Parni_Valjak

Явно и така НЯМА да стане Освен да повредиш батерията. За брума: 1. Описаните захранвания не са правилните. 2. Проблемът може да се корени в усилвателната част, и дори най-истинско захранване може да не реши проблема. Един съвет - не търси някой, мойто е имал проблем, а някой който е РЕШИЛ проблем. Би ли поработил малко върху граматиката, по-точно пунктуацията, че без препинателни знаци много мислене трябва за да се разбере какво е написано? За пълен член не настоявам, там ще по-трудно.

Явно не си намерил човек, който да даде правилното решение. Или изобщо не си търсил. Защо тогава го написа?

Такаааа.... Като несведущ по въпросите, засегнати в последните постове, ще помоля да ми се обясни в какво точно се изразява разликата между споменатите варианти - 1х, 2х, 4х, съответно 8", 10", 12" и да добавя 15", че и такива китарни говорителчета се срещат. Нали не съм субективист, още по-малко китарджия, усещам, че нещо ми убягва. Разликите къде са? Честотна характеристика, динамичен обхват, звуково налягане (мощност) или нещо имагинерно, като цветът на озвучителното тяло. Ако може специалистите да направят обоснована връзка в сравненията и избора си, но нека да е меродавна, а не - прочетох, чух, някой каза, друг рече... Ако някой има предпочитания, дори силно субективни, нека да не използва декларативност , а да мине в обяснителен режим. Иначе, от множеството мнения излиза един калабалък без действителна стойност. Няма да е лошо да се направи една таблица, в която да се вижда кое за какво е (взимам идея от предния пост - на synchu). Тя би послужила на форумниците да избират правилно решение за конкретен случай. Пожелавам успех!

Suzi Quatro - Can The Can (1973) Well you call your mamma tiger And we all know you are lying And your boyfriend's name is eagle And he lives up in the sky (high high) Watch out the tiger don't go claw the eagle's eye But let the eagle take the tiger by surprise Scratch out her eyes So make a stand for your man, honey Try to can the can Put your man in the can, honey Get him while you can Can the can Can the can If you can Well can the can Well your sister's got the feline touch, she touches up your mind And your eagle lover likes his little bit of evil loving all the time Don't let the cat get into the eagle's nest at night Because the eagle could say "yes" without a fight Scratch out her eyes So make a stand for your man, honey Try to can the can Put your man in the can, honey Get him while you can Can the can Can the can If you can Well can the can Ooh can the can (Can the can honey) Ooh can the can (Can the can honey) Uh uh can the can (Can the can honey) Ooh can the can (Can the can honey) Ooh can the can (Can the can honey) Ooh can the can (Can the can honey) AAAAH! Honey, honey Honey, honey, honey Make a stand for your man, honey Try to can the can Put your man in the can, honey Get him while you can Can the can Can the can If you can Make a stand for your man, honey Try to can the can Put your man in the can, honey Get him while you can Can the can Can the can If you can AAh! Make a stand for your man Suzi Quatro - Devil Gate Drive - "The Original B&W Clip" "Devil Gate Drive" [spoken] "Hey, you all want to go down to Devil Gate Drive? Well, come on"! "Welcome to 'The Dive'!" Well, at the age of five they can do their jive Down in Devil Gate Drive And at the age of six they're gonna get their kicks Down in Devil Gate Drive Well your mama don't know where your sister done go She's gone down to the Drive. She's the start of the show And let her move on up. Let her come let her go. She can jive Down in Devil Gate Drive [Chorus] So come alive. Come alive Down in Devil Gate Drive So come alive. Come alive Down in Devil Gate...down in Devil Gate Down in Devil Gate Drive Down in Devil Gate...down in Devil Gate Down in Devil Gate Drive When they reach their teens, That's when they all get mean Down in Devil Gate Drive When I was sweet sixteen I was the jukebox queen Down in Devil Gate Drive I lead the angel pack on the road to sin Knock down the gates! Let me in. Let me in Don't mess me 'round, cause you know where I've been To 'The Dive' down in Devil Gate Drive [Repeat Chorus] Well your mama don't know where your sister done go She goes down to the Drive. She's the start of the show Let her move on up. Let her come let her go. She can jive Down in Devil Gate Drive [Repeat Chorus] [spoken] "Come on, boys. Let's do it one more time for Suzi! Are you ready, now?" Come alive. Come alive Yeah!

