Analogija-razno

analogija: gramofoni, ročice, odj. doze, magentofoni, nastavitve,, čiščenje, vzdrževanje, nassveti, vprašanja,.........

OdgovorNapisal/-a Marko Puš » Sr Apr 16, 2008 9:32 pm

Kein Problem mein Freund. Wir sprechen ja alle Deutsch. :lol: :lol: :lol:
Marko Puš
 

Video izdelave LP ploš?

OdgovorNapisal/-a kuzma2 » To Apr 29, 2008 1:06 pm

Kako je narejeno? Lpji:
[url]http://www.youtube.com/watch?v=8rEmHkumWXI[/url]
FK
kuzma2
 
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Adjust +

OdgovorNapisal/-a kuzma2 » Pe Maj 30, 2008 7:09 pm

Končno sem uspel začeti testirati ta softwerski program( Dr. Feickert analog- Adjust+), ki seveda vsebuje program sam, priključni kabel ter libelo za merjenje kota azimutha. Zraven je seveda priložena testna LP plošča.

Signal gre iz linijskega nivija( tape out, preout ali phono out) preko 24bit/96Khz zvočne kartice v npr. Laptop.

Program zaenkrat omogoča merjenje hitrosti vrtenja, frekvenčni odziv odjemne doze, resonanco glave&ročice ter seveda azimutha- presluha med kanali.

S tem lahko nastavljamo nagib glave. Merimo presluh glave pri različnih kotih in program nam nariše diagram optimalnega kota. Kaže tudi fazne zamike pri različnih azimutih , ter višinah ročice in s tem se bo verjetno dalo tudi ugotavljati optimalni VTA.

Prve preiskušnje so kar zanimive in poučne in v naslednjih dneh jih bom poskušal še slišno ovrednotiti.

Več o tem kmalu.
FK
kuzma2
 
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Adjust +

OdgovorNapisal/-a kuzma2 » Sr Jun 04, 2008 3:26 pm

Adjust + program:
Nekaj začetnih ugotovitev:

Prve ugotovitve kažejo, da je nastavitev azimutha kar precej enostavna in elegantna. Sam program ti kaže povprečje presluha ter njihove fazne zamike. Ko ti parametri odstopajo, ti program kaže v katero smer je potrebno narediti korekcijo. Ko si bližje pa se lahko še bolj fino nastavlja optimalni azimuth tako, da sta tudi fazna zamika presluha čim bližje.

Druga je ta, da je seveda to nastavljeno na priloženi testni plošči. Žal ima testna plošča ta del testov posnetih na zunanjem robu, kar seveda pomeni, da tam plošča ni najbolj ravna.

Tretja ugotovitev je , da je merjenje točne brzine točno, toda merjenje wov&flutterja pa zavisi od centričnosti plošče in še bolj od neravnosti le te.
Zato se lahko izmeri povprečni peak +- 0.4% w&f. Pod najboljšimi pogoji, ko sem tudi uporabil zunanji klamp za ravnanje plošče sem dobil npr. +-0.08%. Ko pa sem uporabil staro B&K testno ploščo, ter jo scentriral ter brez zunanjega klampa pa pod +-0.04%. Torej v praksi meritev točnega vrtenja pride vpoštev, w&f pa niti ne, razen za grobe primerjave.

Četrta zaenkrat kaže na to, da je nastavitev azimutha kar povezana s slišnim testitranjem.

Peta- merjenje resonance ročice&glave kaže jakost in frekvenco resonance- toda če vaš phono reže frekvence pod 20 Hz , potem tega ne boste videli.

Šesto- merjenje frekvenčnega odziva odj. doze preko zvočne kartice verjetno da le neke grobe ocene in mislim, da nekih točnih meritev kar tako ne bomo dobili.

Sedmo- pa da se bodo očitno našle neke povezave med optimalnim azimuthom, faznimi zamiki presluha ter optimalnim VTAjem- za to testno ploščo seveda. Vendar za ta testiranja potebujem nekaj več časa.


