Mikorist

ogrlica od dioda i kondezatora:

. http://www.zellestyl...r-earrings-pnp/

http://www.youtube.com/watch?v=7EqPXA6TZe4

http://www.youtube.com/watch?v=fw876pIpbEs

A little more into boundary conditions The Front wall, ipsilateral side wall, and floor will all cause big issues with your frequency response that will be audible d/t the ear's increased integration time as frequency goes lower. In other words, we don't hear with the greatest time resolution at low frequencies so we'll hear the reflections as part of the source. This is why I like wavelets--but that's been touched on earlier in the DTM Blog. The contralateral wall, ceiling, and possibly even the rear wall will also come into play and more so in a small room I imagine. As the distance of the reflecting surface gets further away from the source, the less pronounced the dip will be thanks to the Inverse Square Law--every time you double the distance, you loose 6dB. The equation for the front wall interference: Cancellation notch frequency = [(344m/s) divided by (4 times the distance from the speaker to the wall behind it in meters)] (344m/s)/4Dm=fHz picture for reference: A quick Table for reference: This equation for other significant boundaries:notch frequency = [(344m/s) / 2(the distance of speaker to the listening position via the reflecting surface - the direct path distance from the speaker to the listening position)] (344m/s)/2(Drm-Ddm) This picture may help with visualization: floor bounce A couple more quick reference tables for this SBIR modifier: .................................. For an online calculator (metric) go here: http://mehlau.net/audio/floorbounce/ For sidewall reflections: http://mehlau.net/au...ction_sidewall/ So for a practical example: We have our speaker on a 3 foot stand. Its Baffle is 4 feet from the front wall and we are sitting we are sitting 9 feet from it at a listening height of 3 feet. That gives us enough information to find 2 of our first notches. The front wall will cause an approximate 70 Hz notch while the floor bounce will be a little over 300Hz. Keep in mind that the ipsilateral wall will still have its say as will the modes and to a lesser degree the other boundaries. For the ipsilateral problem it will be necessary to go to mehlau.net for a decent calculation. ___________________________________________________________________________ The previous section was just the the start of Comb Filtering The comb filter starts at that first notch frequency related to the SBIR. If you double that frequency, the interference pattern from the reflected wave is actually additive due to its phase relationship with the original wave. It is now back in phase and thus you essentially have 2 sources reinforcing each other. That gives us 6 dB of gain. This kicks off a pattern of alternation cancellation and reinforcement for multiples of the original notch resembles the teeth of those cheap black plastic combs you all have with the teeth getting progressively closer together as frequency get higher. It will also become less pronounced with increased frequency d/t narrowing directivity in the MR/Treble. Here's the expanded tables from the first section on the effects: Floor Bounce http://dtmblabber.bl...conditions.html

pa ako je reinstalirao ceo sistem - onda je i flesh.mozda ima viruscinu na hardu - ja to testiram linuxom - ako sve radi kroz lindzu znaci da treba nulama da ubijam hard. Hiren's Boot CD - Ranish Partition Manager - fill it with zeros posle standardni format i install windowsa. ako imas vise hard diskova pokusaj da ih izolujes fizicki dok instaliras sistem - drajvere i na kraju anti virus - posle ih vrati.

ajd skini neki linux i ucitaj ga sa CD-aprobaj kroz njega da gledas video.

http://www.youtube.com/watch?v=OJIcvqNQfYU ovo je bolesno

samo te zeza Youtube ?drugo sve normalno radi - mozes normalno - druge filmove da gledas , slusas muziku ?

obratite paznju na kraj filma gde ih savladava grip

http://www.youtube.com/watch?v=nu99GRUUN6Yhttp://www.youtube.com/watch?v=3JYGqVA9xc4

Kina "Behringer City".http://www.youtube.com/watch?v=NqUGLUJF7y4http://www.youtube.com/watch?v=3LKnQl8gbkQ

mislio sam u principu na mix - bilo koje vrste muzike - zvuci nerealno na izlazu te nije za monitoring -odnosno za studio.a ima zapeta izmedju tehno i mix muzike

Zvuk je obican nista posebno u odnosu na ove starudije koje slusam. :Flying:Njima ne treba da dodam nista da reprodukuje najnize frekvencije. :nonono:Malo su bolji od ostalih Beringera koje sam imao za komp.Ako se poredi sa eltaxima i ostalim govanjcima koja isto toliko kostaju onda su bolji.Jos bolje ste prosli ako nadjete polovne kao nove :preved:Zavise puno od prostorije u kojoj se nalaze i od vrste muzike.Ako su test radili sa "ozbiljnom" muzikom - klasikom - gudaci, horovi - onda nije ni cudo sto su bolji od Oriona.Klasika i filmska muzika ubija kako se cuje. :good2:i Jazz je odlican - ali zato padaju na metalu, tehno, mix muzici - koju naprave boljom nego sto jeste i kolorisu zvuk.zato monitori svakako nisu - odnosno ko radi mixeve - komponuje ili pravi muziku kroz komp.vise vuce na hi-fi - odnosno ja ih trenutno koristim za video opciju - gledanje/slusanje filmova.

SMWTMS MEETING - MARCH 13, 2010 The Linkwitz Challenge draws a large crowd of 33, including Jim Hayward from Toronto and Robert Thompson from Seattle. Left to right in the 1st row Jim Snyder (red shirt), Steve Eberbach, Marshall Grimm, and Bob Klacza; in the second row Jim Hayward, Gary Shapira, Jim Tashjian, John Headapohl, Bruce Beyer, and Ron Burk, in the third row Gary Seguin, Kurt Lyons, Bob Bellair, Alan Paul, Josh Burton, John Budrys; and in the "balcony" Arny Krueger, Dan Field, and Tom Nousaine. The view from the "balcony" as Gary Eickmeier demonstrates his Image Model Projector to the the group and the attentive ears of Australian Shepherd "Aussy". Dave Clark reports the status of the Sigfried Linkwitz Challenge to the AES. To the right above the Eickmeier speakers hangs one of the Behringer Truth B2031A reference "box" speakers. Just barely visible behind the tripod is one of the Linkwitz Orion speakers, which later were positioned under the Behringers. Dave Clark shows James Johnston's illustration of the workings of the human ear to help suggest what might be most significant in the investigation of what factors are necessary or sufficient for local acoustics, such as a home listening room, to disappear, and the sound of the original concert hall be heard. David unveils the summary of the scoring in preliminary testing showing a tongue in cheek correlation to the alphabetized first names of the listeners. Bruce Beyer auditions the test set up, comparing the Behringers to the Orions behind the acoustically transparent curtain. http://home.provide....st/20100313.htm

ovo ?? http://www.mitrosmus...1P-CENA-ZA-PAR/ o ovim zvucnicima pricate ???!! pa ja imam ove zvucnike - drzim ih u dnevnoj sobi kao zvucnike za komp. focal/cabasse jedu ih na sve moguce nacine - kakav orion