Parni_Valjak

Studio Profile: AIR Studios 22 July 2015: By Matthew Fellows Fifty years ago, a production company was established that would reset the template for the recording business, as Jim Evans reports. In August 1965, four leading record producers made a move that was to change the way the music industry worked. Back then, records were still largely produced ‘in-house’ by the major record companies – in the UK it was EMI, Decca (which famously turned down The Beatles) and Pye. Independent recording studios were only just starting to emerge and producers were salaried employees of the labels who rarely got so much as a sniff of a royalty cheque. In that memorable month, Associated Independent Records (London) Limited, or AIR for short, was created by George Martin, Ron Richards and John Burgess from EMI, and Peter Sullivan of Decca. Between them, they were responsible for the success of EMI’s and Decca’s top acts, including The Beatles, Tom Jones, Cilla Black, The Hollies and Lulu. Through AIR, they continued to work with these acts – but now with the added benefit of royalty payments. There was no love lost following the four’s split with the record companies. In his autobiography, All You Need Is Ears, George Martin recalls: “Frustration has many fathers, but few children, among them bitterness, anger and resentment. Those had come to be the unhappy ingredients of my feelings towards EMI. By 1959, I had been running Parlophone for four years. My recordings with Peter Sellers, Milligan, Flanders and Swann and the others had started to make the label mean something. Originally a poor cousin, it had become a force to be reckoned with. But I was still only earning something like £2,700 a year.” Martin would later comment: “All in all, it is fair to say that relations between AIR and EMI have been less than cordial over the years since we first broke free from them. That is, despite the many successful records we have made for them since we went independent, including Sergeant Pepper’s Lonely Hearts Club Band.” Once free from the shackles of the majors, the newly-liberated producers based the nascent AIR in offices on Park Street in London’s West End and bought studio time for their artists in Abbey Road, Chappells, Decca and Morgan and a handful of other commercial studios operating in the capital at the time, such as Advision, Lansdowne and IBC. The plan was to eventually build their own studios and by 1967 the group had earned enough royalties from these new production deals to finance the venture. Eventually, premises were found in Oxford Street on the fourth floor of the Peter Robinson department store building, which included a large banqueting hall. It would prove to be not the easiest of places to build a recording studio. Being in central London was about all it had going for it. But Martin and team had other ideas. Kenneth Shearer – whose credits include the Royal Albert Hall’s ‘flying saucers’ – was brought in to deal with the considerable acoustic problems. Martin recalls: “The answer to the rumble up through the building from the Underground was drastic, and dramatic. The whole works – studios and control rooms – would be made completely independent of the main building. Essentially, a huge box was to be built inside the banqueting hall, and mounted on acoustic mounts.” Up and running at last The studios opened for business in October 1970, and in true show business tradition, the occasion was marked by a two-day party during which 400 bottles of Bollinger champagne were consumed. Dave Harries, previously with Abbey Road and now consultant to Mark Knopfler’s British Grove Studios, was one of the first to leave EMI’s employment to join the new venture across town. He would go on to manage the Oxford Street studios for more than two decades. The original four producers were also joined by a host of other top producers and engineers, each bringing in their own work and signings that would add to the success of the studio. These included Chris Thomas, Keith Slaughter, Bill Price, Geoff Emerick, Jon Kelly and John Punter. “It was one of the noisiest places you could choose to build a recording studio,” says Harries. “When Geoff [Emerick] first showed me the pictures at Abbey Road I said that simply can’t work. It will never work. But work it did! It became so successful that George and John who had built it primarily for themselves couldn’t get in there and had to go back to Abbey Road. We were certainly one of the pioneering independent studios – and among the first to go 16-track. When we opened, our studio rates were £35 per hour.” Key to success So why did AIR Studios take off so spectacularly? “The main studio was actually quite large and had a quite live sound,” Harries continues. “The idea was originally that we would do film scoring in there, with the smaller No. 2 studio which had a much drier sounding aspect and was built for pop. They both had basically the same equipment in the control room. Studio One of the Oxford Street site in 1975 “As it turned out, the main room for a number of reasons, including its great drum sound, got booked out by bands. It just worked. Film people couldn’t get in. We had good equipment and good technicians. We were in the right place at the right time. George once again picked out the right thing. Throughout, he had the Midas touch with artists and with studios, as the hits kept coming on both sides of the Atlantic. “I recall one occasion when we had The Rolling Stones, Paul McCartney, Dire Straits and Slade booked into the four studios. I walked into reception to see McCartney, Mark Knopfler, Noddy Holder and Mick Jagger deep in conversation. Sadly, a camera wasn’t to hand. But then, we never really boasted about who was here, we just got on with the business of making good recordings.” Among the sessions at AIR, Harries has fond memories of many – including a young Kate Bush recording what would become her debut album. “Jon Kelly was the engineer and Andrew Powell was the producer and arranger. They were in Studio 2 next to my office when I heard this wonderful sound. It was Kate doing the guide vocal forWuthering Heights. My hair stood on end. I said at the time it would be massive – and it was. “Over the years we changed with the times, upgraded the technology as fashion dictated. Despite being ‘lifelong’ Neve supporters, we went with the flow and bought SSL desks. We were at the forefront of digital too.” That brings us nicely onto AIR Studios Montserrat, one of the pioneering ‘destination studios’ where Dire Straits digitally recorded Brothers In Arms, an album that ranks among the biggest sellers of all time and continues to sell steadily. “Once AIR Studios in London became a reality and gained a reputation – its reputation of being the finest recording complex in Europe – my thoughts turned to other ideas,” says Martin. He weighed up the pros and cons of building a studio on a ship – until he discovered Montserrat, a small unassuming island paradise in the Caribbean. In 1977, Sir George fell in love with Montserrat and decided to build the ultimate get-away-from-it-all studio. Opened in 1979, AIR Studios Montserrat offered all of the technical facilities of its London predecessor, but with the advantages of an exotic location. “Dire Straits recorded Brothers in Arms on the island and at The Power Station in New York and then finished the project in London,” recalls Harries. “That was really the first album where a lot of it was recorded digitally on a Sony 3324 machine.” Trouble in paradise Sadly, through the combined efforts of Hurricane Hugo and the local volcano, the studio was forced to cease operations some 10 years after opening. Back in London, 22 years after the opening of the Oxford Street studios, the lease on the Peter Robinson building expired and the next chapter of AIR’s colourful history began. The studios moved to its present location in the beautiful Lyndhurst Hall in Hampstead, North London. Heavily involved in the design and building of the new studio facility, Sir George Martin opened AIR Lyndhurst in December 1992 with a gala performance of Under Milk Wood in the presence of HRH The Prince of Wales. In February 2006, the Strongroom’s Richard Boote announced the purchase of Sir George Martin’s AIR Studios from Chrysalis Group and Pioneer. Since that date AIR Lyndhurst has continued to be one of Britain’s premier scoring facilities, attracting some of the world’s biggest movie scores, as well as maintaining its popularity with major classical labels, high-profile recording artists and incorporating TV post-production facilities. http://www.airstudios.com

