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ostensiblynone · 4 months ago

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Melody Maker, 1st October 1994 Page 54 and Page 55 CONTROL ZONE: HI-TECH LOW DOWN Edited by Tony Horkins

AS salvage jobs go, Oasis' debut, "Definitely Maybe", is an extraordinary achievement. Within days of its release it had waltzed into the history books, becoming the fastest selling independent debut in UK history, with advance orders totaling 100,000. Recorded at a total cost of £75,000 using seven different studios, the album betrays few of the problems that dogged its tortured seven-month gestation. "Recording an album should never have been this difficult," reflects Noel Gallagher. "I was busy telling everyone it was the greatest record ever made but it was sounding like shit."

DECEMBER 17-20, 1993 "Supersonic" recorded and mixed by Dave Scott at the Pink Museum, Liverpool, Mark Coyle producing. The first Oasis single, the track was later re-Eq'd for the album.

Dave Scott: "Anthony from The Real People came down to the studio and asked Noel what he was doing pissing about writing indie shit when Oasis were supposed to be a rock'n'roll band. That's when "Supersonic" was written. Noel just started on the riff and they did it first take with him shouting the chord changes to the band as he went, and rapping lyrics off the top of his head which Liam later sang. That line ' know a girl call Elsa, she's into Alka Seltzer'— that was about my Rotweiller dog that kept farting. She's famous for it. The whole thing took eight hours from start to master. We had a very live set-up — 57s, 414s and 58s on the guitars and loads of level to tape. Noel's guitar sound is mostly room ambience."

Mark Coyle: "They had this f—in' brilliant old custom EMI Neve desk in at the time. It was like the old Abbey Road desk, and the EQ section was amazing — huge knobs, chunky faders and everything but the 1028 EQ section was great."

Noel: "The song just came out of nowhere and I knew it was a f—in' classic single as soon as we'd finished."

JANUARY 8-23, 1994 Monnow Valley Studios, Residential studios, Monmouth. First attempt at recording the album tracks. Producer Dave Bachelor, engineers Dave Scott, Mark Coyle, Anjali Dutt. (Trident TSM 40 desk, Studer 24-track Dolby AM series, JBL monitoring, Urei 1176 Limiters, Trident parametric EQs, AMS and Lexicon PCM 70 reverbs).

Noel: "The problems started almost from the beginning. It wasn't with the band, apart from our drummer, who's Ringo Starr incarnate and can't keep time to save his f—in' life. Dave Bachelor was trying to be clever. We're a rock'n'roll band and he was separating everything out, doing it clean and it was sounding too produced."

Mark Coyle: "It was a simple case of conflicting ideas between producer and band. The band weren't blameless, mind—they were using a lot of unfamiliar gear just cause it was there…amps, preamps, gadgets and guitars that Johnny had lent Noel. It ended up sound like just another indie band doing Oasis songs. Dave just wore everyone down to the point where the band clammed tight shut and the communication wasn't happening. He had everyone set up in their own area, separated and out of eye contact and he lost the feel. After the first week, when it was obvious it wasn't working, we moved everything into a smaller area of the studio and tried again."

Dave Scott: "I knew it wasn't working. Bachelor rubbed 'em up the wrong way and he wasn't spending enough time on the sounds themselves. When Liam dared to suggest that what he was doing sounded crap he freaked out. With what went down that day he was lucky not to have his nose broken by the band.

"The set-up itself wasn't that bad, though. We had a good selection of 57s and 58s on the kit, Noel's WEM Dominator amp sounded f—in' great, which we miked with an AKG 414 close up and then another to capture the room. We also used the Marshall JCM 900, I recall. The bass was Dld and the Ampeg amp was miked with a U47, and that went down really well. Bonehead was using my old Gibson SG, same one he'd used on 'Supersonic', and then his Epiphone semi. Noel was using his Epiphone Les Pauls and a few of Johnny Marr's guitars, including a Flying V which he used on 'Slide Away', I think. Although 'Slide Away' has Dave's name on it on the production credits, I remember him trying to slow it right down. His original version sounded very bombastic, very Pink Floyd, like 'Comfortably Numb'. Noel asked my opinion and I said they should play it at the speed they had when they first wrote it."

24-27 FEBRUARY Olympic Studios, Barnes. First attempted mixdown of the Monnow Valley tracks. Finished mixes included "Bring It On Down". Sessions abandoned after four days.

Mark: "The sound was piss weak at the mix. The guitars in particular had all the life squashed out of them. When we'd done monitor mixes at Monnow, Dave was saying we could fix it all in the mix and I think we all knew it was a more fundamental problem than that."

Noel: "I was arsed. I knew it wasn't right but I was that fed up with it all I'd begun not to care. I know that a song never comes out on tape the way it sounds in your head, but these mixes were so wide of the mark it was a f—in' joke. The demos were better."

Marcus Russell: "I listened to the mixes and it was sonically weak, like it was recorded 40,000 leagues under the sea. Dave Bachelor had neutered the band. 'Bring It On Down', the first mix, was almost bled to death. I said to Alan McGee (Creation records boss), 'F—, we've got problems.' He agreed, so did Noel and on the 27 February we abandoned the mix and went back to record the tracks again at Sawmills. Mark was perfect for the production, because he knew the band and their music from being their live engineer for so long."

