Hifi/Stereo Review March 1959
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Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
Full Orchestra 2021.Pdf
Full Orchestra Title Composer Catalog # Grade Price Title Composer Catalog # Grade Price Φ A La Manana ..................................../Leidig; Niehaus ............49063 .....E .........45.00 Artist's Life, Op. 316 ...........................Strauss, Jr./Muller .........38001 .....MD ......80.00 Φ Aboriginal Rituals ...............................DelBorgo ......................30172 .....M.........59.00 As Summer Was Just Beginning Abduction from the Seraglio: Overture ..Mozart/Meyer ...............33192 .....ME ......59.00 (Song for James Dean) ....................Daehn ...........................49044 .....M.........68.00 Φ Academic Festival Overture, Op. 80 ..Brahms/Bergonzi ..........30328 .....M.........73.00 As Time Goes By ...............................Hupfeld/Lewis ...............13708 .....MD ......50.00 Academic Festival Overture, Op. 80 ..Brahms/Leidig ..............33029 .....MD ......73.00 Ashford Celebration ...........................Ford ..............................30240 .....MD ......60.00 Academic Festival Overture, Op. 80 ..Brahms/Muller ..............38000 .....MD ......45.00 Φ Ashokan Farewell ...............................Ungar/Cerulli ................47093 .....ME ......65.00 Academic Festival Overture, Op. 80 ..Brahms/Simpson ..........57085 .....D .........90.00 Ashton Place ......................................Niehaus ........................49051 .....MD ......60.00 Academic Procession .........................Daniels .........................60005 .....ME ......55.00 Aspen Fantasy ...................................Feese -
ARET(I) JACKSON FIVE, "LOOKIN' THROUGH the WIN- (Pundit,BMI)
DEDICATED TO THE NEEDS OF THE MUSIC/RECORD INDUSTRY ONE DOLLAR eoo, MAY27, 1972 ciif , WHO IN THE WORLD 04, Southern Gentleman Sonny James, s. - t' 3 0 4 Left, Has Signed A Long -Term 4 34' o Contract With Columbia Records, ti 47,27(. 4 Where, No Doubt, He Will Add 41 To His String Of 28 Consecutive Number One Country Singles. On Right Is Columbia President Clive Davis, Who Flew To Nashville To Announce The Signing. For More Details, Turn To Page 3. HITS T HA FRANKLIN,"ALLTHE KING'S HORSES." cg CANDI STATON, "IN THE GHETTO."(Screen 1.11ARET(i) JACKSON FIVE, "LOOKIN' THROUGH THE WIN- (Pundit,BMI). The latest from the Gems-Columbia/ElvisPresley,BMI). DOWS." The Jacksons,firmlyentrenchedin O undisputedQueenofSoul isas Pa Even though this Mac Davis -penned althe minds of the public, consistently come up different from "Day Dreaming" as w songishardly anoldie,theper- 'elwith winning efforts. Huge sales must be ex- that was from her earlier works. An - formance here is convincing enough pected,sincethisgiftedfamily alwaysde- co other assured smash. Atlantic 2883. tomake ithappenagain.Fame livers."LittleBittyPrettyOne"included. 91000 (UA). Motown M750L. NILSSON, "COCONUT." (Blackwood, BMI). Follow- FLASH, "SMALL BEGINNINGS."(Colgems/Black- THE BEACH BOYS, "PET SOUNDS/CARL AND THE upto "JumpInto The Fire"isa claw, ASCAP). Flash, very much like PASSIONS -SOTOUGH." Applausetoeveryone whimsical story from the outstand- Yes,should makeiton AM just concerned for this specially -priced doubleal- ing"Nilsson Schmilsson."Terrific, as they will on FM. This should be bum. "Pet Sounds," recordedin1966, was a and commercial enoughtogoall thefirsthitfromthebestnew recent purchase from Capitol. -
H Op Amp History 1 Op Amp Basics 2 Specialty Amplifiers 3 Using Op Amps with Data Converters 4 Sensor Signal Conditioning 5 Anal
SIGNAL AMPLIFIERS H Op Amp History 1 Op Amp Basics 2 Specialty Amplifiers 3 Using Op Amps with Data Converters 4 Sensor Signal Conditioning 5 Analog Filters 6 Signal Amplifiers 1 Audio Amplifiers 2 Buffer Amplifiers/Driving Cap Loads 3 Video Amplifiers 4 Communications Amplifiers 5 Amplifier Ideas 6 Composite Amplifiers 7 Hardware and Housekeeping Techniques OP AMP APPLICATIONS SIGNAL AMPLIFIERS AUDIO AMPLIFIERS CHAPTER 6: SIGNAL AMPLIFIERS Walt Jung, Walt Kester SECTION 6-1: AUDIO AMPLIFIERS Walt Jung Audio Preamplifiers Audio signal preamplifiers (preamps) represent the low-level end of the dynamic range of practical audio circuits using modern IC devices. In general, amplifying stages with input signal levels of 10mV or less fall into the preamp category. This section discusses some basic types of audio preamps, which are: ■ Microphone— including preamps for dynamic, electret and phantom powered microphones, using transformer input circuits, operating from dual and single supplies. ■ Phonograph— including preamps for moving magnet and moving coil phono cartridges in various topologies, with detailed response analysis and discussion. In general, when working signals drop to a level of ≈1mV, the input noise generated by the first system amplifying stage becomes critical for wide dynamic range and good signal-to-noise ratio. For example, if internally generated noise of an input stage is 1µV and the input signal voltage 1mV, the best signal-to-noise ratio possible is just 60dB. In a given application, both the input voltage level and impedance of a source are usually fixed. Thus, for best signal-to-noise ratio, the input noise generated by the first amplifying stage must be minimized when operated from the intended source. -