Не се чуди. Знаем как, Можем, Имаме с какво, и го Правим.​ А, да! И учим форума, че има един друг свят, различен от този който му е известен. Това се нарича просвещение. Принцип е коментарите да са компетентни, верни и съдържащи информация повишаваща знанията и способностите на форумниците.

Единственото което мога да добавя, е да се внимава при избора. За целта трябва да се притежава професионален опит и да се направят преглед и измервания на озвучителните тела. Ако се откаже от предлагащия, е знак, че нещо не е читаво. Без обективна преценка всичко ще е ала-бала. Ще споделя един процес на подобно действие, което се наложи да правя преди време. В търсене на подходящи озвучителни тела ми бяха донасяни на няколко пъти различни озвучителни тела, като всички бяха известни имена. Измерванията показваха всичко обективно. Паралелно всяка двойка беше прослушвана в реални условия от човека, търсещ решение, като съпоставяше моите коментари със това, което чува.. Накрая се спря на една двойка, за която преценката ми се оказа правилна, базирана на измерванията. Разбира се за да има съответствие мъжду обективните измервания и субективното възприятие е нужен опит, знания и възможност за извършване на определени процедури. Казвам, че това е правилния начин, а не че ще бъде направен. Защото прибавя разходи към основната цена - организация, превоз, време, цена на измерванията... Когато за целта се тестват последователно 3...5 двойки озвучителни тела, има сериозно натоварване, което може да е съизмеримо с основната цена. Добре е да се прецени внимателно как да се действа - за да няма излишни разходи. Сравняват се рисковете и търсенето може да продължи достатъчно дълго. ПП. Препоръчвам измервания дори след закупуването, за да се види дали всичко по озвучителните тела е читаво!

