stein

E mi drago, e mi milo da vidim da neko ovde nešto radi konkretno a da ne zadeva kavge i ne politizira... Mentok, svaka ti čast! !

http://www.youtube.com/watch?v=F-GE9Uz8mwYhttp://www.youtube.com/watch?v=Lwng0iRlj0Yhttp://www.youtube.com/watch?v=gdL7bWjDmLE

http://www.youtube.com/watch?v=D_mLRxNsObohttp://www.youtube.com/watch?v=IZy0MFTrW70

Podmazivanje?

Onomad mi zapeklo šurnaes' pločica pa nikom nije trebalo... Jes', vremenom sve to malo po malo otišlo ali sam se setio sebe i svog izraza lica kada sam shvatio da imam tih pločica za trinaest života...

(sorry - bilo jače od mene...)

Naravno da se može praviti... Od davnina čuvam neke egzemplare, sa idejom kao, praviću... pa ništa... Ovo sa menjažom mi baš dobro došlo, a pride sam zafatio i jedan sasvim korektan stereo amp koji jest ostao bez instrument table, ali će zato uz dodatak parčeta alu limene ploče na mesto instrumenata biti vraćen u upotrebljivo stanje :)Hteo sam malo i da trabunjam na račun pozicija 0dB na instrumentima, na ovima je 0dB malkice na drugačijoj poziciji od standardno rasprostranjenih pa ću malo i da procunjam šta i zbog čega...

Onda nas ima dva...

Gledao sam te Monacore, ali pošto je budžet bio "trampa ili ništa", a i imam one tvoje koji su značajno dimenziono manji (manji od HMA ali veći od Monacora), potom mora da se rastavi i prerađuje... Ovo kako rekoh, ispade k'o budali šamar...

Rizikujem da me se opljuje zbog "fotošopiranja" ali svejedno... Evo ideje koja je u razradi... Voleo bih kada bi već sve bilo izrezano, oglodano i izbušeno, ispolirano, ali... nije, pa za sada samo matematiziranje pre nego se sve stavi na glodalicu da se izbuše rupe. Hladnjake, VU metre i prednju ploču imam, imam i trafoe pa mi sleduje konkretni dizajn ostatka kućišta... (prednja ploča na slici je prozirna da se vide gabariti VU metra - rupa 280x70mm)Nadam se da ću uspeti da izvedem majmunizaciju sa plavim osvetljenjem sa strane gde su nekada bile sijalice, postoje štampane pločice, prihvat i neka vrsta prizme kroz koju se svetlost preusmerava da osvetljava celu prednju ploču... Na fotografiji se baš i ne vidi, ali za razliku od većine VU metara, ovde oznake nisu štampane na pozadinu nego na zadnju stranu prozirne prednje providne ploče... Sledeća slika sa led diodama (ako bude uspelo kako planiram)

Ajd, rekoh, da otvorim temu, nezavisnu od samog uređaja u kojem bi se VU metar primenio... Većini samograditelja, cenim, osim estetski lepe prednjice, jednostavne i diskretne, ništa više i ne treba, sva se preostala energija (i sredstva, dakako) preusmeravaju u kvalitet samog pojačala, napajanja, konekcija itd... Nekolicina pak, uključujući i malenkost mi, voli neku "dinamičnost", da se nešto "dešava" na toj prednjoj ploči...Jedan od načina da se prednja ploča pojačala "razigra" je ugradnja analognih VU metara. Mene je to od vremena kada sam, još kao klinac, izlazio u prve kafiće (tada su uglavnom u imenu imali zvučni dodatak "Bar" - "Crveni Bar", "Plavi Bar" itd) i blenuo u fabulozne, ogromne JBL kutije i pojačala sa ogromnim srebrnim dugmićima i panel cajgerima strašno fasciniralo... Već odavno ne izlazim po tim mestima koja danas više i nemaju takve zvučnike, sve je nešto posakrivano po ćoškovima, nema đuskanja u večernjim satima dok sa decom proveravamo da li je domaći urađen za sutra i da li su zubi oprani, nema više polica na kojima se kinđure fabulozni Marantzi i Techniksi zbog kojih sam balavio...Ajd rekoh, da vidim, šta se može odraditi u kućnoj varijanti, čisto da udovoljim svojoj nostalgičnoj potrebi da blenem u cajgere...Pretraga je dala prilično interesantne, ali i skupe rezultate.http://www.aliexpress.com/fm-store/208837/211068331-497952663/HIFI-Export-to-Japan-high-precision-VU-meter-pre-amplifier-DB-Audio-power-level-meter-sound.htmlSa desne strane, lepo piše crvenim "Can not deliver to Yugoslavia" (biće da pojma nemaju šta se ovde dešavalo u protekloj deceniji) a i cena od preko 30 dolara po komadu baš i nije nešto prijateljska...Ima lepih primeraka, velikih, taman za prednju ploču veličine 200x440mm, ali, kako rekoh, avaj... cena je .... Nije mi mnogo šta drugo preostalo nego da se kao i uvek do sada, snađem kako znam i umem...I tako sam lepo bio strpljiv i čekao, čekao i ... dočekao... :)Natrčao po veoma dobroj ceni, još boljim uslovima (zamena moguća) jedan stari Hitachi HMA-G2 (mlađi, manji i značajno jeftiniji bratić HMA-8500MkII) i nakon zamene (trampe) i provere ispravnosti, izvadio iz originalnog pakovanja ovo:Trenutačno radim na tome kako izvesti prednju ploču sa otvorom (detaljisanje oko dimenzija) a samo povezivanje ne bi trebalo da bude neki problem. Najlepši detalj je činjenica da nije u pitanju klasičan VU metar sa dB skalom, nego je skala sa vrednostima u W/8oma. Pretpostavljam da ovaj moj cirklotron može da proizvede tih 60W ili bar blizu toga pa je VU metar legao k'o budali šamar... :)Eto, toliko...

