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Bringing the bass wow phonic amplifier

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Want that jukebox in your Garrison? This is what you do..


With the increasing realisation of the musical value of historic recordings has come the need to improve the way in which these precious artefacts are reproduced and preserved. A record without the ability to hear it is useless; a record badly reproduced is not much better, for it gives a false impression of what is actually stored within the grooves. No, not at all, and you will come to realise this as we go through the guide. Note, although I specifically refer to 78 rpm discs, much of the following will apply to early mono LP and rather less to reel-to-reel tape.

The first part of the learning process is not in fact in this document. Before even putting a record on the turntable, you need to learn how the sound got there in the first place: without knowing this, you will find it very much harder to satisfactorily recover the information stored in the record, and the results will be a hit and miss affair, rarely suited to what is required.

Owen and H. Maxfield and H. A specially edited version of an article first published in the Winter edition of International Classic Record Collector. A specially edited version that has appeared in International Classic Record Collector and elsewhere. The dedicated engineer will almost certainly look further into the art at every possibly opportunity. So, why not simply read the Guide to Playing 78 rpm Records , and go from there? If you are a record collector, your records are played purely for your own pleasure.

How you do that is up to you, and possibly your budget. You might prefer a rounded sound, or a bright one. You might possibly prefer the records of Signor X played at a speed contrary to accepted practice. If you have the appropriate equipment, you might wish to add reverberation to dryly recorded sound. In short, you choose how you wish to play them: the result should be what you enjoy.

However, when you transfer a sound recording, the end result will be for someone else to listen to or work with: responsibility now enters the equation. It is now up to you to preserve the integrity of the performance, to the best of your ability within the parameters set by whoever commissions the transfer.

Should those parameters be against your better judgement, then consider either attempting to persuade the principal of the error of their ways, or even declining the work. In the end, it will be your reputation that is at stake.

The practice and art of transferring—and it is an art, albeit one that depends upon science—is highly dependent on the various pieces of equipment required to carry out the task.

So much so, that a detailed examination of that equipment will in itself act in part as a tutorial for the prospective practitioner. For the rest, you will need to need to gain experience by practice. A truism? Yes, but not to be overlooked. If you cannot hear the difference between the various shades of sonic quality, recognise the different types of distortion, or if you have no sense of relative pitch, then just stick to playing records for pleasure.

Note, I did not say absolute pitch, and I will come to that later. The starting point for any transfer of a disc record is the turntable. The requirements are: Speed stability Low wow and flutter Variable speed, and a way of measuring it A high quality, rugged pick-up arm with plug-in head-shells A suitable cartridge A variety of styli needles! Speed stability is vital, otherwise your transfers will start in one key but perhaps end up in another.

This is not the same as recordings that start at one speed and finish at another. Wow and flutter or the various types of slow and rapid cyclic speed variation, produce unpleasant effects. For this reason direct drive turntables are the sine qua non for the job. They also tend to incorporate. Variable speed.

Unless you are just producing basic transfers for a professional engineer to work on, you will need to get the pitch, and therefore speed correct. To gauge the speed of the turntable, you either need a set of stroboscopic discs, or to have a unit with, or the facility for a digital speed read-out. The pick-up arm should be capable of hard work. A removable head-shell system is needed because you will require a wide range of different styli. Yes, you can just have one head-shell and change the stylus assembly in the cartridge instead.

As with the arm, hi-fi units are not suitable. In fact, DJ types are some of the best for the purpose, being rugged, reasonably priced and capable of very good, clean sound.

Shure are generally thought to be the best for our purposes. Unlike the LP although there are exceptions with early ones , the groove-wall geometry and dimensions of the 78 rpm record were not standardised.

For this reason, to enable proper tracing of the groove, you will need a wide variety of styli, each with different specifications. They are usually bi-radial or elliptical in shape, with lateral dimensions measured in thousandths of an inch. Ideally you should have: 0. As to deciding which may be correct for a given record, all I can say is that there are no rules, only a guide. This is probably the right point to state that, whatever you may read in print about the correct stylus for this make and era of record or for that matter the right equalisation for that make of record , ignore it.

There are far too many variables to produce sensible charts giving the correct data for the various makes and dates of records. There is only one correct stylus for a record, and that is the one that gives the least noise with the cleanest sound. Let me give you an example. The same with a 0. In reverse this time with a unpublished Chaliapin side: 3. With a 0. The same with 0. The 0. The correct stylus can vary according to the pressing. I have encountered various pressings of a particular record by a singer.

The pressing required a 0. A slightly later pressing had some slight wear—that needed a 0. Both were HMV pressings. The Victor pressing, from exactly the same master, is best with a 0. I also have a recently made vinyl pressing which is perfect using a 0. All were pressed from stampers made from the same master. Of course eventually, with experience, you will get to know a likely starting-point.