M61 Stereo Preamplifier
DATA SHEET MODEL M61 SERIES TRANSISTOR STEREO PREAMPLIFIERS General: The Shure M61 Series Transistor Preampli- fiers are designed to furnish the voltage gain and equal- ization necessary to operate magnetic phono cartridges (such as the Shure Dynetic Cartridges) and tape playback heads with standard audio amplifiers. One of the primary uses of the M61 is in conversion of Stereo systems from ceramic cartridges to magnetic cartridges. It can also be used without circuit modification as a preamplifier for microphones. Advantages include complete freedom from microphonics, extremely low noise, the use of 50 feet or more of output cable in “phono” and “tape” positions, and years of maintenance-tree performance. The operat- ing temperature range is from 32°F. (0°C.) to 140°F. (60°C.). The Model M61-1 operates on 105-125 volts 50-60 Hertz power line. The Model M61-2 operates on 210-240 volts 50-60 Hertz power line. The Model M61-3 operates on battery power. The Model M61 Preamplifiers feature a single slide switch for selection of either phono (RIAA), tape (NAB), or a microphone (MIC) function. The RIAA position pro- vides the Standard Equalization for phono records. The Channel Balance: 2 db at 1,000 Hz. (for Phono end Tape functions) NAB position provides the Standard Equalization for tape and the MIC position provides a flat amplifier for Hum and noise: microphones. 76 db below IO millivolt input, unweighted The preamplifier has dual input and output jacks which Distortion: will accept standard phono pugs. Less than 1%. Measured at I volt output The input impedance is optimized for Dynetic and Output Clipping level: More than 4.5 volts (at 1,000 Hz.) magnetic phono cartridges, for tape heads, and for low or medium impedance microphones. -
Maintaining Audio Quality in the Broadcast/Netcast Facility
Maintaining Audio Quality in the Broadcast and Netcast Facility 2019 Edition Robert Orban Greg Ogonowski Orban®, Optimod®, and Opticodec® are registered trademarks. All trademarks are property of their respective companies. © Copyright 1982-2019 Robert Orban and Greg Ogonowski. Rorb Inc., Belmont CA 94002 USA Modulation Index LLC, 1249 S. Diamond Bar Blvd Suite 314, Diamond Bar, CA 91765-4122 USA Phone: +1 909 860 6760; E-Mail: [email protected]; Site: https://www.indexcom.com Table of Contents TABLE OF CONTENTS ............................................................................................................ 3 MAINTAINING AUDIO QUALITY IN THE BROADCAST/NETCAST FACILITY ..................................... 1 Authors’ Note ....................................................................................................................... 1 Preface ......................................................................................................................... 1 Introduction ................................................................................................................ 2 The “Digital Divide” ................................................................................................... 3 Audio Processing: The Final Polish ............................................................................ 3 PART 1: RECORDING MEDIA ................................................................................................. 5 Compact Disc .............................................................................................................. -
Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20. -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
Model M65 Stereo Preamplifier
222 HARTREY AVE EVANSTON, ILL. (60204) U S A. MODEL M65 MICROPHONES AND ELECTRONIC COMPONENTS DATA SHEET Stereo Preamplifier AREA CODE 312/328-9000 CABLE SHUREMICRO I I STEREO CONVERSION PREAMPLIFIER GENERAL: The Shure M65 Stereo Conversion Preamplifier is designed to furnish the voltage gain and equalization necessary to operate magnetic phone cartridges (such as the Shure Dynetic Cartridges], and tape playback heads with standard audio ampli- fiers. One of the primary uses of the M65 is in the conversion of stereo systems converting from ceramic cartridges to magnetic cartridges. It can also be used without circuit modification as a preamplifier for microphones. The M65 Stereo Preamplifier features a single rotary switch for selection of either phono, tape, microphone or a special function. The Phono function provides the Standard Equalization (RIAA) for phone records. This function is ideally suited as an input for ampli- fiers with a flat response. The Special function provides a compen- sated ceramic Equalization for phone records. This function is ideally suited for amplifiers normally used with Ceramic Phono cartridges. The has two stages of amplification in each channel, providing STANDARD EQUALIZATION for tape (NARTB] and flat amplification for microphones. A hum control (Rm) is provided and is pre-adiusted at the fac- tory. If necessary, this control can be re-adiusted with a small screwdriver for minimum hum. For optimum results the system should use a 4-pole motor. The input impedance is 47,000 ohms for all switch positions. If a higher impedance input is desired when used as a microphone preamplifier, the 47,000 ohm input resistor (R1 or R2) may be easily removed automatically raising the input impedance to approximately 250,000 ohms. -
