Parni_Valjak

Най сетне ! Мечтата на мнозинството форумници вече не е само мечта! Само за $24.99 ( 37.74лв) (Limit 10 per Customer) 5-Ватов Китарен усилвател, Портативно записващо устройство, и USB Audio Interface - на едно място !!! Опция - кранче за амброзия Здрав корпус тип "сапунерка" 5-Watt Guitar Amplifier, Portable Recorder, and USB Audio Interface You will always be ready for a performance or recording when you have this 5-watt Guitar Amplifier, Portable Recorder, and USB Audio Interface from Monoprice! This little 5-watt amp delivers a big sound with plenty of loudness and clarity for ad hoc outdoor performances. It has a built-in guitar distortion effect, so you can get great sound without needing external processors. In addition to the 1/4" guitar cable input, it features a 3.5mm microphone input, so you can add vocals to your performance. A 3.5mm auxiliary input allows you to connect a smartphone or music player. The music will then play through the amp with your guitar and/or vocals in the mix. If you don't want to carry around an extra device, just plug your microSD card into the amp and play your music directly. It supports playback of mp3, wav, and wma audio files. The microSD card is also used for audio recordings. You can record your guitar performance, along with any mic or aux inputs, to 128 Kbps mp3 files on the microSD card. An added feature is the ability to plug the amplifier into a PC or Mac using the included mini USB cable. The amplifier is true plug 'n play, so no drivers disks are needed. Your PC or Mac will automatically install the drivers it needs for a USB speaker system. The amplifier is powered by an internal 1500mAh battery. Features: 5-watt mono amplifier driving a single 4-ohm speaker Guitar distortion effects 1/4" TS guitar input jack The ability to play mp3, wav, and wma files stored on a micro SD card The ability to record 128 Kbps mp3s to a micro SD card 3.5mm microphone input jack 3.5mm auxiliary input jack 3.5mm headphone output jack Хей, живот, здравей, здравей!

^^^ SviStyle може би?

По-добрият смесителен инженер...

REDD37: Up until the Sgt. Pepper sessions in 1967, the recording desks used in the control room at Abbey Road Studios were the EMI-built REDD 37. Lenny Kravitz owns this console and recently added a CraneSong AVOCET monitoring system. This is probably the most famous console in the world. Lenny supposedly refused a substantial offer from a former Beatle member for it

EMI MKII

Tom Skeeter, a longtime music industry insider and owner of the legendary Sound City Studios, has died, Billboard has confirmed. A cause of death was not revealed at press time. "We lost our main man, Tommy Skeeter this week. Grateful our Sound City Movie pals for introducing him to all of you. Thank you to all of the people who have stopped by the office to meet Tom in the past few years-- he enjoyed the visits, and loved hearing how far people had come," a statement on the Sound City Studios Facebook page reads. The news was first confirmed on Sept. 12, via the Sound City Studios Facebook page, as well as from a tweet from musician Rick Springfield. "Tom was a southern gentleman who, along with Joe Gottfried took me under their collective wing at Sound City in 1976 and allowed me the freedom to write and record at their magic studio," Springfield told Billboard in statement on Sept. 13. "Tom was one of the good guys." Rick Springfield Tom Skeeter (parter in Sound City Studios & my co-manager through the '80s) has passed away. A southern gentleman. RIP Tom. xo Rick 10:19 PM - 12 Sep 2014

Силно се надявам да не е бил найлон . Освен ако не е nylon 6,6 , с повишени термоустойчивост и механична здравина . Хостафан или майлар със сигурност. Хостафанът е основен изолационен материал за Трансформатори за Хоризонтално Отклонение (ТХО). Майлар

Нещо ме съмнява да са прочетени досега много книжки...Фактите са C/P, готови модули , упорито бягане от апаратура за удостоверяване какво изобщо е направено. За разлика от благопожеланията на хора в страни от същността, аз се въздържам в оценката си. Досега нямаме някакво доказателство за крайния резултат. Както се пее "А дано, ама надали!"

