Najbolji članovi

Nema bruma ni zere...

pre nekog vemena radio jedne oooozbiljne starovirske elektronske orgulje, sa 3 glasa i bass pedalama, al sam zaboravio da slikam, ne bi li zapamtio model sad doslo vreme da se resim jednih malih, stoje vec godinu dana u radionici Yamaha, sredio napajanje i ampove, sve proradilo, i onda reko da odradim i bateriju preklopnika koj i su pravili probleme klasicna prica - skini modul, razmontiraj, odlemi , jedan po jedan otvori, ocisti kontakte, namazi vazelinom , sastavi, vrati sve nazad kako bilo sutra jos poklopce na mesto i moze da ide, da mogu da se okrenem u radionici ako se setim, slikam sutra sastavljene mda - vidi se magnet u sred kutije nazad - to mu Lesley

Zavrsio sam pakovanje pre nekog vremena i upalio da cujem sta se desava. Generalno to su oni isti zvucnici samo se visokotonac ipak cuje nekako mnogo normalnije ( trebalo bi izmeriti kad bude moguce ). Ima jos nekih promena ali posto je kasno znacu vise sutra ( mid horna nekako radi cistije i kao da je bolje uklopljena sa visokim samo bas je nesto prelagan ). Narednih dana cu doneti odluku da li da se sve ponovo povadi ( moze lako ) jer one stare zice treba obavezno zameniti.

Ctctctct, Zagor se nije borio protiv mundira nikad. Tu bi mogao jedino Veliki Blek da bude.

