Parni_Valjak

Напротив! Играта с мен развива играещия и неговите знания. Във формата на весело и полезно занимание. Ето например, уважавания от мен Вайов, не знаеше за връзката на McIntosh със Wall of sound, но с присъщата си интелигентност и вродено любопитство се разрови и научи неща, които му доставиха удовлетворение и си повиши знанията. Аз също съм доволен, когато има полза от моето присъствие във форума.

Studer/REVOX. Двигател тип Papst. Ляти компоненти на механичната конструкция. Типично закрепване с винтове и пружинираща "гайка", американски тип. А, бе стига съм се лигавил... Revox B77. Поглед към дясната страна на шасито. Мат ? И накрая - красавецът - звяр !

Да продължим с обучението на специалистите във форума Behind The Sound: Inside the McIntosh Factory The Grateful Dead's - 'Wall Of Sound' McIntosh Amplifiers CBS AM McIntosh Audio, Grateful Dead Тук се виждат усилвателите на McIntosh... Време е за следващия етап в запознаването в детайли...със Стария Оригинал...

http://www.allen-heath.com/ahproducts/qu-32/

Bell Labs anechoic chamber, 1940s, 3 stories tall w/ wire mesh floor to suspend researchers and test equipment

Latest news from Rupert Neve- Transformer coupled MIDI through box - what will Rupert Neve come up with next?

Мечтата на звукоинженера... Rack of goodness from Grammy-winning engineer/producer Andrew Scheps' (Beyonce, Adele) Punkerpad West studio Айдеее, оказа се, че има още по-, по- най-... Grammy-winning Producer/Engineer Jack Joseph Puig at Ocean Way recordingstudio proaudio

Познайте каква е връзката на темата със "Wall of Sound" custom P.A. for Grateful Dead, 1974

Не мога да намеря звуковия оригинал, но снимката си заслужава ! Ella Fitzgerald and Louis Armstrong recording "Ella and Louis" 1956 Capital Studios

В WAM facebook страницата видях нещо, което задължително трябва да го пусна тук! Neumann U 47 long body getting some TLC at @TELEFUNKEN_Mics - original VF14 tube!

Digital music: do you remember your first ever download? Unlikely... But you'll probably remember the first record you bought! Forget 'virtual music': VINYL IS FOREVER...

Жени, к'во да ги пр'аиш... И понеже сме на тема AMPEX, такъв беше внесен от D. Tyler средата на 70-те. Запомнил съм го помежду едни Lockwood монитори с Tannoy. Липсата на мащабиране във форума не позволява да се съпоставят размерите. AMPEX-a беше 3/4 от Lockwood-ите .

Моделът е F44. The F-44 Fine Line was only available for about 2 years (1964-65) and was the last of the consumer Ampexes utilising vacuum tubes. The big improvement in the F-44 was the use of a hysteresis motor in place of the induction motors used in older models. Also note dual meters instead of switchable meter on the earlier 960/1260 series. This was a four-track, valve powered portable professional stereo recorder with two speeds (7½ & 3¾ ips) and a frequency response of 50Hz to 15kHz 2dB. Available as a rack-mountable unit (F4452 - UK £240) or mounted in a case (F4460 - £250) and as a complete stand-alone tape recorder with speakers and audio amplifiers (F4470). 960 е предния модел.

Млада певица в магазин за мобилни телефони. - Искам нещо, което не е много сложно. - Ето, препоръчвам един нов продукт - Cell Phone Tamagotchi. Корпус от титан. Издържа на резки промени в температурата от минус 50 до плюс 50 по Целзий, има високоговорители които могат да събудят целия квартал. Вграден видео проектор, сателитна навигация. Ако не искаш да говориш с него, той ще умре. И издава реално гнил смрад. - Искам нещо по-просто. - По-просто? Ето един добър модел: елегантна форма тялото - "Детелина". Много функции: Преобразуване на не-метрични в метрични единици, Гайгеров брояч, електронен крачкомер, ефект на мигане в тъмното. Инсталирана серия игри с гарантирани хиляди часове геймплей ... - А има ли нещо още по-лесно? - Ами ... Ето това е една добра машина, надеждна и лесна. С вградена четка за зъби, вилица и отварачка за бутилки. С едно зареждане издържа цял месец. Също така, интернет, игри, високоговоряща връзка ... - Знаете ли, имам нужда от нещо, с което може просто да се обадя. -Това можете да намерите в отдел сувенири!

КАНДИДАТ ЗА ЕВРОВИЗИЯ 2015 Новата красота на металистките

Вложените усилия елиминират малките недостатъци!