Noel: "The only track that survived from the Monnow sessions was 'Slide Away', and that's because the performance was that special we knew we couldn't better it. Our Kid's vocals were never going to happen that way again."

23 FEB-4 MARCH Sawmills Studios Cornwall. (Trident Custom 80B with fader automation, Otari MTR 90 24-track AMs DMX, Yamaha Rev 1, Lexicon 480L PCM 70, Fairchild compression, Urei 176, Trident parametric EQs).

Mark: "Because I was their live engineer I knew we had to 'capture' this band rather than produce them."

Noel: "Talk about being isolated! sawmills is miles from f—in' anywhere — you had to get there by boat when the tide was in. We needed to get away from Manchester, London or Liverpool because of the distractions. We had all the tracks done and overdubbed inside 10 days, just whacked through them every day until we had the right takes."

Mark: "They had this amazing Trident console in there, an old series 80B (54-24-24) that had just the best EQ section ever, a load of those old Fairchild valve compressors and Neve limiters, and it just seemed to have a better vibe to it. My approach was to just set them up like they are when they rehearse or play live, where they can see each other, get that vibe going between them and power up."

Noel: "It was f—in' loud in there, no one had headphones on, we just blasted it out. I still have the ringing in my ears."

Mark: "There was total bleed from tracks and you got guitar on the drum mics and drums on everything, but who the f— cares? I'm a fan of that approach, the big fat analogue sound they used to get on Small Faces or Beatles records. Most stuff went to tape with plenty of level with a little EQ on the drums but essentially flat."

Noel: "Once the rhythm tracks were sorted I overdubbed all the guitar parts ane had a laff. We just put loads on there cause the ideas just kept coming."

7-8, 11-13, 16-22, 24-25 MARCH First mixdown of Sawmills sessions at Eden studios, London. Mark Coyle producing, Anjali Dutt engineering, Simon Wall assisting (SSL 4060E with G series Onboard, Total Recall, Studer A 800 24-track with Dolby 361s. Monitoring Quested 2X15s, AR18s, Yamaha NS10s and Auratones. Lexicon 480L, AMS RMX 16 Reverbs, Urei limiters, Drawmer gates and 1960 Valve compression). Mark: "I don't like SSLs much, I prefer a group of people around the faders working the desk and the sound of a good warm EQ section. SSLs make everything sound a bit weedy cause you lose quite a bit of signal in the EQ stage. The reason we went there was because Anjali [Dutt] knew it and had her favorite EQ with her from Battery studios."

Despite the quality of the performances Mark Coyle had captured at The Sawmills, The Eden mixes still proved unsatisfactory.

Marcus Russell: "Some of the vocals were a little shaky but I knew the performances were essentially there, they just needed sorting out. That's where Owen Morris came in. I knew him from his work with Johnny [Marr] and Electronic, and if anyone could sort it out he could.

Twenty-six-year-old freelance producer/engineer Morris is credited as the man who turned things around. His mixes of the Sawmill sessions make up the majority of the album. They include "Rock'n'roll Star", "Cigarettes & Alcohol", "Shakermaker", "Live Forever", "Up In The Sky", "Columbia", "Bring It On Down", "Sad Song", "Digsy's Dinner" and the remix of the original "Slide Away".

17-18 APRIL Out Of The Blue studios Manchester (TAC Magnum desk with Otari 24 track.) "Shakermaker" original Mark Coyle demo recording and "Cigarettes & Alcohol".

Mark: "'Shakermaker' is the original demo tarted up. It had such a brilliant feel we couldn't think about doing it again. No gate and none of this limiting bollocks on there, just maximum sound to tape."

23-24 APRIL Mixes of "Rock'n'roll Star" and "Columbia" by Owen Morris at Loco studios Wales.

2-3 MAY Final weekend of mix of the album's remaining tracks at Matrix, London. Owen Morris producing/engineering. Marcus Russell spiritual guidance and booze monitor.

Noel: "There comes a point where you just have to trust people. We were off on tour, rehearsing and the whole thing in the press was just going mental."

Owen Morris: "I just finished it all off really. I'd heard some of the monitor mixes of Monnow Valley stuff and it's best described as pretty strange. The Sawmills mixes were every odd too, still trying to be too clever. Things were gated and tidied up. It was very un-Oasis. I mixed 'Rock'n'roll Star' and Columbia one weekend, got Liam in to re-do the vocals and they loved it. We mixed the rest of the album in four days at Matrix!

"The biggest problem was the guitars. Noel would fill 10 tracks with stuff all the way through. If you put all the faders up it was a real mess. But by this time the band were that fed up they couldn't be arsed about which one to use, so I acted as producer and did it myself. I just got stoned and worked on arrangements. As you can tell from the album I go for the old Shel Talmy technique and compress the f— out of everything. The most obvious example of that is 'Columbia'. I put tape delays on the kits with a kind of Phil Spector or a Tony Visconti sound in mind. He had a great way of placing sounds, especially guitars. I ripped him off as much as I could, especially on Columbia.