Skratka- zanimiva igračka. Podatki se lahko seveda shranijo ali tiskajo.V kratkem pride ven še Profi verzija z več možnostmi ( pulzni odzivi,spektralna analiza,...) meritev.
FK
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adjustplus

OdgovorNapisal/-a kuzma2 » So Jul 12, 2008 5:03 pm

Evo link za program za nastavljanje odj. doze:

[url]http://www.adjustplus.de/[/url]
FK
kuzma2
 
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OdgovorNapisal/-a kuzma2 » Po Avg 11, 2008 5:25 pm

Članek o notranjih ovitkih za LPje:
[url]http://www.positive-feedback.com/Issue38/lp_sleaves.htm[/url]
kuzma2
 
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Analogna reprodukcija je bila že 20 let pred Edisonom

OdgovorNapisal/-a kuzma2 » Sr Avg 27, 2008 5:23 pm

Glej ?lanek v NYT:
Prvi posnetek je bil narejen 17 let predno je Edison prejel patent za gramofon:

Researchers Play Tune Recorded Before Edison


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By JODY ROSEN
Published: March 27, 2008
For more than a century, since he captured the spoken words “Mary had a little lamb” on a sheet of tinfoil, Thomas Edison has been considered the father of recorded sound. But researchers say they have unearthed a recording of the human voice, made by a little-known Frenchman, that predates Edison’s invention of the phonograph by nearly two decades.

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Isabelle Trocheris
The audio historian David Giovannoni with a recently discovered phonautogram that is among the earliest sound recordings.
Audio: 1860 recording:
The Phonautograph Recording from 1860 of 'Au Clair de la Lune' (mp3)

1931:
An Audio Excerpt from a 1931 Recording of the Same Song (mp3)

Related Topic Pages:
• Thomas A. Edison
• Audio Recordings
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Courtesy of David Giovannoni
The 19th-century phonautograph, which captured sounds visually but did not play them back, has yielded a discovery with help from modern technology.
The 10-second recording of a singer crooning the folk song “Au Clair de la Lune” was discovered earlier this month in an archive in Paris by a group of American audio historians. It was made, the researchers say, on April 9, 1860, on a phonautograph, a machine designed to record sounds visually, not to play them back. But the phonautograph recording, or phonautogram, was made playable — converted from squiggles on paper to sound — by scientists at the Lawrence Berkeley National Laboratory in Berkeley, Calif.
“This is a historic find, the earliest known recording of sound,” said Samuel Brylawski, the former head of the recorded-sound division of the Library of Congress, who is not affiliated with the research group but who was familiar with its findings. The audio excavation could give a new primacy to the phonautograph, once considered a curio, and its inventor, Édouard-Léon Scott de Martinville, a Parisian typesetter and tinkerer who went to his grave convinced that credit for his breakthroughs had been improperly bestowed on Edison.
Scott’s device had a barrel-shaped horn attached to a stylus, which etched sound waves onto sheets of paper blackened by smoke from an oil lamp. The recordings were not intended for listening; the idea of audio playback had not been conceived. Rather, Scott sought to create a paper record of human speech that could later be deciphered.
But the Lawrence Berkeley scientists used optical imaging and a “virtual stylus” on high-resolution scans of the phonautogram, deploying modern technology to extract sound from patterns inscribed on the soot-blackened paper almost a century and a half ago. The scientists belong to an informal collaborative called First Sounds that also includes audio historians and sound engineers.
David Giovannoni, an American audio historian who led the research effort, will present the findings and play the recording in public on Friday at the annual conference of the Association for Recorded Sound Collections at Stanford University in Palo Alto, Calif.
Scott’s 1860 phonautogram was made 17 years before Edison received a patent for the phonograph and 28 years before an Edison associate captured a snippet of a Handel oratorio on a wax cylinder, a recording that until now was widely regarded by experts as the oldest that could be played back.
Mr. Giovannoni’s presentation on Friday will showcase additional Scott phonautograms discovered in Paris, including recordings made in 1853 and 1854. Those first experiments included attempts to capture the sounds of a human voice and a guitar, but Scott’s machine was at that time imperfectly calibrated.
“We got the early phonautograms to squawk, that’s about it,” Mr. Giovannoni said.
But the April 1860 phonautogram is more than a squawk. On a digital copy of the recording provided to The New York Times, the anonymous vocalist, probably female, can be heard against a hissing, crackling background din. The voice, muffled but audible, sings, “Au clair de la lune, Pierrot répondit” in a lilting 11-note melody — a ghostly tune, drifting out of the sonic murk.
The hunt for this audio holy grail was begun in the fall by Mr. Giovannoni and three associates: Patrick Feaster, an expert in the history of the phonograph who teaches at Indiana University, and Richard Martin and Meagan Hennessey, owners of Archeophone Records, a label specializing in early sound recordings. They had collaborated on the Archeophone album “Actionable Offenses,” a collection of obscene 19th-century records that received two Grammy nominations. When Mr. Giovannoni raised the possibility of compiling an anthology of the world’s oldest recorded sounds, Mr. Feaster suggested they go digging for Scott’s phonautograms.
Historians have long been aware of Scott’s work. But the American researchers believe they are the first to make a concerted search for Scott’s phonautograms or attempt to play them back.
In December Mr. Giovannoni and a research assistant traveled to a patent office in Paris, the Institut National de la Propriété Industrielle. There he found recordings from 1857 and 1859 that were included by Scott in his phonautograph patent application. Mr. Giovannoni said that he worked with the archive staff there to make high-resolution, preservation-grade digital scans of these recordings.
Researchers Play Tune Recorded Before Edison