Огромна е разликата в качеството и параметрите на различните озвучителни тела. Огромна е и разликата във вижданията на слушателите. Това, което за едни е приемливо, за други не е, въпреки, че използват едни и същи определения. Моето виждане се различава от мнозинството потребители, затова няма да си позволя да задълбавам. Само ще отбележа, че за тези пари може да се вземе нещо съвсем средна ръка, при това наистина втора ръка. Искам обаче да предупредя, че нещата втора ръка се наричат така, защото са използвани, ремонтирани, прекарани.... А бе както казваше един студент : Гледаш го мацето готино, пък то работено, работено... С други думи човек трябва да е готов на всякакви иненади. И след като е джапнал в дълбокото се изприщва, когато се окаже, че трябва да доплати още толкова, колкото е платил , че и повече, за да се оправят нещата така, че да отговарят на желаното. Ситуацията посочена от автора е стандартна - Имам толкова, но искам най-доброто. Досега не съм видял решение на подобен казус.Винаги има компромиси - или със цената или със качеството. Като начало трябва да се търси съответствие между всички елементи във звуковъзпроизвеждащата верига. Посоченият усилвател е средна ръка, ориентиран към обикновен непретенциозен потребител. Затова и озвучителните тела които трябва да се търсят е удачно да са на подобно ниво. Защо пиша тези ненужни редове? Ами, защото определението на звука, който се търси просто не съответства. Освен, ако както споменах в началото, понятието качествен звук означава нещо горе - долу, да не криви - значи да да не дразни много, да има силен, хубав и плътен бас , може би означава да кърти вивки ... Ако посочените изисквания трябва да се спазят, бих казал, че сумата ще бъде много, ама мноооого по-голяма. А другото е да се самозаблуждаваме... И още нещо. Най не вярвам на хора, които "пипват, настройват и бъзикат" на ушенце. Те просто са некомпетентни и не са наясно за какво става въпрос. Не случайно имам определено негативно мнение за аудио форумите. Ако става дума за хора от нивото на R.Neve, Geoff Emerick, Sir George Henry Martin или други от сорта, да, те могат, чуват и знаят. Останалите - У лево! N.B. Пропуснах да коментирам "Въпросът ми е по-изгодно ли ще бъде да поръчам някъде да ми ги сглобят ръчно". Бога ми, явно нямаш изобщо представа за какви пари става дума при "ръчна изработка". Измерване на говорителите, проектиране на тялото, проектиране на фитрите, измервания електрически и акустически, изработване на кутиите, външен вид на кутиите... Е, ако се търси дърводелец на шкафове за чинии, може би ще е по-ниска цената, ама пак ще е в пъти повече от озвучително тяло на втора ръка.

Revisiting the 8-Track Cartridge & Unboxing a BNIB 1975 Pioneer HR-99 Recorder

Разбира се! Въпрос на кауза, умения, бързина и точност. Така се е създала една известна страна. Затова там все още се носи оръжие от всеки. За разлика от тук, където това е привилегия на определени криви калпаци.

Номер 4 ми е любима снтенция...

SYMPHONIC POEM "BULGARIA" by Roumen Boyadjieff-junior in memory of the greatest bulgarian composer Pancho Vladigerov recorded at Studio 1 of Bulgarian National Radio 29 & 30 of june 2015 year Sofia, Bulgaria

