Re-Equalizer
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Product Portfolio the Naim Audio Difference
Product Portfolio The Naim Audio difference Creating the world’s most advanced audio technology starts and ends with the music we all love. We are proud of our engineering expertise and handcrafted manufacturing. But, above all, we are music lovers, dedicated to bringing you the best possible listening experience. We’ve been doing it every single day since our founder, Julian Vereker MBE (1945 - 2000), built the first Naim amplifier in 1973. He was driven by nothing more than a desire to experience music in his home as it was when he heard it live. This is our founding belief, and though the methods we use to achieve this have and will continue to change, our ultimate aim will remain - to create a deeper more immersive music experience. 02 Naim Audio Timeline 1973 2011 Naim Audio Officially Founded Focal & Naim Group Naim Audio was officially incorporated in United by our passion for perfect sound, Naim 1973 with Julian Vereker and his co-founder and Focal joined forces in 2011 to create a new Shirley Clarke as Directors European leader in the audio industry 1983 2014, 2016 NAIT Integrated Amplifier Mu-so Wireless Music System This iconic little integrated amp sounded quite Naim Audio launches its first complete unlike any other integrated of its day and set a wireless music system, Mu-so, offering trend for so-called ‘super integrateds’ real versatility and performance alongside multiroom capability 1991 2017 The CDS CD Player Revolutionary New Streaming Platform Like so many Naim Audio products, the design Featured in our range of Uniti -
Universal Audio 4-710D User Guide
Model 4-710d Four-Channel Tone-Blending Mic Preamplifier Universal Audio Part Number 65-00051 Revision A Universal Audio, Inc. Customer Service & Tech Support: +1-877-MY-UAUDIO Business, Sales & Marketing: +1-866-UAD-1176 www.uaudio.com Notices This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio Model 4-710d. Disclaimer The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. Copyright © 2011 Universal Audio, Inc. All rights reserved. This manual and any associated software, artwork, product designs, and design concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Trademarks 4-710d, 710, Twin-Finity, 4110, 8110, SOLO/110, SOLO/610, 2-610, LA-610, LA-2A, 2-LA2, LA-3A, 6176, 1176LN, 2-1176, 2192, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. Other company and product names mentioned herein are trademarks of their respective companies FCC Compliance This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) the device must accept any interference received, including interference that may cause undesired operation. -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
The Arrival of the First Film Sound Systems in Spain (1895-1929)
Journal of Sound, Silence, Image and Technology 27 Issue 1 | December 2018 | 27-41 ISSN 2604-451X The arrival of the first film sound systems in Spain (1895-1929) Lidia López Gómez Universitat Autònoma de Barcelona [email protected] Date received: 10-01-2018 Date of acceptance: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CHRONOPHONE | PHONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. 28 The arrival of the first film sound systems in spain (1895-1929) ABSTracT During the final decade of the 19th century, inventors such as Thomas A. Edison and the Lumière brothers worked assiduously to find a way to preserve and reproduce sound and images. The numerous inventions conceived in this period such as the Kinetophone, the Vitascope and the Cinematograph are testament to this and are nowadays consid- ered the forerunners of cinema. Most of these new technologies were presented at public screenings which generated a high level of interest. They attracted people from all social classes, who packed out the halls, theatres and hotels where they were held. This paper presents a review of the newspa- per and magazine articles published in Spain at the turn of the century in order to study the social reception of the first film equip- ment in the country, as well as to understand the role of music in relation to the images at these events and how the first film systems dealt with sound. Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. -
Expensive Cassette Deck Basics of Tape Performance