Kad smo već kod klasike... Jedni od mojih omiljenih izvođača, Il Giardino Armonico (ko je slušao, zna o čemu je reč, hint: Vivaldi 4 godišnja...) Elem, dočepah se jedne fine kolekcije, štono kažu po engleskom, "yet to be heard"... http://www.amazon.co.uk/Giardino-Armonico-Anthology-11cd-Set/dp/B000FQITXE " The release of this box set of recordings by Il Giardino Armonico coincides with the ensemble's twenty-first anniversary and gives us an opportunity both to review its achievements and to assess just how vital a part it plays in contemporary musical life. In the second half of the twentieth century, the modern symphony orchestra gradually lost ground in the performance of Baroque music to the leaner, more deft approach of the chamber orchestras, many of which rejected the dominance of the conductor in favour of more democratic music-making. Performances of Bach and Handel became lighter and more transparent; the glories of the Italian Baroque were rediscovered; and the Vivaldi boom got under way with the first "hit" recordings of The Four Seasons from I Musici and The Academy of St Martin in the Fields. It was inevitable that the philosophy of the "early music" movement, which had until then addressed medieval and Renaissance music, would find its way into performances of late-seventeenth and eighteenth-century music. A new collegiality between musicologists, editors, instrument-makers and performers began to yield fresh insights into the performance of music that was part of the standard repertoire. For all its historicity, this was a natural evolution, essentially a modern approach to the challenge of restoring old masters to vibrant life. In the vanguard was Teldec's "Das Alte Werk" series, whose huge investment in artists such as Gustav Leonhardt and Nikolaus Harnoncourt brought the excitement of this approach to a vast audience. A pool of increasingly virtuosic players evolved, whose mastery of old instruments was the equal of that of their counterparts in the great symphony orchestras. For a time, historical performance practice was violently attacked by critics who saw it as an unwelcome intrusion by "dusty" academics into the "real" world, but imperceptibly, over time, barriers crumbled. Nikolaus Harnoncourt appeared with the Royal Concertgebouw and the Vienna Philharmonic, while "mainstream" conductors like Sir Charles Mackerras and Sir Simon Rattle began to receive invitations to conduct orchestras such as The Orchestra of the Age of Enlightenment. Mutual antagonism between the two camps gave way to mutual respect. It was into this state of relative equilibrium that II Giardino Armonico arrived in 1985. The ensemble was founded by Giovanni Antonini (recorder and musical director), Luca Pianca (theorbo/lute) and Paolo Beschi (cello), who assembled a group of adventurous graduates, joined in a quest to discover where the "early music" approach might lead them. In 1987 Enrico Onofri became leader, and the group gradually expanded so that it was able to produce an orchestra of thirty for opera and concert performances. The timing was perfect. The major battles had been fought and won. The arguments for and against period instruments had become irrelevant. The big question now was how to make historical awareness less of an end in itself and more of a means to an end. Up to that time, historical performance practice had not developed in Italy to the extent it had north of the Alps. Il Giardino Armonico would soon change all that. In Italian Baroque works particularly, the members of the ensemble wanted to bring out the chiaroscuro and theatricality of the music, reflecting the historic primacy of opera in Italy. A profound study of historical sources revealed the importance of articulation in music, closely allied to the art of rhetoric and the cadences of the human voice. This brought to their music-making an instinctive understanding of Baroque musical "affections" or moods and temperaments. The result is a style which Antonini has described as "quite distant from the inappropriate and dry style proffered by some ensembles, particularly by some English and Dutch groups". The members of II Giardino Armonico never forget that the musicians who played for Vivaldi, Bach and Handel knew a lot more than they do, that careful study can establish parameters, but that rules are essentially liberating. Antonini has remarked on the largely lost and elusive art of improvisation and embellishment. In the spontaneity of their music-making, this art is revived. At the core of their work is a passionate search for ever more truthful - because creative - modes of expression, informed by knowledge and experience. Two contrasting works included here may perhaps stand as exemplars of the special qualities of Il Giardino Armonico. Another Four Seasons? Well, to listeners familiar with presentations of Vivaldi as a pretty, tinkly composer of harmless background music, this performance is like revisiting a much-loved painting after restoration: startling, unsettling, riveting. Aside from the individual virtuosity displayed, there is the astonishing range of colour, from stark brilliance to the subtlest shadings. Dynamic contrasts can be sudden and violent or infinitely subtle. These players are not afraid to grab the music by the scruff of the neck, or to allow it to float off in something like free fantasy. Hence the almost operatic force of this performance. This is the authentic voice of the Italian Baroque - dramatic, vivid, extreme, rhetorical. In the Brandenburg Concertos we have the same approach translated into a different musical language. The Italian and French accents of much of the music are clearly enunciated, but the players leave dogma behind to get inside Bach's mind. Listeners used to the plush sound of orchestral strings in this music will be startled to find the strings balanced evenly with winds and brass. The thrilling natural horns in No.l (devilish to play) lend a fresh, open-air quality to the music. No.2, so often treated as a showpiece for high trumpet, emerges as a subtle interplay of two equal pairs of solo instruments, trumpet and oboe, recorder and violin. In No.5 the orchestra revels in the playful seriousness of Bach, and in No.6 the absence of violins does not, as so often, muddy the waters, but instead yields a transparently warm lyricism. Throughout, the inventiveness of continuo instruments such as the theorbo lends a magical spontaneity to the flow of the music. Among the most exciting contributions of II Giardino Armonico have been their forays into the less-familiar areas of the Italian Baroque, casting their nets far beyond the somewhat over-fished Venetian lagoon. In 1994 a CD of music by Neapolitan contemporaries of Bach (CD 2 of this collection) shed an entirely new light on a fascinatingly different musical culture. Composers such as Durante emerged as strongly individual voices, while Domenico Scarlatti appeared for once as something other than a composer of keyboard sonatas. One of Il Giardino Armonico's most attractive qualities is their endless curiosity. Every new achievement gives rise to fresh questions. So having forged an utterly modern approach to Vivaldi and his contemporaries, they began to go back to the music of the preceding generation with composers such as Uccellini, Rossi and Merula, whose work can be found on CD 1 of this collection. Appropriately for an ensemble which highlighted the theatricality of Italian Baroque orchestral music, Il Giardino Armonico has also, to an extent unrivalled by just about any other period-instrument ensemble, moved into the opera house. Their performances of a wide range of opera from Monteverdi to Handel and Pergolesi, not to mention a spectacular collaboration with Cecilia Bartoli, have created tremendous excitement. What of the future? One thing is certain. They will always be at the cutting edge in the endlessly fascinating evolution of music-making, taking their audience with them on adventures full of surprise and delight." - John Kehoe (John Kehoe is a former Deputy Chairman of the UK National Early Music Association). Antologija na 11 CD ploča. Cijena? Sitnica. (ko zna malko da čita po ruskij...)