"The actual set-up was pretty much the same for each track. In Loco there was an Amek Mozart and I hired in an Excel compressor and Mini Moog, which we used as a crude filter circuit. It takes off all the top so you just end up with a really fat bass sound. I used an A3 for a Leslie effect and a Lexicon to pitch change and basically shit-loads of compression on everything. The only real effects are imaging programs, stereo shifters and stuff to spread the guitars out. I ended up using a DSP 4000 on the vocals, and it sounded f—in' amazing. Myself and Liam actually took a weekend to re-do the vocals on five tracks—'Cigarettes & Alcohol', 'Bring It On Down', 'Up In The Sky' and a couple of others, using an old pencil-thin AKG that was apparently used on 'Sergeant Pepper'. That mic was perfect because it had natural compression. His voice went flat to tape through the DBX 160. On Liam's voice I put a little bit of anything that happened to be hanging about. There was very little EQing, though, except when I used the DSP 4000, because the anti-glitch program dulls the sound.

"The only real problems I had with the actual performances was the groove on the drums. The drumming was okay—he kind of starts then stops at the end of the song, but sometimes it lacked groove and he hasn't got a great sounding drumkit. I used a lot of subliminal tape delays on a Revox, eighth delays to create movement. As for Bonehead's rhythm tracks, he was brilliant on every single one! Unbelievably tight and solid to the point where you didn't worry about his stuff at all."

"'Cigarettes & Alcohol' was the last mix I did. I confess, I was that drunk and stoned at the end I just put the tape on and stuck the faders up, hence all the noise."

22 JUNE "Sad Song", the bonus track on the vinyl, recorded and mixed at The Windings, Wrexham by Owen Morris.

Noel: "When the vinyl cut of the album was done the grooves were so close, because of the album's length, that it didn't sound powerful enough. In the end we put it out as two 12 inches and we recorded an extra track to fill it up. I demoed the song live on a Radio 1 session then went into the studio the next day and banged it inside two hours using my Epiphone acoustics (Dreadnought 6 and 12-strings). It's my voice on there—Our Kid could never sing a song like that." (The mics used were an AKG 414 on the guitars with a B&K P48 on the room ambience, and a Neumann U87 on vocals. The desk was an Amek Mozart, the reverb was a medium room reflection on a Lexicon PCM 70).

Finally, although the exact date is lost forever in the foggy recesses of Mark Coyle and Noel Gallagher's collective consciousness, we do know the final track on the CD version of the album, the poignant acoustic number "Married With Children" was recorded in Mark Coyle's living room on a Fostex eight-track. Noel played his Epiphone acoustic, and the album was finished. . .

#oasis #owen morris #anjali dutt #marcus russell #the story of how Supersonic was written has been edited down over the years I see #as always click for high-resolution

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extraplugins077 · 2 years ago

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Lexicon PCM Total Bundle LIBRARIES

Lexicon PCM Total Bundle Mac &windows

Dive into the realm of audio excellence with the Lexicon PCM Native Total Plug-in Bundle. This comprehensive package unveils the same groundbreaking algorithms that have adorned chart-topping records over the past four decades. With a total of fourteen legendary reverbs and effects (seven of each), this bundle enriches your digital audio workstation (DAW) with indispensable ingredients for creating hits. The creative possibilities are boundless as you harness this powerful arsenal, leveraging its graphical real-time display to fuel your inspiration and enhance your workflow. Elevate your productions with access to the renowned reverbs and effects used by world-class studios and post-production houses, all within the Lexicon PCM Native Total Plug-in Bundle.

Step into a world of mythical reverbs in your studio with the Lexicon PCM Native Reverb Plug-in Bundle. Take command of seven world-class Lexicon reverbs, backed by Lexicon's more than 35 years of industry leadership in digital reverb and effects. Immerse yourself in the finest sounds through hundreds of remarkable presets. Compatible as a VST, AU, or RTAS plug-in, the PCM Native Reverb Plug-in Bundle features a visual EQ section, savable presets, and full automation support. Brace yourself for exceptional reverb quality as you integrate the Lexicon PCM Native Reverb Plug-in Bundle into your creative toolkit.

Unleash jaw-dropping effects with Lexicon’s PCM Native Effects Plug-in Bundle. This collection offers seven top-tier professional algorithms, carefully selected from Lexicon's storied history of industry-leading effects. From pitch shifting and chorus to random delays and multi-voice effects, PCM Native Effects equips you with the tools to craft truly inspiring mixes within your DAW. Experience the pinnacle of sonic quality and cutting-edge functionality. Sweetwater's dream comes true as classic Lexicon sounds are at your fingertips in plug-in format.

Experience the grand lineage of Lexicon quality with the PCM Native Effects Plug-in Bundle. Since the 1970s, Lexicon has been synonymous with world-class digital reverb and effects. The top music and post-production studios globally rely on Lexicon for the professional polish that defines their products. Whether you're tuning in to the radio or watching a Hollywood film, the unmistakable imprint of Lexicon reverb and effects is everywhere. Infuse your studio's virtual rack with the genuine Lexicon vibe, courtesy of the PCM Native Effects Plug-in Bundle."

