سازندگان HiFi Brands

HiFi Rack

یکشنبه 2 دسامبر 2018
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براي ميز هاي فاي يه پيشنهاد خوب دارم براي دوستاني كه يه ميز خوب استاندارد با بهترين كيفيت و صدا ميخواهند.

اگر علاقه مند به خريد دلاري يك برند خارجي هستيد تنها برندي كه من پيشنهاد ميدم باكس فورنتيچر امريكاست كه قيمت بالايي داره و از چوب خالص ساخته ميشه.
http://www.boxfurnitureco.com

من هيچ برندي رو كه از چوب ساخته نميشه اصلا پيشنهاد نميدم حتي گرونترين ميزهاي بالاي ده هزار دلار و فكر ميكنم ميز هاي فاي بايد از چوب يا مشتقات اون ساخته بشه.

اما پيشنهاد من براي داشتن يك ميز خوب و البته با هزينه مناسب نقشه زير هست كه تو ايران ميتونه ساخته بشه.

اگر قبل از قراردادن دستگاه روي ميز پايه هاي اتصال دستگاه رو با دستمال نيمه مرطوب تميز و سپس خشك كنيد هيچوقت ميز كثيف نميشه.
در صورت كثيف شدن ميتونيد تا حدي با ابر جادويي خشك بدون اب سطح رو تميز كنيد

 

 

اين ميز با ابعادي كه ميبينيد ساخته ميشه با تخته چند لايي بسيار بسيار مرغوب فنلاندي به نام Wisa Plywood

براي اسپايك ها هم ميتونيد از اسپايك هاي Dayton استفاده كنيد كه هر ست ٤ تايي قيمتي حدود ٣٠ دلار داره.
http://www.daytonaudio.com/index.php/loudspeaker-components/speaker-cabinet-accessories/speaker-spikes.html

براي اتصال همه ميزها به زمين از اسپايك استفاده كنيد و براي زير هر دستگاه از مواد لاستيكي Sorbothane كه هم قيمت بسيار مناسبي دارند و هم جاذب لرزش هستند استفاده كنيد.

براي زير گرام هم ميشه يه پله جلوتر رفت و از Vibraplane براي حذف لرزش استفاده كرد.

كنترل لرزش خيلي مهمه خصوصا تو ترنسپورت ها و مدارات ديجيتال و از همه مهمتر دستگاه گرام .

در مورد روكش كردن يا رنگ زدن يا مونوكت و يا هر نوع فينيشينگي بايد بگم من هيچ لايه اي به اين تخته چند لا اضافه نكردم و ١٠٠٪؜ خام هست . بنظر من اين Wisa يه سنباده خوب كه ميخوره رنگش بي نظيره و نيازي به هيچ تغييري نداره.
از نظر صدا هم ممكنه بهتر باشه خام بمونه حداقل تا جايي كه من ميدونم تو ساخت ساز كمترين لايه محافظ هم روي صداي ساز تاثير داره.
من ترجيح دادم از هيچ فينيشينگي استفاده نكنم.

اگر قبل از قراردادن دستگاه روي ميز پايه هاي اتصال دستگاه رو با دستمال نيمه مرطوب تميز و سپس خشك كنيد هيچوقت ميز كثيف نميشه.
در صورت كثيف شدن ميتونيد تا حدي با ابر جادويي خشك بدون اب سطح رو تميز كنيد

اگر دوست داريد راحت باشيد و نگران كثيف شدن ميز نباشيد براي فينيشينگ من پيشنهادم روكش چوب مرغوب هست.

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BorderPatrol

شنبه 2 ژوئن 2018
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یه برند خوب

https://parttimeaudiophile.com/2015/09/18/caf-2015-borderpatrol-triode-wire-labs-and-living-voice/

On The Road: A Visit To BorderPatrol

طراح بلندگوي 2way شركت ليوينگ وويس تو كل مراحل طراحي و ساخت اين بلندگو از پوش پول 300b شركت kondo audionote استفاده كرده و چون قيمت kondo ربطي به قيمت اين بلندگو نداره طبيعتا بايد براي Kondo دنبال جايگزيني مي گشتم كه به اين آمپلي فاير BorderPatrol P20 رسيدم.