В действителност огромна част от популярните музикални произведения са базирани на стари оригинали. Това са идеи, преминаващи през времето и повтарящи се в един или друг вид, защото основата им е качествена. Те остават и се помнят, защото има защо. Останалия "модерен" боклук изчезва почти веднага след появяването си. Съвременното поколение е онеправдано и затормозено от съвременните технологии и огромния обем информация, която в действителност има твърде малко качествени неща и огромно количество боклук. Така то се приучава да харесва (по-скоро да свиква) с боклука, за задоволство на "търговците, завзели храма". Хора, профилирани така, не могат да създават друго, освен пак боклук. И не само в музиката, а във всяка област на живота. Е, все още се срещат хора с морални ценности и отношение към красивото, стойностното, качественото. Докато изчезнат и ентропията завладее вселената.

МастърУмовете на новия Бе Ге поп Мастърмайндите на новия Бе Ге поп наистина се престарават. В поп-а няма нищо лошо, но да превеждаш америкън булшит едно към едно, адаптирайки цялата фалшива суета на телевизионния лукс, си е заразно малоумие, имащо за цел да изпие акъла на подрастващите. Не, не, това не е пресилено – идеята, че колкото по-долнопробно, толкова по-популярно, се е превърнала в самоцел. Най-малкото защото еквивалентът на малцинството на северно-американските негри у нас са циганите, а за паралел изобщо и дума не може да става. Всички виждат, че рапът не е любимата музика на българските цигани, но пък музиката на българските цигани е любима на много българи. И понеже очевидно произведението не е насочено и към някакво по-отбрано общество от ценители, излиза, че това си е един обикновен масов продукт. Пълна липса на връзка с реалността Изобщо цялата концепция за публичното присъствие на новите музикални герои се движи по възможно най-комерсиалната пътека на масовия, осреднен вкус. Лимузини и роудстъри, безгрижни тийнейджъри с шарени дрешки, които се забавляват, на които им е много весело да се пее за секс (или по-скоро за ебане). Широки усмивки, усилени цветове и вселенско щастие, лъхащо от една малко по-дълга реклама. Но да виждате някъде наоколо тези хора? Къде е безгрижният телевизионен образ, който така настоятелно ни се пробутва?! Няма го. Класика. Пиар класика. Хората не са това, което са. Ти дори не си и боклукът, за който се представяш. Нито си готиният пич, за който се представяш. Ти всъщност си обикновен и наоколо има обикновени хора. Такава е реалността, независимо от броя на абсурдите прически в шоубизнеса. Ние това вече сме го виждали, но на родна почва всичко прилича на нелепа гротеска. Само в клиповете можеш да имаш скъпи коли и скъпи жени, и да си абсолютно прост. Не-свобода на словото Изобщо каква е тази песен, която започва с