Trade secrets of oldest family firm in US By Kim GittlesonBBC News, Massachusetts 7 June 2012 Avedis Zildjian, who emigrated from Turkey to the US Nearly 400 years ago, in 1623, Avedis Zildjian founded a cymbal-manufacturing company in Istanbul. Now run by 14th generation family member Craigie Zildjian, along with her sister Debbie, the company has outlasted empires, survived a move overseas to the US, and thrived during the economic turmoil of the Great Depression and two World Wars. Today, the company controls 65% of the world's cymbal market, and took in more than $50m in revenues last year. But for the Zildjians, it's more than just a business. Walking through the halls of the Zildjian factory in Norwell, Massachusetts, is like getting a front row seat to music history. The hallways are lined with photos of famous drummers such as Ringo Starr and Roy Haynes. Jazz drummer Buddy Rich's drum kit is preserved in full. Drummers of all stripes often arrive to test the Zildjians' latest cymbals - there's even a special pressurised room that can re-create the acoustics of concert venues around the country. Yet musicians are a fickle bunch, and the music industry is constantly in flux. So what are the Zildjians' secrets to staying in business for nearly four centuries? Closely guarded First off, there's the literal secret - the special alloy of copper, tin, and silver that gives the Zildjian cymbals their world-renowned sound. Sisters Craigie and Debbie Zildjian now lead the family business It's a proprietary mix that Avedis Zildjian brought over with him from Turkey and handed down from generation to generation of Zildjians - and only to Zildjians. At the Norwell factory, there's a special room that only a few people have access to, where the alloy is mixed by a trusted handful - even the company's head of research and development doesn't know what goes into the mix. Craigie and Debbie weren't trusted with the secret until they were in their mid-30s and deemed sufficiently committed to the company - and they, too, have decided to keep the secret from their daughters for a few more years. Family rules But beyond the legend, there are other tricks and best practices that the Zildjians say have allowed them to keep the business in the family. Every Zildjian who wants to work in the family business must get a college degree, preferably in business. They also must intern while in high school or college, to get a taste of the company's standards. Zildjian makes its cymbals from a secret blend of metals But come graduation, don't expect a job with the company right away, say Craigie and Debbie. Another rule requires family members to work elsewhere to get experience outside the company. Even once they join the company, as Debbie's daughter Cady recently did, strict rules ensure that a family member never reports to another. This, says Craigie, is simply just best practice - family business or not. Beyond that, though, there are a few quirky rules that the sisters have instituted. "One of the things we've always done is we have never had spouses involved in the business," says Debbie Zildjian. She jokingly adds another rule: "We've always encouraged our daughters not to get involved with musicians, especially drummers." Global phenomenon There are more than 20 million family businesses in America, contributing an estimated $5.9tn to the US economy annually, and employing more than half of the country's workforce. Zildjian produces all its cymbals at US factories Globally, family businesses are extremely prevalent, and contribute an estimated 70% to global GDP, according to the Family Firm Institute. Yet despite their prevalence - or perhaps because of it - very few family businesses last more than three generations. Those that do, however, make up the lion's share of some of the world's oldest companies. "Only about 16% of all companies that are started last a full generation," says Harvard Business School Professor John Davis. "Most companies that have a good life for a while don't make it very long. But of those that do survive beyond one generation most of those are family companies." Future challenges Still, family businesses in the US tend to be criticised for not focusing on shareholders and quarterly profits. To a certain extent, the Zildjians say that's true. "That's one of the advantages of a privately-held business, whether it's a family business or not," says Craigie Zildjian. "You're allowed to think long term. You don't have to play to the market." "It's our name," adds Debbie, who says it's not just profits that matter, but business reputation and identity. While Zildjian cymbals have been adapted to suit everyone from Ottoman sultans to the Beatles, their most trying days may be ahead. Electronic music presents a test for the company, whose business model is based on acoustic music. To compete, the Zildjians recently introduced a line of electronic cymbals. While the move may seem odd to some observers, Debbie and Craigie cite the company's history of risk taking. "[The famous jazz drummer] Gene Krupa told Avedis to make thinner cymbals," says Craigie. "That was the emergence of the drum kit as we know it today. They had to adapt the cymbals to the kit. "Our name - Zildjian - means son of a cymbal-maker. So that's what we do - that's our name." Zildjian Factory Tour