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ddenoris · 5 months ago

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youtube

Kaija Saariaho's Stilleben (1988) expresses to me a deep discomfort with transportation and communication technologies. There is a feeling that these technologies that seem to connect us more closely may drive us further apart.

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One of the texts comes from Franz Kafka's Letters to Milena. I found the following fragment, which is included in the tape piece, very compelling.

From the composer's website (https://saariaho.org/works/stilleben):

"Stilleben is a piece for solo tape, commissionned by the Finnish Radio for the Prix Italia, and using very varied sound sources: instrumental ensemble, mixed choir, soprano, flute, and finally different noises, but with common denominators (communication, transports, travel).

Besides the unification of these multiple materials to form a musical unity, I was interested here in the idea of communication, principally in two different situations. Firstly, how a conductor communicates with his musicians during a rehearsal; with few banal words, but specially with his gestures, he creates a musical interpretation, and how these two worlds – a rehearsal situation and music in its abstraction – are foreign to each other. Secondly, I thought about the communication of separated lovers, how they communicate when the most important language, the eyes, is excluded.

I chose the texts of the piece in reference to the second theme. They are extracts from by Franz Kafka's Letters to Milena, used here in three different languages: French, English, and Finnish. These languages have been chosen because of their differences and phonetic richness. By contrast with these desesperate texts, I used also few poetic fragments of Paul Éluard.

Musically, I work here with perpetual tranformation processes, where the heterogenuous materials are melting into each other in order to form a continuity: he travel of the consciousness. This is a travel through different landscapes, but the reflection of the observer, potentially, stays the same on the train window: when light gradually vanishes towards evening, the landscape also vanishes, and the window transforms into a mirror, where the traveller then only sees his own face.

The sonic materials were recorded on a multitrack tape recorder, and transformed through different processes: computer filtering, mixing, and pitch-shifting with the Composer Desktop Atari Workstation, sampling with the AKAI S900, digital filtering and reverberation on Lexicon PCM-70 and Yamaha SPX-90. Synthesis was achieved with YAMAHA DX7 and TX816. Scores for both processing and synthesis were controlled with rhythmic interpolations calculated with the Esquisse Aid-to-composition environment developped in IRCAM for the Macintosh.

The piece was realized in the Experimental Studio of the Finnish Radio. It won the Prix Italia 1988."

Kaija Saariaho

#kaija-saariaho #experimental music #ambient #franz kafka #kafka #music #Youtube

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veworway · 3 years ago

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Elysia brainworx universal audio plugin alliance

Elysia brainworx universal audio plugin alliance professional#

Elysia brainworx universal audio plugin alliance free#

Reverb: EastWest (EW) Spaces, Waves IR-1, Softube TSAR-1, Lexicon PCM bundle, Eventide Blackhole/SP 2016 Reverb, Izotope Exponential Audio R4/R2/Nimbus/PhoenixVerb.ĭelay: Slate Digital Repeater Delay, Eventide UltraTap, PA ADA STD-1, Waves SuperTap.ĮQ: Waves API/SSL 4000 Collection/PuigTec EQs, Plugin Alliance (PA) 2098/Dangerous Music BAX/elysia museq/Maag Audio EQ4/Millennia NSEQ-2/SPL Passeq, Softube Summit Audio Grand Channel/Trident A-Range. Right now, these are my favorite go to plugins for each category (not in order of importance):

Elysia brainworx universal audio plugin alliance free#

I used to own UAD but once my PowerPCs got annihilated by a lightning strike I have yet to go back into that eco system (though I am tempted to buy an Apollo interface when I can get a free Octo Satellite and take the plunge again during UA's next sales).

Elysia brainworx universal audio plugin alliance professional#

I am also thinking of getting the new Cinematic Rooms Professional by LiquidSonics. I am strongly thinking of getting the FabFilter Total Bundle the next 50% off sale and buying the Sonnox Elite Collection now during its 50% off sale along with other Sonnox plugins like Dynamic EQ, Drum Gate, and maybe even the older Restore Bundle. Not looking for every plugin you own but what you use regularly and what you prefer over other plugins Do you still use Sonnox plugins and find them indispensable to your work flow? Do you use other plugins that you feel make the Sonnox plugins obsolete? What are you favorite plugins for delays, reverbs, EQ, compression, limiting, chorus/flanging, mastering, metering, transients, pitch shifting, special effects, noise reduction/dehummer/declicker, tape emulation, de-essing, 3D Space, sub-octave, saturation, console emulation, guitar/bass amps, etc.? I know this is talked about all over the place in so many threads, but I'd welcome everyone's thoughts on this. I see Sonnox is currently having its 50% off sale and was wondering what plugins everyone uses, which plugins are your favorites for mixing and mastering, and specifically how everyone feels about Sonnox plugins vs all the other competing brands out there.