630 Freshmen Choose A&T
North Carolina Agricultural and Technical State University Aggie Digital Collections and Scholarship NCAT Student Newspapers Digital Collections 9-16-1960 The Register, 1960-09-16 North Carolina Agricutural and Technical State University Follow this and additional works at: https://digital.library.ncat.edu/atregister Recommended Citation North Carolina Agricutural and Technical State University, "The Register, 1960-09-16" (1960). NCAT Student Newspapers. 166. https://digital.library.ncat.edu/atregister/166 This Book is brought to you for free and open access by the Digital Collections at Aggie Digital Collections and Scholarship. It has been accepted for inclusion in NCAT Student Newspapers by an authorized administrator of Aggie Digital Collections and Scholarship. For more information, please contact [email protected]. / iiM^iA 1 1 i Hilftrf mt AGRICULTURAL AMD TECHNICAL COLLEGE: * The Cream o/* Cetfe-qe <Ueus&M VOLUME XXXII, No. 1 THE A&T COLLEGE REGISTER, GREENSBORO, N. C FRIDAY, SEPTEMBER 16, 1960 630 FRESHMEN CHOOSE A&T By ERNEST L. JOHNSTON, JE. The more serious part of work was begun when freshmen were When 630 freshmen entered A&T greeted formally by the Dean of Class of '64 College for the first time, they Men and Dean of Women. These were somewhat bewildered. Many two persons gave the students many of them immediately felt homesick essential facts which should govern Scores High and others were glad to get a them during their stay at A&T. change of scenery. The orientation also included Hailing from East and West, placement tests in Mathematics and On Tests North and South, these students English which the freshmen took came through the gates of A&T by prior to registration. -
A RIAA Equalized Preamplifier by Dimitri Danyuk and George Pilko, Kiev, Ukraine, 1988-1990
A RIAA Equalized Preamplifier by Dimitri Danyuk and George Pilko, Kiev, Ukraine, 1988-1990 Reproduction of RIAA-standard gramophone recordings has generated much debate from early 20th century up to now in the audio community. This debate is justified since the large variety of RIAA equalizer circuits have been presented and their performance often did not correspond to exerted efforts. This is the result of the strictly defined operating conditions: * low-level input voltage with frequency-increased spectral density, * predominantly inductive signal source impedance, * accurate RIAA replay frequency response [1,23], * matching with given cartridge (this includes specified resistance, capacitance and gain), * considerable scattering in peak recorded velocities. Several review articles on this topic represented a survey of circuit schematics [30,31]. We try to offer a broader outlook on RIAA preamplifier design by way of a more systematic approach; we restricted our examination preamplifiers to moving-magnet MM pickups with voltage gain at 1 kHz of 30 to 40 dB (wide-spread value is 34 dB). Moreover, we did not consider old dual- and triple-transistor circuits, because the performance level that can be obtained from them is not adequate to high-quality reproduction. The cited references are mostly in English, but for lack of similar circuit examples the other sources are involved. In addition, we offer a medium-cost preamplifier with relatively high performance specifications. Design principles Possible RIAA-correction circuit arrangements are presented in Table 1. The tubed preamp with inter-stage frequency dependent networks (Table 1a) was the first preamp topology in gramophone record playback history. -
Fundamentals of HIGH FIDELITY
No.226 fundamentals of HIGH FIDELITY by H. BURSTEIN a RIDER publication 1. contents of a high-fidelity system • High fidelity is often associated with the purchase of a number of separate audio components and their assembly by the owner. This does not necessarily have to be the case, although it was true in the early days of high fidelity (prior to the 1950's). At that time, the really good equip ment available at reasonable prices existed in the form of separate com ponents, such as an FM tuner, a power amplifier, a speaker, etc. Today it is possible to buy the complete electronic portion of the system on one chassis, so that it is merely necessary to run two wires to the speaker in order to have an operating high-fidelity setup. If a phonograph, tape recorder, or TV set is to be incorporated, one cable goes from each of these units to the electronic center. For those reluctant even to connect a few wires and mount the equip ment in a cabinet, there are audio establishments that will connect all the components of the customer's choice and ensconce them in a cabinet for him. It is even possible to avoid choosing separate components by buying a packaged unit containing equipment preselected by the manufacturer and housed in a specially designed cabinet. The purchaser selects accord ing to how the entire assembly sounds to his ear. For this reason, the fol- 2 FUNDAMENTALS OF HIGH FIDELITY lowing discussion does not seek to imply that purchase of separate com ponents is the only way to go about bringing high fidelity into the home.