Authoritative Megezlne About High Fidelity SEPTEMBER 1982 $1.50 ®06030 WORLD'S MOST EXPENSIVE CASSETTE DECK BASICS OF TAPE PERFORMANCE SEEING -:, SOUND 1000ZXL j:..f. L ¡ D 0 ó -i I WITH A I. , LASER a l REVIEWED HEATH'S i BIG AMP 1-1- ` q AA -1800 dir .; , FULTON MC 4er CARTRIDGE ADC SPECTRUM ANALYZER ZOz02 QW n3nvn 9QE H9n0b06SQn09 22L9'I 60 113111XdW E USA 21W 0 EE09032929 i E89n11 9 h9 6605211.9 1T1X14 OSE09h 2 loo 0603u- - --:-Wa j r ' Oreal NuNoIOSfUrlACODMMVIIN , f I^ 1# 1' i r+ ma belong.. 41 ti 41.411ffili. a 111" - 1 4 1 J ~4" 41 _._ . f : Y- ' G , 4 1 4 1 .r ?;71,- 1 -1;4- iks- L GHT& 8 mg. "tar. 07 mg. nicotine ay. percigareie,FTC Report DEC. '81; FILTERS: 15 mg." lar",1.1 mg. nicotine ay. per cigarette by FTC method. u, Warning: The Surgeon General Has Determined Experience the That Cigarette Smoking Is Dangerous to Your Health. Camel taste in Lights and Filters. K. LISTEN. Me tr Cassettea 1411 dard sG 4 a. 1401e -$i$ Nr s - VSSelE /5VPPC'' to iii ivi i.00 -'i j,==Z_ Stop. You're in for And each tape in the a very delightful Professional Reference surprise. Because Series comes with something exciting has TDK's ultra -reliable, happened to TDK's high-performance Professional Reference cassette mechanism Series of audio cassettes. ha" =sue' which assures you of Someth ng exciting for superior tape -to -head too-4 saodagj your eats...and inviting for rVoo contact. -
Model ST-PH1 Phono Preamplifier
® STICK-ON SERIES Model ST-PH1 Phono Preamplifier ANYWHERE YOU NEED A... · Stereo or Mono Phono Preamplifier. · Preamplifier with Balanced or Unbalanced Output · Preamplifier with Hi or Low-Impedance Output · Accurate, Low Noise Preamplification You Need The ST-PH1! The ST-PH1 is part of a group of products in the STICK-ON series from Radio Design Labs. The durable bottom adhesive permits quick, permanent or removable mounting nearly anywhere or it may be used with RDL’s STR-19A or STR-19B racking adapter for rack mounting! The ST-PH1 gives you the advantages of a high quality, low-noise phono preamplifier with a big plus, you can put it where you need it! The ST-PH1 is a stereophonic phono preamplifier. Each of the channel circuits is identical. The ST-PH1 has standard 47 kW impedance unbalanced phono cartridge inputs. Each output drives either a balanced or unbalanced line. Equalization follows the RIAA curve. The output is capable of driving into either high or low impedance loads. The output may be connected either balanced or unbalanced. The ST-PH1 features superior circuitry, which produces the unsurpassed pure clarity for which Radio Design Labs products are known! Some features are: · Input matched to standard cartridges used in the industry. · Impeccable audio quality. · Ultra-low distortion and noise. · Output levels adjustable (Independent adjustment for left and right channels). · Ample headroom at operating level. · Outputs short circuit protected. · Positive connections via barrier block, no audio connectors to wire. Although some equipment has phono inputs, optimum system performance is obtained when phonographs are preamplified as close to the turntable as possible, and then the line level signals are fed to the next piece of equipment in the chain. -
V55 Di-Re-Preamplifier Loud Or Excessive Clicks Or Pops
AVALON V55 QUICK SET-UP OPERATING GUIDE PHASE (switch) BOOST (+dB) TONE (shape) HI (switch) Reverses the polarity of Trims input gain Ten postion Passive HIGH ALL (3) input sources Line : -2dB to +38dB Passive Tone Bank™ cut filter Instrument : +2dB to +42dB 1-6 for music contour -3dB @ 3.7kHz SIGNAL Mic HiZ : +20dB to +60dB High pass filters eliminates noise Mic LoZ : +26dB to +66dB HF lift ~ LF cut and fret buzz Peak capture (scale calibrated for Mic LoZ) (see graphs) Bi-color LED Blue = 0dB POWER Red = +20dB Bi-color LED Blue = AC ON Red = +48v ON PAD (switch) Resistive attenuator for ALL (3) inputs TONE (switch) Line : -13dB Activates the Instrument : -10dB Passive Tone Bank™ Microphone : -15dB INPUT MODE INSTRUMENT V55 Dual Channel DI-RE-PREAMPLIFIER Selects INPUT source 1/4” unbalanced Line : XLR~1/4” TRS jack RTS phone jack METER Instrument : 1/4” TRS jack (front) 10 meg.ohm high-Z Professional VU meter Microphone HiZ & LoZ : XLR ideal for keyboards, -30dB to +18dB wide scale Mic LoZ + 48v phantom power ON synthesizers, drum machines, 0VU = 0dB = 0.775v RMS passive & active acoustic, V55 WHEN SWITCHING FROM LO-Z MIC INPUT TO bass and electric guitars LO-Z +48V (PHANTOM POWER) INPUT, ALWAYS MAKE SURE THE BOOST CONTROL Note: For best sonic performance, IS SET TO THE MINIMUM GAIN POSITION allow thirty minutes for warm-up. AND REDUCE MONITOR LEVEL TO AVOID V55 DI-RE-PREAMPLIFIER LOUD OR EXCESSIVE CLICKS OR POPS. www.avalondesign.com Avalon Design is a division of Avalon Industries, Inc. -