провлечено „к********ур“? Това е просто тъпо и никакви идеи за свобода на словото нямат отношение, защото произнасянето на „кур“ и драскането му по стените, е предизвикателство в една доста по-ранна възраст. Но не в количеството забранени думи е въпросът, а в това как ги използваш. Липсва каквато и да е идея на хората да им се съобщи нещо важно, някакво съобщение, каквото и да е. Нещо повече от „Виждам я редовно, пукаме се готино“. На кого му пука как се пукате, бе?! Това, че някой вече го е изпял на английски, не означава, че е „готино“. Случващото се е точно обратното на свобода на словото. Въпросът е защо пренасяме образите от телевизорите в масовата култура, без да проявим елементарен вкус. Всичко е оправдано, всичко е приемливо, щом си успял да пробиеш в медиите. Щом си събрал армия от тийнейджъри-последователи – успял си. Какво като е грабителско цялото отношение към тази аудитория? Какво всъщност й се дава? Забавление и нищо повече. Неоригиналност И не е само това, че се крадат чужди парчета, може би винаги сме го правели, а че се краде целият пиар. Огромно старание да се угоди на някакъв усреднен разнебитен младеж, дотам, че се отказват и от последната си мозъчна клетка в името на някакви кинти. Колкото да са – трябва да се вземат. Голям успех. Важното е да се изстискат максималният брой стотинки от участията, гледанията, от лайковете и от коментарчетата. И това също не е откриване на топлата вода. Примерите са достатъчно много – как да не решим, че това е съзнателно преследвана цел? Новата вълна в бе ге попа (или бе ге рапа, както го наричаме постоянно), макар и да победи чалгата на едно ниво, никога няма да доведе до подобряване на качеството, докато се работи по този безкрайно неоригинален начин. Ние може и да искаме да подкрепим българската музика, но съвсем не сме в състояние да харесаме всеки булшит, който се създава. А примери за успешен булшит има предостатъчно, уви, защото връзката между комерсиален успех и качество не важи в двете посоки. Така работи пиарът. Но на този свят все още има качество и оригиналност, и все още си струва човек да се опитва да ги постигне. Понастоящем обаче това няма как да се случи – чуждата масова култура в българска транскрипция не може да бъде нищо повече от лоу-бъджет фантазия. Фантазия за международен успех и пробив на българската музика. Но и тук се очаква да бъдем търпеливи, защото, нали разбирате, тая музика работи, тя се слуша, тийнейджърите си я слагат за рингтоун, а като видят 100 Kila на живо, пощуряват. Все е по-добре от чалга, нали, нищо, че толкова много прилича на нея… 2014-а година в България музикалният продукт е много повече продукт, отколкото музикален, но дори да не беше така – проблемът е в тъжния факт, че продуктът е гаден, неприятен и без връзка с реалността.