Most HMV or Victors will track well with a 0. Pre-revolutionary Russian HMV like a smaller tip—around 0. Parlophones and Odeons, together with pre Columbias, seem to like a 0. Experiment, and then listen and compare the results: that is the answer.

There will be times when through damage, wear or pressing problems, you will need to use the signal from only one groove-wall, or sometimes a non-equal mix of the two.

The former is usually accommodated at the pre-amp stage and the latter with a mixer or when signal processing. This changes the phase of one leg of the cartridge output. If the pre-amp does not have this facility, you need to do this manually by changing the pin connectors on your chosen cartridge. It is essential therefore that you make sure the side-thrust compensation on the pickup arm is properly adjusted, otherwise the pickup will skate over the surface.

The earliest discs were recorded at between 90 and rpm, the later ones at a nominal 80 rpm. Many enthusiasts and yes, there are some of this type of disc, prefer to use a special ultra-wide stylus around 0.

As always, experiment. Trying to equalise for these discs is not easy, and no rules apply. Boosting the bottom end is difficult because of the rumble which is exacerbated by the lack of vertical component cancellation necessitated by the requirements of reproducing the format.

By way of comparison, a contemporary acoustic HMV: 6. The Russian tenor Smirnov. Note, the peak levels are virtually identical mp3 file. The only other type of acoustic vertically-recorded disc you may come across is the Edison Diamond Disc. They are about a quarter of an inch thick and quite heavy, so, as E. Wisty said in another context, be very careful not to drop them on your foot. Playing is around 80 rpm and despite the rather low recording level, they can be quite good: Edisons were not dubbings.

In the electrical era, the vertical format virtually disappeared except for some radio transcription discs, though as such it survived well into the s.

Usually recorded to a special NAB curve, they generally play very well. Since we are discussing the tracking of the groove and recovery of the information held therein, it is perhaps appropriate to mention dirt.

Only play clean records. If a record is dirty, the stylus will be tracing the outline of the dirt and not the groove, and reproduction will suffer. Even if the record looks clean, dirt and the steel or fibre fragments from needles used in the past will lurk in the grooves.

You would be amazed at the residues collected after records are cleaned by a machine. Such units wet-scrub the record and then vacuum dry. Top of the range is the Keith Monks used by studios.

Much cheaper but effective are the Nitty Gritty, Loricraft and Moth machines, but before buying make sure you have a version meant for 78s.


Apex Pinnacle 2

Order by:. Available to:. Darkglass Microtubes V2 - watt Bass Head. We are very pleased and proud to report that on January 5. Please check our 1 5 years of eBay Thanks to you for your continuing support!

At the time I was like, "Wow, man that guy's really cynical. who have brought in amps with blown out cones, blown out tubes, or microphonic tubes.

Phonic Amplifier


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bringing the bass wow phonic amplifier

The end of the year is coming so it is the time for some summaries. We do this in "High Fidelity" by awarding the most interesting, in our opinion, products with the Yearly Awards. We would like this list to be your guide you can use as advise while developing your systems. Let's get to it! First, you will find our Special Awards.

Capacitor, and a Cord of Ancient Wood. You're in luck though, Commander!

MP3 Download WoW Garrison Jukebox - Bass Blaster Guide 320 Kbps


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Bringing the Bass (Alliance)

The little 30 dollar device can add something to your system if used with good tubes. I thought about buying a better preamp, but decided to upgrade the FX Audio. Feel free to share your experience with various cheap Chinese tube related amps, lookin forward for some interesting finds. I got the Nobsound variant of that FX with the tone controls. I also upgraded to the GE tubes. I agree that it adds warmth and fullness to the sound.

The unit has volume, bass and treble controls and two hi-lo filter switches. This new Eico amplifier brings full stereo performance to even the most.

Bringing the Bass

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Erläuterungen zu diesen US-AUDIO Seiten der 1950er Jahre

With the increasing realisation of the musical value of historic recordings has come the need to improve the way in which these precious artefacts are reproduced and preserved. A record without the ability to hear it is useless; a record badly reproduced is not much better, for it gives a false impression of what is actually stored within the grooves. No, not at all, and you will come to realise this as we go through the guide. Note, although I specifically refer to 78 rpm discs, much of the following will apply to early mono LP and rather less to reel-to-reel tape. The first part of the learning process is not in fact in this document. Before even putting a record on the turntable, you need to learn how the sound got there in the first place: without knowing this, you will find it very much harder to satisfactorily recover the information stored in the record, and the results will be a hit and miss affair, rarely suited to what is required. Owen and H.

Capacitor, and a Cord of Ancient Wood. You're in luck though, Commander! I can fix that, and boost morale among your troops all at the same time.




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  1. Nashakar

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  2. Home

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  3. Mardel

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  4. Zulusho

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