Parni_Valjak

1939 AEG Magnetophon FT4 tape recorder playing Deutsches Tanz und Unterhaltungsorchester Demo of my AEG FT4 Magnetophon, probably the earliest machine still in working condition, and also the rarest after the K1 and K2 models, which I'm looking for in addition to later ones. About one hundered FT4 machines were produced between 1939 and 1941. This machine was originally used by the Senate of Berlin and has the Senate emblem engraved on the right of the board. The Senate von Berlin emblem is still the same nowadays. The FT4 was designed for dictation, where the secretary would listen to the tape and type the text. Its predecessors were the T1 and T2 (which used the K1 and K2 transports respectively) and then the FT2 and FT3 which added remote control instead of fixed push-buttons on the tape transport. What distinguishes this machine from the K (Koffergerät) series is that everything is built into the same cabinet, the tape plays at 25cm/s instead of 100cm/S and 77cm/s, and that the machine is operated using a remote control to be placed next to the typewriter. The uncommon speed of 25cm/s has a little history. Originally, Magnetophon machines ran at 1m/s before being modified to play at 77cm/s, which the Americans rounded to 30ips, hence 76cm/s after WW2. Tapes played at 1m/s did not last long and several were required to record a speech or a concert. For example, nazi speeches, which often took over an hour, required at least four 1000m tapes. Reducing the speed to 25cm/s still gave enough bandwidth for voice recording and allowed recording one hour and six minutes on a single 1000m tape. The transport is almost same as the 1937 K3 model. The gauge seen on the left spool has several functions. The main one is to monitor the amount of tape left on the remote control. The gauge is fixed to a potentiometer which sends a variable voltage to the VU of the remote control. It also serves as automatic stop when the tape is totally rewound or empty. The former can be adjusted using the rotary disc just under the black cover, since the reels can have different diameters. The head assembly is same as on the K1 and K2 models: one "hornkopf" erase head (DC bias), one recording head and one playback head. The three pushbuttons on the tape transport control fast rewind, fast forward and stop. The switch located over them selects the operating mode: local (only the previous functions) or remote to Play, Record, Rewind, Stop and Shut Down. The amplifier is almost same as the one used by the K1, K2 and K3. It has three tubes: AZ1 (rectifier), AF7 (preamplifier) and AL4 (output). The volume is set on the amplifier chassis. Two recording sources can be used with early mixing capability: telephone and microphone. The machine also uses the early type of bobbies with a round hole. Rectangular holes, which are still used today, were first used in 1942. Round hole tapes are attached to their platter with a special lock and only rotate by friction. The recording that you hear is actually a 1942 tape recording played by the German Das Deutsches Tanz Und Unterhaltungsorchester, which name translates as "German Dance and Entertainments Orchestra". Although created by Goebbels, its musicians were not more nazi than Furtwangler and Karajan. They would tour through Germany, play in dancing halls, and made many tape recordings (especially in Prag) for broadcasting until May 1945 when the russians captured the musicians. Most, if not all of the DTUO recordings are now available on six CDs published by Monopol. The recording heard in this video was transferred from an authentic 1942 AEG tape running at 77cm/s to a CD, and then to a 25cm/s tape. Thanks to Gerhard Bauer who kindly provided the CD.

