Parni_Valjak

Нищо не изпускам. Обръщам внимание на "Sweatshops", където става голямата транслация в паричните средства. И това е част от нефелността и робството, което води до огромните несъответствия... Явно обаче чувството за справедливост спира само до собствената ни изгода, колкото и изкуствена да е тя. N.B. Колкото до труда на колегите, колко са колеги е друг въпрос, непрекъснато виждам доказателства за силно завишени претенции и силно занижени качества - и в звукотехниката, и в софтуерната индустрия. Ако не беше така, нямаше да сме пълни с боклуци. Ама нали във всяка втора тема се иска инструмент и апаратура, ако може за 5 лева...А това става именно с труда на робите, неквалифицираните роби. В резултат - гладни роби, бедни потребители, калпави стоки, и много пари на неправилно място. Сега по-ясен ли съм? Единствено съм съгласен, че има индустрии, където разминаването е повече от огромно.

Едно лееекинко продължение на темата... What it costs Apple to make the iPhone 5S (16Gb)? Sweatshop (or sweat factory) is a pejorative term for a workplace that has socially unacceptable working conditions. The work may be difficult, dangerous or be paid a wage that is not commensurate. Workers in 'sweatshops' may work long hours for low pay, regardless of laws mandating overtime pay or a minimum wage; child labor laws may also be violated.

What does your bass dream about? Dual Channel Use Used as a two channel device, a lead singer and guitar player, can take the classic studio quality of the 5017 wherever they go; using the DPC for a Vocal mic pre and compressor, as well as a separate DI preamplifier. To achieve this, the blend control should be selected as fully DI (blend off), and an internal jumper can be selected to apply the compressor to the mic pre signal. When engaged, Silk mode would effect both vocal and guitar tracks, and the HPF control would effect only the mic path. Blended Use Used as a single channel device for instruments, the 5017 can be used to phase align, combine and compress direct and amplified signals. To achieve this, use the DI for the instrument’s direct signal and the mic preamp for the speaker cabinet signal. The blend control is used for mixing direct and amplified signals to achieve the desired tonal blend between the two sources, and the variphase is used to minimize or extenuate phase cancellations between the two signals. To compress the blended signal, the internal compressor jumper must be set to the blend path (this is the default setting). This technique could also be used to create a single, mixed output of a guitar and vocals. The Compressor Based around a new LDR (light dependent resister) design, the 5017′s opto-coupler compressor has been simplified to a single threshold control with auto make up gain. By default, the compressor is set to a fixed 2:1 ratio with an internal jumper to change between standard and fast time constants. To set the compressor, simply dial the threshold control down until the desired amount of compression is achieved. An LED light indicates when the compressor is active. Vari-Phase In addition to the standard polarity reverse, the 5017 also incorporates a vari-phase control to adjust the phase incrementally. This control is useful any time two signals derived from the same source are combined. For instance, even with careful placement, the combination of close miced drums and overheads, can often yield hollow sounding results. By using the variable phase adjust, the direct signal can be phase rotated until the signals are naturally aligned. This technique is also extremely useful when combined with the internal blend control on instruments. A bassist, using both direct and miced signals can blend the two into a single output, using the vari-phase to reach an optimal alignment. By adjusting the phase in the 5017, the musician or engineer can find the absolute best mic position without regard to the phase relation to the direct signal

Emerson,Lake & Palmer - 1970 Isle Of Wight Festival-Rondo

Сделай Сам? Серпом и Молотом? Според мен не може да е плоско отдолу, защото ще се плъзга и ще се мени настройката. Не случайно са го направили да се фиксира с този ъгъл.