Twin-Servo™ Microphone Preamplifier
RADIAL 500 SERIES smart sheet TWIN-SERVO™ MICROPHONE PREAMPLIFIER Order No. R700 0111 10 The Jensen Twin-Servo™ utilizes Deane Jensen’s iconic 990 op-amp design to deliver the most exceptional mic preamp built in the 500 series format. The circuitry boasts two 100% discrete 990 op-amps cascaded in tandem to deliver 60dB of gain, with incredibly low noise and phase distortion, and an ultra-wide 0.2Hz-150kHz frequency response. Jensen input and output transformers provide massive amounts of headroom, with clean and transparent operation suitable for the most critical recording applications. A 21-detent gain control makes for easy session recalls, with a 10-segment LED meter for accurate signal management. 48V phantom power, a 180° polarity reverse, high-pass fi lter and -15dB pad are also provided, all with individual LED indicators to verify settings at a glance. When it comes to high performance mic preamps, nothing beats the Jensen Twin-Servo. OMNIPORT - When used with a Radial Workhorse power rack the omniport is assigned as a unbalanced 220K ohm instrument input. FEATURES 10 SEGMENT METER - Custom designed circuit for greater VU meter accuracy. • Ultra-low noise preamp with over 60dB of gain • Built in high-pass fi lter and 180° polarity reverse DUAL-GANG POT - Simultaneously controls the dual 990 op- amp topology for optimal gain at all levels. • Dual Jensen transformers for maximum head- room 180° - Inverts pins 2 and 3 at the output to help phase align microphones when two channels are in stereo use. APPLICATIONS HPF - Gentle high-pass fi lter may be inserted into the signal • Perfect for recording any source path to reduce excessive low frequency content and control • Transparent and detailed operation resonance. -
THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M
THE DYNAMIC RANGE POTENTIAL OF THE PHONOGRAPH By Ronald M. Bauman his article describes a new transmission standards of even lower added to the quietest passages by the approach for analyzing the quality than our current CD standards. cartridge-preamplifier combination dynamic range of the phono- Unless these standards are dramatical- should be essentially inaudible. graphic playback system, in which the ly upgraded (in terms of information Similarly, the cartridge-preamp sys- cartridge and preamplifier are treated content), we may never have a source tem should be able to clearly repro- as an integrated system. I analyzed of music for our homes that sounds ducd the loudest sounds on record the dynamic range potential of several better than the phonograph. without distortion, compression, or combinations of phono cartridges and Are analog records inherently better clipping. preamplifier amplifying devices and in some sense? Your ears may already The same should be true of CD compared the results to CDs. be telling you that analog can sound playback. The quietest passages Additionally, I speculate about the better than today's digital. I will should be reproduced without added drawbacks of frequency domain char- provide quantitative reasons this may noise or distortion of the rnusic acterizations of musical audio compo- be so. caused by amplitude steps, or sam- nents and suggest that the time pling intervals that are too coarse, or domain may be a more natural frame Qualitative Requirements by filter phase shifts and ringing. The of reference for audio instrumentation The subtlety of detail in the grooves of loudest peaks encoded, as for analog development. -
The Ancient Audiophile's Quest for the Ultimate Jbl Home System
THE ANCIENT AUDIOPHILE'S QUEST FOR THE ULTIMATE JBL HOME SYSTEM Do you long for the old days--do you fondly remember the JBL "wallbanger" sound? Knocking that hideous art-deco kitchen clock off the wall with Mercury's Antal Dorati recording of the 1812 and evoking ooh's and ahh's from dumbstruck friends who couldn't believe their ears on hearing your massive 60 watts per channel and the sound of Bob Prescott's "Cartoons in Stereo?" In 1961, those of us who could capriciously defy our wives or parents and spend $355.80 plus the outrageous $10-$12 cost of high-grade plywood lumber to build our own 14 cubic-foot cabinets, lived in bliss with the reverently held belief that a pair of D130's and 075 bullets was as good as a speaker system ever needed to be, that recorded music could never challenge such a system, and that some day if we ever got a huge tax return we might think about adding a pair of 175DLH's to make the ultimate system. We were the audio elite--the cognoscente who held court for those who thought we were geniuses because we could plug together a Mac 60 and a preamp and actually set the correct disc equalization for any one of the many individual record company disc cutting EQ's used back then--to the chagrin of non-engineer music lovers. If you're like me, a child of the fifties, chances are your memory of those early high-efficiency systems nags at you and makes you wonder what in the world all the fuss about "digital-ready" speaker systems is all about. -