#Elysia brainworx universal audio plugin alliance

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mysynthfetish · 7 years ago

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Wedge

Antilles? Well, no. Alesis. I’ve wanted one of these for a while, and hardly ever see them listed on the auction here in Japan. After having the unbelievably good luck to see Amulets play while I was in Oakland this past summer, and seeing a Wedge in his setup, I was like “Oh yeah, fuck, I like that.” So after returning to Japan and getting adjusted once again to the daily routine, I thought “hey let’s look on eBay and see what gives.” Found one listed as a buy-it-now for like $125, so yeah why not. Original box and manuals too. The seller mentioned that the power switch didn’t seem to wanna stay pushed in so he had taped it down. I thought yeah I can fix the fuck outta that. Anyway it arrived a few days ago, and looks and works fine, even the power switch. I took the tape off. Duct tape. Aaaaargh.

Seriously who does this? Duct tape? WHY?! A trip to the local version of Home Depot, and I found an extra-strength tape-goo remover, so I bought it and tried it out. Results were better than expected:

It cleaned up rather nicely. Anyway, the whole reason I wanted one of these in the first place was because it’s got rack quality effects PLUS sliders for easy editing all in a small portable package. It sounds pretty damn good too so that’s nice. Hey, it’s Alesis after all so I didn’t have high expectations. I’ve owned an Eventide H-3000 with the Kitchen Sink upgrade, and Lexicon PCM-70, MPX-1 (wow talk about a secret weapon, jeesh) among other things, so I’d like to think I know what quality reverb sounds like. The Wedge easily is one of the better reverbs I’ve owned when you consider how much it cost. Looking forward to using the shit out of it.

#alesiswedge #fucktrump

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elianacatie · 5 years ago

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Lexiconb Bundle Crack Free Downloadhas just released public Alpha versions of their Lexicon PCM Native Reverb and Effects Plug-ins.

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cluboftigerghost · 8 years ago

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One day on Arcturus in a dream of time. The music on this triple album was written in late summer nights of 2016 under one of the brightest stars in the northern hemisphere, Jaja´s favorite star, Arcturus. The album was made with some brand new musical gear: the RME Fireface 802 audio interface, the Lexicon PCM 92 reverb/effect processor, the Roland XV-88 synthesizer and the Allen & Heath GL-2000 432 audio mixing console.

#Space Ambient #SoundCloud #Jaja #Ambient #Space

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hellosolomusicaposts-blog · 8 years ago

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Pink Floyd Time live

Pink Floyd Time live "Time" is the fourth track from the English progressive rock band Pink Floyd's 1973 album The Dark Side of the Moon, and the only song on the album credited to all four members of the band, though the lyrics were written by Roger Waters. It is the final Pink Floyd song credited to all four members and the last to feature Richard Wright on lead vocals until "Wearing the Inside Out" on The Division Bell. This song is about how time can slip by, but many people do not realise it until it is too late. Roger Waters got the idea when he realised he was no longer preparing for anything in life, but was right in the middle of it. He has described this realisation taking place at ages 28 and 29 in various interviews.[2] It is noted for its long introductory passage of clocks chiming and alarms ringing, recorded as a quadrophonic test by Alan Parsons, not specifically for the album "Time" is in the key of F-sharp minor. Each clock at the beginning of the song was recorded separately in an antiques store. These clock sounds are followed by a two-minute passage dominated by Nick Mason's drum solo, with rototoms and backgrounded by a tick-tock sound created by Roger Waters picking two muted strings on his bass. With David Gilmour singing lead on the verses and with Richard Wright singing lead on the bridges and with female singers and Gilmour providing backup vocals, the song's lyrics deal with Roger Waters' realization that life was not about preparing yourself for what happens next, but about grabbing control of your own destiny.[2]

He (Alan Parsons) had just recently before we did that album gone out with a whole set of equipment and had recorded all these clocks in a clock shop. And we were doing the song Time, and he said "Listen, I just did all these things, I did all these clocks," and so we wheeled out his tape and listened to it and said "Great! Stick it on!" And that, actually, is Alan Parsons' idea.

— David Gilmour[4] The drums used on the Time track are roto-toms. I think we did some experiments with some other drums called boo-bans, which are very small, tuned drums, but the roto-toms actually gave the best effect.

— Nick Mason[4] According to an interview by Phil Taylor in 1994, David Gilmour had been using a Lexicon PCM-70 to store the circular delay sounds heard in "Time", which could duplicate the kind of echo he used to get from his old Binson echo unit.[5]

The verse chords cycle through F♯ minor, A major, E major, and F♯ minor again. During this section, Gilmour's guitar and Wright's keyboards are panned to the extreme right and left of the stereo spectrum. Gilmour sings lead during this section.[6]

The bridge section, with Wright singing lead, has a notably "thicker" arrangement, with the female backing vocalists singing multi-tracked "oohs" and "aahs" throughout, and Gilmour singing harmony with Wright in the second half. The chords of this section are D major seventh to A major seventh, which is repeated. The D major seventh, with the notes of D, F♯, A, and C♯, can be heard as an F♯ minor chord with a D in the bass, fitting the song's overall key. The second half progresses from D major seventh to C# minor, then B minor to E major.[6]