Posted by Daniel Keller & Pete Doell on October 19, 2011 Veteran engineer of Universal Mastering Studios West, Pete Doell Most recording musicians, engineers and producers are well aware what a difference mastering can make to our mixes. And as we’ve discussed in previous columns (such as Audio Mastering Basics: Taking Your Music That Extra Step), mastering is an art form in itself, and is best placed in the hands of a specialist. But even expert mastering engineers can only accomplish so much, and it’s largely dependent on the raw materials they’re given to work with. With that in mind, here’s a look at some of the top mistakes people make in preparing their mix for mastering, with the help of veteran engineer of Universal Mastering Studios West, Pete Doell. 1. Too Much BottomExcessive low-end is probably one of the most common problems in mixes coming from project studios. Usually this is directly related to the mixing environment. The average home studio or project room is lacking in real acoustical treatment is and rife with reflective surfaces and bass traps. The result is an uneven response across the bass spectrum, with some notes being overemphasized and others being practically inaudible. This translates to a poorly balanced low end in your mix. You’ll find a lot of info on balancing your room’s acoustics in our Studio Basics blog, Studio Acoustics and Soundproofing Basics. Mastering engineer Pete Doell offers an important pointer: “The most egregious mistake is that people’s monitors aren’t placed properly,” he says. “Speakers need to be as far apart from each other as you are from them. So if your mix position is, say, three feet from either speaker, the speakers should be exactly three feet apart. Moreover, if the speakers are too close or too far from a wall, the apparent bass response will be off.” You can find more info on monitor placement in our Studio Basics column, Studio Monitor Placement – Finding the Sweet Spot. 2. Terrible TrebleOn the other end of the spectrum, high-end can also cause its own issues. While not as hard to hear in the project studio environment, those high frequencies can show up differently during the mastering phase. “Most mixes will want a bit of ‘polish’ or ‘shine’ in mastering,” says Doell. “When this good stuff is applied, sibilance can really creep up. Do yourself a big favor and de-ess your vocals, maybe even your hi-hat just a bit, even if you don’t hear too much of an issue. Your mastering engineer will thank you.” The bottom line, as Doell points out, is to use EQ wisely and sparingly. We’ve covered the use and abuse of EQ in a previous Studio Basic column, Using Multiband EQ to Fix Common Mix Problems. 3. No Dynamic RangeThis is probably one of the most discussed topics in modern music mixing circles. Over the past decade or so, the quest for radio airplay has created a battle for attention that has manifested itself in loudness – the perception being that louder the track, the more it will grab the listener. It’s a mentality that started with TV and radio advertisers (notice how a loud commercial gets your attention) and is a direct result of today’s vastly improved compressor technology, which has enabled us to create “radio mixes” where everything is loud, punchy and in your face. The problem with pumping up the apparent volume on your mix this way is that it works by compressing the dynamic range of your tracks. Dynamic range is defined as the difference between the loudest and softest sounds in your track. Ideally, the tracks you deliver to the mastering house should have peaks of around –3 dB for the loudest material (for example, a snare hit), while the rest of the track should average in the –6 dB to –8 dB area. That would give your peaks somewhere around 3dB to 5dB of dynamic range. The problem with compressing dynamic range (or, equally hazardous, normalizing a track’s relative volume), is that you effectively rob your mastering engineer of the resources to do their job. A good mastering engineer applies meticulous use of multiband compression – bringing up the punch and presence of the bass, adding clarity and sparkle to the high end – all by using different compression algorithms for different spectral bands. Many inexperienced mixers will apply a “mastering compressor” plug-in, using a preset that creates a loud but muddy low-end, a bright and aggressive high-end, and little room for the mastering engineer to add — or de-emphasize — anything. “Sometimes clients desire a ‘loud’ mix, but they have done little or nothing to control the dynamics of their mixes,” says Doell. “I like the analogy of getting a super sexy paint job for your car — asking the mastering engineer to do the entire job with one ‘coat of paint’ is not the smartest move. Layering the limiting (by compressing the vocal, bass, snare, for example) will allow a MUCH more gorgeous detailed, deep shine on the final product!” On a related note, try to avoid over-compressing individual tracks for the same reason. Often a mastering engineer will get a track that’s well within dynamic range, but with a vocal track that’s been normalized to the verge of distortion. Again, it leaves little room for mastering to bring out any subtlety or nuance in that vocal. 4. Lack of PanningIt’s important to give your mix some dimensionality by balancing different elements within a nice, wide, stereo field. All too often, people tend to pan everything at or near the center, creating a cluttered-sounding mix that lacks definition. While certain elements should typically be centered (kick, snare, vocal and bass come to mind), panning is a great way to achieve separation between guitar parts, background vocals and other parts of the mix. “It’s always good to pan some elements of the mix just a bit off to one side,” says Doell. “If you have a blend of guitars, horns, backing vocals, etc., keeping the middle less cluttered allows your ear to hear more distinctly all of that cool production you’ve worked on. You’ll also need less EQ and effects to pick these things out in the mix.” 5. Phase ProblemsWith most DAWs offering unlimited tracks, the temptation to record everything in stereo is strong, and elements like a nicely-recorded stereo acoustic guitar can add depth and character to a track. But be careful to check your mixes in mono to avoid phase cancellation from poorly-placed mics. Only by soloing the stereo tracks will you be able to hear whether certain frequencies “disappear” when the two channels are summed to mono. It’s not just stereo-miked instruments that can fall victim to phase cancellation. According to Doell, “Often I’ll get a track with ‘hyper-wide’ elements in the mix that achieve that ‘outside the speakers’ effect by making one side out of phase. Just try hitting the mono button and watch that cool keyboard, string pad, background vocal stack, whatever, totally disappear. Even if you never anticipate having any need for mono (AM radio anyone?), when you do this, your balances aren’t what you think!” This same principle also applies to reverbs. It’s all too common to have that lush hall you placed on the vocal just vanish in mono. To learn more about phase, check out our blog article, Understanding Phase and Correcting Issues. 6. Poor Vocal PlacementIt’s hard to be objective on placing vocals in a mix, particularly if it’s your song. After all, you know the lyrics, so it’s easy to forget that other people don’t. And in most cases, a track can sound equally “right” whether the vocal is sitting a bit in front or a bit behind the track. Many pros will do two or three alternate mixes of a track, one with the lead vocal a bit up, one with it a bit down, and one in the middle. It’s a luxury of choice that most mastering engineers are happy to have. 7. Misaligned TracksThis one is a no-brainer. When you send stems (separated groups of tracks, like drums and bass, guitars, backing vocals) to mastering, make sure they all start at the same place. “This is another pet peeve of mine,” says Doell. “If the lead vocal doesn’t come in until 0:30, that stem should have 30 seconds of silence at the top.” 8. Not Knowing Your Room“I always like to start my mixing day by listening to some records I know and love — ideally in the musical style I will be working in — in the seat I will be sitting in to mix, and over the same D/A converter,” says Doell. “Then I will be much more readily comparing apples with apples. I am blessed to work in a ZR Acoustics® (Zero Reflection Acoustics by Delta H Design, Inc.) room at Universal Mastering. But if I am working elsewhere, it’s important to know how the room I am working in is participating in what I am hearing, before I start making any decisions.” As you might imagine, there are countless other stumbling blocks that can trip up your mix and make life challenging for your mastering engineer – certainly far more than we can list in this column. As always, the bottom line is to use your ears, listen carefully, and learn the rules before you break them. If all else fails, keep the potential mistakes above in mind, and you'll be on your way to better results.

