Parni_Valjak

Само не ми казвай, че се лекуваш по същия начин - самодейно. Вярно, че в България основен принцип е да се мине метър, с малко средства или съвсем на аванта, да се пита този или онзи, без да се осъзнава дали съветът му ще е правилен или фатален. Още Буров е коментирал този български манталитет. Организацията на едно работно място, каквото е всяко, дори елементарно студио, изисква знания и опит, не само мерак. Знанията и опитът не падат от небето и не са достижими за всеки. Затова има хора, които намират нужните им специалисти и получават това, което не могат. Затова на тях нещата им стават, а на другите - не. Само за пример ще покажа как един качествен Музикант въплати в реалност своето виждане съвместно със специалист. Ползва се ежедневно вече 10(!) години. Това е уникално( единствено), Custom устройство, което решава организацията на едно скромно домашно студио. Monitoring, Measuring, Routing... Без да се правят компромиси с качеството на звука. И, ДА, не е безплатно. Но именно това показва отношението на музиканта към това, което прави.

Явно има проблем. Аз например качвам какво ли не , откъде ли не и няма проблем. За доказателство може да се прегледат многобройните ми публукации... Въпросът е къде е проблема. Публикувай адреса на картинката, да видим може ли да я кача.

Подходът е сбъркан за тези, които разбират и не са си поставили задачата да минат метър. За човек, харесващ цената, а не качеството, подходът хич не е сбъркан . Щом му харесва слушалков усилвател с 12 волта захранване, може да си му харесва и като смесител, и като матрица и като каквото си реши. Цялата посочена система е Low End Structure тип Ала-Бала. Една допълнителна Ала-Бала няма да промени кой знае колко общото ниво на качество. В края на краищата всеки сам решава какво да прави на база на собствените си знания, умения и финансови възможности. Ние не можем да го преместим в посока на по-високо качество. Критиката ми е само към поднесената информация. Да се говори за никаквъв шум и високо качество при показаната система е меко казано неадекватно. ПП. Има много и различни културни, удобни и правилни решения за организация на подобно "студио". Те обаче не са приложими в случаи като този. Ясно е защо.

Humble Pie Today is the anniversary of the release of 'Natural Born Bugie' the debut single from HP in 1969! There she is again Steppin' out of her limousine Looking like the cover of a twenty-dollar magazine She's got it made and branded If you know what I mean She's a...natural born woman Natural born woman She's a...she's a natural born woman There she is again watch her stop the Main Street in its tracks Looking like Creole queen Hair hangin' down her back I say, don't look too long, boy She'll make your glasses crack She's a...natural born woman Natural born woman a natural born woman (Instrumental) Get your track Yeah, natural born woman She's a natural born woman Natural born woman Well, I'm sweatin' and I'm shakin' When I'm bringin' you the news You can do anything But lay off of my blue suede shoes That's why I'm standin' here today Preachin' natural born woman blues Natural born woman she's a...natural born woman Natural born woman Well, yeah... Natural born woman Well, I'm looking out my back door Wonderin' which place to go Think I'll move on down to Memphis Pay my money to see a rock 'n' roll show Find me a sweet-heart Susie Together we can lose control Ooh, yeah, natural born woman She's a...natural born woman Yeah, yeah... Natural born woman Yeah... Stone Cold Fever (THANKS TO YOVCHO STOYANOV, ROUSSE) "Stone Cold Fever"(Ridley-Marriott-Shirley-Fram­pton) is from "Rock On"- a 1971 album released by the English rock group Humble Pie. It reached #118 on the Billboard 200. The group in this album: • Steve Marriott - guitar, vocals, keyboards, harmonica • Peter Frampton - guitar, vocals • Greg Ridley - bass guitar, backing vocals • Jerry Shirley - drums Humble Pie - I Don't Need No Doctor - 1971 I don't need no doctor 'cause I know what's ailing me I don't need no doctor 'cause I know what's ailing me Yes I do, all I need is my baby You don't know I'm in misery I don't need no doctor I don't need no doctor I don't need no doctor My prescription tells me that I don't need no doctor I don't need no doctor I don't need no doctor My prescription tell me that I don't need no doctor I don't need no doctor All I need is my baby You don't know [?] I don't need no doctor I don't need no doctor Well, the doctor said I need rest He put me on the critical list Keeping me safe from harm All I need is her sweet charm He gave me a medicated lotion That wouldn't do My emotion I don't need no doctor I don't need no doctor I don't need no doctor I don't need no doctor I don't need no doctor No doctor No doctor I don't need no doctor I don't need no doctor I don't need no doctor [?] I don't need no doctor I don't need no doctor I don't need no doctor I don't need no doctor I don't need no doctor I don't need no doctor [?] Had a good time Had a good time Had a good time I don't feel good I don't feel good I don't need no doctor I don't need no doctor I don't need no doctor I don't need no doctor I don't, I don't feel I don't, I don't feel I don't need no doctor I don't need no doctor I don't need no doctor I don't need