Lyrec Frida

Bang & Olufsen It was founded in 1925 by Peter Bang and Svend Olufsen, whose first significant product was a radio that worked with alternating current, when most radios were runfrom batteries. In 2004, the company opened a factory in the Czech Republic where it employs approximately 250 staff producing mainly audio products. Peter Bang (1900–1957), son of Camillo Bang, a successful Danish businessman, showed great interest in radio technology from an early age. After graduating as an engineer in 1924, he spent six months working in a radio factory in the United States where he became familiar with the latest developments in the field. On his return to Denmark, he clubbed together with his student friend Svend Olufsen (1897–1949) whose parents made the attic of their manor house in Struer in Jutland available for experiments. When they officially opened their business in 1925, Bang concentrated on the technology, while Olufsen dealt with the business interests. There were a number of successful developments in the 1930s and 1940s,including a sound recording system for the film industry, roof-mounted loud-speakers for circus and army vehicles and the iconic Beolit 39 radio with a Bakelite cabinet. Their work with radios and loudspeakers led them to the principle that their products should be capable of high fidelity musical reproduction: in Danish Ærlig musikgengivelse, meaning "honest music reproduction". They held the ideal that the music you experienced through their sets and speakers should reach your ears uninfluenced by the limitations of technology. To this end, psychoacoustics is an important factor in design and testing of B&O products as instrument-based testing. It was, however, many years before their business became significantly profitable. One huge setback, towards the end of World War II was that pro-Nazi saboteurs burnt down their factory at Gimsing in Struer in Northwestern Jutland as punishment for the management's refusal to collaborate with the Germans. Undeterred, Bang and Olufsen rebuilt the factory and went on to develop a range of radio, radiogram and television sets in the 1950s which took on new design aspects when Ib Fabiansen joined the company in 1957. David Lewis, who became involved in B&O in 1965 went on to design most of the company's products after 1980. Products by B&O are often of different and distinctive design when compared to mainstream rivals. B&O hires designers rather than directly employing them in the company. Many of its products in the 1970s and 80s were designed by Jacob Jensen, whose design firm still operates today. From the 1980s onwards B&O's chief designer has been David Lewis. In the 1990s B&O opened dedicated B&O stores selling directly to users, instead of selling through retailers. Production of audio separates was discontinued in favor of mini-type audio systems sold, as was usual for B&O, at a price higher than the industry average. Due to the economic crisis of 2008 the company experienced a sharp decline in sales and announced significant losses. A restructuring plan included 300 layoffs in Denmark on 21 October 2008, and the abandonment of development of new mobile phones, MP3 players and stand-alone systems like DVD2 and HDR2. Instead, the company will focus on its traditional strengths: high quality audio and video products as well as sound systems for the automotive industry.

Philips In 1891 Anton and Gerard Philips established Philips & Co. in Eindhoven, the Netherlands. The company begun manufacturing carbon-filament lamps By 1910, with 2,000 employees, Philips was the largest single employer in The Netherlands In 1918, Philips introduced a medical X-ray tube. In 1925, Philips became involved in the first experiments in television and, in 1927, began producing radios. By 1932, Philips had sold one million of them By 1939, when it launched the first Philips electric shaver, the company employed 45,000 people worldwide. From the early 1940s, Philco was legally able to prevent Philips from using the name "Philips" on any products marketed in the USA, because the two names were judged to sound similar. As a result, Philips instead used the name Norelco, an acronym for "North American Philips [electrical] Company." Philips continued to use that name for all their US products until 1974, when Philips purchased The Magnavox Company. Philips then relabeled their US consumer electronics products to the Magnavox name, but retained the Norelco name for their other US products. When Philips bought Philco in 1981, Philips was able to freely use the Philips name for all of their US products, but they chose to retain the Norelco name for personal care appliances, and the Magnavox name for economy-priced consumer electronics. Other milestones: In 1963, Philips introduced the Compact Audio Cassette. In 1965, it produced its first integrated circuits. In 1972, the company co-founded PolyGram (Philips 60% and Siemens 40%), the enormously successful music recording label. In 1974, it acquired Magnavox and in 1975, Signetic,both in the United States. In 1983 Philips came with a technological landmark: the launch of the Compact Disc. There was no mention of the production of reel tape recorders in the on line Philips history summaries.

Georg and Elly Neumann with Jerry Graham at the 1967 AES Convention. Mr. Neumann died on August 30, 1976.

In this video, Mark Nicholson of EYepatch Entertainment offers a sort of ‘Switched-On Bach Smackdown’ – comparing 12 synthesizers in arrangements of Bach’s Scherzo BWV844, inspired by the classic ‘Switched-On’ arrangements of Wendy Carlos. List of synths in order of appearance: Fender Chroma Polaris Moog Memorymoog+ Roland Juno 6 (Tubbutec Juno 66) Roland JX3P Kiwitechnics Kiwi-3P Roland JX8P Waldorf Microwave 1 Rev B Ensoniq SQ-80 Kawai K3m Dave Smith Mopho X4 Roland JD-990 w/ Vintage Synth Expansion Roland JX10 (SE firmware) Korg EX8000 https://soundcloud.com/eyepatch-films-2

Боже , Боже, колко мъка има по този свят... (Й.Йовков)