ON 4 May 1968 George Szell presented a portrait of himself to Emil Gilels "in admiration and in gratitude for the unforgettable experience of our Beethoven recording week in Cleveland. In sincere friendship." Four days had been all that they had needed to record the five concertos and three additional piano works: the Thirty-Two Variations on an Original Theme in C minor, the Six Variations on the Turkish March from The Ruins of Athens and the Twelve Variations on a Russian Dance by Paul Wranitzky. On 29 and 30 April and 1 and 4 May, the record producer Paul Myers, who had worked on the CBS recordings by the Juilliard Quartet and Glenn Gould, assumed artistic control of this new project, which was recorded in Severance Hall and involved a team of three sound engineers, Frank Bruno, Edwin Michalski and Edward Thomas Graham. Myers had supervised all of the Cleveland Orchestra's recordings since 1963. All were distributed on the Epic Records label, a subsidiary of Columbia, which released them "in stereorama". By 1968 the joint billing of Szell and Gilels was neither sensational nor politically significant, for by that date several delegations of Soviet artists had already been sent abroad and many of them were already well known to western audiences. This was no longer the Khrushchev era. Moreover, Gilels had met Szell in 1966, a week after his fiftieth birthday, while undertaking his sixth tour of the United States. His visit took him to Boston, where he gave a solo recital; to New York, where he performed under Ormandy and Maazel; to Chicago, where he appeared with Jean Martinon; and to Philadelphia, where Ormandy was again the conductor. The tour had started in Cleveland, a visit that marked the first collaboration between Gilels and Szell. Nailing their colours firmly to their mast, they performed Beethoven's Third and Fourth Piano Concertos. In the course of his career, Gilels visited the United States on a dozen occasions. He had initially been scheduled to make his North American debut in the Soviet Pavilion at the 1939 World's Fair in New York, but the global conflict and then the Cold War intervened and it was not until 3 October 1955 that Gilels first performed on American soil, playing Tchaikovsky's First Piano Concerto in Philadelphia. Five years before the North American debut of his contemporary, Sviatoslav Richter, who, like him, had been in Heinrich Neuhaus's class at the Moscow Conservatory, Gilels - People's Artist of the USSR, the holder of the Stalin Prize and a Hero of Socialist Labour - had been the first musician whom the Soviet authorities had allowed to travel to the New World since Prokofiev had returned to Europe in 1936. Gilels was also the soloist when the Kremlin-backed Moscow State Symphony Orchestra became the first Soviet orchestra to be invited to America. The concert, which took place in New York, was conducted by Konstantin Ivanov. Almost a quarter of a century later Gilels made his last public appearance in the United States at Carnegie Hall. The date was 16 April 1983. For its part, Szell's orchestra had visited Europe under the auspices of the American State Department, appearing during the spring of 1965 in Moscow, Leningrad, Tbilisi, Prague and Bratislava. The tour was a triumph. In Moscow the players were called back on to the Bolshoi stage no fewer than twenty times. This was also Pan Am's first commercial flight to the Soviet Union since vice-president Nixon's visit in 1959. On closer inspection, the Szell-Gilels partnership was not an obvious one. Quite apart from any technological considerations, both artists had already recorded all of Beethoven's concertos: Szell with his favourite pianist, Leon Fleisher (1959-61), Gilels with André Vandernoot, André Cluytens and Leopold Ludwig (1954-57). There was also the question of rights. Szell had refused to sign an exclusive contract and had recorded for Philips, Deutsche Grammophon and Decca, whereas his players were all under contract to Columbia. This exclusive contract between the Cleveland Orchestra and CBS expired in September 1967 and was renewed only until 1969 and on worse terms. Cleveland's manager, Beverly Barksdale, had grown increasingly exasperated at the way in which his orchestra was being treated by Columbia, which seemed to him to prefer the New York and Philadelphia orchestras, and so he demanded an agreement with EMI that would allow Gilels to record the Beethoven concertos with Szell. (This recording for EMI was followed by two other celebrated releases, both of them made in May 1969: the Brahms Double Concerto with Rostropovich and David Oistrakh; and the same composer's Violin Concerto with Oistrakh.) The recording sessions in the spring of 1968 were meticulously prepared. Indeed, an admiring press noted, not without a hint of irony, that the orchestra was giving seven concerts that week but that the general public was admitted to only two. Over a twenty-year period, Szell — Richard Strauss's former protégé at the Royal Opera in Berlin had transformed a decent provincial band that had been thrown into disarray by the Second World War and turned it into one of the most reliable orchestras in the world. When he heard the Cleveland Orchestra perform in Lucerne in August 1967, Karajan, no less, described it as "indisputably the best of all American orchestras". In its heyday, it included a number of exceptional principals: Rafael Druian, Abraham Skernick, Lynn Harrell and David Perlman (strings); Myron Bloom (horn); John Mack (oboe); Robert Marcellus (clarinet); Maurice Sharp (flute) and Cloyd Duff (timpani), to name only the most important. As for Gilels, his stupefying schedule for this six-month period had taken him to Belgium, Poland, England, Scandinavia, the Ukraine, Sardinia, the Netherlands, the Baltic States and Siberia, presenting him with an opportunity to perform all the Beethoven piano concertos with conductors of the stature of Yevgeny Svetlanov, Eugen Jochum, Kirill Kondrashin and Witold Rowicki. Szell and Gilels hit it off at once, and by the end of October John Coveney, acting on behalf of Angel Records, EMI's American subsidiary, was able to present Szell with the first copies of their five-disc boxed set. The catalogue number was SE-3731. Gilels's American season ended on 2 July 1968. Before returning to Europe, he used the opportunity of a stopover to meet Henry Z. Steinway, the director of the firm of piano manufacturers, and to give Steinway's younger daughter, Susan, an enormous Russian doll. By 3 August his new season was already under way with a recital in Lipetsk. As for Szell, his new season was notable for his recordings of orchestral excerpts from the Ring, Haydn's Symphony No. 96 and Mozart's Eine kleine Nachtmusik. By the winter he had accepted the post of interim adviser to the New York Philharmonic until such time as a new music director was found to replace Leonard Bernstein. Gilels and Szell were to share a platform on only one more occasion, when they performed Beethoven's Third Piano Concerto together with the Vienna Philharmonic at the Salzburg Festival on 24 August 1969. And Gilels was to appear only once more in Cleveland in the wake of Szell's death on 30 July 1970. (Sir John Barbirolli and Ionel Perlea had both died the previous day.) Wanting to pay homage to Szell, Gilels had expressed his desire to play all five Beethoven concertos in Severance Hall, a wish that was granted to him on 18 and 27 January 1977. The conductor was Lorin Maazel.