The first bridge leads to a guitar solo by Gilmour, which plays over both the verse and bridge progressions. The solo is followed by another verse sung by Gilmour. When the bridge is repeated, it does not conclude on E major as before. Instead, the B minor leads to an F major chord, while Waters's bass stays on B, resulting in an unusual dissonance as a transition to the key of E minor for "Breathe (Reprise)".[6]

Pink Floyd performed the song live from 1972 to 1975, and after the departure of Waters, from 1987 to 1994. Waters began performing the song in his solo concerts, singing the verses himself, beginning in 1999 with In the Flesh and again with The Dark Side of the Moon Live from 2006 to 2008. Nick Mason made a number of guest appearances on the latter tour. Gilmour has performed the song live on every one of his solo tours since Pink Floyd's Pulse tour, with the late Richard Wright sharing vocals until his death.

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freevstorrent · 8 years ago

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Lexicon - PCM Native Reverbs 1.3.7, PCM Native Effects 1.2.6, LXP Native Reverbs 1.2.2, MPX Native Reverb 1.0.5, LX480 2.0.2, VST AAX x86 x64 (NO INSTALL, SymLink Installer) [10.2016] http://ift.tt/2xBLnYA

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vidiashopnet · 8 years ago

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Nº585: ampli tích hợp tốt nhất của Mark Levinson

Nº585 là một sản phẩm đặc biệt, được Mark Levinson tạo ra với mục đích đưa nó trở thành chiếc ampli tích hợp xuất sắc nhất từ trước đến nay của thương hiệu này.

Mark Levinson là một thương hiệu hi-end thuộc tập đoàn âm thanh khổng l�� Harman, vốn là một tập đoàn toàn cầu sở hữu những thương hiệu âm thanh cao cấp đã rất quen thuộc với thị trường âm thanh toàn cầu và Việt Nam như Mark Levinson, JBL, Lexicon, Revel, Infiniti, Harman Kardon và AKG. Không chỉ dừng lại ở các sản phẩm phục vụ giải trí gia đình, Harman còn tham gia rất sâu vào thị trường âm thanh sân khấu chuyên nghiệp và âm thanh xe hơi.

Được thành lập từ năm 1972, Mark Levinson dần trở thành một trong những biểu tượng của ngành công nghiệp âm thanh hi-end với những sản phẩm xuất sắc trong trình diễn cũng như tinh tế, sang trọng trong thiết kế, chế tác. Từ tất cả những di sản và kinh nghiệm trong suốt bề dày lịch sử của mình, Mark Levinson đã tạo ra ampli tích hợp Nº585, sử dụng tất cả những gì tốt nhất mà họ có cho chiếc ampli tích hợp được xem là tốt nhất từ trước đến nay của hãng.

Mark Levinson Nº585 là một chiếc ampli hi-end được xây dựng với nền tảng công suất mạnh mẽ. Nº585 sử dụng kiểu mạch khuếch đại Class A/B, nó cho ra công suất khuếch đại 200W/kênh (8Ohms), 350W/kênh (4Ohms). Cùng với đó, nhờ sử dụng một nguồn cấp analog được chế tạo riêng biệt với công suất lên tới 900VA, cho phép nó có thể kết hợp tốt với ngay cả những đôi loa lớn và những thậm chí là những đôi loa hi-end “khó tính” nhất.

Mạch khuếch đại công suất Class A/B balanced high current hoàn toàn thiết kế kiểu vi sai (differential) được cấp nguồn từ một biến thế xuyến khổng lồ 900VA với các cuộn dây đọc lập cho các kênh trái và phải. Ngoài ra, Nº585 sử dụng nhiều các bộ nguồn tuyến tính cho mỗi kênh để giữ độ thuần khiết tối đa cho tín hiệu. Mỗi kênh sử dụng 12 con sò (output transistor) để dễ dàng đạt được công suất 200W mỗi kênh trên loa 8Ohm.

Không hề chậm trễ trong xu hướng số hóa hi-end đang nở rộ trên khắp các phân khúc sản phẩm, Mark Levinson đã trang bị cho chiếc ampli mới nhất của mình mạch giải mã tín hiệu số cao cấp với khả năng tiếp nhận và xử lý những nguồn nhạc độ phân giải cao 32bit/192kHz và cả DSD thông qua cổng USB audio với chất lượng giải mã không thua kém những DAC giải mã hi-end chuyên dụng. Với những kĩ thuật tiên phong trên thị trường Hi-End như việc trang bị thuật toán xử lý HARMAN Clari-FiTM giúp Nº585 có khả năng cải thiện tín hiệu âm thanh của mọi định dạng file nhạc nén tùy theo lựa chọn của người dùng. Điều này sẽ giúp giải quyết tốt vấn đ�� của nhiều audiophile sở hữu những hệ thống high-end vẫn muốn có được tính tiện dụng của các file nhạc số nhưng lại không muốn hy sinh chất lượng âm thanh.

