Parni_Valjak

Yorba Acoustics to Launch Unique Guitar Speaker Model G1 at NAMM 2015 Yorba Acoustics (YA - a division of Pazandeh Audio Designs) is a manufacturer of high performance guitar speakers from Riverside, California which will be introducing a new technology and a “unique revolutionary speaker design approach to sound science”. Yorba Acoustics will be showcasing model G1, a unique proprietary guitar speaker, which had an low-profile introductory debut at NAMM 2014. According to Yorba Acoustics, “generally speaking and by and large, speakers are mounted on rectangular boxes, forward firing and have a certain sound characteristic shared by all of them. Although material sciences and new measurement tools have assisted in designing better speakers, the technology basically remains the same with the same physical limitations.” Yorba’s new speaker technology is a unique design topology using conventional drivers with a unique cabinet configuration to improve the performance of speakers “not possible by the conventional design configurations.” The design is a unique arrangement of two woofers/ midrange drivers at a pre-determined angle from the horizontal plane and a geometrically unique reflector with an embedded high frequency radiator, suspended between them, emulating a single sound source. This configuration ultimately results in improved directivity, midrange articulation, high frequency definition and improved off-axis frequency response for wider dispersion of sound. As the company’s announcement details, “Yorba Acoustics model G1 speaker technology is the result of persistent pursue of better sounding sound systems that would be differentiated in performance compared to the conventional designs even to an average listener. This was only possible by pushing and applying acoustic parameters that are most important to human auditory perception as well as the current scientific approach known by many competent speaker engineers and designers. “Due to the complexity of the design, there was no shortage of challenges when the concept was conceived, but once understood, it was much easier to optimize the design. For better understanding of the new design, many iterations had to be made in order to be considered. Many variations of the design had to be fabricated, measured and listened to before finalizing the model G1.” The result, which can be seen and heard at the 2015 NAMM Show in Anaheim, brings the benefits of better dispersion characteristics as they explain. “Larger speakers are more directional at higher frequencies. This challenge is known by loudspeaker designers and is most noticed by guitar players complaining about the variation of sound when they step away from their speaker cabinet. Model G1 however, by using multiple array of smaller drivers achieves a better off-axis frequency response hence; a wider dispersion therefore, giving the player more freedom to walk around the stage.” Specifications Impedance (Nominal): 4 Ohms Power Required: 40-130 Watts Sensitivity: 97 dB 2.83V/1m Configuration: 2 Way Drivers:2 X 6 1/2 inch high efficiency woofer/ midranges and 1 X one inch high efficiency proprietary compression tweeter Weight (Net): 26 Pounds Dimensions (inches): 18(H) X 9(W) X 13(D) The YA Model G1 is mostly hand crafted in the US and carries a 3 year warranty.

Изкуството да се записва голям оркестър http://www.theartofrecordingabigband.com/

Поглед към историята и развитието на радиолампите от позицията на 1965 година. Понеже повечето, да не кажа всички лампи са създавани преди тази година, темата е достатъчно актуална. Публикацията е общо 4 части . The story of the Valve

Моля те не настъпвай лъва по опашката . Прочети моите теми и може би ще се ориентираш защо никога няма да взема нещо подобно. Без да съм себичен, горещо ти препоръчвам да ги прочетеш. Поне ще научиш много неща, които ще ти бъдат полезни .

Stefan Kudelski and the world’s first professional-quality portable tape recorder While a couple of people on our list ofGenius!es have become household names, there are many more who have still yet to receive their due mainstream recognition. One of this number is Stefan Kudelski, whose 1951 patent ushered in both the first portable recording device and the company that continues to bear his name – the Kudelski Group. Born in Poland but educated in engineering in Switzerland, Kudelski was at university when he patented the Nagra 1. Generally regarded as the first portable recording device, the Nagra 1 (pictured below) was a compact (approximately the size of a shoebox) reel-to-reel tape recorder. Word of its quality and portability soon spread, with radio stations in Switzerland among his earliest customers. But it was the Nagra 3 – which emerged in 1958 – that arguably had the greatest impact of Kudelski’s designs. Able to synchronise sound with the frames on a reel of film, the Nagra 3 can be claimed to have changed the entire dynamic of film production for the ensuing generation. The mechanics of capturing high quality sound had previously meant that many films were effectively studio-bound; alongside the then-emerging 16-millimetre camera, the Nagra 3helped to pave the way for a new era of filmmaking in which much more shoots would take place on location. Directors to adopt the Nagra 3 in its early years included DA Pennebaker, who used the recorder during production of Don’t Look Back – his 1967 Bob Dylan tour film that arguably counts as the first classic music documentary. Kudelski and his firm continued to innovate in the field of miniature recording. Increasingly, security and surveillance became critical markets for the firm, with the early SN Serie Noire machine reportedly adopted by the American secret services. Today, Kudelski Group is under the leadership of Stefan’s son, André. Stefan himself passed away aged 83 in 2013. www.nagra.com

Gramophone burglar alarm from 1939. When it is tripped, it calls a number and plays the recorded message.