О, не и този. Не е никак малък. Размерите са повече от 19" rack standart. Dimensions , 670 x 106 x 292 mm (W,H,D)

Животът на музиканта... Ray Conniff - She believes in me, 1979 http://youtu.be/mwLgCOplPp8 She Believes In Me While she lays sleeping I stay out late at night and play my songs And sometimes, all the nights can be so long And it's good, when I finally make it home All alone while she lays dreaming I try to get undressed without the light Then, quietly, she says, how was your night? And I come to her and say, it was alright And then I hold her tight And she believes in me I´ll never know just what she sees in me I told her, someday, if she was my girl I could change the world with my little songs Trying was wrong But she has faith in me And so I go on trying faith for me And who knows, maybe, on some special night If my song is right, I will find the way -- find the way. While she lays waiting I stumble to the kitchen for a bite Then I see my old guitar in the night Just waiting for me like a secret friend And there´s no end while she lays crying I fumble with the melody or tune Then, I torn between the things that I should do Then she says to wake her up when I´m through God in love, itts true And she believes in me I´ll never know just what she sees in me I told her, someday, if she was my girl I could change the world with my little songs Trying was wrong But she has faith in me And so I go on trying faith for me And who knows, maybe, on some special night If my song is right, I will find the way While she waits for me, while she waits for me. While she waits for me, while she waits for me.

Хубаво куфарче с комплект инструменти

A-T’s founder, Hideo Matsushita, enjoying his first passion, music, which inspired him to launch Audio-Technica over 50 years ago.

The Trident 88 is a brand new console from Trident Audio Developments that carries on the world famous heritage of the Trident series consoles while adding features to fit our modern workflows. The Trident 88 is a classic in the making! Input Section Feature Highlights: Separate Mic and Line Gain Control: Independently set your Mic and Line levels on each channel. I/P Reverse Switch: Flips channel input to the monitor section. Meter Select Switch: Allows you to choose metering from the Direct Out or Monitor Return. Mic Pre: A fully discrete Class A design mic pre with the option to add a Lundhal transformer to as many channels as you like. In addition the preamp has a full bypass post fader insert point that allows you to easily incorporate any external preamp from your collection or 500 Series rack. EQ: A 4 band fully sweepable Trident EQ is at the core of this console. Every channel not only has a full EQ but also a Tilt EQ on the Monitor section. In addition there is the ability to switch the full EQ from the Input path to the Monitor path. Furthermore the EQ has its own independent Insert. Like the preamp you can also insert to the EQ path and either bypass the EQ for any other outboard EQ or use them in conjunction with each other. Master and Aux Section Highlights: Master Section: The master section features 8 AUX Masters each with Solo. AFL/PFL Master with level adjustment. In addition to you main speaker outs there are also 2 separate ALT Monitors, each with level control and on/off switches. Easy studio playback through Mono Auxes 1&2, as well as stereo over Aux 7/8. The Monitor section allows the return of 2 separate stereo signals direct into the master section with level and mute. Or plug your portable device directly into the panel with a top mounted 1/8th inch TRS input. Through Talkback control you can talkback to the Auxes in pairs, or the groups, or to the studio. Either through the onboard talkback mic or an external mic. Monitor Section: The Trident 88 is a split in-line console. This means you have inputs per channel to allow you to easily switch your workflow from tracking to mixing. On top of that all the of the Monitor inputs have their own TILT EQ. This means you have 2 inputs per channel, each with EQ. The Trident 88 features 8 Aux sends all with pre or post fade selection, accessible on every channel. AUX 1/2 and 7/8 can be sent to the Monitor section. AUX 5/6 & 7/8 are both stereo with pan control for each. Aux Section: The Trident 88 features 8 Aux sends all with pre or post fade selection, accessible on every channel. AUX 1/2 and 7/8 can be sent to the Monitor section. AUX 5/6 & 7/8 are both stereo with pan control for each. Taz Bhogal demonstrates the Input Module on the Trident 88. Taz Bhogal demonstrates the Group Monitor Subgroup Module on the Trident 88. Taz Bhogal demonstrates the Master Module on the Trident 88. Taz Bhogal demonstrates the routing options on the Trident 88's rear control panel. About the Designer/Engineer: Taz has been designing consoles for the Audio industry for 26 years. After finishing his degree in Electrical and Electronic Engineering at the University of Surrey, England, UK. He entered the audio industry immediately by joining Trident Audio Developments. Working initially as a Test Engineer, he progressed to a position as head of Test Department working on the Trident Series 65 and 80 consoles. Taz moved rapidly to Engineering where as a Chief Engineer he designed and developed Custom Series 65 and Series 80 consoles and other renowned studio recording consoles including the digitally controlled analog console DI-AN, Vector 432 and Series 90 consoles. He was involved in major installations of Trident consoles in the USA and UK. Because of his exposure to the US market, Taz decided to move to New York and worked as a consultant working in recording studios with Trident installations. In 1993, Taz joined Crest Audio and teamed up with John Petrucelli and Chuck Augustowski to form the console division. In his position as Design Engineer he and John combined to design the successful line of consoles including the Century series, X-Series, the rack mount XR Series, V12 and eventually after the takeover of Crest by Peavey electronics the HP8 series and various rack mount units. After leaving Crest/Peavey he joined up again with John Petrucelli and Chuck Augustowski in their new venture in the formation of APB-DynaSonics where he was co-owner and Senior Design Engineer. There he worked in the sound reinforcement market working on the well known range of products; Spectra, ProRack, ProDesk and various rack units to name a few. Taz is now working with PMI Audio Group based in the UK. His first release to the market is the Trident 88, a new take on a vintage console range, employing new technology and production practices with renowned designs, with more to come. Charlie Waymire - Drums Ernesto Homeyer - Guitar Pete Griffin - Bass