A little Sound City Studio Documentary. Neil Young, Nirvana, Kyuss, Metallica, Tom Petty Get warmed up for Dave Grohl's Sound City Documentary by checking out the small film by Ronan Chris Murphy. The third episode of Ronan's Recording Show is a tour of the amazing Sound City Studios is Van Nuys, CA. Sound City, which is regularly used by producer Rick Rubin, has recorded everything from Neil Young "After the Gold Rush" to Nirvana "Nevermind. to Metallica "Death Magnetic" in addition to albums by Tom Petty, Ratt, Red Hot Chili Peppers, Slipknot, Slayer, Nine Inch Nails, Dixie Chicks, etc, and of course the mighty Kyuss album "Welcome to Sky Valley". The video and sound is a little dodgy on the episode, but the amazing vintage gear including the wolds longest Neve console install (hand built and wired by Rupert Neve), and racks of classic LA2A, 1176 and Pultec gear. Ronan's Recording Show is an internet based "TV Show" celebrating all things cool about recording, hosted by world renown producer-mixer, Ronan Chris Murphy (King Crimson, Ulver, Jamie Walters, Steve Morse, Tony Levin, Terry Bozzio, Nels Cline, Steve Steven, Pete Teo...)

A Look at the Tefifon, Germany's Doomed 1950s Music Player After World War II, people in the U.S. started buying vinyl and record players more than ever before. But over in West Germany, another music player took off: the Tefifon. Invented in the 1930s by a German engineer named Karl Daniel, the Tefifon is like a mash-up of several obsolete music technologies. Like an 8-track, it plays a cartridge. Unlike the 8-track, a Tefifon cartridge— called, adorably, a “Tefi”— is not magnetic. It actually works more like a record player, since the Tefifon reads these cartridges by pressing a stylus to deep plastic grooves. And like a Minidisc player, the Tefifon is now almost impressively obsolete. Even though it never really made it out of West Germany, the Tefifon was a legit audio player at the time. Bigger cartridges held around four hours of music, and sound quality was better than shellac records. Then again, it was not as good as vinyl, and as the 1950s died down, so did the short-lived audio player. The Tefifon plant closed down in 1965. If they ever do a German reboot of Mad Men, this is one period detail they could get right for the early seasons. You can still buy vintage tefifons on Ebay.

Благодарности за внасянето на дух на професионализъм и отношение (манталитет) във форума!

This kids, is what legends look like.

Derek and the Dominos - Anyday You were talking and I thought I heard you say "Please, leave me alone Nothing in this world can make me stay I'd rather go back, I'd rather go back home" But if you believed in me Like I believe in you We could have a love so true We would go on endlessly And I know anyday, anyday I will see you smile Anyway, anyway Only for a little while Well, someday baby, I know you're gonna need me When this whole world has got you down I'll be right here so woman, call me And I'll never ever let you down But if you believed in me Like I believe in you We could have a love so true We would go on endlessly And I know anyday, anyday I will see you smile Anyway, anyway, just for a little while Only for a little while And I know anyday, anyday I will see you smile, I will see you smile Anyway, anyway Only for a little while Break the glass and twist the knife into yourself You've got to be a fool to understand To bring your woman back home after she's left you for another You've got to be a, you've got to be a man, you've got to be a man But if you believed in me Like I believe in you We could have a love so true We would go on endlessly And I know anyday, anyday I will see you smile Anyway, anyway, just for a little while Only for a little while Anyday, anyday I will see you, I will see you smile Anyway, anyway [incomprehensible] Anyday, anyday I will see you smile [incomprehensible] Anyway, anyway, just for a little Just for a little while

А, бе намерете пълната схема и спрете да гадаете...

Дискусията и досега не решава нищо. Да видим дали това ще се промени.

Secrets of Recording: Professional Tips, Tools & Techniques Lorne Bregitzer (намира се в "Техническа литература")

Secrets of Recording: Professional Tips, Tools & Techniques Lorne Bregitzer

Колко много приказки.... Защо не намерите точната схема и тогава ще отпадне гадаенето...

Гърция поиска от целия свят хонорар за 2500 години използване на демокрацията. "Русия нищо не ни дължи", - уточни Ципрас.

- Бабо Меркел, де така? - Тичам Ципрас, за евра. А ти къде си се насочил? - Референдум съм насрочил, няма да гласуват с "Да". - А когато сняг забръска, що ще чиниш ти зимъска? - Срам не срам, но пак тогаз ще искам сбраното от тебе аз. - Аз пък няма да ти дам, гиди гръцки мързелан!