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Neumann's first midfield monitor arrives

New versatile monitoring tool features computer-optimised drivers and a Mathematically Modeled Dispersion waveguide.

Neumann has entered the midfield monitor market with its new KH 420 (KLEIN HUMMEL) speaker.

The active three-way system is ideal for larger 5.1 and 7.1 configurations and listening distances of up to 11 metres.

Its 26 Hz corner frequency is not only lower than many comparable products; it is also a whole octave lower than the KH 120, Neumann's latest nearfield option. Those who require even lower bass reproduction for surround systems with a dedicated LFE channel can add the KH 870 woofer to extend the response down to 18 Hz.

Computer-optimised drivers, a Mathematically Modeled Dispersion waveguide (MMD), acoustical controls for matching the speakers to the listening room, a highly flexible input section and a wide range of mounting hardware make the KH 420 a very versatile monitoring tool. It has been designed to provide optimum dispersion regardless of the orientation of the cabinet, and this is possible thanks to the rotatable waveguide section, which contains both the high frequency and midrange drivers.

An optional Digital Input Module (DIM 1) is available for the KH 420, providing the monitor with digital AES3 and S/P-DIF inputs, as well as a delay function. This feature – available on both the digital and analogue inputs – may be used for audio/video lip synchronisation and to compensate for non-equidistant speaker placement. Maximum delay time is 409.5 ms with a minimum resolution of 0.1 ms.

"The KH 420 delivers an accurate picture of the tonal nuances of the original recording," said Wolfgang Fraissinet, president of Neumann.Berlin. "In order to deliver a perfect stereo image, the KH 420 pushes the boundaries of what is possible in terms of linearity, performance and close production tolerances. It reflects the quality-driven approach that Neumann.Berlin has been committed to for many decades."

With a corner frequency of 52 Hz, the KH 120 nearfield monitor "sets new standards in its class for low frequency performance," Neumann says. The compact three-way model is particularly suitable for situations where space is limited.

Both the KH 120 and KH 120 will be available from the beginning of October 2014.

Редактирано Септември 18, 2014 от Parni_Valjak

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THE HOTTEST RECORDING CONSOLES AND CONTROL SURFACES OF 2014

 

Posted on November 12, 2014 by Eric

 

 

   2014 has been a big year in terms of innovation for recording consoles and control surfaces. While some companies are increasingly making smaller desks more fitting of tighter studio spaces, other have gone back to a more analog way of life. Here are five unique desks and control surfaces that have pushed the art of recording and mixing forward this year.

 

 

1. Rupert Neve Designs - 5088 Limited Edition Shelford Blue

 

Rupert Neve is truly an audio master who is always pushing forward, but his latest design harkens back 50 years to some of his prior work. The limited edition Shelford Blue console comes packed with Neve's original Shelford preamp and EQ designs that he created a half century ago. Slightly modified to fit today's recording rigors, these classic designs from Rupert have been put into a 5088 console for a sound that is both open and sweet.

 

2. API - The Box Console

 

The phrase "In the box" has quickly become part of the lore of digital recording, but with API's new desk, the classic console makers have put a different spin on it. API's The Box is a turnkey studio solution for recording and mixing that makes both processes more simple than ever before.  Featuring the hallmarks of analog desks like preamps, a mix bus and monitor controls, the console goes one step further by smartly pairing down the controls into a smaller package.

 

3. AVID - Pro Tools | S3 Control Surface

 

Avid has always had a reputation as being one of the best software makers in the world, but they have also been continuously building up the status of their control surface line. The Pro Tools | S3 is a true sign of that progress, as it follows in the footsteps of the S6, while still coming to the market with a much smaller price tag. With 16 channel strips and 32 custom rotary encoders, the S3 allows you to have 12 custom mixer layouts always at the ready.

 

4. Solid State Logic - SSL XL-Desk

 

The XL-Desk from Solid State Logic is another new console for 2014 that looks to old analog desks as a source of inspiration. Perfect for use in DAW-based studios, the XL-Desk is a non-automated console that features 20 channel strips, four stereo channels and 100% analog signal path that keeps the recording the process more organic and simple. The desk also features an on-board 18-slot 500 Series rack that makes it even easier to customize the sounds coming straight out of your desk.