^^ Отговори си на въпроса, който малките деца най-често задават - ЗАЩО?

Казах вече! ТАЗИ репичка ще я дърпам САМ!

Понеже темата се разви някак, искам да ориентирам малко по-дълбоко интересуващите се за някои измервания, които са важни, но не са популярни. Това е така, защото не са за всеки и като знания и като финансови възможности. Не знам някой в България да разполага с посочените в информацията измерителни системи. Ако някой има информация - моля да сподели. Wolgang Klippel е новия световен ГУРУ в електроакустиката. Това е връзката към страницата : http://www.klippel.de/test-objects/low-frequency-drive-units.html На нея нещата са структурирани и по-разбираеми. Examples: woofer, subwoofer Applications: home, automotive, multimedia and professional Particularities: Low frequency drive units are operated below and above the fundamental resonance frequency (usually below 500 Hz) by using a crossover with a low-pass characteristic. Most low frequency drive units contain a moving coil assembly using an electro-dynamical motor principle. The electrical, mechanical and thermal behavior of the drive unit at fundamental resonance frequencies can be described by equivalent network comprising lumped elements with linear and nonlinear parameters. The linear parameters comprise the Thiele-Small parameters, visco-elastic parameters (creep factor) and electrical parameters describing the lossy inductance at higher frequencies. The dominant nonlinearities are the force factor Bl(x), stiffness Kms(x) or compliance Cms(x) and inductance L(x) versus displacement x and the inductance L(i) varying with the input current i. Thermal parameters describe the heating of the coil, the heat transfer to the pole tips, magnet and ambience considering conduction, radiation and convection cooling. Critical issues: Maximal peak displacement High dc displacement (coil is shifted out of the gap) Motor instability (bifurcation, jumping effect) Thermal power handling Rocking modes and circumferential modes Intermodulation distortion caused by Le(x) and Bl(x) Standards: IEC Standard IEC 60268-5 Sound System Equipment, Part 5: Loudspeakers IEC Standard IEC62458 Sound System Equipment – Electroacoustic Transducers - Measurement of Large Signal Parameters AES2-1984 AES Recommended practice Specification of Loudspeaker Components Used in Professional Audio and Sound Reinforcement Most relevant Measurements Modules of R&D SYSTEM Modules of QC SYSTEM Linear lumped parameters (resonance frequency, Q-factors, Thiele/Small, creep, inductance) Linear Parameter Measurement (LPM) Impedance task Motor + Suspension Check (MSC) Effective radiation area Sd Scanning Vibrometer (SCN) Loudspeaker nonlinearities (Bl(x), Kms(x), L(x) , L(i)) Large Signal Identification (LSI) Power Test (PWT) Single-valued nonlinear parameters (Xmax , XBl , XC , Voice coil offset Xoffset , Suspension asymmetry AKms) Motor + Suspension Check (MSC) Thermal parameters (thermal resistances, time constants, capacities, air convection parameter) Large Signal Identification (LSI) Power Test (PWT) Irregular loudspeaker defects (Rub & Buzz, loose particles, wire beat, bottoming, air leakage noise) Transfer Function Module (TRF PRO) Standard, Programmable System Meta-Hearing-Technology Leak Detection Module Air leakage noise localization ok (position of modulated noise source) Air Leakage Localization Module On-axis sound pressure amplitude response (sensitivity, mean SPL, effective frequency range ) Transfer Function Module (TRF) 3D-Distortion Module (DIS) Scanning Vibrometer (SCN) Basic, Standard, Programmable System Directional characteristics (directivity index, coverage angle, radiation angle, polar radiation measurement) Scanning Vibrometer (SCN) 3D-Polar Radiation Measurement (POL) Transfer Function Module (TRF) Sound power response Scanning Vibrometer (SCN) 3D-Polar Radiation Measurement (POL) Transfer Function Module (TRF) Phase response (minimal-phase, excess-phase) Transfer Function Module (TRF) Group time delay response (total, minimal phase) Transfer Function Module (TRF) System task in Standard System Time-frequency analysis (Wigner, cumulative decay spectrum, sonagraph, wavelet, …) Transfer Function Module (TRF) Nonlinear harmonic distortion (THD, THD+N, components) Transfer Function Module (TRF) 3D-Distortion Module (DIS) Basic, Standard, Programmable System Equivalent harmonic input distortion Transfer Function Module (TRF) Intermodulation distortion (difference-tone and sum-tone IMD) 3D-Distortion Module (DIS) Amplitude intermodulation distortion (AMD) (modulation of the fundamental) 3D-Distortion Module (DIS PRO) Sinusoidal burst measurement Transfer Function Module (TRF) Thermal and nonlinear compression (fundamental, harmonics versus voltage) 3D-Distortion Module (DIS) Voice coil displacement (peak, bottom, dc component, Xmax) 3D-Distortion Module (DIS) Transfer Function Module (TRF) Large Signal Identification (LSI) HI-2 distortion 3D-Distortion Module (DIS) Multi-tone distortion Linear Parameter Measurement (LPM) Multi-tone task in Standard System Accelerated life test, power test (durability, parameter variation, maximal input power) Large Signal Identification (LSI) Power Test (PWT) Voice coil temperature 3D-Distortion Module (DIS) Large Signal Identification (LSI) Power Test (PWT) Distortion in reproduced audio signal (contribution of Bl(x), Cms(x), Le(x), Le(i)) Auralization Module (AUR) Large Signal Identification (LSI) Power Test (PWT) Auralization Auralization Module (AUR) 3D-geometry scanning Scanning Vibrometer (SCN) Shape of the surface (scanning geometry) Scanning Vibrometer (SCN) Distributed mechanical parameters (mechanical vibration scanned on radiator’s surface) Scanning Vibrometer (SCN) Modal analysis (natural frequencies, shape of modal vibration, modal loss factor) Scanning Vibrometer (SCN) Accumulated acceleration level (AAL) Scanning Vibrometer (SCN) Decomposition into radial and circumferential mode (indicating rocking mode) Scanning Vibrometer (SCN) Klippel GmbH | Mendelssohnallee 30 | 01309 Dresden/Germany | Phone: +49-351-2513535 | Fax: +49-351-2513431 | info@klippel.de

