Нова тема: Vintage

[Parni_Valjak]

Jon Lord talks about his Hammond organ sound

 

 

Jon Lord - It's All Music

Редактирано Юни 4, 2015 от Parni_Valjak

[Parni_Valjak]

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.

 

[Parni_Valjak]

[Parni_Valjak]

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

 

[Parni_Valjak]

 

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.

 

[Parni_Valjak]

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.

 

 

[Parni_Valjak]

Lyrec Frida

 

Редактирано Юни 7, 2015 от Parni_Valjak

[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.

[Parni_Valjak]

Запис на рева на лъва на MGM.

 

[Parni_Valjak]

Uher 724 STEREO

В далечната 1971 година след много мрънкане от моя страна Баща ми закупи (с връзки, разбира се - тогава друг начин нямаше) Uher 724 STEREO. За 600 лева, като по спомени нормалната заплата беше 120...150 лева. Машина от Федерална Република Германия, с всички достойнства на германския технически гений. Среден клас, едномоторна механика, лято шаси - евтина по европейските стандарти, но перфектна като идея и изпълнение.

Във видеото не е моята машина, но моя UHER все още , след 44 години (!!!) работи както в началото. Ей такива конструктори, инженери и работници имаше по онова време... Не случайно, когато се спомене Германска и Швейцарска техника се сваля шапка !

 

 

Друго видео (калпаво), с поглед към механиката.

 

Редактирано Юни 20, 2015 от Parni_Valjak

[Parni_Valjak]

How engineers learned then vs. now

The learning method for engineers has been ameliorated in our modern era

 

By Breezy Smoak

 

Image via Columbia University

 How engineers learn in the 21st century is drastically different from how information was acquired back in the day. In the past, limited access to basic computers, specialized software, or advanced technology prevented engineers from acquiring information efficiently and through a tech-based learning process. Just think about how far military technology has come. Beowulf-esque chain mail-adorned troops once flocked into battle on horseback, equipped with nothing but swords and bludgeons. With modern technology and recent advancements, battle tactics have turned todrones, GPS tracking software, communication devices, and computerized weaponry to gain the upper hand in combat. These gadgets practically fight wars for these troops. Although primal forms of fighting worked, these early members of the military did not develop the proper technology for advanced battle tactic opportunities. When engineers-in-training previously learned, they had their own battle to fight in regard to how they absorbed all proper information and data. With much duress and determination, engineers were required to study enormous amounts of information, without much technological assistance, in order to learn and thrive in the industrial world. Nowadays, engineers have astounding access to the technology that has presented itself to the forefront, ready to help the next generation of engineers prepare for the future. 

Ed Tory attended NYU’s Polytechnic Institute in the 1970s, studying Aerospace/Astro Engineering and Mathematics. While Tory was still in high school in the 1970s, he began using slide rulers. When reflecting back on his high school days, he stated, “I made it my business to be one of the only kids who could skillfully use a slide ruler. Teachers saw my potential in the engineering field.” He eventually graduated to using calculators and computers as technology moved forth and he progressed with his studies.  

While learning at NYU’s Polytechnic Institute, he would study engineering textbooks for hours in the library, memorizing all sorts of equations and formulas, determined to eventually work with the best in the business. During Tory’s undergraduate career, he took a variety of engineering and aerospace courses; the seminars he attended incorporated mechanics classes, modern physics, thermodynamics, mechanics of materials, propulsion, history of science and technology, and computer methods of aerodynamics, just to name a few. Ed Tory received both his B.S. and M.S. from NYU’s Polytechnic Institute.

As part of his interdisciplinary studies during graduate school, Tory practiced at NYU’s division of the Courant Institute of Mathematics. He performed practical experiments, and learned to use punch card computers. He stated, “You’d walk around with this huge box of cards to insert into the computer and read the data. Around 50 pounds of cards would account for one program. These punch cards were some of the first versions of software ever created.” Tory mastered the use of the punch card computer very quickly.  