Друг отговор не съм и очаквал. Що се отнася до HARMAN, естествено няма да използват български термин...

Ето едно будителство, като контрапункт на ширещата се простотия, за която във форума се водят дискусии.

Представянето не е лично, но мисля, че е подходящо да го пусна тук. АЕМ - Ансамбъл за Електроакустична Музика Ансамбъл за Електроакустична Музика дебютира на „Аполония” 1993 г. За първи път в света изпълнява на живо шедьоври от класиката комбинирайки възможностите на акустични и електронни инструменти на живо! Състои се от флейта, цигулка, чело и 4 синтезатора. General Manager Христо Петков Website http://www.em-ensemble.com Серия музикални изпълнения: http://www.em-ensemble.com/en/music Няколко примера: http://www.em-ensemble.com/includes/music/Vivaldi%20Winter%201%20part.mp3 http://www.em-ensemble.com/includes/music/Mozart%2040%20Symphony%201%20part.mp3 http://www.em-ensemble.com/includes/music/Christo%20Petkov%20Zmiqta%20Computer.mp3 АЕМ работи за популизиране на класическата музика сред подрастващото поколение. Организира интерактивни представления в училищата и се радва на интерес от децата. 6 ОУ "Граф Игнатиев" концерт 13 Март 2013 5 клас - награди 6 ОУ "Граф Игнатиев" награждаване предучилищна 13.03.2013

The Yardbirds - I Wish You Would (1965) Released on this date in 1964!