5 Production Secrets of The Beatles By Ian Vargo on 9/8/2014 Widely regarded as one of the greatest and most influential bands in the history of popular music, there is plenty of available literature on the techniques and equipment used to record The Fab Four, including my personal favorite Recording The Beatles by Brian Kehew and Kevin Ryan. Here are some examples of creative production techniques used by the group and the talented crew of engineers that helped create a catalog of albums that have sold well over two billion copies: 1. Recording at half-speed on “In My Life” On this song from 1965 Album Rubber Soul, all but the instrumental bridge section had been completed. John Lennon asked Producer George Martin to come up with “something baroque sounding.”¹ Martin’s Bach-inspired Piano solo was written at a tempo that Martin himself couldn’t play. The engineers brilliantly recorded the part with the tape running at half-speed, so when it was played back at normal speed, the solo was an octave higher and twice as fast. Additionally, the timbre was altered, with the attack of the notes played on the piano becoming more prominent. There are numerous other examples of the engineers using this technique on Beatles recordings, including extensive use on “Strawberry Fields Forever.” Using the “varispeed” mode in Pro Tools’ elastic audio can perhaps yield similar results. 2. Reverse tape effect on the guitar solo of “I’m Only Sleeping” On this John Lennon tune from Revolver (1966) George Harrison spent a reported five hours meticulously constructing a guitar part by having the engineers run the tape backwards as he composed a solo that would ultimately, when reversed, “fit the dreamlike mood.”² The part was double-tracked, once with fuzz, and once without. Conveniently, you can hear the entire master reversed, revealing what the original guitar recording sounds like at Beatles Bible. Essentially every modern DAW has a reverse audio capability, but actually taking the time to write out the performance before the effect is applied will definitely result in something unique. 3. Randomly splicing tape loops together on “Being for the Benefit of Mr. Kite!” For this song, which derived virtually all of its lyrical content from a 19th century circus poster owned by John Lennon, a “carnival atmosphere” was desired for the production. In the middle-eight, we have perhaps one of the most creative techniques used on The Beatles recordings, with engineer Geoff Emerick (as instructed by George Martin) taking tape recordings of fairground organs and calliope music, chopping the tape with scissors, throwing the pieces up into the air, and reassembling at random. The resulting effect is quite unique, and fits in perfectly with the rest of the psychedelic Sgt. Pepper’s Lonely Hearts Club Band. This type of effect (if desired) is not only much easier to do in a modern DAW, it is certainly cheaper than mangling sought-after analog tape. 4. Use of Tea Towels and other drum muffling techniques on multiple recordings As early as 1962, Ringo can be seen using John’s Harmonica to dampen his snare drum. Throughout the years, it was quite common to use tea towels to muffle the sound of his drums. A collection of pictures and information on Ringo’s kits and evolution can be seen at Ringo’s Beatle Kits. This became a sonic staple for the band. Using tea towels or other muffling devices can allow for more control over the volume, attack and decay of individual drums. Especially considering it was common for the engineers to apply extreme compression on Ringo’s kit with a Fairchild limiter, dampening the drums allowed for a tighter, more focused sound. I highly suggest having Moongel dampening on hand, but don’t be afraid to use something more aggressive. Native Instruments’ Abbey Road 60’s Drums even come with tea towel articulations, making it one of my go-to virtual instruments for vintage sounding drums. Bonus: Practicing singing on “Oh! Darling” Performing a song until the performance sounds the way the artist wants it to — what a concept! During the Abbey Road sessions Paul McCartney would come in early to the studio that this classic album shares a name with, arriving before the other band members, singing this retro-sounding song once per day attempting to capture the raw, strained quality that the production needed. Engineer Alan Parsons recalls: “Paul came in several days running to do the lead vocal on Oh! Darling. He’d come in, sing it and say, ‘No, that’s not it, I’ll try it again tomorrow.’ He only tried it once per day, I suppose he wanted to capture a certain rawness which could only be done once before the voice changed. I remember him saying, ‘Five years ago I could have done this in a flash,’ referring, I suppose, to the days of Long Tall Sally and Kansas City.” There is not yet a plugin that can achieve this effect. This is just one of the countless examples of McCartney’s complete (and sometimes obsessive) dedication to capturing a musical moment exactly as he envisioned it. Conclusion I’ve always quite enjoyed researching the production secrets of my absolute favorite band. Fortunately, there’s a wealth of knowledge available on recordings, in books, and on various Internet sources. Additionally, much credit to Waves, Softube, and Native Instruments whose lines of Abbey Road-inspired plugins and VSTs help preserve the sounds of this crucial time in recorded music for current engineers.