Piči me neizdrž da završim plint i moram progres da podelim sa vama. Isto od neizdrža sam jednu kockicu finiširao kako sam zamislio da vidim kako će izgledati na kraju... Je’iga, sad mi se ne spava

sto ne uradis riju sa EF86 (ili ruska 6Z32P) ? bilo je na forumu, pravio vise komada, a pravio i kolega Djole (DjMilicic). minimum delova, zvuk fantazija a uspeh izrade zagarantovan. nema mambo-dzambo ili fensi delova. nije $$$ uopste. moja modifikacija Quad rije. ako si zainteresovan, mozemo da pomognemo i Djole i ja.

U pravu si! BTW, neverovatno, ali i dalje radi! Prednja ploča poslata na Leonardisanje, sutra stiže ostatak činčeva...

veoma interesantan youtube kanal pretencioznog naziva, ali i prepun interesantog materijala.. evo primer

nema bolje

samo za mog Mikuma, da ima sta da ceka(mo) eee, Rusi...... ni trailer ne znaju kratko da naprave

Ovaj live je baš bio baš

i 2 Van Morrison-a...ovi su vec bili u startu na oko bolji...Avalon sunset i Sence of wonder...Avalon je izdat na ex-Yu (RTB?),ko ga voli,nek ga se resava pod hitno,ja sam u ovoj trampi uvalio svoj primerak...Van the Man zasluzuje ovo...

next pls,sa iste mete,isto odstojanje....amer isto,Zappa "Chunga's...."...prvo izbacivanje snega iz brazda sa Oracle Alexandria III/Mission 774/Ortofon M20E sto je tu na "cuvanju" (kad je vec tu,nek se nadje i neke koristi od njega ),treba i njega okrenuti nekad da ne zardja,pa na svoj gram posle toga

Bob Weir "Ace"...americko izdanje,spaseno iz nekog podruma gde ima jos jedno cca 15-20.000LP-a,i vlasnik je vec digao ruke od njih,al nesto se laganice izvlaci...budjav omot sam provetravao jedno nedelju dana u garazi,uzimajuci u obzir kako je to izgledalo,visestruko cetkanje karbonskom cetkom na 78 RPM je donelo neke vec vidljive rezultate,trebat ce jos na pranje al se da vec naslutiti nesto

Dobio sam majicu, U tri boje bojenu Stigla mi je iz Amerike Iz njujorške države A na njoj piše joj što volim Iggy Pop A na njoj piše Iggy Pop..........

Hiroshi Suzuki

taj gramofon je od drugara,ostavljen kod mene na cuvanje,posto je prodao kucu,ceo njegov sistem stoji razbucan na sve strane,Quad ESL63/66/606,gramofon je ostavljen kod mene na cuvanje,kao sto sam napisao:Oracle Alexandria III/Mission 774 rucka,trenutno je montiran Ortofon M20E u nju,ima se u steku s njom jos Grace F9E,Glanz MFG 71,AT15E....po dogovoru,mogu da arcim,menjam,slusam do besvesti,sta god hocu,i u kombinaciji koja mi se smisli...cenim Mission 774,al meni ni do clanaka nije jednoj Grace 707,SME III (ova sa svim limitirajucim faktorima koje postoje kod nje).....sta i kako su ocenjivali pre 30-40 godina po UK casopisima,kod mene je indiferentno,negde se misljenje moze poklopiti sa njihovim,al negde se to ne poklapa,apsolutno,barem je ovo situacija kod mene... Pre 4 godine kad sam se ja selio,isto sam uradio sa kompletnim mojim sistemom,ostavio sam ga kod njega,sa sve Lp-ima,CDovima,da ako hoce,moze da sve arci do besvesti,isto...jedina razlia je bila,sto sam ja svoj proces zavrsio za cca mesec dana... Ima covek kucu na Balatonu jos,ceka da se iskristalizuje situacija na trzistu nekretnina ovde,pa ce krenuti u neku kupovinu vec,T-Com gde radi,je jos letos dao home office svim svojim zaposlenima koji rade u pozadinskim funkcijama ,unapred na godinu dana,slusa jedan manji sistem koji mu zadovoljava potrebe trenutno (Mission 770F,Quad34/306)..