 

5. Trident - Trident 88 Console

 

The latest entry into the world of consoles in 2014 comes from Trident, as the brand's new Trident 88 console is a completely customizable board. Starting with the base option of 16, 24, 32, 40 or 48+ channel desk, each console comes packed with the alotted number of Class A design micpres, which can also have a Lundahl transformer added to them. In addition, each channel, fader and connection are made to be quickly removable, which makes servicing and tracking much more time efficient.

 

Редактирано Ноември 17, 2014 от Parni_Valjak

[Parni_Valjak]

[Parni_Valjak]

Nagra HD DAC

High-definition digital-to-analog converter

The HD DAC is the purist interface from the digital world to pure audio excellence. The no-compromise definition reproduces the original sound with total integrity.

Its state-of-the-art design concept, linked with high resolution DSD features are married with the Swiss know-how from the professional domain.

Electronics
Internal processing: 5,6 MHz, 72 bits
Compatible digital formats: PCM 24 bits up to 384 kHz, DXD, DSD x 2
Bandwidth: 5Hz to 40 kHz (+0 – 3dB)
Noise level: -128 dBr (linear)
Distortion:Connections
Digital inputs:
2 x S/DIF,
2 AES/EBU,
1 Optical,
1 Audio USB (mode 2),
1 x I2S (Nagra format)
Outputs:
1 stereo on RCA connectors,
1 stereo XLR (Symmetrical on transformers available as an option)

 

 

 

[Parni_Valjak]

Пропуснах пак най-важното, да му се не види...

Price: £15,995.00  = 39,895.00 BGN

 

N.B.

Digital eXtreme Definition (DXD) is an digital audio format that originally was developed for editing high-resolution recordings recorded in DSD, the audio standard used on Super Audio CD (SACD). As the 1-bit DSD format used on SACD is not suitable for editing, alternative formats such as DXD or DSD-Wide must be used during the mastering stage. In contrast with DSD-Wide or DSD Pure which offers level, EQ, and crossfade edits at the DSD sample rate (64fs, 2.822 MHz), DXD is a PCM signal with 24-bit resolution (8 bits more than the 16 bits used for Red Book CD) sampled at 352.8 kHz – eight times 44.1 kHz, the sampling frequency of Red Book CD. The data rate is 8.4672 Mbit/s per channel – three times that of DSD64. DXD also utilizes the vast array of plugins also available to PCM based digital audio workstations, such as Cubase, Logic, Digital Performer, etc.

DXD was initially developed for the Merging Pyramix workstation and introduced together with their Sphynx 2, AD/DA converter in 2004. This combination meant that it was possible to record and edit directly in DXD, and that the sample only converts to DSD once before publishing to SACD. This offers a great advantage to the user as the noise created by converting DSD rises dramatically above 20 kHz, and more noise is added each time a signal is converted back to DSD during editing.

Today, DXD is also used as a music distribution format in some HD web stores, due to its great pulse response without the significant noise characterizing DSD.

 

Редактирано Декември 20, 2014 от Parni_Valjak

[Parni_Valjak]

Още едно бижу от NAGRA ...
A $16,750 CD Player
 
Electronics

Compatibility: CD Audio, CD-R, CD-RW
D/A converter: 24 bits (CDC ad CDP)

Oversampling: 8x (352.8 KHz)
Bandwidth: 20 Hz (0dB) to 20 KHz (-1dB)
Signal-to-noise ratio:> 108 dB, measured ASA “A” weighted
THD + N: Channel separation: 90 dB
Jitter: negligible (
Outputs

Analogue outputs: electronically balanced on XLR (600 Ω) unbalanced on RCA (50 Ω)
Output level: 1 or 3.5 V RMS selectable (at 0 dBFS)
Digital outputs: AES, S/PDIF, Toslink

General

External supply: 12V
Consumption: 6W constant, 12W maximum
Dimensions: 27.7 x 254 x 76 mm (12.2 x 10 x 3 inches)
Weight: 4 kg (8.8 lbs)


 

 

 

 

 

Редактирано Декември 20, 2014 от Parni_Valjak

[Parni_Valjak]

TEACH THEM YOUNG !