Втори ред от подписа на Parni_Valjak : If you have to ask the price, you can't afford it. ( Но пък някои знаем мънички подробности... Например данните на изходния траф, , а той е наистина специален.)

Here’s the full interview of Tina S. You have most likely seen recently on YouTube the video, where Tina covers Eruption from Eddie Van Halen. One can only be impressed by her level of virtuosity, of course I would have liked to feel more fire, more passion in her performance but no doubt this will change in the future. At 14, her technical level is pretty amazing. We will hear more from her in the future. With a teacher like Renaud Louis -Servais she will continue to progress in her guitar playing. Here is an interview we did by e-mail . Q: Hi Tina, what was your first guitar? Tina : My first guitar was a classical guitar with which I started the academy of classical music at the age of 6 years. It was an Alvaro. Q : What are your influences? Tina : I do not really have any influence. There are of course groups and guitarists that I like such as Van Halen or Slash. Q : What is your training? Tina: I started with a standard curriculum by enrolling at the age of 6 years at the conservatory of classical music. At the age of 13, I decided to turn to a more rock’n’roll world starting to play on the electric guitar. Q : What has so far been the most memorable of your early career stages? Tina: It is a mistake to talk about career for me. I had a classical education, then through this training I could easily start on electric guitar, but I have not yet had the opportunity to live with particular highlights . Of course, the making of a buzz on the Internet with the Van Halen solo and the follow-up of the buzz with my second video is very impressive. But for me, I have not yet started my career as a guitarist. Q : How is the teaching with Renaud Louis -Servais ? Tina: He is a very nice teacher, very professional but he happens to combine work and fun. He is very rigorous, asking me to give the best of myself, and this is beneficial because it is thanks to him that I began working on pieces of a more adequate level for my age. It is a real pleasure and a chance to have him as a teacher. Q : Given your present level is your work more focused on the musicality and vocabulary rather than pure technique? Tina: I would say that my work is divided into several phases. Until now, we worked particularly on the technique to improve my playing. At the moment, we work a lot on musicality to remember that one must first understand what we play to feel something. Q : Any news from Wolfgang Van Halen , who said in a tweet that he wanted to meet with you ? Tina: Not for the moment . Q : After Eruption and your version of the interpretation of Vivaldi à la Patrick Rondat, any other pieces you are working on ? Tina: I prefer not to talk about upcoming songs just for me not to avoid unnecessary pressure. I prefer to keep the surprise until the last moment. Q : How does one manage to become a YouTube star with millions of views? Tina: The environment is very important. It is necessary to have a solid foundation and the base is represented by family and friends. Do not take the big head, remain down to earth, and especially try not to get unnecessary pressure, continue to have fun and not think about getting millions of views, but just to play for my own pleasure. Q : Do you feel invested with a special mission because you ‘re a girl and you are in a very male dominated environment? Tina: Not particularly. It is true that it’s good to succeed in a world where the dominant by men. It is important to show that a girl can play as well as a man. Q : What is your favorite guitar? Tina: My favorite guitar is the Vigier which you can see on my videos. Q : How is the collaboration with Vigier? Tina: There are no special collaboration. However, I was invited by Patrice Vigier to visit his factory. It was a great honor to meet him but there is currently no collaboration with Vigier as with any other brand of guitar. Q : Do you have any plans to play in a group? Tina : At the moment no. I focus on a my personal work in order to have the fullest possible. Of course, I do not put aside the possibility of being part of a group in the future, but this is not the case at the moment. Q : What are your next projects? Tina: As I said earlier, I do not like to talk about things to come. This puts particular pressure on me, and I prefer to keep them for me to play without expectations. Thank you for your answers and good luck for the future!

Един видео урок - Как се прави усилвател... НЕ, McIntosh !

The Loner Cover TINA S !

Кой умник го твърди?