Май Сатиричният Театър се е преместил на страниците на форума

Слушайки тези изпълнения, се връщам доста години назад. Осъзнавам, че за разлика от младите, които имат ограничени възприятия за света, в резултат на същността на съвременния свят, съм имал тежък, но богат живот. Това, което съм видял, усетил, на което съм присъствал, няма еквивалент в съвременния свят. Mungo Jerry - In The Summertime ORIGINAL 1970 This video clip was made in 1970, and is the original Mungo Jerry line up that recorded In The Summertime, this is not to be confused with the version that has been posted by AMIMEDIA. Бяха гости на Златния Орфей ... Stuck In The Middle With You - Stealers Wheel "Stuck in the Middle With You" or, as originally titled, "Stuck in the Middle", is a song by Joe Egan and Gerry Rafferty and performed by their band Stealers Wheel. Christie - Yellow River - 1970 Video original de 1970. Бяха гости на Златния Орфей ...

Време е за летни поздрави Beach Mambo - 1 hour of Mambo, Swing & Cha Cha Cha with Sonny Burke Tracklist: 00:00 - Happy Mambo 02:00 - Mambo Holiday 04:27 - Have You Met the Mambo Man? 06:40 - El Choclo 09:15 - Mambo Number 5 12:37 - Mamboogie 14:53 - Mambo Jambo 18:15 - What Where and When? 21:38 - Little Bud Mambo 24:47 - Mambo In the Moonlight 27:19 - Cha Cha Cha 30:05 - Let's Mambo 32:46 - Baba au rhum 35:22 - Long Hair Mambo 38:01 - Short Hair Mambo 40:48 - Balboa 44:06 - The Grabber 46:44 - I Got My Eyes On You 49:05 - West Indies 52:27 - Pick Yourself Up 54:32 - Phfft Mambo 57:33 - Walter Winchell Mambo 01:00:09 - Early Dawn Mambo 01:03:02 - More More Mambo 01:05:46 - Jing A Ling Jing A Ling 01:08:17 - Koo Koo Mambo 01:11:35 - Sambo Americano

Studio Icons: Studer J37 In today’s world of virtually unlimited track counts, it’s important to remember how things were done in the early days… Mike Willox goes back in time. The legendary Studer J37 four-track tape recorder went into production in 1964. This is its rather understated user manual… Multi-tracking has defined the way we make music and the music we listen to; it’s brought us the most extraordinary possibilities of arranging sound in myriad unique ways. Ampex had been leading the multi-tracking charge in the States since the 1950s – urban myth has it that Bing Crosby wanted to spend more time on the golf course than in the studio and his (reputed) $50,000 investment in the Ampex company in the 1940s led to the development of the Model 200 magnetic-tape recorder, which a guitarist on his show – a guy called Les Paul – is said to have tinkered around with by adding record and playback heads, forging the way for multi-track recording. Across the Pond in the 1960s, Abbey Road Studios was at the centre of the pop explosion; four-track recording was the norm by then due to the phenomenal success of The Beatles, who had made Abbey Road their home. Their producer, George Martin, was pushing the boundaries of the existing equipment and the techniques he was developing were defining The Beatles’ sound; the multi-track format enabled drop-ins, over-dubbing and tape-head delay effects. The Studer J37 was at the forefront of multi-track recording, a technique that revolutionised studio production. The inconvenience of communicating with tape ops in remote locations – the massive Telefunken four-tracks had to be housed in a separate machine room – stunted workflow and made drop-ins a nightmare as there was no visual communication with the engineer and producer in the control room. Abbey Road needed a way of getting all these people together… Clock Work Willi Studer started building oscilloscopes in 1948 and by the time he announced the successor to his C37 stereo magnetic-tape stereo recorder – the prototype four-track J37 – in 1964, he was renowned for building the very best recorders around. The Swiss company’s reputation was founded on high build quality (due to employing former Swiss watchmakers on the production line) and the excellence of the Studer design ethos. The Studer machines were incredibly reliable and constructed in a way that made servicing them straightforward: the hinged lid that housed the transport gave access to most of the workings of the machine without having to remove everything else, while the use of unique connectors for every internal connection made it impossible to hook the thing up incorrectly. Abbey Road took delivery of four J37s at a cost of £8,000 each in 1965. They were the ideal replacement for the Telefunkens as they were much smaller and could be located within the control room, giving more power to the creative elbow – the tape op could now see the engineer and producer, making communication much easier. The J37 was a complete success; it was better-sounding, better engineered and looked the business with it’s back-lit transport buttons and sleek galvanized styling. The durability of the machines – and the addition of wheels by the Abbey Road technicians – enabled them to be easily moved around the studio complex, allowing for another J37 to be bought into the control room to increase the number of recording tracks. Magical History Tour General manager Ken Townsend realised that the process of bouncing four tracks onto one or two tracks of a new reel on a separate machine – reduction mixing – was limited due to the loss of top end and an increase in tape hiss. As a result of the creative demands of The Beatles he worked out a way of sync’ing two J37s using a 50Hz tone recorded onto a track on one machine and fed via an amplifier to the other. Although this didn’t start the machines together – someone still had to press play on both machines – it did ensure that they ran in sync for the duration of a song. The importance of the J37 cannot be underestimated in the history of recording technology. The precision engineering enabled accurate drop-ins, consistent alignment with other J37s and an ease of workflow that was previously impossible. And that’s why it’s as much of an icon as the people who made Abbey Road such an integral part of the history of popular music.