The Heart Of It All: Capturing Drum Sound Looking at a variety of ways of going about it -- and why -- as well as the positive impact of digital consoles... March 05, 2015, by Mark Frink The drum sound is the heart of any band mix: kick drum keeps the pulse going, while the snare drives the rhythm and the overall beat gives each song its groove. Dynamic microphones are used for close miking drums because they’re sturdy, handle high SPL, provide off-axis rejection and often have a presence boost around 4 kHz that emphasizes attack. At the same time, digital consoles have changed the live sound workflow. Their instant recall forces drum sound check to fit into whatever time is allowed, sometimes no more than a quick line check. Much attention is paid to the kick drum’s sound because it’s the foundation of many music genres. A common goal is a solid punch in the lows combined with a driving click in the mid-range. These often translate to a boost at 100 Hz or lower and another boost at 1,000 Hz or higher. In order to keep the kick drum from dominating the mix by sounding boomy and boxy, midrange EQ cuts around 200 Hz and 500 Hz can help prevent fundamentals of other mix elements from being overpowered. Snare drums often exhibit annoying ringing overtones sometimes considered authentic or even classic. Boosting and sweeping a narrow-band EQ to identify an annoying frequency and then cutting only that frequency is called “search and destroy.” The same process can be used for other inputs with annoying overtones and so works well for toms. DPA d:vote 4099D clip microphones. Plenty Of Alternatives Years ago there were few live sound mics to choose from, and the Shure SM58 and SM57, along with earlier Unidyne models, dominated mic box inventory. If it wasn’t a vocal, an SM57 was used, though it and the SM58 sound similar. A generation learned to “tune” the PA by repeating the mantra “check, one-two” into an 58. Both employ the same capsule and have a reputation for sounding pretty good on almost everything, specifically for their “presence boost” (also called “midrange honk.”) The 57’s flat grille allows positioning closer to sound sources where proximity effect provides a little extra 100 Hz, and the minimal grille contributes to a relative boost above 5 kHz. It can also be damaged when struck hard by a drumstick. Early on, enterprising roadies discovered the 57’s performance for kick drum could be improved by removing its internal transformer, extending its frequency range, especially in the lows, while reducing midrange honk and improving transient response. This came at the cost of 10 dB of output – not usually a problem for kick drum. Sennheiser e 604. However, the 57 is no longer used as much on snare drum, where its honk and bite are iconic. Today there’s a wide range of alternate choices with a full, clear, modern sound. And a variety of dynamic and condenser models have supplanted its use on toms, with smaller models better suited to being mounted on the rims. Many dynamic mics for toms have similar sensitivity and response, and are somewhat interchangeable. Condensers usually afford greater sensitivity than dynamics, and provide a more open, detailed sound because of their flatter, extended frequency response and accuracy of transient peaks. However they pick up more of nearby sound sources, so they’re used for overhead or area mics for drums and percussion. When close-miking hi-hats, under-snare or ride cymbal, a tighter pattern, better placement and attenuation are usually preferred. Checking pattern, pad and high-pass switches becomes second nature with rental condensers, and the use of dynamics for one or more of these applications are sometimes preferred. What’d You Bring? When artist engineers don’t bring their own mics, the venue or a local sound vendor provides them. But engineers usually prefer carrying their own because it delivers the highest level of consistency while providing complete freedom of choice for every input, allowing them to carry their best choice for each chore. When touring with a consistent drum kit, its mics are a relatively minor accessory; however, standardized choices guarantee that they can be provided at every gig without substitution, which is why they appear so often on input lists and technical contract riders. Commonly provided vendor and/or house drum mic inventory includes Shure BETA 91A and BETA 52A or Audix D6 for kick drum, SM57 for snare, Sennheiser e 604 or Shure BETA 98A for toms, and AKG C 451 or Shure SM81 pencil condensers for cymbals, with AKG C 414 or Shure KSM32 being popular overheads. Familiar choices help us quickly make adjustments, providing predictable results that are easily duplicated on different consoles. Locally provided mics also allow a band’s crew to walk away from the stage after a show without collecting them. Dual Telefunken M81 SH dynamics. No matter how much a band tours, eventually there are festival, TV or promotional appearances where all equipment and backline must be locally sourced. Using standard choices for most of or even an