The Internet is a great source of information…and a great source of misinformation, even for something as seemingly simple as tone control capacitors. Най-верната част от статията Payed by gibson.com. Some of Gibson’s 2014 model year guitars use Orange Drop capacitors (Fig. 1). Stroll around the net, and some folks say Orange Drop capacitors are the magic ingredient for vintage tone, while others say “designer” capacitors are just hype—as long as the value meets the spec, it doesn’t matter what you use. Figure 1: Various Orange Drop capacitors Actually, there’s a very good reason why Gibson chose Orange Drops, as well as other quality capacitors for the 2014 model year guitars…but it may not be the reason you think. We’ll explain why after we bust some myths. Tone control capacitors roll off high frequencies. This is true, but it’s only half the story. When rolling a tone control all the way back, the capacitor forms a resonant circuit with the pickup that provides a midrange boost (Fig. 2). The volume control, cable, and amp can damp this peak somewhat; but feeding a high-impedance input (onboard preamp, buffer board, an audio interface’s high-impedance “guitar” input, etc.) retains this peak. Figure 2: To emulate the effect of a tone control with an equalizer such as Sonar’s QuadCurve EQ, it’s necessary to add a resonant peak—not just remove highs. All capacitors with the same value are the same. Nope. Even ceramic capacitors aren’t the same—there are two different ceramic capacitor classes, and the value can be consistent within 1% for expensive types or vary from +80/-20% for cheapos (as often found in knock-off guitars). Capacitance can also vary with frequency, temperature, and applied voltage; some ceramic capacitors are even somewhat microphonic. If your guitar uses a ceramic capacitor for its tone control and you think your guitar sounds different under stage lights then when you’re offstage, you’re probably right. Replacing a high-quality modern capacitor with a “vintage” capacitor can have a profound effect on tone. This may very well be true—but only because the values are likely slightly different, thereby creating a different resonant frequency when paired with your pickup. People like Orange Drop capacitors because of the placebo effect. Actually, there’s a technical reason for choosing Orange Drop capacitors. Sprague was a leading name in capacitors, and in the mid-20th century produced capacitors for industry, the military, and aerospace. The Orange Drop capacitor line introduced in the 60s heralded the capacitors of the modern era—with stability, resistance to temperature variation, low moisture absorption, excellent characteristics in AC circuits, no microphonics, and other desirable attributes. (The technology can also handle high voltages, making them well-suited to tube amps.) Cornell Dubilier (CDE), another high-quality capacitor manufacturer, acquired the Orange Drop line from Sprague in late 2012. For Gibson’s guitars, Orange Drop capacitors provide the stability and precision—therefore, consistent tone—that professionals expect. Other precision capacitors would be suitable, but Orange Drop capacitors have a well-deserved reputation for quality that has proven itself for close to half a century. With a track record like that, Orange Drop capacitors were consistent with Gibson’s intention to make the 2014 line of guitars and basses the finest musical instruments Gibson has ever produced. This article original appeared on gibson.com.