Началото на Jon Lord ... The Artwoods – The Complete BBC Sessions Band members Art Wood - lead vocals (born Arthur Wood, 6 June 1937, in West Drayton, Middlesex; died 3 November 2006, in London) Derek Griffiths - lead guitar (born 23 June 1944) Jon Lord - organ (born John Douglas Lord, 9 June 1941, in Leicester, Leicestershire; died 16 July 2012) Malcolm Pool - bass guitar (born 10 January 1943, in Hayes End, Middlesex) Keef Hartley - drums (born Keith Hartley, 8 March 1944, in Preston, Lancashire, died there 26 November 2011) Colin Martin - drums Track listings BBC SESSION 17.08.65: 1. SMACK DAB IN THE MIDDLE * 2. INTERVIEW 3. GOODBYE SISTERS * 4. SHE KNOWS WHAT TO DO * BBC SESSION 10.05.66: 1. CAN YOU HEAR ME * 2. INTERVIEW 3. I TAKE WHAT I WANT * 4. JUMP BACK * BBC SESSION 08.08.66: 1. ONE MORE HEARTACHE * 2. INTERVIEW 3. I FEEL GOOD * 4. THINGS GET BETTER * BBC SESSION 16.12.66: 1. STOP THINK IT OVER * 2. IN THE DEEP END * BBC SESSION 18.03.67: 1. IN THE DEEP END * 2. WHAT SHALL I DO * 3. DAYTRIPPER * 4. STEADY GETTING’ IT * 5. DEVIL WITH A BLUE DRESS ON/ GOOD GOLLY MISS MOLLY * * previously unreleased

Jon Lord talks about his Hammond organ sound Jon Lord - It's All Music

sE RN17 Designed with Mr. Rupert Neve, the RN17 redefines the capabilities of an SDC. This is the world's first pencil microphone with a large-scale, hand-wound, ultra high performance transformer. RN17-acoustic-guitar-strumming RN17 Stereo Pair - Drum OHs - Jazz Quartet se-rupert-neve-mics

Този пост какво иде да покаже? Защото същото го има в оригиналния пост, същият принцип го има и в дадения пример... Опитах се да предотвратя пълненето на темата с изрична молба . Но не би...

Навлизаме в дълбоки води... Ще подавам едно по едно разясненията на зададения списък. Понеже темата ще стане супер специализирана, повечето форумници да не се стряскат, че нищо няма да разбират. Истината обаче си е истина и не се интересува дали се разбира. Факт е , че копи-пайстърите се движат по повърхността на проблемите и затова в повечето случаи не разбират изобщо какво правят и затова нямат положителни резултати . Ако все пак опитат поне отгоре-отгоре да видят какво се крие зад "елементаните" схемички, които им привличат вниманието, може и да осъзнаят къде се намират. Информацията ще бъде главно на чужд език, обикновенно на английски или руски, но може да се промъкне и нещичко на друг език. Форматите ще бъдат главно в PDF, DJVU, HTML и рядко в друг, например DOC. Ще започна с публикация за Introduction to Filters , където са показани основни понятия, формули и примери. Съдържанието съдържа Filter Transmission, Filter Types, Filter specifications, Filter Transfer Function. Задължително е да се прочете за S plane,( комплексна равнина), за да се схване по-добре предавателната функция. Това ще поясни споменатото от мен компенсиране на полюси и нули... За да не се затрупва темата с публикации, които нямат смисъл, ако не се знаят основните категории, ще публикувам следващо ниво след като видя резултатите от вече публикуваната статия. Естествено, ако има въпроси ще има и отговори. Само ще помоля,те да се дават САМО от хора, които знаят и могат, не такива които си мислят, че знаят и могат. N.B. Подавам сламка и за точка 1 от зададените въпроси, макар, че преди да се прочете въведението във филтрите, ще e само информативнa. First order filters (Филтри от първи ред) Приятно учене!