Each PSU contains three independent tube rectified, choke input filter high voltage supplies to independently feed the 300B’s, the input/driver tubes and the negative bias supply, together with filament supplies for the 300B’s and small signal tubes. The use of choke input filtering is a critical difference and is unique to BorderPatrol power amplifiers. Other brands use tube rectification and choke smoothing but do so in the cheaper, smaller and easier to implement capacitor input filter configuration. A choke input filter design has far superior voltage regulation (stiffness) and noise rejection. The PSU’s stiffness explains why the BorderPatrol amplifiers have bass performance and dynamics unlike any other 300B amplifiers.

 

 

Why design a 300B amplifier in push-pull rather than single-ended-triode (SET) mode?

“A push-pull 300B design will typically have 20Wpc, which allows it to work with a wider range of loudspeakers,” Dews said. “Push-pull amps typically have tighter, punchier bass than SETs, can drive much more difficult speaker loads, and play a wider selection of music. A stiff power supply, like the ones used with BorderPatrol SETs, addresses the SET dynamic and bass issues significantly, but a similarly executed push-pull like the P21 will still be superior in those areas.”

Note Dews’s description of the typical sound of 300B SET amplifiers: “[They] are often charming and beguiling but have low power, are limited dynamically, and have poor bass performance. They need to be partnered with loudspeakers that have very high sensitivity, and a high and uniform impedance characteristic. Complex music with heavy bass is best avoided. SETs predominantly generate even-order harmonic distortion, which gives them the characteristic open, airy, romantic sound. It’s not accurate, but it can be nice. Push-pull amplifiers predominantly generate odd[-order] harmonic distortion, which leads to a sharper, less romantic sound, but one that is still engaging.”

Read more at https://www.stereophile.com/content/borderpatrol-p21-exd-power-amplifier#D2dUPjlQXWjQWIxL.99

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USB to SPDIF Converter Legato Art

دوشنبه 23 آوریل 2018
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اين دستگاه ٨٠٠ دلار هست و يو اس بي ميگيره و spdif تحويل ميده فقط و فقط خروجي 16bit فركانس 44.1khz داره.

با ترانس ديتاي خروجي رو ايزوله ميكنه و امپدانس دقيقي داره تا اون فركانسها درست منتقل بشه و در ضمن جيتر بسيار كمي داره.

گزينه جالبي هست و مورد تاييد و پيشنهاد Gordon Rankin . اسم مهندس اين دستگاه pat هست . قيمتش يك سوم تا نصف قيمت Berkeley Alpha USB هست.

http://ar-t.co

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CEC DA 0 3.0

چهار شنبه 20 جولای 2016
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این برند CEC آمده ایران و رومی از CEC استفاده میکنه به عنوان ترنسپورت. تو انگلیس هم Living Voice محصولاتش رو با این CEC دمو میکنه با Audio Note ژاپن.

ما هم این ترنسپورت رو شنیدیم و تفاوتش رو دیدیم چقدر زیاد بوده با ترنسپورت های دیگه.

حالا این CEC اومده یه Dac زده که روی کاغذ خیلی وسوسه کننده است. مالتی بیت ، R2R بدون هیچ چیپ تبدیل ، بدون فیلتر خروجی و …

نگاهی بهش بندازید جالبه :

http://www.cec-international.com/PAGES/s25.html

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iFi Audio AMR Audio by thorsten loesch

دوشنبه 25 آوریل 2016
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Retro-Stereo50-01

 

LS35_Main

این آقای thorsten loesch یه طراح باهوش حساب میشه تو این های اند و تو سایت رومی هم ای دی داره و بحث میکنه.

این آدم تو حوزه دیجیتال خیلی کار کرده و مقالاتی داره که خیلی ها از جمله طراح Lampizator هم اونارو خونده و از تجربیات تورستن استفاده کرده.

این طراح تو کلاس قیمتی پایین سیستم های زیر رو ارايه داده که من  iDSD و 3.0 iUSB رو خریدم. یه ست جالب خونگی هم داره که با بلندگوی BBC فروخته میشه. هر کدوم از این کامپوننت ها یه کاری انجام میده.

توضیحات بیشتر تو سایت http://ifi-audio.com/ هست.