What's It Worth: Early Headphones and Speakers Speakers appeared in the late 1800s. Most early versions were horn shaped and didn't require electricity or an electrical impulse to operate. With the invention of the wireless telegraph and radio in the 1900s, electrically powered headphones and speakers were developed for both commercial wireless communications and home use. Edison cylinder player reproducer and horn. Edison cylinder players and early Victrola and gramophone record players used mechanical speakers for reproducing the sound recorded on wax cylinders and early records. To reproduce sound from the grooves of the recorded surface, a needle was attached directly to a diaphragm. This needle and diaphragm unit was commonly called a reproducer. As the needle picked up the vibrations on the recorded surface, it transmitted those vibrations to the small diaphragm fixed to the small end of a long horn. The vibration of the diaphragm was then acoustically amplified by the horn. Many people who hear these early speakers for the first time are surprised at how loud the sound or music actually is without the use of electrical amplification. Wired telegraph lines used a magnetic coil similar to a relay to create a metallic click triggered by voltage sent through miles of wire. This device was known as a sounder. The telegraph operator would listen to the clicks of the sounder which represented Morse code. Morse code was also used for early wireless radio communications. Early radio used spark gap transmitters. High voltage created a spark which could be heard over long distances when picked up by an antenna hooked to a wireless receiver and headphones. Early headphones needed very little electrical energy to produce a sound detectable by the human ear. A trained wireless operator listening to an early receiver with headphones could hear the spark transmissions sent in Morse code from many miles away. The wireless operator could either reply by keying Morse code using his spark gap transmitter or decode the message and hand it to its intended recipient. In 1912, the Titanic used a transmitter of this type to send out its distress call. Early headphones and Telegraph "Sounder." The early headphones looked and operated similar to today's headphones, although the materials used were generally nickel-plated metal or hard rubber. The headphone cables were cloth-covered wire and connections were usually made using binding posts. By World War II, rubber-insulated wire-and-phone-plug-type connectors were commonly used. Unfortunately, most early headphones do not have much value as there were many produced. Due to their high working impedance and low fidelity, they are not compatible with today's stereos or MP3 players. Typically you might find a set for just a few dollars. The exception is if the headphones were manufactured by one of the early radio manufacturers such as Crosley or Atwater-Kent. A collector of one of these lines might want to add a set to their collection and be willing to pay a premium for a working set in good cosmetic condition. The invention of the vacuum tube brought with it the ability to amplify signals. These amplified signals could drive much larger diaphragms than the small ones used in early headphones. Many different types and sizes of speakers were manufactured, and due to the rapidly increasing popularity of radio, companies found a new market for larger horn- and cone-type speakers. Early RCA horn speaker and an enclosed horn removed from its cabinet. Vacuum tube amplification allowed the use of larger diaphragms. Mounted into the small end of a horn they produced vibrations that were then acoustically amplified in a similar fashion to the mechanical gramophone horns. The advantage of these new electrified horns was that by increasing or decreasing the voltage to the vacuum tube filaments it was possible to control the amount of amplification and sound level. Some horn speakers stood over two feet tall while others were built into wooden cabinets. To fit inside a cabinet the horn was curved back and forth to increase its length and at the same time reduce its overall outside dimensions. Early horn speakers are popular with collectors. Almost any horn speaker will sell in the $100 to $200 range, but expect a horn speaker enclosed in a cabinet to usually sell for much less. Peerless cathedral-style speaker and its cone, manufactured in Rochester, NY. Speakers using a paper cone quickly became popular. Many were built into unique round enclosures with artful designs. Some like the Peerless shown above were enclosed in wooden cabinets. Still others with large diameter cones were designed to stand on the floor with some having elaborate designs on them. A new replacement cone for a Stromberg-Carlson floor standing speaker. Most of the original paper cones on these early speakers are either dried out, torn, or totally disintegrated when found. Fortunately, there are newly manufactured replacement cones for many of the more popular models as many collectors restore early cone speakers to like-new condition. Value is highly dependent on the style and condition, but typically ranges from as low as $25 in poor condition to hundreds of dollars in restored condition. As radios and record players grew in size, speakers producing higher fidelity and sound levels required larger and more powerful magnets. "Electromagnetic speakers" using magnets powered by the radio or amplifier were popular in larger units. These speakers typically required a pair of wires to supply voltage to the voice coil of the speaker and unlike today's speakers, a second pair of wires to provide power to the magnet. Today most speakers have permanent magnets and only require a pair of wires for the voice coil. Drawing of an RCA "Electro-Dynamic" four-wire speaker. Over the years a few companies manufactured test speakers for use on the service bench. Since there were several types of speakers used in radios and amplifiers, a test speaker would have connecting jacks or switches to match speaker impedance and choose between the electromagnetic or permanent magnet types. Some test speakers also offered selectable capacitor substitution. Service bench test speakers — 1930s Wright-DeCoster (left), 1950s "Ferret" Test Speaker (right). The earliest test speaker I have found was the "Multi-Test" speaker made by Wright-DeCoster in the 1930s. It has just about everything needed to substitute a 1930s speaker on a repair bench including different output transformer taps, voice and field coil resistance, and voice coil transformers. The Wright-DeCoster test speaker is rare and I have only seen a couple over the years. I would expect to see one for $40 to $70, but would not be surprised to see one sell for $100 to $200 as it is a rare piece. The most commonly found vintage bench test speaker is "The Ferret" test speaker made by Coastwise Electronics, starting around 1947. Besides having jacks and selector switches for selecting voice and field coils, the front has charts showing the switch settings for matching it with various audio output tubes. The Ferret also has a selectable bank of capacitors that can be used for substitutions on the service bench. Replacing the original capacitors is a requirement but an easy task in the roomy cabinet. The Ferret is very popular among collectors, and when brought out at a swap meet, it seldom sits unsold after the first few hours. Typically it sells for $50 to $125, depending on cosmetic condition.