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Published: March 27, 2008
(Page 2 of 2)
A trail of clues, including a cryptic reference in Scott’s writings to phonautogram deposits made at “the Academy,” led the researchers to another Paris institution, the French Academy of Sciences, where several more of Scott’s recordings were stored. Mr. Giovannoni said that his eureka moment came when he laid eyes on the April 1860 phonautogram, an immaculately preserved sheet of rag paper 9 inches by 25 inches.

Audio: 1860 recording:
The Phonautograph Recording from 1860 of 'Au Clair de la Lune' (mp3)

1931:
An Audio Excerpt from a 1931 Recording of the Same Song (mp3)

Related Topic Pages:
• Thomas A. Edison
• Audio Recordings
“It was pristine,” Mr. Giovannoni said. “The sound waves were remarkably clear and clean.”
His scans were sent to the Lawrence Berkeley lab, where they were converted into sound by the scientists Carl Haber and Earl Cornell. They used a technology developed several years ago in collaboration with the Library of Congress, in which high-resolution “maps” of grooved records are played on a computer using a digital stylus. The 1860 phonautogram was separated into 16 tracks, which Mr. Giovannoni, Mr. Feaster and Mr. Martin meticulously stitched back together, making adjustments for variations in the speed of Scott’s hand-cranked recording.
Listeners are now left to ponder the oddity of hearing a recording made before the idea of audio playback was even imagined.
“There is a yawning epistemic gap between us and Léon Scott, because he thought that the way one gets to the truth of sound is by looking at it,” said Jonathan Sterne, a professor at McGill University in Montreal and the author of “The Audible Past: Cultural Origins of Sound Reproduction.”
Scott is in many ways an unlikely hero of recorded sound. Born in Paris in 1817, he was a man of letters, not a scientist, who worked in the printing trade and as a librarian. He published a book on the history of shorthand, and evidently viewed sound recording as an extension of stenography. In a self-published memoir in 1878, he railed against Edison for “appropriating” his methods and misconstruing the purpose of recording technology. The goal, Scott argued, was not sound reproduction, but “writing speech, which is what the word phonograph means.”
In fact, Edison arrived at his advances on his own. There is no evidence that Edison drew on knowledge of Scott’s work to create his phonograph, and he retains the distinction of being the first to reproduce sound.
“Edison is not diminished whatsoever by this discovery,” Mr. Giovannoni said.
Paul Israel, director of the Thomas A. Edison Papers at Rutgers University in Piscataway, N.J., praised the discovery as a “tremendous achievement,” but called Edison’s phonograph a more significant technological feat.
“What made Edison different from Scott was that he was trying to reproduce sound and he succeeded,” Mr. Israel said.
But history is finally catching up with Scott.
Mr. Sterne, the McGill professor, said: “We are in a period that is more similar to the 1860s than the 1880s. With computers, there is an unprecedented visualization of sound.”
The acclaim Scott sought may turn out to have been assured by the very sonic reproduction he disdained. And it took a group of American researchers to rescue Scott’s work from the musty vaults of his home city. In his memoir, Scott scorned his American rival Edison and made brazen appeals to French nationalism. “What are the rights of the discoverer versus the improver?” he wrote less than a year before his death in 1879. “Come, Parisians, don’t let them take our prize.”
FK
kuzma2
 