 

http://ifi-audio.com/wp-content/uploads/2016/02/banner-iCAN-SE.jpg miCAN SE_EN_11 idac204 http://ifi-audio.com/wp-content/uploads/2015/07/miusb3.001.jpg iPhono2-1 Micro-iDSD-02 MicroiCANPic01 MicroiLinkPic03 MicroiTubePic01 Read More

Wilson Audio Modular Monitor (WAMM) loudpeaker system

پنجشنبه 25 سپتامبر 2014
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اینم از خاطرات ویلسون و همسرش:

http://www.stereophile.com/content/wilson-audio-modular-monitor-wamm-loudpeaker-system

No, we made no typos in the specifications sidebar. The weight of the Wilson Audio Modular Monitor (WAMM) speaker system is enough to make you consult a structural engineer before dropping it on your living room floor—fragile, 300-year old New England frame houses are probably out. And the recent price increase from $32,000 to $35,000 is enough by itself to buy a pair of Quad ESL-63s—which is not a bad speaker system. The WAMM represents an all-out assault on both the state of the art in speaker systems and on the limits to which wealthy audiophiles will go in order to have the best (footnote 1).

Actually, it’s pretty easy to poke fun at a $35,000 speaker system—kind of like making tall-man jokes about Kareem Abdul Jabbar. The question is, is this the best speaker system you can buy? I’ve only spent a portion of two days with the WAMM, but I would have to say it’s the best speaker system I’ve ever heard, and I’d love to have a pair in my house. (I’ve even got the floor and walls to withstand the weight and low frequencies.) I’m not an authority on the Infinity IRS or the Levinson HQD (which at $29,000 and $24,000 respectively are the only speakers competing in this price category), so I can’t really make a valid comparison with the competition, though I have heard both of those systems. (An A/B comparison would require a forklift!)

Compared to the experience of live music, the WAMM does some things well that I have not heard reproduced music do before, and that’s certainly one of the main criteria. In addition to that, the WAMM proved useful in making evaluations of other equipment to a degree I’ve not experienced before. To say that every equipment reviewer should own one of these systems (what would the folks at The Sensible Sound magazine say to that?) is both fatuous and not strictly to the point. It is not, after all, through WAMMs that a clear majority of readers will be listening to their amplifiers and cartridges. I can only reiterate that I would love to have them in my home (perhaps a utility cabinet could drop the price a few $k), both for listening to music and for evaluating equipment.

Description
First, a description. The complete WAMM system consists of six pieces: two 6½’ subwoofers (also available in a low, fatter version); two 6½’ “full-range array towers” containing the mid-bass, midrange, and high-frequency drivers; one modified Crown equalizer (!!); and an electronic crossover. As implied by the term Modular in the name, the pieces are available separately: two full-range arrays with equalizer and personal calibration ($28,000), one or two subwoofers with electronic crossover by themselves ($4500 for one, $8000 for two), and the modified equalizer by itself ($1500). Other than the arrays, these are not unheard-of prices in high-end audio. The subwoofer modules are large, quite attractive boxes, heavily reinforced, which are simply enclosures for the extraordinary Magnat woofers that were mentioned last year in Stereophile (Vol.5 No.5). I have never seen a woofer as well-constructed as the Magnat. As a machine for moving air under control they seem without peer—although I’m sure the people at Hartley and Yamaha (who make a 24″ and a 36″ woofer, respectively) would differ with me on that point.

For some time now I’ve been leaning towards the opinion that smaller, highly-controlled woofers are the way to go in low- frequency reproduction. Considering that the Magnats in the WAMM system respond flat (or a little up, depending on your sitting position) down to 20Hz at sound pressure levels up to 120dB (10% harmonic distortion), they could be considered a small woofer.

The full-array towers themselves each consist of 15 separate drivers: two KEF B139 woofers mounted in an extremely well-sealed, well-baffled box which serves as a base for the remainder of the array; one modified Braun satellite speaker mounted on a handsome cast-aluminum “beanpole” immediately above the midbass enclosure; the electrostatic array (9 panels) mounted further up the array; and finally an additional Braun satellite speaker at the top of the beanpole (up where the Giant lives, so to speak). The satellites and electrostatic array are extended out in front of the vertical beanpole on aluminum rods which are themselves adjustable forward and back. The whole thing is not unattractively reminiscent of a schematic for ET, or maybe ET with a little ET riding on his (her?) shoulders.