Trái tim của mạch giải mã tín hiệu số là chip DAC ESS Sabre 32-bit với công nghệ khử jitter và mạch I/V (current-to-voltage) hoàn toàn balanced riêng biệt. Bộ xử lý âm thanh USB Cmedia có thể truyền bất đối xứng dữ liệu DSD và PCM độ phân giải cao ở mức tối đa 32bit/192kHz. Với tín hiệu độ phân giải thấp hơn, công nghệ Clari-FiTM độc quyền của HARMAN có thể xây dựng lại thông tin và dải tần đã bị mất trong quá trình nén âm thanh, khôi phục lại chất lượng âm thanh hi-fi thuần túy. Khác với công nghệ của các hãng khác, Clari-FiTM hoàn toàn không bổ sung equalization, bass boost hay các hiệu ứng giả tạo khác với mục đích đánh lừa, nịnh tai người nghe.

Mark Levinson Nº585 có sáu đầu vào digital và bốn đầu vào analog, bao gồm USB, optical, coaxial, AES/EBU XLR và RCA. Mạch analog input và output có cấu trúc dual-mono hoàn toàn biệt lập và đối xứng – một điều rất dễ được nhận thấy khi nhìn vào thiết kế mạch điện bên trong máy. Nº585 sử dụng các rơ-le chuyển mạch độc lập cho mỗi đầu vào analog stereo (một XLR và ba RCA). Bộ điều khiển âm lượng sử dụng mạng điện trở thang 15-bit R-2R và công tắc chuyển analog độ nhiễu thấp nhằm duy trì tính thống nhất của tín hiệu trên toàn bộ dải tần.

Nº585 cũng có một đầu ra stereo preamp/subwoofer với bộ lọc 80Hz high-pass tùy chọn để dùng với hệ thống âm thanh 2.1 kênh. Máy cũng tính hợp đầy đủ các cổng Ethernet, RS-232, IR và 12V trigger để tương thích dễ dàng với các hệ thống audio/video có tính năng điều khiển tích hợp.

youtube

Thông số kỹ thuật:

Phân loại: ampli tích hợp 2 kênh

Công suất đầu ra: 200W (RMS) (8 Ω, 20Hz – 20kHz)

Đáp ứng tần số: 20Hz – 20kHz, ± 0.13dB; 2Hz – 250kHz, + 0.2dB / -3dB

Độ méo hài tổng: <0,01% @ 1kHz, 200W, 8 Ω; <0.1% @ 20kHz, 200W, 8 Ω

Hỗ trợ giải mã tín hiệu nhạc số:

PCM: 32kHz, 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz / lên đến 32-bit;

DSD: DSD64 (SACD), DSD128 (Double-DSD) và DSD256 (Quad-DSD)

Điện áp nguồn: 100V AC, 115V AC hoặc 230V AC (mặc định)

Công suất tiêu thụ: Tối đa 1000W

Kích thước: 193mm x 438mm x 507mm

Trọng lượng: 32.6kg

Giá tham khảo: 282.000.000 VNĐ

Nguồn: stereo.vn

Bài viết Nº585: ampli tích hợp tốt nhất của Mark Levinson có nguồn tại Thiết Bị Karaoke, Xem Phim, Nghe Nhạc Số 1 Tại TPHCM.

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canchinhamthanh · 8 years ago

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Nº585: ampli tích hợp tốt nhất của Mark Levinson

Mark Levinson là một thương hiệu hi-end thuộc tập đoàn âm thanh khổng lồ Harman, vốn là một tập đoàn toàn cầu sở hữu những thương hiệu âm thanh cao cấp đã rất quen thuộc với thị trường âm thanh toàn cầu và Việt Nam như Mark Levinson, JBL, Lexicon, Revel, Infiniti, Harman Kardon và AKG. Không chỉ dừng lại ở các sản phẩm phục vụ giải trí gia đình, Harman còn tham gia rất sâu vào thị trường âm thanh sân khấu chuyên nghiệp và âm thanh xe hơi.

Không hề chậm trễ trong xu hướng số hóa hi-end đang nở rộ trên khắp các phân khúc sản phẩm, Mark Levinson đã trang bị cho chiếc ampli mới nhất của mình mạch giải mã tín hiệu số cao cấp với khả năng tiếp nhận và xử lý những nguồn nhạc độ phân giải cao 32bit/192kHz và cả DSD thông qua cổng USB audio với chất lượng giải mã không thua kém những DAC giải mã hi-end chuyên dụng. Với những kĩ thuật tiên phong trên thị trường Hi-End như việc trang bị thuật toán xử lý HARMAN Clari-FiTM giúp Nº585 có khả năng cải thiện tín hiệu âm thanh của mọi định dạng file nhạc nén tùy theo lựa chọn của người dùng. Điều này sẽ giúp giải quyết tốt vấn đề của nhiều audiophile sở hữu những hệ thống high-end vẫn muốn có được tính tiện dụng của các file nhạc số nhưng lại không muốn hy sinh chất lượng âm thanh.

youtube

Thông số kỹ thuật:

Phân loại: ampli tích hợp 2 kênh

Công suất đầu ra: 200W (RMS) (8 Ω, 20Hz – 20kHz)