Hvala lepo. Do uveče ne smem da se pokrećem na DL (kod nas je tri kompa u kući a svega 1Mbps) pa me samo zanima je li čisto audio ili audio/video zadovoljstvo? Po veličini fajlova pretpostavljam da je ovo prvo...

Sačekaj malo, mislim da se od poslednje pretrage ipak nešto desilo na rutrackeru. Kad stigne do mene, proverim pa ti javim...

A ovo... ovo samo kad bih negde našao u punom kvalitetu... :(

Elina Garanča i Anna Netrebko (takođe odličan album, kako po pitanju izbora numera tako i interpretacije i "štimunga" albuma)

Juče išlo na bis... " There's nothing Latvian mezzo Elina Garanca can't do in the bel canto repertoire, as far as I can tell -- her hauntingly dark voice, her amazing range and vocal agility, as well as a musical intelligence that comes across blazingly clear in her interpretations, makes her ideal for just about anything Rossini, Donizetti and Bellini can throw at her. This album for Deutsche Grammophon digs deeper into the early 19th century repertoire for exquisitely lovely and unfamiliar pieces from Rossini's "Maometto II," where Garanca is joined in the superb trio by soprano Ekaterina Siurina and tenor Matthew Polenzani. The most heart-stopping track is the romanza from Bellini's "Adelson e Salvini," which the notes say was performed from the original manuscript. Roberto Abbado's conducting of the Bologna opera orchestra is exceptionally sensitive, to the point where it seems the singer is leading the orchestra with each breath and gesture. " Record Review / Jay Furst, Post-Bulletin (Rochester) / 26. June 2009

Daklem, svi smo mi certain people, because only certain people can read this... Jest, malo morgen... Da smo tak'i pametni, di bi nam bio kraj...

Deco, ajmo dosta...

E, ako si eliminisao zvučnike kao izvor krčanja, onda je definitivno pojačalo (izvinjavam se, ali ta činjenica nije bila pomenuta u izvornom postu)...Kao što reče Tadija, hoće i tonske kontrole da prave krša, viđao sam slučajeve gde su zvučnici zduvali tokom isključivanja/uključivanja "CD direct" prekidača (obilaženja tonskih kontrola)... Trebalo bi otvoriti i sve redom, korak po korak...