Although ungainly, it is not unattractive, and I found the WAMMs less oppressive than the Acoustat 2+2s, which visually dominate a room in an inescapable fashion. Definitely not for small rooms (although Wilson Audio says rooms as small as 2000 cubic feet are suitable from a sonic standpoint) or audiophiles dedicated to disguising their fanatical interest in reproduced sound.

The electronic crossover is packaged in a separate chassis which can be stacked above the equalizer. The equalizer has been modified significantly by Wilson Audio, primarily by installing integrated circuit chips (with a much higher slew rate) and precision film capacitors. The original Crown costs $1200 and allows ±15dB of equalization in 11 octaves, with the centerpoint of each octave widely adjustable. At the Wilson’s house the largest variation from flat was 2dB, with most octaves equalized less than that. For those of you horrified by an equalizer, Dave Wilson pointed out that this equalizer causes 3° of phase shift for each dB of equalization; in the Wilson home there was from the equalizer a total phase shift of 6° from 0. I would be astonished to read evidence of someone detecting this amount of phase shift (though obviously the equalization itself would be detectible—that’s why it’s in there).

Sound Quality
How do they sound? There’s been much discussion in the press of the WAMM’s abilities to reproduce low frequencies at high volume levels. The shaking of several floors of the Riviera Hotel at the 1983 Las Vegas CES comes immediately to mind. These reports are not unfounded. The amount of press attention to low frequencies also reflects the interests of the WAMM’s designer, David Wilson.

Just before I left the Wilson house in Novato I was “treated” to a fairly high-level audition of one of Dave’s master tapes (Wilson Audio also makes records, which are not infrequently reviewed in these pages) wherein the organ used in one of Dave’s records plays a 16Hz note for some time. Dave had me sit in his favorite spot for that cut where he confessed, with a twinkle in his eye, the 16Hz tone was reproduced about 2dB above reference level. In other words, he’s a bass freak.

For those of you not used to hearing 16Hz at high volume (that should include almost every¬ one), it ain’t fun if you’re not a bass freak. Although clearly audible, a primary mode of sensing 16Hz is through your organs: stomach, kidney, liver, etc. which are not accustomed to being shaken around that way. Although I didn’t like it, I must confess the organ sounded very realistic and the sound was reproduced without apparent effort, distortion, or strain. That’s a real accomplishment for any sound reproduction system.

Focusing on the extraordinary low-frequency capabilities of the WAMMs misses the point, though. Their true value to the music-lover lies elsewhere. There are three character¬ istics that I found remarkable: a “bloom” in the mid and upper bass region, which allows the power of an orchestra to almost overwhelm you in live performances; seamless presentation of the entire frequency range, so that one thinks only of instruments and voices, not individual drivers; and uncanny imaging—so specific that it’s almost unrealistic.

The demonstration at the Riviera Hotel used a record with which I’m intimately familiar (Hot Stix on the M&K label). At one point in the record, the drummer beats the rim of a drum with his sticks, producing an unusual, very woody sound. On the WAMMs it was possible to hear the drum stick move from one point on the rim of the drum to a point only 2″ away, both points clearly defined (aurally) in the air. Fantastic! I’m sure this effect would not have been so dramatic in a live performance, just as I’m sure it’s information the microphones (which are frequently much closer to the performer than any listener) captured and which I was hearing reproduced accurately for the first time.

Seamless presentation of the frequency range is a characteristic shared by other speakers, even some that are not all that expensive. The Quad ESL-63, the Thiel 03a, and the new Spica TC-50 come to mind. What is unusual, and truly an achievement, is that the WAMMs do this with a complex, hybrid system over a very wide range of frequencies, much wider than the other speakers mentioned and at much higher sound pressure levels. Hybrid systems have a strong tendency to remind you of their different driver characteristics, and of the struggle the designer had in getting them to blend together. The Plasmatronics and HQD, to mention two otherwise excellent systems, are good examples. I would say that Dave Wilson has overcome this problem, certainly to a large degree. Whether he has completely overcome it would require much more extended listening; probably he has not. His technique for coming as close as he does will be described below.

