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Trenutno na gramofonu ...


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Pda, Hammond.
Nesto slicno kao i u ovom nasem hobiju . . . . oni "pravi" su bili sa cevnom apmplifikaciom. Posle su se pojavili ovi "novi" sa trandzovanima ( u ovoj grupi je i ovaj "nesretni" X5, mada bih ga i tako "nesretnog" i danas rado posedovao ).
Model koji je bio pojam onomad i danas je Hammond B-3, tzv. "B trojka" sa sve noznim pedalom. Msm, ima ga i C3, M 100, pa "seceni" M 100 itd., itd. . . . 
Medjutim, ima tu i jedna "gadna" klavijatura iz toga vremena, a da nije Hammond. Farfisa Professional. Nice sprava. :wub:
 
 
Evo@Doktor setih se kontemplacije od pre par godina kad sam naleteo na ovo:


https://www.matrixsynth.com/2020/10/yes-rick-wakeman-synths-for-sale.html?fbclid=IwAR20f5_B_x83W4CgoLKttabE09taJNDZYMiWDyQTy7n4K1RWSx6wo6hD4t0&m=1
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18 hours ago, prophet said:

Uhhhhhh . . .  koja kolekcija. :rolleyes:

Ne vidim na ovom spisku master keyboard Cheetah 7P ?

Posedujem istu koju sam pre nekoliko godina popazario na Limundo-u za neku smešnu cifru ( beše klaviatura u ZR, @Eci pripomogao oko inspekcije i procene kvaliteta, posle @guja011 udahnuo život spravi promenom beterije koja je bila gecrkt. ).

Bila je prava muka pronaći manual za funkcionisanje i programiranje uredjaja, ali srećom, na jednom od keyboard foruma pošaljem upit, te mi jedan od vlasnika 7P iz UK prosledi mail-om manual.

Eno je klavijatura konzervirana, spremljena, čeka neke bolje dane da se zakači par modula ( ESI 32, Korg Piano, Roland Sound Canvas etc. ). :)

http://www.muzines.co.uk/articles/cheetah-master-series-7p/135

Btw, ovu master klavijaturu je Rik koristio na povratničkoj turneji Owner of the Lonely Heart.

 

Cheetah 7P.jpg

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  • 2 nedelje kasnije...
On ‎3‎.‎9‎.‎2020‎. at 14:58, paja959 reče

puj,puj,da se ne ureknem,narucih sad-reizdanje,Pharoah Sanders "Pharoah" :jamaica:...polovne cene ovog su isle i 4-500US u zadnje vreme :diablo:..uzimao sam vec ovog prodavca,ima extra duguuu isporuku u slucaju CDova,ke vidime sta ce bidne od ovog....:D

 

"Hello there, Firstly, thank you for your email and purchase from us. We are very sorry to hear that your order has not arrived within the estimated delivery time, set by eBay. Please be assured your item was dispatched from our UK warehouse on 04/09. We are disappointed to hear it hasn’t arrived yet. As it has been some time since your parcel was dispatched, we have decided to send you a replacement. This will be shipped in the next 24 hours and should be with you in the next 5 – 15 days. Please could you keep us updated when your order arrives. Additionally, if you end up receiving two copies, could we ask that you kindly let us know. Customer satisfaction is of the highest importance for Rarewaves and we thank you for giving us the opportunity to resolve this directly with you. If there is anything else we can assist with, please just let us know. Best regards, Olaya Customer Care Team Rarewaves "

B)

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18 minutes ago, paja959 said:

"Hello there, Firstly, thank you for your email and purchase from us. We are very sorry to hear that your order has not arrived within the estimated delivery time, set by eBay. Please be assured your item was dispatched from our UK warehouse on 04/09. We are disappointed to hear it hasn’t arrived yet. As it has been some time since your parcel was dispatched, we have decided to send you a replacement. This will be shipped in the next 24 hours and should be with you in the next 5 – 15 days. Please could you keep us updated when your order arrives. Additionally, if you end up receiving two copies, could we ask that you kindly let us know. Customer satisfaction is of the highest importance for Rarewaves and we thank you for giving us the opportunity to resolve this directly with you. If there is anything else we can assist with, please just let us know. Best regards, Olaya Customer Care Team Rarewaves "

B)

Uredno se prijavljujem za primerak koji putuje očigledno malo kočijom, malo peške. :)

Siguran sam da to stiže u narednih metar dana. 

 

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Pre sat vremena, Doktor reče

Uredno se prijavljujem za primerak koji putuje očigledno malo kočijom, malo peške. :)

Siguran sam da to stiže u narednih metar dana. 

 

:loleverybody: Ok,ne znam socim putuje,al izgleda da je podmornica negde potonula sa prvim primerkom izmedju UK-SWE pa dalje na relaciji SWE-HUN ...jerbo cudna logistika prodavca,al je izuzetno korektan,uzimao sam vec vise CDova od njega,jeftino al malo duza isporuka,al ovo je prekardasilo norme ajd da kazem unutar EU-a..

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  • 2 nedelje kasnije...

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 :jamaica:

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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 :matrix::shinymj5: ),treba i njega okrenuti nekad da ne zardja,pa na svoj gram posle toga :jamaica:

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7 hours ago, paja959 said:

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 :matrix::shinymj5: ),treba i njega okrenuti nekad da ne zardja,pa na svoj gram posle toga :jamaica:

Nisam mozda dobro shvatio ... Mission 774 je rezerva SME 3009S2 ?

U tom periodu, 774 je najbolje ocenjena rucica , u odnosu na Grace 707, SME mk3,a pogotovu od S2.

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10 hours ago, Aoxomoxoa said:

Nisam mozda dobro shvatio ... Mission 774 je rezerva SME 3009S2 ?

U tom periodu, 774 je najbolje ocenjena rucica , u odnosu na Grace 707, SME mk3,a pogotovu od S2.

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)..

:hi:

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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.



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