This article is provided by the Pro Audio Files An important discussion for engineers and guitarists: Why and how does gain affect sound? Let’s investigate... Maintaining proper levels throughout your signal chain is important for achieving great tone. This is an important discussion for guitarists and engineers. I think pretty hard about my gain staging when I’m tracking. It has great affect on your sound. But, why and how does gain affect sound? Let’s investigate. 1. Digital Wall There are many reasons to love the analog medium. One, so old guys can sit around the coffee machine and reflect on the golden days of recording (yawn). The second? Analog takes change well. It’s forgiving. That means if you hit it with a hot signal, it’s not going to sound horrible. Disclaimer: that’s not guaranteed. I mean, fire is great, but if you leave something on the stove too long it burns, right? Not that I would know as my form of cooking is local delivery here in NYC. But, I do read things. Analog distortion is considered flattering by many, including myself. Digital clipping is harsh and rarely desirable. Although, I got a cool snare drum sound once by clipping digital converters. (To which my mixer asked “why ya’ gotta like be such a rebel all the time”). I think he may have been afraid I would fray the fragile woven fabric that is our conscious being. Whoa, deep right? When running digital gear, you have to be very aware of the signals running before it. If your signal is too hot before a digital reverb or delay, it’s going to clip in a harsh way. Digital clipping can sneak up on you too. I’ve had experiences where I didn’t really notice it. I took for granted my gain staging was good. 2. Analog Barbells Hot analog signals can be swell. Those that have spent time messing with tubes have discovered the joy in hitting tubes with a little gain. A secret trick of guitarists is to use a preamp before their guitar amp. It’s usually the last piece in the chain. A popular choice is the preamp from an Echoplex. What does it sound like? It livens up the sound. I always make sure the preamp is pushing a few dB hotter then when it’s in bypass. The idea here is that you leave it on all the time. Nowadays everyone is in on the secret. There are pedal manufactures that make boosters or Echoplex preamps in small boxes. I use a Fulltone Tube Tape Echo for this trick with the delay off. It kisses the front end of my tweeds nicely. We’re not talking a porn kiss here, but a romantic long embrace. Ah, who am I kidding… They’re getting it on. 3. Hearing Aid A common problem with gain staging is when there isn’t enough signal coming from effects. Sometimes guitarists will come in for sessions and turn their various pedals on. The volume becomes lower then when in bypass mode. They may not notice when playing by themselves in a room, but by the time the band kicks in, the difference is very noticeable. It’s as if their sound disappears when the pedals are kicked on. The reason is overdrive pedals compress the sound. They bring up the overall sound but limit the peaks. The overall sound might seem the same, but the transients may still be louder on the clean sound. This is going to be important if you’re recording bands live in the studio. You don’t want the quality of sound jumping all over the place from poor gain staging. Hitting an amp with too little signal (unless you’re rolling off with your volume knob) usually results in a sound that is muddy and has less character. There is something dead about it. It does take a while to get a feel for matching signals. Your ears will play tricks on you. Always check your meters from when an effect is on and off. Take consideration into whether your signal path is analog or digital. 4. Piggy Back Effects can do some unpredictable things when you mess with gain. Try sending a hot signal to some analog effects and see what happens. Fuzz pedals can do some weird ring modulation type effects when given too little gain. Again, you have to be aware of what is digital in your signal chain (keep saying that over and over). You may even have to move effects around to keep the digital effects out of the line of fire. Old analog phasers can sound cool overdriven. Using two compressors in a series can be awesome too. Who doesn’t like some compressor on compressor action? Don’t tell me you audio geeks haven’t thought about it! Use the first compressor mostly as a gain device. Slam the output of Comp 1 into the input of Comp 2. This is how they got the guitar sound on “Black Dog” by Led Zeppelin. They used two 1176 compressors in series. No guitar amps used. You can use these principles with any effects. Spring reverbs? Analog delays? Analog chorus? Just remember, it’s rare when you want the signal lower than when going in. Only for a special effect. Now, go get freaky with signal flow. Mark Marshall is a producer, songwriter, session musician and instructor based in NYC.

Translations of broadcast verb хвърлям throw, launch, toss, cast, fling, broadcast разпространявам disseminate, propagate, promulgate, broadcast, diffuse, disperse предавам по радиото broadcast, radio предавам по телевизията broadcast, telecast noun емисия issue, emission, broadcast, broadcasting, flotation, floatation радиопредаване broadcast, radio, broadcasting, transmission, airing, stream radio Българският език има терминология, която сегашните псевдоспециалисти не познават и затова пишат чуждите термини на кирилица. Може би така се мислят за много важни, но сериозна БЪЛГАРСКА фирма като Фактор е длъжна да се отнася с уважение към родния език. В научните среди е прието да се нарича РАДИОРАЗПРЪСКВАНЕ. Весо, стегни си хората! С приятелски поздрав, инж. Тони Манов

A matched pair of TELEFUNKEN ELA M 251's ************************************************************************************************************************************************************ За наблюдателните - На едно място , три противоречащи си надписа: TELEFUNKEN MADE IN THE USA RFT А сега да видя, кое според форумните специалисти е вярното!? ************************************************************************************************************************************************************ Telefunken U47 ************************************************************************************************************************************************************ TELEFUNKEN Elektroakustik C12 with own CK12 capsule