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LP ploš?e

OdgovorNapisal/-a kuzma2 » Sr Okt 01, 2008 7:00 am

Zelo zanimivo branje na Classic records blogu o izdelavi in zvoku različnih tež plošč in materiala:
[url]http://www.classicrecords.com:80/blog/[/url]
FK
kuzma2
 
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demagnetizacija gr. igle

OdgovorNapisal/-a kuzma2 » Pe Okt 31, 2008 8:11 am

Video je v angl.:
[url]http://www.youtube.com/watch?v=1TkJ_wwkbNA&feature=related[/url]

Stvar je preprosta: igla naj igra v plošči, kratko sklenete oba priključka skupaj, potem ko ste ju iztaknili iz phono vhoda( jasno je da mora biti glasnost na nič) in sicer plus levega kanala z minusom desnega in obratno.
FK
kuzma2
 
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Re: Analogija-razno

OdgovorNapisal/-a kuzma2 » Če Jan 15, 2009 3:32 pm

?rna je nova ?rna je naslov ?lanka o analognih gramofonih v letošnji Februarski številki slovenskega Playboya, kjer je predstavljenih nekaj firm. Jasno, da Kuzma ne manjka.

Res pa je da ?rna postaja nova prozorna. Namre? Classics Records-USA je dal na tržiš?e ploš?e, ki so prozorne in se imenujejo Clarity- vzrok ni v tem kot v preteklosti, kjer razli?ne barve izgledajo lepo, po zvoku pa so bile ploš?e v ve?ini primerov slabše. V tem primeru je vzrok boljši zvok- ploš?a se ne namagneti, o ?emer sem že pisal drugje. Klasi?na ploš?a se hitro namagneti, tako, da je potrebno postopek ponavljati- ploš?e Clarity pa vedno ostanejo enake.
Skratka, še veliko je možnega napredka pri reprodukciji LPjev.
FK
kuzma2
 
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Re: Analogija-razno

OdgovorNapisal/-a kuzma2 » Če Jul 02, 2009 4:49 pm

?e radi eksperimentirate z VTA- višino ro?ico oziroma kotom igle v brazdi, ste verjetno tudi pomislili na to, da se VTA spreminja tudi z razli?nimi obtežbami odjemne doze. Ve?ji pritisk, bolj se nosilec upogne in efekt je isti, kot bi zadaj ro?ico spustili dol. Toda ali ste kdaj pomislili za koliko.

Npr. za spremembo 1 kotne stopinje morate premakniti standardno ro?ico za 4 mm. ?e pa se nosilec igle poda( kar prakti?no ne morete izmeriti ali sploh videti) le za 0.2 mm, je sprememba kota enaka: 1 kotno stopinjo. To pa lahko povzro?i že sprememba za 0.2-0.5 gr.

Zato pazite pri igranju z VTA in iskanju optimalne utežbe. Vpliv spremembe zvoka ni lahko v tem, da ste zmanjšali pritisno sil temve? ste isto?asno dvignili VTA, seveda velja tudi obratno.

