Parni_Valjak

Правилно си схванал . Само трябва да го осмислиш! След 8 години даване във форума, съм на път да го осмисля и аз. Успех!

Светът вече не е същия. И не мисля, че е към добро. ------------------------------------------------------------------------ Legendary Sigma Sound Studios building sold 01 March 2015: By Matthew Fellows The Sigma Sound Studios building in Philadelphia, which once hosted artists such as the Jackson 5, David Bowie and Billy Joel has been sold, according to Philly.com. The 14,000-square-foot space at 210-214 North 12th Street, constructed in 1930, was bought for $1.55 million and will reportedly be made into apartments. Sigma Sound Studios was opened by Joe Tarsia in 1968. The facility became famous for consistently churning out a string of hits and albums during the 1970s and '80s, including Young Americans (Bowie) and Disco Inferno (The Trammps). Writer/producer duo Kenny Gamble and Leon Huff used the facility for their Philadelphia International Records, and the studios helped define the ‘Philadelphia Sound’ throughout its run, before finally shutting its doors last year. More than 6,000 master audiotapes from Sigma Sound were donated to Drexel University’s Audio Archive for storage and preservation in both 2005 and earlier this year. As the Philadelphia Business Journal reports, this is the second landmark recording studio in the city to be repurposed. The former home of International Records and Cameo-Parkway Records at 309 S. Broad Street will be the site of a new hotel and residential tower being developed by Dranoff Properties in partnership with Gamble.

Review: Apogee Ensemble Thunderbolt 02 March 2015: By Brad Watts Brad Watts got his hands on the new 30 x 34 audio interface for Mac, and found a lot to get excited about. Apogee isn’t an entity to rest on its laurels, although it could easily do so. The company has been at the forefront of digital audio conversion since the very beginnings of the format, having been founded by Bruce Jackson in 1985, along with Christof Heidelberger and Soundcraft USA president, Betty Bennett. For many years, Apogee DACs and ADCs were the bastion of the professional sphere, with devices aimed at the upper echelon of recording. Yet from 2007, with the release of an audio interface aimed at the project studio market, the Ensemble FireWire-based interface brought top-shelf Apogee audio conversion to a wider audience. The Ensemble then went on to win a TEC Award, chosen by the awards group’s 100-plus audio industry professionals. Eight years on, Apogee is offering a continuation of the Ensemble heritage. Gone is the original FireWire connectivity, supplanted with wider, faster and vastly more versatile Thunderbolt connectivity. This fact leaves the Ensemble steadfastly in the realm of Apple computers – a tactic Apogee is more than comfortable with, having renounced development for Microsoft operating systems in early 2009. Physically the new Ensemble is one of the sturdiest pieces of audio gear you’ll come across. The casing is constructed of 2mm-thick steel – no aluminium to be seen here. Equally as reassuring is the fact that all I/O ports are firmly attached to the chassis, so there’ll be no fear of bending connectors held to the board by way of solder connection alone. Plus, in somewhat of a recent departure for Apogee, the Ensemble is black. I/O to the unit includes eight of Apogee’s high gain (75dB) mic preamps. The preamps include Apogee’s Soft Limit, 48V power and high pass filters – all switchable via software. Connection is via the rear, with the first four being combo inputs for either XLR or jacks, and inputs one and two including inserts. The inserts offer separate jacks for in and out as opposed to a single TRS jack. Outputs one and two are presented as balanced jack outputs with the remaining eight balanced analogue outputs presented via a 25-pin D-sub connector. A further 16 I/O points are available via four TosLink/ADAT optical connectors, which can be configured for S/PDIF or S/MUX. Alongside are coaxial S/PDIF in and out, wordclock in and out, and two Thunderbolt 2 ports. All up you’re looking at 30 x 34 I/O points (including the two headphone outputs) should you add additional ADAT interfaces. Out front are two additional high impedance instrument inputs. These incorporate Class A JFET circuitry for more realistic harmonic character when recording guitar and bass. What’s exciting about this section is the additional instrument outputs. These are provided for re-amping duties, or indeed, strapping high impedance stomp-box effects across a track. Top marks Apogee – a creative gold mine built right into the interface. I’ve seen many an audio interface, and nothing else can pull this trick. Exemplary. Visual feedback such as metering and headphone output levels is delivered via OLED displays, or of course, via the downloadable Maestro 2 control panel software. In fact, Ensemble has a hybrid creative user interface whereby most controls can be accessed from both software and hardware. Pressing and holding the desired input selection buttons on Ensemble lets you access input settings such as 48V power, high-pass filters and grouping from the front panel. Speaking of software, you’ll need to be running version 10.9.3 of OS X (a.k.a. Mavericks). But more on that in a moment while we peruse the Ensemble’s front panel. Either side of the OLEDs are large detented potentiometers. The left side pot adjusts the selected input’s gain, and the right side pot adjusts monitoring level. A push on the right post will mute or un-mute the main outputs, and a push on the left pot scrolls through the 10 primary input channels (one through to eight and the two guitar channels). To the left of the input level pot are dedicated buttons for quickly selecting input channels for adjustment. Off to the right are four assignable buttons, which can be assigned via the Maestro 2 application for dozens of functions. These can include options such as clearing meters, through to toggling the guitar channel outputs from the DAW software or the guitar inputs. What’s interesting is the ability to assign a button to engage talkback via the talkback microphone planted in the front panel. The talkback destination can be set to go to either or both of the headphone outputs, and outputs 9-10. That’s right, the Ensemble Thunderbolt entirely negates the need for an external monitoring device. This ensures you’re hearing every drop of sonic goodness from the Ensemble without sullying the fidelity with a sonically inferior monitoring unit. You can even assign outputs to three sets of monitors and choose to use an external mic for talkback. Absolute gold. Speaking of fidelity, Apogee has upped the ante again, with a definitive upgrade from units such as the Duet and Quartet. The Ensemble incorporates an ESS Sabre32 32-bit Hyperstream DAC with ‘Time Domain Jitter Eliminator’. And while the Ensemble doesn’t outshine Apogee’s flagship Symphony I/O, it comes extremely close in specification. The Ensemble pulls THD+N of -114dB (at 96kHz) and a dynamic range of 123dB for its D-A, while the Symphony I/O manages -117dB and a dynamic range of 129dB. Equally as impressive is the device’s latency performance, with a 1.1 millisecond round trip delay at 96kHz. The resulting sonics are something to behold, with Apogee’s usual smooth and crisp high frequency reproduction, but with a bottom end that’s simply glorious. You’ve never heard your kicks captured and replayed like this before. All in all, you’re going to have to look hard to find an interface to offer all the Ensemble can at a price like this. Truly a watershed moment for Apogee. Brad Watts has been a freelance writer for numerous audio mags, has mastered and mixed various bands, and was deputy editor of AudioTechnology in Australia. He is now digital content manager for Content and Technology. sweetwater price $2495.00