http://www.prosoundweb.com/ Getting a little bored with the same old “tried-and-true” microphones and techniques? Let’s have some fun with fresh approaches that are off the beaten path. Vocals To create a differential (noise-canceling) mic, tape two identical omni mics together, one over the other, separated by a block of wood (Figure 1). Mix both mics at equal levels but with one mic switched in opposite polarity. Have the performer sing close to the top mic. Many years ago, the Grateful Dead used this method to cancel sound from a huge stack of amps on stage. It’s actually the same as a figure 8 ribbon mic aiming up and down. It works best with in-ear monitors. Be sure to use a foam windscreen. Need a zombie effect? Try a mic against the singer’s throat. Want a comb-filter sound? Mike the singer with two mics at different distances, mixed together. Hollow sound? Sing unto a mini mic placed inside the sound hole of a guitar. Also, have a singer use a megaphone, either acoustic or electronic. Figure 1: Two ways to make a differential (noise-canceling) microphone. Drums Try the one-mic technique invented by engineer/producer Tchad Blake that I touched on in a previous article (here) – take a large-diaphragm cardioid condenser and mount it over the kick drum top, aiming at the snare drum. (This technique is pictured above left.) It picks up a decent balance of the snare, toms, kick and cymbals all around it, and the balance can be tweaked by moving or rotating the mic, and raising/lowering the cymbals. There may be some off-axis coloration of the cymbals depending on the mic model and position, but in my experience it’s not too serious. Another single-mic method employs a mini omni condenser. Clip it between 1 and 4 inches over the snare drum rim, in the middle of the kit over the drummer’s knee. It will pick up the snare, toms, and cymbals all around it (Figure 2). Put another mic in the kick. And for a punk band, try a single Shure SM57 overhead at the height of the drummer’s forehead. Figure 2: Miking a drum kit with a mini omni mic. Additional drum ideas: • Tape a couple of boundary mics (such as Crown PZMs) to the inside of a clear acrylic drum gobo. Add a PZM inside the kick taped to the shell. Another trick: tape a PZM to the drummer’s chest. This works especially well in picking up a large group of percussion instruments as the player moves around. For some added fun, tape a mini mic to each maraca, bongo drum, cowbell, etc. • Mike a child’s toy drum set instead of a regular pro set. • Hit the cymbals lightly with some rugged dynamic mics while amplifying their signals. That is, use the mics as drumsticks. The cymbal sound will bloom and shrink as it’s played. The one-mic drum technique invented by engineer/producer Tchad Blake Acoustic Guitar & Mandolin Try a small-diaphragm condenser near the player’s right ear, aiming down at the bridge (Figure 3). You’ll hear a natural sound in this location, but watch out for feedback. Figure 3: The tones of several guitar mic placements. Tape a mini omni condenser mic just inside the sound hole, and roll off 100 Hz about 10 dB to compensate for the boomy tone in there. This method provides excellent isolation. It also works well on a ukulele or an oval-hole mandolin. How about an f-hole mandolin? Take a mini omni condenser, wrap its cable in felt or foam about an inch behind the capsule, and stuff it under the strings between the tailpiece and bridge (Figure 4). Roll off the lows and highs a few dB. To capture a singing guitarist without phase interference, use two ribbon mics with their tops touching in a coincident-pair array. Aim one at the mouth and the other at the guitar. Figure 4: A mandolin miking method (courtesy of Weogo Reed). The null of the vocal mic aims at the guitar, while the null of the guitar mic aims at the mouth. A Royer SF-12 stereo ribbon lets you do this with one mic. Some singers/guitarists hunker down so that their head is just above the guitar. Capture them both with a single small-diaphragm condenser below the guitar, aiming up. Flute Get a headworn mic that has a gooseneck-mounted mic capsule such as the Audio-Technica ATM75. Have the player wear the mic and place the mic capsule between the mouthpiece and tone holes. Electric Guitar Mike the guitarist’s strumming hand to capture the pick sounds, and mix it with a mic on the amp. Another one: Using a Y-cord, feed an electric guitar