I’ve saved the best for last. To say the mid and upper bass “bloom” referred to above is unusual would be a dramatic understatement. In my experience virtually all systems fail down when it comes to portraying the dynamics of live music, particularly orchestral music. Along with the upper midrange stress that always seems to accompany disc reproduction, there is an unwillingness of the system to increase its volume level as the orchestra reaches a crescendo, particularly at lower frequencies. Speakers that reproduce mid and upper bass dramatically are boomy; non-boomy speakers sound too lean. The absence of this difficulty is a hallmark of live music. The little drivers in their boxes just can’t match the 80 players with their celli, trombones, french horns, and fiddles up on that stage.
It is this acceleration of aural intensity which produces a kind of rapture in the music-lover—Do I wax too poetic? Are you checking the cover of your magazine to see if it’s really Stereophile?—that the WAMMs do uniquely well. As you can see, I was bowled over. As an equipment reviewer I would like the WAMMs for their cleanness of presentation, their tonal neutrality; as a sensual human being I would like the WAMMs for their ability to present realistic orchestral dynamics.

It’s hard to assign one specific cause to above effect. I suspect that the key decision was to use $8000 worth of cabinetry and driver to cover at most three octaves. This not only reproduces those octaves well—it frees up the rest of the system to perform in a dynamically satisfying way. Then again, the use of two KEF B139s per side, mounted in extremely well-braced boxes, to cover a frequency range that begins at 50Hz, is the kind of overkill that effects the freedom referred to above. And not to be dismissed is the all-out commitment of the designer together with his resourcefulness, the willingness to make a product that obviously will not sell in the hundreds of units and might have a hard time selling at all.

That he was willing to use modified Braun satellites and a Crown equalizer, two products that won’t win him status points amongst high-end aficionados, in his quest for aural realism is to Dave Wilson’s credit. And you shouldn’t think that his is a commercial path lined with easy money. It’s probably harder to make money producing a state-of-the-art speaker system than any way you could choose. Just ask Infinity how much they’ve made producing IRSes.

Not as much as they make selling $77 speakers, I’ll wager.

Set-Up
With the WAMM system, however, you don’t just get a bunch of boxes with a nail-puller and start unpacking. If you buy the system through a dealer the dealer ensures that you have adequate associated equipment (a word about that, later) and does the basic unpacking of the WAMMs. When all this has been done, Dave Wilson flies in and spends two days doing the final setup and calibration of the WAMM system.

There are basically five steps: (1) physical location in the listening room; (2) time-alignment of the individual driver units with respect to the listener’s specific location in the listening room; (3) basic adjustment of the equalizer to compensate for room anomalies and particular associated equipment; (4) fine adjustment of the centerpoint of each equalizer band using a unique Wilson Audio method; (5) and final adjustment of the equalizer for user preference. The two most interesting steps are (2) and (4).

One of the unusual design aspects of the WAMM system concerns physical adjustability of the drivers. Time-Alignment of drivers is a name copyrighted by E.M. Long, but the basic procedure (under some other name) can be used by any speaker manufacturer. The goal is to ensure that the successive wavefronts of a complex musical waveform produced by more than one driver will arrive at the listener’s ear at the same time.

In a rudimentary example, one can see that the so-called acoustical center of a 15″ woofer and a 1″ dome tweeter mounted on a flat speaker baffle will arrive at the speaker’s ear differentially in time simply because the woofer’s voice-coil, from which the basic signal emanates, is a significant distance further away from the listener than the tweeter’s voice-coil. In fact, calculating the arrival time of an acoustic wavefront from a particular driver is a complex process wherein minor changes in crossover and driver design become important.

Dave Wilson is able to solve this problem in a fairly straightforward fashion due to the fact that his drivers, each in their individual enclosures, can be moved from front to back, and because his listener chooses one ideal seat and speaker location, to which Dave can customize the speaker orientation. Other designers must assume a specific listener distance from the speaker and height off the floor—probably most listeners are not actually located where they “should” be, and so the time-alignment for those listeners is inaccurate. Specifically, Dave mounts a microphone at the height and location of his listener’s ear and aligns each driver starting with the midbass unit so that a test pulse arrives at identical times from the different drivers (both midrange units, at different heights, and the tweeter panel). Since the ear is insensitive to low-frequency arrival times, the placement of the subwoofers is made so as to excite room resonances as little as possible, or following aesthetic considerations.

The other fascinating adjustment by Dave Wilson concerns the adjustment of the centerpoint of the equalizer passbands, a process he calls “vowelization” or “vowelling”. With the equalizer set for approximate amplitude correction, Dave puts on a master tape of Sheryl Lee Wilson, his wife (see the cover of Vol.6 No.2), singing. He then adjusts the centerpoint of the midrange bands on the equalizer, creating an “oooh–aaah” effect until he arrives at the point which to his ear most accurately reproduces his wife’s voice—a source with which he is quite familiar.