THE WAY IT WAS

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Един крайъгълен камък в историята на мощните усилватели, от гения Bob Carver, 1979 година. Същият, който направи Phase Linear 700 ! Magnetic Field Amplifier, 2х200 вата и само 6 кг.

Преглеждайки един куп стари списания открих нещо интересно. Една реклама , представяща много характерни известни озвучителни тела. Само, че фирмата посочена в рекламата е неизвестна. Дори стилът на описание е абсолютно същия, като на BOSE. Дали е фирма. сложила началото на корпорацията BOSE? Ако не, каква е връзката! Годината е 1972, Март месец. LDL749 = BOSE 901 ? PS. BOSE901 излизат 1968 ! Открих събитието, обясняващо нещата! 467 F. 2d 304 - Bose Corporation v. Linear Design Labs Inc United States Court of Appeals, Second Circuit. Argued Aug. 18, 1972. Decided Sept. 21, 1972.

За съжаление краят на статията липсва, но информацията дотук заслужава да се види.

Отново е време за фукане. Току що получих поща от зад океана. Не е кой знае какво, но самата случка е приятна. Няма да пиша, само ще показвам.

Какво значение има? Природата си знае работата. Тя ще оправи нещата. ПП. Особено електролитният кондензатор е черешката на тортата

Хвърляйки един поглед на страницата на търговеца открих това: Явно това обяснява защо " не ми обясниха "... как се свързват филтрите , какви параметри имат, стават ли за чеп за зеле. Не трябваше да се трие всичко от модераторите! Особено цялата страница обяснения как се правят филтри. Резултатът се вижда без очила.

Дефакто няма как форума да работи, когато само се иска от него. Без да се дава. Един форум е място за ОБМЕН на информация. Сещам се за една приказка, която баща ми, Бог да го прости ми разказваше когато бях малък. Та така, освен да се взима от форума, трябва и да се слага! Малкият проблем, обаче е, че всички искат да взимат, ама можещите да дават вече са се оттеглили... И реакцията е като в предния пост. Мога да предложа една библия - Acoustics от Leo Beranek, но съм повече от убеден, че и тя дефакто няма да проработи . Е, ако трябва ще я пусна в Техническа Литература, но науката не е за всеки - факт. Малко майтап по същество http://forum.muzikant.org/topic/158367-забавна-простотия/?p=866062

Динамичната клавиатура се прави по различни начини. В същността има обаче винаги има едно начало. Скоростта на движение на клавишите. Един от начините е електромагнитен, където информацията за скоростта се получава на базата на електромагнитната индукция. В сила е -El=L di/dt. Напрежението е пропорционално на скоростта на движение на клавиша. От тук нататък има също различни начини това напрежение да се свърже с амплитудата на изходния сигнал. И не само със амплитудата на сигнала, но и с различни параметри - ADSR (ATTACK DELAY SUSTAIN RELEASE), LFO (LOW FREQUENCY OSCILLATOR), LPF (LOW PASS FILTER) и така нататък. Друг метод е чрез измерване на времето за "прелитане" между два контакта, които се задействат последователно с хода на клавиша. Дали с дискретни решения или програмно с микропроцесор се извежда информация, която е пропорционална на скоростта на движение на клавиша. Има и друг вид управление, така нареченият AFTERTOUCH, като натискът на клавиша (или чукането) се преобразува в напрежение и по подходящ начин пак се използва за управление на различни параметри на сигнала. Разбира се, споделеното дотук е много повърхностно и скромно описание, защото синтезаторите са една вселена с много наука, know-how и интелект, която няма как да се обясни елементарно. ПП. Няма връзка между Weighted Keyboard и динамична клавиатура. Т.е. може да има комбинация на двете и да няма. Основното при Weighted Keyboard е усещането от изпълнителя за клавиатурата и нейната реакция на пръстите и ръката. Което е коренно различно от пластмасовите евтинджани.

Ползвай търсачката. Тя е за това. С Гугъл също може да се търси във форума, особено когато се търсят по-кратки думи от 3 знака.