Image of a punch card computer, just like the one Ed Tory used

 Tory looked at computers like mathematical equations that needed to be solved, requiring answers. He developed and sharpened his computer skills, becoming proficient in many applications of engineering including UNIX shell programming, FORTRAN, AMDAHL, and DBMS/DBQ. Since Tory’s zeal for learning was so great, one of his professors invited him to work in the NYU Aerospace Laboratory as a research scientist and mathematician. Through this real world apprenticeship, Tory honed his skills in developing computer programs for associating theoretical research with experimental laboratory results. He learned how to use 6600 and IBM 360/270 computers, developing and using programs for theoretical solutions that were studied in the lab. Tory stated, “I compared results and interpreted all theoretical and experimental findings. I gained much experience with laboratory devices, including hotwire anemometers, oscilloscopes, digital recording devices, photography uses, and special techniques for visualizing details in experiments.” Back then, it was crucial to learn how to use analog transducers, digital processing of data as well as data reduction, correlation, interpretation, and report writing. “My studies at NYU helped me with these skills, many of them I memorized from the pages of a textbook,” said Tory. 

As an engineer, Tory believes that experiential learning suited him best, and acquired special techniques and skill sets from each job he took on. From 1977 to 1985, Tory was contracted by NASA to work for Martin Marietta Corp. at the Kennedy Space Center (KSC) in Florida as a senior analyst and aerospace engineer. He enhanced his method for writing flight software routines in FORTRAN, helping with the Vehicle Assembly Building (VAB), Launch Control Center (LCC), and Launch Complex. As a member of the KSC, he was the recipient of a NASA achievement award and published various papers in NASA’s technical reports. All of the hands-on experience he received at NYU through his apprenticeship directly helped him with this endeavor. 

Following the Challenger space shuttle accident in 1986, Tory was appointed by the President to join the NASA Investigation Commission. He worked alongside an adeptly skilled team at NASA’s Vandenberg Air Force Base in Lompoe, CA, actively participating as an analyst for the space shuttle accident’s review team. Tory and his associates worked together in an effort to figure out why the spacecraft crashed. Through Tory’s perseverance and diligence, he pursued a successful engineering career.

Sorock Kim, a modern civil engineer, received her bachelor’s degree from NYU last year, and is currently studying for her master's of science. Various techniques assisted Kim throughout her academic career. In regard to current learning techniques, Kim relied on computerized classroom tools for a bolstered approach on practicing engineering. She specified, “A lot of engineering practices, especially for professionals, are now performed as computer-aided engineering. Software that designs, models, and analyzes finite elements has changed engineering drastically. Engineering schools nowadays like to focus on not only theoretical engineering, but also practical and field engineering.” 

Similarly to Tory, Kim knew that hands-on assignments furthered her potential, and would thus help her later with her career path. “Many degree curriculums and class syllabi for engineering are now designed to prepare students for real world-like works by assigning group or individual real-world-like project assignments,” she remarked. Kim’s program at NYU allowed her to develop an innovative intellectual tool belt both inside labs and outside of the classroom. Active, real life applications of engineering knowledge allow “students to learn more, both in quality and quantity, and also prepare them to become more successful as professional engineers. 

Image via Columbia University

From recent technological advancements, Tory did not have access to more modern learning tools because they were not yet invented. There are infinite teaching tools readily available for rising engineers, like Kim, to use. She explained, “Instead of having limitations on teaching materials to text books or hand-outs, professors can now demonstrate the lessons using websites, videos, computer programs, or documents of large volume with computerized classroom systems (computer-based instructional systems).” 

In order for engineers to be successful, one must master extraordinary interpersonal skills, since teams are compiled in this trade. The group work that Kim performed while at NYU definitely prepared her when working with “multiple professionals from different fields and backgrounds [who] inter-depend on each other and collaborate for large-scale engineering projects.” 

Currently, Kim is working as a CAE consultant. She commented, “As a researcher and a design engineer intern in the past, I used the programs that I had learned in school already. My past experiences with other programs have helped me adapt quickly to newer programs.” 

The tech world is in a constant state of flux. As technology advances each day, more techniques for engineers to learn and practices their trade will eventually rise, and engineers will become incresingly adept as the years roll on toward a bright future.

Редактирано Юли 10, 2015 от Parni_Valjak