Đáp ứng tần số: 20Hz – 20kHz, ± 0.13dB; 2Hz – 250kHz, + 0.2dB / -3dB

Độ méo hài tổng: <0,01% @ 1kHz, 200W, 8 Ω; <0.1% @ 20kHz, 200W, 8 Ω

Hỗ trợ giải mã tín hiệu nhạc số:

PCM: 32kHz, 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz / lên đến 32-bit;

DSD: DSD64 (SACD), DSD128 (Double-DSD) và DSD256 (Quad-DSD)

Điện áp nguồn: 100V AC, 115V AC hoặc 230V AC (mặc định)

Công suất tiêu thụ: Tối đa 1000W

Kích thước: 193mm x 438mm x 507mm

Trọng lượng: 32.6kg

Giá tham khảo: 282.000.000 VNĐ

Nguồn: stereo.vn

Bài viết Nº585: ampli tích hợp tốt nhất của Mark Levinson có nguồn tại Thiết Bị Karaoke, Xem Phim, Nghe Nhạc Số 1 Tại TPHCM.

0 notes

mysynthfetish · 8 years ago

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HR-MP5 Encoder Fix

Aloha, fellow prisoners of planet Earth. Well, in this age of Drumpf and Brexit and all the other nonsense, I sure do feel like a prisoner sometimes. If I could get them to stop the planet and let me off, I damn well would. But I digress..

I’ve had a Sony HR-MP5 collecting dust here for maybe more than a year now. I was using it quite a bit before I moved all the gear into the current ‘lab’ room, but it got set in a pile of half-rack gear and forgotten. It didn’t help that I went through a pedal-crazy phase during which I unloaded ALL of my rack-mount effects processors. Some of the devices I parted with include an Eventide H3000-D/SX (with the Kitchen Sink upgrade), a Lexicon PCM-80, a Lexicon MPX-1, a variety of Sony DPS units, and so on. Some of you may be saying “What? You got rid of a freaking H-3000? PCM-80? FOR PEDALS? Have you gone completely mad?!” Well, not any more mad than I already am. See, the thing about the pedals is that technology has developed/progressed in such a way that pedals are now capable of simply amazing effects, and at staggering quality. The pedals I favor at the moment are: TC Electronics Trinity, T2 and Nova Modulator; Hotone Xtomp, Red Panda Particle, Strymon Timeline and an Eventide Space. The only two rack effects I still have are the HR-MP5 and an AKAI EX90R. Seriously, the Space is easily just as good if not better than the H3000. Obviously it has far, far fewer algorithms but for what it does have, it is SO good. Right.

So back to the HR-MP5. The main reason I haven’t been using it is because the encoder is jumpy to the point of being unusable. And, since the encoder is the only way to recall programs, well... Yeah of course I could send MIDI program change messages, but since I have a real distaste for using a computer as part of my setup, it’s more of a bother than it’s worth. So the poor thing sat under an FB-01 for far too long, until tonight, when I decided spur-of-the-moment style to open the fucker up and see if I couldn’t fix the encoder.

I posted here about a Novation Nova II X that I acquired, I’m sure. It had two jumpy encoders, so I disassembled them, cleaned the lubricant out (it had started to solidify), and after it was all back together waddaya know it worked good as new. How much harder could it be with the HR? Well...

Here’s the encoder housing. The center knob is the actual encoder part, the outside black ring is the business end of the jog dial. Not visible in the photo is the underside of the unit. There are 8 pins that needed to be desoldered from the PCB, then four small tabs that thad to be straightened out before the metal part visible in the photo could be carefully lifted off. There were three latch-type snaps that held the housing onto the plastic body of the assembly, and those just needed some gentle prying up before they came right off.The parts of the assembly then were easily removed. There was the jog dial part, a grey disc-like thing with tracks for the jog dial, and then a large black skinny thing that was the knob for the encoder. They all have to be oriented in a certain way, so I was careful to set them down in a way that I’d know which end was up and could easily reassemble the thing when the time came to do so. Cleaning the lubricant out was simple. Q-tip and denatured alcohol. I also gently tweaked the wiper elements on both the encoder and the jog dial so they’d make proper contact. Then it was just a matter of careful reassembly, re-soldering, and testing. Worked perfectly. 20-minute job. Now I’ve got the JU-06 run through it and am easily recreating the sounds and moods from the following video:

youtube

He has the Juno-60 on Manual the whole time, so copying the patches is super easy. The JU-06 nails this sound too, almost flawlessly (the only thing lacking is polyphony). Such a lush, dreamy atmosphere. Nails the experience I had running a Juno-6 though the HR (when I still had the Juno-6).

And now a shameless plug for a project of mine. One of my alter egos is a project that I call Chandlerism, which exclusively uses old Yamaha four-track cassette multitrack recorders and homemade loop tapes to create ambient/drone atmospheric stuff. I haven’t really been in a creative state of mind since the new school (work) year started in April, thanks to being just totally slammed with a brutal schedule (I have to teach 27 classes a week, so I have basically zero time to plan or look back on lessons, or do much of anything else actually). In any case, why not check it out, you might dig it.

https://chandlerism.bandcamp.com

See ya.

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