Patkowski with whom they are friends. Soon every Eastern European country will have a Synthi 100 while there is still only one in the whole of the United States.
  • We discuss, rather drunkenly, the future of synthesizers and how organs are becoming more like synthesizers and synthesizers more like organs I explain that I have decided that EMS should not try and compete in this market but that we should continue to stick to educational and sophisticated machines.
  • The Bulgarians leave in a huge black car. There have been many problems today. I am tired and feel lonely. Very gloomy. Another day has passed and nothing has been achieved. Backwards

-------------------------

  • Summer 1976

 

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Името споменато в дневника - Tim,  е на Tim Orr, дизайнера на вокодерите на EMS.  Имаше серия от статии в известното преди време списание ETi (Electronics Today international), което отдавна не съществува. Много съм научил от него, за което съм много благодарен!

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От доста време мислех да пусна тема за г-н Лазаров изключително ерУдиран и скромен човек, от който може да се научи много. Браво Валяк архива е чудесен  :godbless:

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Наскоро работих по един комплект и го представям тук, защото е забележителен VINTAGE шедьовър!

Neumann M49b (AC701) с оригинално захранване Neumann N52at  и лампов предусилвател 91B22 на вече несъществуващата Датска компания DISA ELEKTRONIK. Правен е специално за датското радио.

Няма да разтеглям локуми.

Който разбира, ще разбере за какво става дума. 

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