Продължавам представянето на Електронната библиотека с отворен достъп на Обществото на Звукоинжeнерите AES Open Access The Mathematics of MixingAlthough audio mixing has always been viewed as the artistic task of either a conductor balancing the musicians in a live performance or a mixing engineer combining multiple tracks in a sound studio, this research considers mixing as a mathematical optimization problem. Using an auditory model, the authors demonstrated how numerical optimization can be used to pose and solve a mix problem. There is interplay between artistic objectives, perceptual constraints, and engineering methods. Taking loudness as an example, it is shown that the nonlinearity in the perceptual model leads to complex behavior, which can be overcome by careful choice of optimization strategies and parameters. Affiliation: Queen Mary University of London, London, UK Publication Date:February 3, 2014 Download Now (172 KB) This paper is Open Access which means you can download it for free.

Е, колко по-разкрепостено? Те вече няма на къде да се разкрепостяват...

Вместо преходник - къс кабел, от едната страна със стабилен женски жак 6.3, а от другата - стабилен метален мъжки 3.5.

Тъй, само да добави $50 за доставката и малко за мито на митницата. Може би 120...150 долара ще стигнат. ПП. И да пита дали шаблоните са с офсет или без.

Mary Hopkin - Those Were the Days 1968 Video stereo widescreen "Those Were the Days" is a 1968 single and a track from the 1969 album, "Postcard" and the 1972 album "Those Were the Days". "Postcard" was Hopkin's debut album for Apple Records and was produced by Paul McCartney. The album peaked at #3 on the UK Albums Chart and #28 on the Billboard 200. "Those Were the Days" was written by Boris Fomin and Gene Raskin after a Russian folk tune. The single was very successful, topping the UK Singles Chart and peaking at #2 on the U.S. Billboard Hot 100. "Those Were the Days" was and remains Hopkin's biggest hit and one of Apple Records' biggest successes. http://youtu.be/gVdOQvx379Y Once upon a time there was a tavern Where we used to raise a glass or two Remember how we laughed away the hours And dreamed of all the great things we would do Those were the days my friend We thought they'd never end We'd sing and dance forever and a day We'd live the life we choose We'd fight and never lose For we were young and sure to have our way. La la la la... Then the busy years went rushing by us We lost our starry notions on the way If by chance I'd see you in the tavern We'd smile at one another and we'd say Those were the days my friend We thought they'd never end We'd sing and dance forever and a day We'd live the life we choose We'd fight and never lose Those were the days, oh yes those were the days La la la la... Just tonight I stood before the tavern Nothing seemed the way it used to be In the glass I saw a strange reflection Was that lonely woman really me Those were the days my friend We thought they'd never end We'd sing and dance forever and a day We'd live the life we choose We'd fight and never lose Those were the days, oh yes those were the days La la la la... Through the door there came familiar laughter I saw your face and heard you call my name Oh my friend we're older but no wiser For in our hearts the dreams are still the same Those were the days my friend We thought they'd never end We'd sing and dance forever and a day We'd live the life we choose We'd fight and never lose Those were the days, oh yes those were the days La la la la...

Badfinger - Without You - Pete Ham Lipsync to their song "Without You" - Covered by Harry Nilsson, Mariah Carey, Il Divo, Shirley Bassey, Clay Aiken, Heart, and even Frank Sinatra did this onstage. Pete Ham and Tom Evans wrote it. Ham also wrote Baby Blue, Day After Day, Name Of The Game, and Lonely You. Great site on Badfinger http://www.badfingerlibrary.com WITHOUT YOU (Pete Ham/Tom Evans) [studio demo version from "No Dice" 2010 remastered CD] Well, I can't forget this evening And your face when you were leaving But I guess that's just the way the story goes You always smile, but in your eyes your sorrow shows Yes, it shows Well, I can't forget tomorrow When I think of all my sorrow I had you there, but then I let you go And now it's only fair that I should let you know What you should know CHORUS: I can't live, if living is without you I can't live, I can't live anymore I can't live, if living is without you I can't live, I can't live anymore Well, I can't forget this evening And your face when you were leaving But I guess that's just the way the story goes You always smile, but in your eyes your sorrow shows Yes, it shows Well, I can't forget tomorrow When I think of all my sorrow I had you there, but then I let you go And now it's only fair that I should let you know What you should know repeat CHORUS [guitar solo (Joey Molland)] repeat CHORUS I can't live, if living is without you I can't live, I can't live anymore I can't live, if living is without you I can't live...

В такъв случай бих предположил проблемен предусилвател. Не, че е повреден, сигурно не е подходящ. За динамични микрофони е необходимо повече усилване , отколкото за кондензаторни микрофони. По-висока чувствителност не се постига лесно. Особено със запазено високо качество. Спирам, че пак ще опрем до съвремието и качеството.