CHAPTER 3. Film Sound Preservation: Early Sound Systems
CHAPTER 3. Film Sound Preservation: Early Sound Systems 3.1 Film Sound Preservation In the introduction I argued that the nature of film sound consists of different dimensions: the textual and material dimensions, the human and technological dimensions, the institutional, experiential and memorial dimensions. Each of these should be taken into account in preservation and presentation practices. Some of these dimensions were investigated in the first two chapters, where I outlined a set of key concepts related to recorded sound that I derived from social and artistic sound practices as well as media theories: the noise of the material carriers and technological devices, cleaned and cracked sounds, the notion of soundscape and high fidelity, and the concepts of media memory and audiovisual trace. In the following chapters I will further analyze the nature of film sound and its core dimensions beginning with the analysis of film sound preservation and presentation case studies. In this chapter, I examine preservation and restoration projects of films where the issue of sound is particularly relevant, while chapter four analyzes the work of film heritage institutions with respect to film sound presentation. The case studies discussed here are prompted by the following questions: how can we preserve and restore film sound materials? What are the different approaches to film sound preservation and restoration? What are the problems and defects of different film sound carriers and apparatuses? Which kind of actions can be taken to solve those problems? How can the actions undertaken to preserve film sound be recorded and documented? How is it possible to exhibit and display film sound in present-day theatres? The answers to these questions as provided by the case studies will contribute to the definition of the nature of film sound, which will be elaborated in chapter five. -
THE EXPEDITIONS of the VICTOR TALKING MACHINE COMPANY THROUGH LATIN AMERICA, 1903-1926 a Dissertation
RECORDING STUDIOS ON TOUR: THE EXPEDITIONS OF THE VICTOR TALKING MACHINE COMPANY THROUGH LATIN AMERICA, 1903-1926 A Dissertation presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Sergio Daniel Ospina Romero May 2019 © 2019 Sergio Daniel Ospina Romero ii RECORDING STUDIOS ON TOUR: THE EXPEDITIONS OF THE VICTOR TALKING MACHINE THROUGH LATIN AMERICA, 1903-1926 Sergio Daniel Ospina Romero, PhD Cornell University, 2019 During the early twentieth century, recording technicians travelled around the world on behalf of the multinational recording companies. Producing recordings with vernacular repertoires not only became an effective way to open local markets for the talking machines that these same companies were manufacturing. It also allowed for an unprecedented global circulation of local musics. This dissertation focuses on the recording expeditions lead by the Victor Talking Machine Company through several cities in Latin America during the acoustic era. Drawing from untapped archival material, including the daily ledgers of the expeditions, the following pages offer the first comprehensive history of these expeditions while focusing on five areas of analysis: the globalization of recorded sound, the imperial and transcultural dynamics in the itinerant recording ventures of the industry, the interventions of “recording scouts” for the production of acoustic records, the sounding events recorded during the expeditions, and the transnational circulation of these recordings. I argue that rather than a marginal side of the music industry or a rudimentary operation, as it has been usually presented hitherto in many histories of the phonograph, sound recording during the acoustic era was a central and intricate area in the business; and that the international ventures of recording companies before 1925 set the conditions of possibility for the consolidation of iii media entertainment as a defining aspect of consumer culture worldwide through the twentieth century.