Публикацията е по-скоро подходяща за Vintage темата, но все пак е предназначена за техничеки насочените форумници. Особено за младите, за които светът започва с тяхното раждане, даже доста по-късно. Преди това е съществувал цял един непознат за тях свят, поставил основите на сегашния. Нямам желание да превеждам, И без това английския се е превърнал в матерен на неграмотните българи... Опитът ми показва, че и да подканвам някой да се включи с превод на ползу роду няма да стане. А мераци за получаване на готово - колкото щеш - авантата е чиста печалба Vintage Handheld Meters The handheld meter has been a staple of almost every technician’s tool case for almost 100 years. In fact, a handheld meter is often the first piece of test equipment most of us acquire. Today the majority of handheld meters sold have a digital display. However, meters manufactured up until the 1970s had an analog readout. It was up to the operator to properly read the position of a needle on an analog scale. Digital readouts did not appear until the 1950s and digital displays small enough for handheld use were not widely available until the 1970s. Handheld meters found widespread use as far back as the 1920s. Surprisingly, one of the first uses of handheld meters was not by electrical servicemen. In the early 20th century, two new technologies that used battery power, the automobile and the radio, created a need for an easy way to quickly test batteries. Handheld meters were developed to check battery charge and sold to the rapidly increasing numbers of automobile and radio enthusiasts. Typical selling price at the time for one of these home battery testers was $1 or $2. Examples of "Pocket Watch" meters from the 1920s. The "Pocket Watch" meter was the most common handheld meter sold in the 1920s. It resembled the small size and shape of a pocket watch. In fact, some of the more sought after versions are made in cases that look exactly like a pocket watch. Pocket watch meters were sold in three basic configurations for measuring storage batteries. These included voltage, amperes, and a combination meter that could measure both voltage and amperes. The typical pocket watch meter had one or two test points protruding from the bottom and a short cloth covered wire with a nickel plated tip coming out of the tip. Some of the more common brands of early pocket watch meters you might find are Sterling, Readrite, and Eveready. No one knows how many of these pocket-watch-style meters were produced through the 1920s, but they were found in most households with early battery radios. Small and easily tossed in the back of a drawer and forgotten, many survived and are still a very common find at swap meets and flea markets today. It's not hard to find a good example for $5 to $8. Unfortunately, more often than not, the original test lead is missing. Early Hickok handheld meter. Unlike the ergonomically shaped handheld meters with rubberized cases found today, early handheld meters were usually manufactured with wood, metal, or Bakelite cases. The Hickok meter above was most likely produced in the late 1920s. It has a metal case and used binding posts to connect test leads. This model measured resistance and DC voltage. There is a number 48 on the meter face but little sales documentation has been found on early Hickok models and many did not have model numbers. Early Hickok test equipment is very popular with collectors, and good examples from the 1920s and early 1930s can sometimes sell into the hundreds of dollars at auction. You can even expect to see an early Hickok meter like this one sell for upward of $50 to $75 in good cosmetic condition. Hickok automobile service meter. Hickok also manufactured handheld meters for servicing automobiles. The Packard labeled model 150 shown above was a DC voltmeter designed for use on automobile electrical systems. It measures from 0 to 10 Vdc and by pressing the button on the top switches to a 0 to 3-Vdc range. It also has a brass hook attached at both sides that rotates to allow hanging the meter under the hood of a car. The wood-handled probe is attached by a 27-in. cloth-covered wire. You might also find this meter in a set along with a current meter of the same style. I have seen individual meters sell for $30 to $50 and a set with original case and cables sell for over $100 in good working condition. The Supreme 542, Minimeter, and "Pin Tip" plugs. The Supreme model 542 handheld multimeter used a series of "Pin Tip" jacks for selecting ranges. Its only knob was for adjusting the ohms range. Pin Tip jacks were the predecessors to the wider banana jacks found on most of today's digital meters. Many handheld meters manufactured before the late1950s lacked selector switches. This may have been more to reduce the overall size of the meter than to cut production costs. The 542 was very popular, and many thousands were produced. Ruggedized versions were produced for the military with steel cases and flip-down covers to protect the meter. After World War II, the same ruggedized design was also used by telephone companies in the field. They are fairly easy to find today, and most still work fairly well. Supreme also produced a "Minimeter" series of tiny handheld meters in the late 1940s. Less than three and a half inches tall, these Minimeters were the smallest handheld meters of the time. Due to their small size, you needed separate meters to measure DC volts and current. Both the versions of the Supreme 545 and the Minimeter series may often be found at swap meets for under $20. New Pin Tip test leads and plugs are still available today through major distributors. The Simpson Model 390 Volt-Amp-Wattmeter. Simpson Electric Company of Chicago is probably most famous for its Simpson 260 series multimeter, but Simpson also produced a number of different handheld meters throughout the 1950s and 1960s. One of my favorites is the model 390 Volt-Amp-Wattmeter. The etched and filled Bakelite case and color-coded leads showed the technician which binding posts to connect the test leads to for a particular function and range. Once the dual sets of test leads were connected, readings could be changed from volts to current or watts by pressing one of two buttons. Most examples found now show signs of heavy use and may be picked up for $5 to $10, but a good working example in its original box with the test leads and instructions may sell for four or five times that. Unlike many of today's digital meters that warn the operator of or protect the meter from incorrect hookups, early analog meter movements were often damaged by reversed or incorrectly connected leads. It's always a good idea to test and make sure the meter movement still responds in any vintage meter you may be considering buying.