entire input list eases the transition from tour to “one-off,” provided the sensitivity and response of the mics matches the ones used in the digital console’s file. When using rented drums, “house” mics are often good enough, yet a hybrid approach, where the band’s engineer specifies standard selections but brings one or two special artist-supplied mics for “money” channels, provides the best of both worlds. The special mics are quickly struck at the end of each show and easily carried on the airplane in a backpack. Special duty mics always have great sound as a primary goal, but the further aim for modern kick drum mics is little or no EQ. Classics like the Sennheiser MD 421, Electro-Voice RE20, AKG D 12 E and beyerdynamic M 88 are all outstanding mics, but still must be contoured with channel EQ for kick drum. The AKG D112 was the first mic tailored for kick drum with a contoured frequency response that requires minimal EQ. The AKG D 12VR, Audix D6, EV RE320, Sennheiser e 902 and Shure BETA 52 all provide pronounced lows, scooped low-mids and enhanced high-midrange, allowing it to sound good right out of the gate. The kick drum’s sound benefits from attention to how its mic is positioned. Other than jazz kits, a 4- to 6-inch hole in the front head to allow mic access is a modern standard. Shure BETA 52A in the hole and BETA 91A completely inside the kick drum. A few mics sound good in the middle of this hole or just outside, but many sound better inside the drum than in front of it, due to the improved beater attack and isolation from other drums, with small changes in mic position and even its angle causing the sound to vary widely. The care required in positioning kick drum mics, and the wide variety of models to choose from, ensures that engineers often bring their own. A second kick mic that’s frequently used is the Shure BETA 91, a boundary condenser first adopted in casino showrooms to provide attack and fullness without sounding boomy to make drums sound better to older audiences. It was quickly adopted as a second kick drum input to supplement the usual dynamics and remains widely popular. Timing Is Everything Another old school drum roadie trick is to make the distance from the snare drum to each overhead mic the same, using the length of two drumsticks end-to-end to measure it, which ensures the drum kit’s loudest sound arrives in both overheads at the same time. Today’s digital consoles allow engineers to delay the snare mic to eliminate the destructive comb filtering produced by combining it in the mix with its arrival a couple milliseconds later in the overhead mics. This method is easily extended to rack and floor toms. Aligning dual kick drum mics has been around since the early days of Pro Tools, delaying the inside mic to the outside mic. The distance between the two mics, often about a foot, is relatively small compared to their 10-foot wavelength at low frequencies. At higher frequencies, the slight difference in arrival time can cloud their combined sound above 1 kHz. With the widespread use of digital consoles, adding a millisecond of delay to the inside mic can clean up the highs and improve the kick drum’s attack. Alternatively, Audio-Technica’s AT250DE provides the best of both worlds with a dual-element capsule that incorporates both dynamic and electret transducers that are automatically time-aligned. Inside the dual-element ATM250DE. In The Library Touring artists usually travel with a digital console, and their true value is in their files; not just previous show settings, but also their libraries, a collection of presets that can be called up with the click of a cursor, saving the time it takes to adjust the parametric EQ. Yamaha’s earliest digital consoles provided an EQ library with 40 preset EQ programs and another 40 user EQ memories, while today’s QL and CL Series consoles provide 159 user EQ memories. In addition, EQ libraries are a standard feature on most digital desks. DiGiCo SD consoles have a preset library that saves the entire channel strip that when recalled can be scoped for just EQ, dynamics and gain. Meanwhile, multi-channel presets allow an entire drum kit’s settings to be saved. AKG C 451. Engineers who carefully archive previous shows already have the information they need to build a set of mic-specific channel EQ presets. Opening an old file and using the settings from individual channels to store presets for specific instrument and mic combinations is a quick way to start building a library. Since we repeatedly equalize the same models of drum mics in a similar fashion, saving EQ presets allows us to quickly pre-adjust an entire drum kit EQ by loading a previously tweaked preset for each drum mic into the right channel. Presets called “KICK52” or “SNARE57” have meaningful names that describe their use, allowing them to be correctly identified and quickly applied. Library presets aren’t meant to replace actually listening to drums during sound check; rather they allow a file to quickly be built when time is at a premium and show time is looming. Mark Frink