[Parni_Valjak]

NEVE Six Space 500 Series Rack

 

Power-wise, the R6 has 150% the required current for a 6-space chassis to prevent the power rails from failing under a higher than expected load. To help monitor and troubleshoot problematic modules, the R6 is equipped with LED current metering to show how much power is being used. The internal power supply itself has been carefully designed and double shielded to avoid significant magnetic induction in any of the channel positions. With such attention to providing and monitoring power, the R6 helps your modules realize their fullest potential.

 

With a plethora of connections available, the R6 backpanel is practically a patchbay on its own. The R6 features 8 channels of balanced I/O options including DB-25, XLR and TRS that may be used interchangeably. This versatility is especially handy when you are taking the R6 with you to another environment where you are unsure of the cables available, or if you need to convert DB-25, XLR or TRS connections to another format using the THRU functionality on channels 7-8.

 

 

 

[Parni_Valjak]

Едно приключение в друг свят, непознат и непонятен за нас. Може да го гледаме и да цъкаме с език, но повечето  няма да разберат за какво става дума.

За мен, който се имам за широко скроен и с много знания, преглеждането на тези 10 дълги страници ме върнаха в онези отдавна отминали юношески години, когато попивах информацията наведен над лъскавите страници на списанията, до които имаше строго ограничен достъп в Народната Библиотека "Кирил и Методи" и Централната научно-техническа библиотека. Тогава се възпитавах от това, което имаше в тях и мечтаех да мога да правя това, което се виждаше на цветните им лъскави страници.

Репортажът от 2009 година за наследството на Стефан Куделски, основател на NAGRA, е един сериозен урок по мироглед, възпитание, дисциплина, отношение... а, бе всичко.

Не мога да пренеса всичко на страниците на форума, въпреки огромното ми желание, по няколко причини. Защото е много информацията и защото е copyright. Престъпих последното само за да ориентирам за какво става дума с посочената.заглавна картина.

 

Пожелавам на тези, които ще отделят време и усилия за преглед на цялата информация- визуална и текстова, да успеят да осъзнаят колко много има за учене и превъзпитаване...

 

 

http://www.6moons.com/industryfeatures/roadtournagra/1.html

http://www.6moons.com/industryfeatures/roadtournagra/2.html

http://www.6moons.com/industryfeatures/roadtournagra/3.html

http://www.6moons.com/industryfeatures/roadtournagra/4.html

http://www.6moons.com/industryfeatures/roadtournagra/5.html

http://www.6moons.com/industryfeatures/roadtournagra/6.html

http://www.6moons.com/industryfeatures/roadtournagra/7.html

http://www.6moons.com/industryfeatures/roadtournagra/8.html

http://www.6moons.com/industryfeatures/roadtournagra/9.html

http://www.6moons.com/industryfeatures/roadtournagra/10.html

Редактирано Март 20, 2015 от Parni_Valjak

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Digital edition of NewBay Media’s Best of Show Awards for ISE 2015 now available.

http://issuu.com/newbayeurope/docs/ise2015_best_of_show_digital_editio

 

[Parni_Valjak]

543  500 Series Mono Compressor-Limiter

The 543 Mono Compressor delivers the unobtrusive, musical-sounding dynamic control and brick-wall limiting made famous in the Portico 5043 to the 500 series format. The 543 features a fully controllable compressor-limiter with feed-forward / feedback modes, Peak / RMS detection and a built in side chain high pass filter. With an unrivaled heritage and a tremendous feature set, the 543 yields a combination of rich warmth, flexibility and precision that is sure to resonate in the ears of sound engineers the world over.

Built around Mr. Rupert Neve’s custom transformer designs, each 543 module encompasses individually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 543 may be used as a transformer-coupled, high-performance line amplifier, and two 543 may be linked for stereo operation as well. The chassis is built to standard 500 series specifications, with power and I/O provided by the rack.

How the Compressor Works

In order to control gain, a V.C.A. or Voltage Controlled Amplifier (or Attenuator) is used. There are many types of V.C. including the use of tubes, discrete and integrated solid state circuits and naturally non-linear devices, each one having its characteristic behavior that reflects sonically on the final performance, and gives it a character or signature that can be musically attractive or not! The 543 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own.