Gospodi, Dai Mi Sili - Alexander Petrounov - 2002 https://youtu.be/pWXWZX4NcO8

Забравих да отбележа още един проблем. При близко разположени (по честота) реактивни вериги се получава компенсиране на полюсите и нулите в комплексната равнина. Освен, че се припокриват лентите, стръмността на склоновете се намалява, което в края на краишата разваля същността на целия процес. При близки отстояния на реактивни вериги е задължително те да се обособят в отделни активни стъпала, за да се избегне взаимното им влияние и да се избегне компенсирането на полюсите и нулите. Не бива да се оставя впечатление, че коментарите ми са изчерпателни. Теорията на филтрите е много сложна материя, обхващаща различни математически области, които трябва да се познават много добре и да се прилагат правилно при електротехнически/ електронни разработки. Елементарно подхождане от некомпетентни люде води до калпави резултати. Затова по-горе споменах за четене и учене. И да, доволен съм от отговора на miltingor ! Това беше и причината за тези пространни обяснения.

Добре. Ще се опитам да обясня защо не може да се използва предложеното решение. Ако нещо остане неясно, може да се дообясни. Посочения вид филтри се явяват от първи ред, т.е. тяхната стръмност е 6dB/8ve. При честотен обхват на контролът за бас, грубо 30...5000 Hz , разделен на 4 части, филтрите с такава ниска стръмност се припокриват и не може да се разделят отделните компоненти. Сега ще обясня какво се прави за да може да се постигне достатъчно разделяне на влиянията на отделните регулировки . Необходимо е да се направи такава схемотехника, която да позволи достатъчна стръмност на отделните честотни обхвати. Няма да обяснявам всички възможни варианти, но ще се спра на един много разпространен. Вместо RC филтри, както са посочени в първия пост, се използват LC такива. Сметките са задължителни, като в началото се определят Q-факторите, обхватите на аплитудно регулиране и разбира се централните честоти. По този начин се правят графичните икуалайзери (изравнители). Вместо бобини и кондензатори може да се използват активни решения, като жиратори или Negative Impedance Convertors. Ето един пример: Този вариант е сметнат за 7 ленти, като покрива честотен обхват от 60 до 15000 Hz. На картинката е даден вариант за използване от китара. Ширината на лентите се избира такава, че при повдигнати (или смъкнати) регулатори на две съседни честотни области пропадането между тях да е примерно 3dB. За инструментален контрол, какъвто е в случая може да се допуснат и 6 dB. За четворен контрол, се премахват 3 ленти и останалите 4 се пресмятат така, че да се изпълнят посочените по-горе изисквания. За сега толкова! Успех в борбата!

За да се разбере отговорът, който изглежда неясен, трябва да се навлезе в теорията на филтрите. От въпросът обаче се разбира, че тази теория не е позната на питащия. Така се оказваме в тупик (както казват руснаците). Е, сега накъде? Мога да предложа само учене и четене. Ако няма мерак за това, темата е безмислена.

Lots of things look like "vintage Rupert Neve" on the outside - but the Shelford Series modules are real Rupert Neve Designs. ...and if 88 years old isn't "vintage Rupert Neve", we don't know what is. 50 years ago, in a converted rectory in Little Shelford, England, Mr. Rupert Neve crafted a series of preamplifier and EQ designs that revolutionized the sound of recorded music. Now residing in Wimberley, Texas, Rupert and his team of engineers have painstakingly combined the very best of these classics with contemporary concepts and components to create the high-voltage Shelford Series of modules.

The invertor of 555, Hans Camenzind R.I.P. on Nikola Tesla

THE ASTRONAUTS surf band SPEEDY GONZALES 1965 Surf Rock Band THE ASTRONAUTS from the film WILD ON THE BEACH 1965. Sonny and Cher made beach party flick The Astronauts - Firewater From the movie "Surf Party", Colorado's own fabulous Astronauts play their song "Firewater"

Браво на НЕМО, и специално на Алек ...