Нормално е да има различия между поколенията. Жив и здрав!

Миличък, аз работя от 12 годишен! Едновременно съм учил, спортувал, изучавал чужд език и още и още... Ако искаш да постигнеш развитие, ще стане само с усилия! Ако не положиш усилия, ще бъдеш винаги в сегашното положение. ПП. Правилна оценка на действителното състояние на озвучителните тела се прави само с измерване. Още повече в случая не става въпрос за звук в квартално барче, а за оценяваме на музикален материал. Ако телата не са в поне минимални норми, няма никакъв смисъл да се прави каквото и било с тях. Всичко направено с неправилни средства носи проблемите завинаги. Ако в едно живо изпълнение грешките се забравят с време, то при записите всяка грешка се набива в главата всеки път, когато се прослушва материала. Не случайно студиата с цялата си инфраструктура и оборудване имат за цел да се елиминират всички възможни проблеми в крайния продукт. И накрая - свикнеш ли с калпавата работа и калпавите резултати, оставаш белязан за цял живот.

Зависи от кой са "модифицирани". Обикновенно с това се занимават не съвсем компетентни люде, което води до отрицателни емоции на пострадалия. Е, може да се уцели шестица от тотото, но тя се пада много рядко. Толкова рядко, че не се случва даже. Не разбрах само как разбра, че изглеждат добре, след като си показал фирмена, а не действителна снимка? Струва ми се, че ако беше работил през това време, което губиш пред компютъра да търсиш нещо хубаво за малко пари, щеше да си изкарал достатъчно да си купиш качествени неща. Поне достатъчно качествени.

^^ Ако е с полупроводници (Транзистори, Интегрална/ни схеми) в крайното стъпало (мощният усилвател), МОЖЕ да се използва озвучително тяло с импеданс равен или по-голям от посочения за усилвателя.

Хич не са били кофти трафовете, а този който се е занимавал с това от което не разбира !