Universal Audio engineers bench testing the original 1176 Limiting Amplifier, circa 1967. UA still hand-builds every 1176 in Scotts Valley, CA.

Това чудо Е българско. Правеше се в Лабораторията за Акустична Техника -ЛАТ.

За Baby Tomas - ей те това, ще му пасне идеално... Само преглъщането ще го озори... Калибрация 500...700 $ Цена на Refurbished, (От сума време не се произвеждат вече) 30 000...40 000$ Ето едно видео с по-стария и по-малък аналогов брат 576, модифициран за тестване на радиоламБи. Така и така съм се засилил, нека да разширим малко базата за изледване на стъклениците... Освен графичните характеристики, важно е да се разбере например шумовото ниво на предусилвателните ламБета.

^^ Туй чудо е предназначено за съвременния мултидисциплинарен специалист, тип Криско-Дриско. Мушкаш, чакаш, вадиш. Без употреба на междуушие. Затова и цената е съобразена с интелектуалните възможности на съвременния потребител. Другото (uTracker) е за различен потребител...

API 312 MIC PRE CARD (VINTAGE) Price: $425.00

In approximately two minutes, the VT1000 performs an extensive series of tests including: Heater filament test: Short circuit Heater filament test: Open circuit Heater filament test: Tolerance check Heater cathode insulation: Leakage Heater cathode insulation: Short Circuit Tests for heater current abnormalities Amplification factor Voltage gain Power gain Screen grid test Mutual conductance test Dual test for double triodes Emission Inter electrode leakage Inter electrode short circuit Flash-over (arc detection, high voltage breakdown) Gas ionisation test Price: $499.00 (made in Turkey!)

WUNDER AUDIO WUNDERBAR CONSOLE - 12 CHANNEL Includes 12x PEQ2 mic pre/EQs, 20x Monitors, Powerbar PSU and Exquisite Trim Price: $45,000.00 The Wunder Audio Wunderbar is an analog console forged from inspiration, innovation and the bold desire to build the most impressive recording desk in the world. The result is a console so accomplished, it features the worlds first desk to come standard with three vintage stereo bus flavors, and employs a fully symmetrically balanced discrete summing bus system. This unprecedented blend of performance, technology and perfectly crafted build quality is simply the next standard in the pursuit of the perfect recording. Infuse sophistication with extreme audio performance. Hand built by Wunder Audio's master technicians. The three stereo bus flavors are rich with thick discrete audio and transformer thickness, yielding three totally awesome sound-stages that can be combined or heard separately.

Темата заслужено е в "Интересни и полезни теми из раздела"

Marshall 100 watt time line by Metalhammer

Electric Lady Studios Forty four years ago today, Jimi Hendrix unveiled what was to be his final masterpiece. We're still here. We're still fighting. We're still making badass records. In The Studio with U2, Making 'Invisible Hammond B3 Organ || Electric Lady Studios

http://forum.muzikant.org/topic/59370-iiaey-iiaeaae-power-attenuator-io-soundman-sm-4102/?do=findComment&comment=441166

A new laser-driven technique developed at NPL to allow remote and rapid mapping of sound fields. Particularly useful for looking at speaker directivity characteristics. Measurements made at a distance of 3m from speaker.

Най-сетне моят любим размер !

Д'ба и жичките... И да знаеш, с годините все по-малки стават, техната...