Една разходка в завода на английския производител на грамофони SME ! 2007 Tour of SME (with Brian Laker, Sales and Service Manager) British precision audio manufacturer of turntables and arms plus aerospace and defense parts. Home of "The best pick-up arm in the world." SME was founded in 1946 by the late Managing Director Mr. Alastair Robertson-Aikman in Steyning, Sussex. Working from a shed at the bottom of his parents` garden he started to make accurate Scale Model Equipment from where the orginal name came. Products then included exhibition scale models and detail parts for the model engineering trade. Engineering sub-contract work followed in the 1950`s for many major high profile companies including Rolls Royce, Hawkers, the MOD etc., also experimental work for the United Kingdom Atomic Energy Authority and the atomic submarine industry with MOD and AID approval being held. After making a prototype pick-up arm for his own use ARA then went into production of the Series 1 in 1959, the rest is history. Subsequently the company name was abbreviated to SME Limited. Ever since the success of the Series 1 the company has gone from strength to strength , always forward thinking and always eager to use the latest materials and technology to their best advantage. The culmination of all those years of experience is the magnificent Model 30/2A, bristling with unique ideas and hi-tech materials and this analogue statement now sells itself as there is always a waiting list and it comes with a reputation that is second to none. Even after over 50 years at the helm Mr. Robertson-Aikman informally known as "ARA" still oversees the day to day running of the current SME factory which he built in the sixties and it still produces almost every component "in house". Facilities commence with CAD/CAM design and toolmaking and continue through to all aspects of manufacturing including conventional and CNC machining, pressure diecasting, injection moulding, metal finishing, electro-plating, anodising, enamelling and many other ancillary operations. Inspection at every stage of manufacture and assembly is particularly critical and ensures the consistent standards for which SME is noted. This has now been formally recognised by The British Standards Institute after successful assessment of the Company`s Quality System and the award of "Registered Firm" status under BS EN ISO 9002 : 1994, and also by the Ministry of Defence with D.C.L. approval number 5KWS01. The "in house" approach and total dedication to quality is quite exceptional and is supported wholeheartedly by the fifty strong workforce. With 100% inspection including co-ordinate measuring machine facilities, every minute detail is important. The factory is now regarded as one of the UK`s premier small engineering facilities crammed full of high-tech precision CNC machinery from such manufacturers as Frech, Arberg, Hardinge, Emco, Mori Seki etc, and an EDM mould making facility. The on site facilities also include an electro-plating shop, with copper, nickel, chrome, black chrome, gold and anodic processes amongst others. Cosmetic finishes are obtainable using linishing, polishing, vibratory finishing and vaqua-blasting. Precision sub-contract work now extends to Rolls Royce Cars, British Oxygen, Parker Pen, Ford Research & Development, Williams & Renault Formula One teams and Phillips Medical Systems, just to name a few. On site facilities also include stove enamelling and pad printing, in fact just about everything you need and more, to make a complete range of precision turntables and tone arms.

33,799,783 + Long Playing Records Pressed Worldwide in 2013! (Total Updated 2/13/14) !!! http://www.analogplanet.com/content/30759242-long-playing-records-pressed-worldwide-2013

LATEST NEWS !!! Famous Swiss Tape Recorder Brand To Re-introduce Reel-to-Reel Analog Recorder! http://www.analogplanet.com/content/famous-swiss-tape-recorder-brand-re-introduce-reel-reel-analog-recorder Tape is not and never was dead !

За заплата "с която може да преживееш" идват хора, които "могат нещо да поработят"

Nancy Sinatra - These Boots Are Made for Walkin' "These Boots Are Made for Walkin'" is a pop song musically composed by Lee Hazlewood and first written and recorded by Nancy Sinatra. It was released in February 1966 and hit #1 in the United States and United Kingdom Pop charts. Subsequently, many cover versions of the song have been released in a range of styles: metal, pop, rock, punk rock, country, dance, and industrial. You keep saying you got something for me Something you call love but confess You've been a'messin' where you shouldn't 've been a'messin' And now someone else is getting all your best Well, these boots are made for walking, and that's just what they'll do One of these days these boots are gonna walk all over you You keep lyin' when you oughta be truthin' You keep losing when you oughta not bet You keep samin' when you oughta be a'changin' What's right is right but you ain't been right yet These boots are made for walking, and that's just what they'll do One of these days these boots are gonna walk all over you You keep playing where you shouldn't be playing And you keep thinking that you'll never get burnt (HAH) Well, I've just found me a brand new box of matches (YEAH) And what he knows you ain't had time to learn These boots are made for walking, and that's just what they'll do One of these days these boots are gonna walk all over you [sPOKEN] Are you ready, boots? Start walkin' Megadeth These Boots (Unedited Original) This is the 1985 Megadeth version of These Boots, on the album Killing Is My Business... And Business Is Good! — this version was produced more as a parody than as a cover. When the album started selling well, the writer of the song, Lee Hazlewood, began demanding that the song be omitted, due to it being a "perversion of the original". Dave Mustaine made the point that Hazlewood had been paid royalties for years before his complaint, but eventually omitted the song anyway. A censored version of the track can be found on the album's 'deluxe edition' released in 2002. ...(from Wikipedia)