How Verve Records Got Gutted Ted Gioia, March,14, 2015 The record label of Billie Holiday and Ella Fitzgerald just got swallowed by a hip-hop business… and no one even noticed! The announcement could hardly have been hidden any better. Slipping the news into the second paragraph of a press release about a management change, Universal Music disclosed last week that most of the day-to-day responsibility for the once great Verve label has been absorbed by its hip-hop and pop operations. Interscope Geffen A&M, the home of Eminem and Lady Gaga, “is now responsible for Verve’s sales, marketing and film and TV licensing.” What a strange turn of events! Interscope, founded in 1989 by Jimmy Iovine, first made its mark in the music world as the in-your-face label of gangsta rappers—although later corporate moves have broadened its catalog to include a range of pop and rock acts. Verve, in contrast, started out as a posh home for jazz stars who played the classic songs of George Gershwin, Irving Berlin, Cole Porter, and other craftsman tunesmiths of the Golden Age of America popular music. Even the most optimistic jazz fan must cringe at the prospects of a shotgun marriage between these different organizations with their contrasting traditions. My sources tell me that the organizational shake-up took place quietly some weeks back. David Foster, head of Verve, is still in place, and can rely on newly-appointed general manager Mike Rittberg to help him maintain some independence for the label. But the rank and file of the Verve team have been dismissed. The sales and marketing push behind whatever remains of Verve’s jazz mission—if anything—will be handled by the same folks who are pushing Maroon 5 and Imagine Dragons. Anyone want to guess how much they care about jazz? Oh, yes, in the fourth paragraph of the press release, we learn that Verve will “redevelop its brand in the coming year.” I think this is corporate speak for “we don’t quite know what we are doing.” Frankly, I am not surprised at this turn of events. Norman Granz, who founded Verve Records in 1956, would be horrified by the recent history of his iconic label. Granz worked with most of the major jazz artists of the middle decades of the 20th century. At one time or another, Granz recorded Duke Ellington, Louis Armstrong, Charlie Parker, Dizzy Gillespie, Art Tatum, Stan Getz, Ella Fitzgerald, Billie Holiday, Count Basie, Oscar Peterson and dozens of other now legendary jazz figures. What would Granz think of Verve’s Donny Osmond album “tracing the high and low points of both his professional and personal life”? Or the recent Barry Manilow album on Verve, which finds the pop crooner collaborating with a host of dead musicians? It’s a long path from Billie Holiday to Donny Osmond, and the trajectory is definitely downward. It’s a long path from Billie Holiday to Donny Osmond, and the trajectory is definitely downward. Granz was a tenacious businessman, but he also knew that some things were more important than money. He fought against racial discrimination at every juncture, and refused to compromise in situations where others would have folded. He once confronted an armed policeman trying to plant drugs in Ella Fitzgerald’s dressing room. “I ought to kill you,” threatened the cop, who pointed a gun at the producer’s stomach. Granz responded, “Well, if you’re going to shoot me, I mean, shoot me.” Granz showed similar courage when insisting that a taxi driver operating a “whites only” vehicle give a ride to Fitzgerald, or tearing down the signs for white and black patrons at a jazz concert. Nat Hentoff has called Granz the '”the most stubborn and brusque man I have never known”—but only someone with such fierce determination could have overcome the obstacles facing a music impresario committed to civil rights in the ’40s and ’50s. Verve would benefit today from someone with Granz’s vision and stubbornness. As I look back at Verve’s output in recent years, the most striking aspect is the lack of any consistent guiding principles. Some albums are better than others, but too many decisions seem driven by marketing concepts rather than a commitment to artistry. Even Diana Krall, one of the few high caliber jazz artists still affiliated with Verve, is presented in the crassest way. Her 2012 release, Glad Rag Doll,looked more like an excuse for a lingerie photo shoot than a jazz album. Her latest recording, Wallflower, has a few inspired musical moments, but the focus on tired top 40 pop material from a second-rate oldies playlist—“Alone Again (Naturally),” “Desperado,” “I’m Not in Love”—is cheesy in the extreme. Krall succeeds here despite the song choices; a lesser artist might have lost all credibility in jazz circles with an album of this sort. How could Universal fix Verve? Perhaps they should look back to the steps Norman Granz took to revitalize Ella Fitzgerald’s career in the ’50s—the greatest success story in the history of the Verve label. While under contract to Decca (ironically, now part of the Universal Music empire that controls Verve), she was prodded into recording embarrassing songs such as “Santa Claus Got Stuck in My Chimney” and “Little Man in a Flying Saucer.” But when Granz brought her on board the new Verve label, he packaged and promoted her as the leading jazz interpreter of classic American songs. The resulting “Songbook” albums—featuring the music of George Gershwin, Cole Porter, Duke Ellington and others composers of the highest caliber—still serve as the foundation of Verve’s catalog and reputation. That kind of commitment to quality is still the best recipe for long-term success in the jazz field. Throw out the gimmicks. Forget about clever press releases. Instead, back the finest talent and give them a platform to make the best music possible. If Universal Music wants to see how this is done, they should check out the jazz offerings from ECM, Nonesuch, and other labels that have flourished, even during tough times, with a commitment to artistry that starts at the top of the organization. Or, if that is too much to ask from the new team at Interscope, perhaps the best thing for all parties would be to find a new owner for this historic label. Maybe with a different boss, Verve could once again live up to promise embodied by its name.

И аз искам!

NEVE Six Space 500 Series Rack Power-wise, the R6 has 150% the required current for a 6-space chassis to prevent the power rails from failing under a higher than expected load. To help monitor and troubleshoot problematic modules, the R6 is equipped with LED current metering to show how much power is being used. The internal power supply itself has been carefully designed and double shielded to avoid significant magnetic induction in any of the channel positions. With such attention to providing and monitoring power, the R6 helps your modules realize their fullest potential. With a plethora of connections available, the R6 backpanel is practically a patchbay on its own. The R6 features 8 channels of balanced I/O options including DB-25, XLR and TRS that may be used interchangeably. This versatility is especially handy when you are taking the R6 with you to another environment where you are unsure of the cables available, or if you need to convert DB-25, XLR or TRS connections to another format using the THRU functionality on channels 7-8.

Леле, какво ще ги правя толкова харесвания???

Човек, (обикновенно форумен член), който постоянно пита за твоя съвет, обаче винаги прави обратното на това, което си му казал.

Така и не разбрах какви са тези "колони", които ще се включват към звуковата на компютъра? Дали съм пропуснал нещо?

Нямам нито време нито желание за разтягане на локуми. Действай както сметнеш за удобно. Успех!