A part of the audio signal is rectified and smoothed to produce a suitable control voltage for the V.C.A. which has to respond very quickly and have low distortion. If the response is too fast, low frequency signals will themselves, be gain controlled! If the response is too slow, the signal will overshoot and the first few cycles will not get compressed. The speed and accuracy of the response, known as the “attack”, and the time frame that gain remains under the initial control, known as “release” or “recovery” and plays a large part in the way a compressor sounds.

Feed-Forward or Feed-Back?

The 543 also has the ability to switch between feed-forward and feed-back modes. If the V.C.A. Control voltage is taken from the 543 output, (i.e. after the V.C.A.) it cannot act immediately on the V.C.A. because it has already been modified by settings of the V.C.A. and circuits through which it has passed. This is known as a “Feed-Back” compressor. The two compression characteristics are quite different; there is more “Overshoot” and both the attack and recovery ramps are changed, providing the user with powerful choices. 
In most of Mr. Rupert Neve earliest designs, feed-back detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve’s more modern designs. With the FF / FB switch, both classic and modern VCA responses are available. 

RMS or Peak?

One of the more unique features of the 543 is the new Peak / RMS mode also found in the Portico II Channel. This switch allows the VCA (voltage control amplifier) to respond to both RMS (Root Mean Square) and peak levels. RMS circuits are considered to better mimic the way the ears perceive apparent loudness, while peak circuits tend to directly respond to the waveform voltage which may be more of a concern for prevention of clipping and maximizing levels. In this case, peak mode uses a combination of both methods to get the best of both worlds, and avoids the drawbacks of each method on its own.

Ratio and Threshold

Above a given “THRESHOLD” signals are reduced by an adjustable amount ranging from 1:1, (which is linear, or no reduction at all), to more than 40:1 which is a very high ratio, equivalent to that of a Limiter. RATIO is sometimes referred to as “Slope” because when depicted on a graph, the slope of the graph representing Output versus Input, is what changes.

Ratio and Threshold are closely inter-dependent. If a RATIO as high as 40:1 has been set, then if the THRESHOLD is set at 0 dBu, even when a massive signal of +40 dBu (unlikely!) is presented to the input, the output signal will only be +1 dBu. RATIOS as high as this would normally be set somewhere above 0 dBu – say at +14 dBu, in order to prevent the output signal level exceeding just over +14 dBu to protect, for example, a digital recorder. Similarly, if a RATIO of 5:1 has been set, an input signal which is 10dB above THRESHOLD will only rise by 2dB above that THRESHOLD at the output.

THRESHOLD control covers the Range from below -30dB to +22dBu. When THRESHOLD set at a low level, with a fairly high RATIO the amount of gain reduction will be considerable and it may be necessary to use some GAIN after the compressor to restore the apparent signal level.

Attack Time

The ATTACK time is the time taken for the compression circuits to start compressing. A long ATTACK time allows short duration peaks to “escape” and go through uncompressed. This may cause overload on subsequent digital circuits. A very short attack time sounds un-natural and robs the signal of “life” by removing transients. Some transients are extremely fast and have little effect on the sound quality. Setting a long attack time often means that almost no gain reduction occurs because the transient is history (!) before compression has had time to operate. However, even the fastest circuits take time to operate which means that there is always some “Overshoot”. Small amounts of “Overshoot” are musically desirable – there are exceptions, of course.

Setting the right values of RELEASE and ATTACK is what compression is all about! Once the principles are understood a Compressor-Limiter such as the 543 provides a powerful tool that actually appears to enhance the dynamic range of a recording and so provide greater musical enjoyment.

Release / Recovery

The notes above explain how the 543 handles signals of constant amplitude such as pure tones. Real program signals, however, are continually changing in level. The way in which a compressor deals with actual program material depends upon the magnitude and duration of peaks in the program level. If the RELEASE TIME is set to be very short, a short duration signal will be compressed but the gain will return to normal very quickly, giving a fluctuating and un-natural sound known as “Pumping” when the background, or other signals, are forced up and down. The gain will also tend to follow the wave form of low frequency signals. RELEASE TIME should be set long enough for the gain to remain reasonably constant between each bass note or between speech syllables.

 

© 2015 Rupert Neve Designs, LLC.

 

[Parni_Valjak]

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.