The Byrds - Turn, Turn, Turn Often described in their early days as a hybrid of Dylan and the Beatles, the Byrds in turn influenced Dylan and the Beatles almost as much as Bob and the Fab Four had influenced the Byrds. The Byrds' innovations have echoed nearly as strongly through subsequent generations, in the work of Tom Petty, R.E.M., and innumerable alternative bands of the post-punk era that feature those jangling guitars and dense harmonies. Although the Byrds had perfected their blend of folk and rock when their debut single, "Mr. Tambourine Man," topped the charts in mid-1965, it was something of a miracle that the group had managed to coalesce in the first place. Not a single member of the original quintet had extensive experience on electric instruments. Jim McGuinn (he'd change his first name to Roger a few years later), David Crosby, and Gene Clark were all young veterans of both commercial folk-pop troupes and the acoustic coffeehouse scene. They were inspired by the success of the Beatles to mix folk and rock; McGuinn had already been playing Beatles songs acoustically in Los Angeles folk clubs when Clark approached him to form an act, according to subsequent recollections, in the Peter & Gordon style. David Crosby soon joined to make them a trio, and they made a primitive demo as the Jet Set that was nonetheless bursting with promise. With the help of session musicians, they released a single on Elektra as the Beefeaters that, while a flop, showed them getting quite close to the folk-rock sound that would electrify the pop scene in a few months. The Beefeaters, were soon renamed the Byrds.

Searchers - Needles and Pins (stereo) Sonny Bono began his music career working at Specialty Records and later was a promotion man, percussionist and "gofer" for Phil Spector. One of his earliest songwriting efforts was "Needles and Pins" which he co-wrote with Jack Nitzsche, another member of Spector's production team. Starting in 1965 he achieved commercial success, along with his then-wife Cheryl Sarkisian, as part of the singing duo "Sonny and Cher". http://youtu.be/sTA9f0GqpsQ

Не знам дали още съществува, но се намираше точно до Тояга (ТOYAGA). В дясно от нея, в една едноетажна постройка. От входа се влиза по един коридор. Репетиционната са намираше близо до дъното, вратата е в ляво.

Само на 14/15 години, но май ще засрами доста хора ... "The Best of Times", played by Tina (14 y.o.), played on her Vigier Excalibur Custom. Taught and filmed by her teacher Renaud Louis-Servais Comfortably Numb ( solo ) played by Tina S (15 y.o) played on her Vigier Excalibur Custom. Yngwie Malmsteen - Arpeggios From Hell - Tina S Cover Steve Vai - Paganini 5th Caprice (Crossroads) - cover "Vivaldi Tribute" (Patrick Rondat) Tina S

Поздрав за STEPPENWOLF Steppenwolf - Magic Carpet Ride (Live) "Magic Carpet Ride" I like to dream yes, yes, right between my sound machine On a cloud of sound I drift in the night Any place it goes is right Goes far, flies near, to the stars away from here Well, you don't know what we can find Why don't you come with me little girl On a magic carpet ride You don't know what we can see Why don't you tell your dreams to me Fantasy will set you free Close your eyes girl Look inside girl Let the sound take you away Last night I held Aladdin's lamp And so I wished that I could stay Before the thing could answer me Well, someone came and took the lamp away I looked around, a lousy candle's all I found Well, you don't know what we can find Why don't you come with me little girl On a magic carpet ride Well, you don't know what we can see Why don't you tell your dreams to me Fantasy will set you free Close your eyes girl Look inside girl Let the sound take you away

Don't Let The Sun Catch You Crying Don't Let The Sun Catch You Crying was written by Gerry Marsden of Gerry And The Pacemakers and reached number 4 on the Billboard Hot 100 in the USA in 1964. http://youtu.be/iJfhi71QE9s