through an amp and through a Leslie speaker. Mike both and pan left and right. Phase heaven! Try it on a vocal, too. For lots of lows and highs from a guitar amp, aim a Shure SM57 straight at the center of a speaker cone, next to the grille. To reduce lows and highs, hang the mic from over the top of the amp so it picks up the speaker at 90 degrees off axis. There’s no proximity effect at that angle. Bassoon, Clarinet & Oboe Here’s a way to give the musician some mobility. Clip a lavalier mic to the player’s shirt, even with the center of the instrument. It will pick up the instrument from behind. You might mix in another mic taped near the bell. Bagpipes Mike the handheld chanter about 8 inches from the side, and mike the pipes overhead. But why would you want to amplify a bagpipe anyway? (Some folks would say the same thing about a banjo). Cello & Acoustic Bass Get a miniature omni and stiffen its cable using a 3-inch long coat-hanger wire taped just behind the capsule. Wrap a windscreen around the wire, and stuff it between two strings under the bridge. Place the mic near the body of the instrument (Figure 5). Figure 5: A miking method for cello or acoustic bass. Grand Piano Miking a tone hole gives a restricted, mid-rangy sound that can add a lot of color, while miking the sound board from underneath gives a dark, full tone. Also consider placing a mic at the piano tail looking inside the slightly raised lid. Or, try a couple of PZMs gaffer-taped to the underside of the raised lid over the bass and treble strings. Synthesizer To add some grit, run the synth through an amp and mike the amp. Blues Harmonica Rather than using a “bullet” mic, place an SM57 (or any dynamic) next to a guitar-amp speaker. Mike the harmonica close up, and run that input through the amp using an XLR-to-phone impedance converter. The amp’s distortion and high-frequency roll-off might deliver just the sound you want. (And try it with a vocal as well.) World Acoustic Instruments For instruments like pipa, bouzouki, oud, and sitar, try a small-diaphragm condenser about 3 to 8 inches away. If there’s a sound hole, place the mic fairly close to where the fingerboard meets the body, and if there’s not one, place it in front of the body. The sound hole resonates at a low frequencies with the air inside the instrument, producing a bassy, thumpy tone. Concertina, Accordion & Bandoneon Grab a couple of mini omnis, put a wide rubber band on each of the player’s wrists, and insert the mic capsules and 1 inch of cable through the rubber band, which holds each mic close to the tone holes. Or gaffer-tape the mics to the instrument first, so when the player comes on stage, he/she can remove the mics and mount them on the hands. Anything Capture an instrument or vocal with a cheap piezo mic, bullet mic, or headphones. Tape a paper towel or TP tube to the end of a mic – it creates a resonator unlike any EQ you’ve heard. Just watch out for feedback. Or place a mic inside a tin can to get a unique coloration. Unusual miking methods can create some intriguing, original sounds to dazzle the audience. Bruce Bartlett is a recording and live engineer as well as a microphone designer (www.bartlettaudio.com). His latest books are “Practical Recording Techniques, 6th Edition” and “Recording Music On Location, 2nd Edition.”

Мечти, мечти ...

Поздрав за тези, които знаят какво е да пееш с душа (дух). Meet Carly Rose Sonenclar -X FACTOR USA 2013 Simon Cowell : "You have a soul! YES!"

RetroInstrument OP-6 tube mic pre-amp - based on the legendary RCA OP-6

Klangfilm Euronor loudspeaker 1943

1073N @AMSNeveLtd

Специален поздрав за всички смятащи форума ( и музикалното пространство ) за селски хоремаг - http://youtu.be/hqsxdrIPCGk

dzwer Изискванията , които си посочил са несъвместими по естествени ( физически) причини. По-скоро влизат в територията Не научна фантастика. Ще избера само няколко от посочените изисквания: Съжалявам... всичките са несъвместими. Ако се постараеш да прегледаш сътвореното до сега през годините на развитие на електроакустиката, ще видиш потвърждение на моите коментари. Ще допълня още нещо. Има неща, които не се дефинират с посочените изисквания. Например разликата в агресивността на звука, която е различна при различен размер на излъчвателя. А това е нещо важно. Или не е. Зависи. ПП. Извинявам се за поста. След като видях последния коментар, моля да не се обръща внимание на коментарите ми.