Dugo pa je postaviti navitje tuljave z optimalnim pritiskom v ?im bolj linearno- homogeno magnetno polje pri MC glavah.
FK
kuzma2
 
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Re: Vinil je mrtev- naj živi Vinil

OdgovorNapisal/-a administrator2 » Po Nov 23, 2009 7:46 pm

Evo kaj so začeli zopet izdelovati: audio knjige na LPjih:tekst je iz NEW YORK TIMESa:

Popular Author’s Audiobook Tries a New Format: Vinyl
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LinkedinDiggFacebookMixxMySpaceYahoo! BuzzPermalink By ANDREW ADAM NEWMAN
Published: November 22, 2009
As physical formats and devices have shrunk, revenues for the audiobook industry have grown, since it is more convenient to listen to an iPod while exercising and commuting than fiddling with CDs. Digital downloads grew to 21 percent of the industry’s total sales in 2008, from 6 percent in 2004, according to the Audiobook Publishers Association.

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It is all the more odd, then, that Hachette Audio recently announced that the latest audiobook by David Sedaris, “Live for Your Listening Pleasure,” which features readings before audiences, would be available on the least portable of formats: vinyl.

Reminiscent of Blue Note albums from the 1950s and 1960s, the cover features a photograph of a woman sprawled on a white shag rug with a come-hither look, albums strewn about.

Albums are enjoying something of a renaissance, posting $57 million in sales in 2008, more than double the previous year and the best for the format since 1990, according to the Recording Industry Association of America. The format is so rare for audiobooks, however, that the Audiobook Publishers Association has never even tracked its sales.

But Maja Thomas, senior vice president for digital and audio publishing at the Hachette Book Group, said she was drawn to the idea precisely because it was quirky. Mr. Sedaris’s “audience is very attuned to irony and is going to find this funny,” Ms. Thomas said.

The 31-minute album, which will be released on Jan. 5 and cost $24.98, will include only two of the five essays on the CD version of the audiobook, but will feature a code enabling purchasers to digitally * the entire program.

Hachette was less kind to another past-its-prime format in 2008. Upon releasing “Sail,” a novel by James Patterson and Howard Roughan, in a cassette version, it declared it would no longer release in the format and held a mock funeral for cassettes in its Manhattan office.

“We had a funeral for one format, but you can think of this as the ultimate zombie,” Ms. Thomas said. “The record is coming back from the dead.”

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FK2
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Re: Vinil je mrtev- naj živi Vinil 2

OdgovorNapisal/-a administrator2 » Sr Nov 25, 2009 9:08 am

Torej greste lahko v kranjski Mercator, kjer se dobi vse: tudi vinilne plošče npr. Beatlov!
FK2
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Re: Analogija-razno

OdgovorNapisal/-a administrator2 » To Dec 08, 2009 5:10 pm

V današnjem delu je kratek članek o Woody Allenu,filmih, igranju, zgodovini, delu, ter hobijih. Med drugim pravi, da sploh nima računalnika. Zelo rad posluša glasbo in je zvest igli in gramofonu. Največje veselje mu daje zvok, ko igla zadane brazde in zasliši glasbo, ki jo ne da noben digitalni predvajalnik.
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Re: Analogija-razno

OdgovorNapisal/-a administrator2 » Če Jun 03, 2010 3:41 pm

Knjiga Digitalna filmska revolucija iz 2009 avtorja Aleša Blatnika z navdušenjem opisuje dejstava, kaj vse so prednostni digitalnega snemanja in predvajanja filmov in videa.

Toda notri je en zanimiv podatek o dolgoročnem shranjevanju filmov. Namreč dolgoročno je najboljše shranjevanje filma na klasični optični film. Bojda je, čeprav nelogično, cca 10x cenejši takšen način shranjevanja kot digitalni. Namreč skozi spreminjanje digitalnih formatov morate vse to stalno spremljati in spreminjati. Tako, da danes nekateri arhivi dolgoročno shranjujejo tudi samo digitalno nastale filme, navkljub začetni zelo visoki ceni, na klasični filmski trak!!!
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