Great idea! Dave has promised to write an article for us on this technique, which should be usable by the general audio public (provided they own a Crown equalizer with its adjustable centerpoints)—unless of course the wife’s voice is not a source of delight. In that unlikely instance, the equalizer might be used to eliminate a certain stridency in the offending wife’s voice—which stridency would no longer be available in your favorite Shostakovitch violin sonata!

An Analysis Tool
An interesting aspect of my visit to Wilson Audio was the use the WAMM system can be put to for analyzing differences between associated components. First, the components we used: (1) source material was Wilson Audio master tapes played on a modified Revox A77 and analog records, primarily from Wilson Audio, as played by an EMT/van den Hul cartridge mounted in a Technics tonearm on an Oracle turntable; (2) pre-preamplification through a Sig Modes-modified “Powerlight 3” head-amp; preamplification through the Spectral DMC-10 (Beta); amplification through two Krell KMA-200 amplifiers and the BEL 2002 amplifier.

As a test of the system’s resolving capabilities, as well as two highly rated cartridges, we compared the van den Hul EMT to the original master tapes as well as to the Accuphase AC-2, which would also be compared to the master tapes. A switching device was rigged up so that the two cartridges could be played through the same preamplifying device. Methodological problems lay in the use of two different turntables and tonearms, as well as a switching device whose changes were noticeable through a fairly loud click.

Most profoundly noticeable was the system’s ability to resolve small differences. We were fortunate to have on hand master tapes of the discs we were listening to. Outside of PCM-F1 copies of master tapes (to which I imagine Dave would object) I don’t know of a way to compare a disc to its master tape in a home situation.

The results? Well, the van den Hul EMT produced a very faithful recreation of the master tape. I’m astonished that it’s possible to amplify the signal from a tape, operate a cutting stylus to create a lacquer, make a mother and then a stamper, stamp a vinyl disc, turn it on a turntable, play it with an electro-mechanical generator interacting with the semi-fluid vinyl, and run it through an RIAA correction circuit with so little degradation. The test was neither single- nor double-blind but I could easily have become confused between the cartridge and the master tape. There were small differences in the amount of detail available, but only repeated playings of the comparison would reveal this. Spectral balance was virtually identical with the exception of the lowest bass, where the van den Hul EMT was slightly deficient.

How did the Accuphase AC-2 do? By comparison to either the EMT or the master tape, there was a constant amount of mid- to high-frequency distortion added to the music, as an overlay. To describe it as an extra amount of sibilance gives an accurate idea of the sound. This distortion was readily evident comparing to either the master tape or the van Den Hul.

Summing Up
So, what do we have with the WAMMs? For me it’s the most enjoyable speaker system I’ve listened to, and significantly valuable as a diagnostic tool. This is particularly true when evaluating cartridges, preamplifiers, turntables and other source material. I urge caution in using the WAMM system, or any particular speaker system, for evaluation of amplifiers. Time and time again we at Stereophile have seen an extremely good amplifier fall down with some particular system, and conversely have found combinations where an otherwise ordinary amplifier mates very well with a particular speaker.

In this respect the WAMM is not different from other speaker systems. In matters of clarity and revelation of detail the system may be unsurpassed; with respect to tonal balance the WAMM is a special load for an amplifier, and results obtained with it may well not be universally applicable. Moreover, the WAMM’s use of an equalizer, which is presumably adjusted to accommodate the varieties of amplifier used, should put on an equal basis many otherwise different amplifiers. Nevertheless, I lust after this speaker system for use in evaluating related components.

Is it worth the money? Surely not, for any person whose income or net worth is less than stratospheric—and certainly not for one who has to be concerned with mundane subjects like mortgage payments and mere cost-of-living salary increases. But my dealings in the expensive automobile business have revealed to me that there is a significant number of Americans (and non-Americans) to whom large amounts of money are merely digits to be entered in their checkbook—they don’t worry about the balance, which apparently takes care of itself. To such people, or possibly to an absolutely fanatic though financially more normal audiophile, I would certainly recommend an audition of the WAMM speaker system.

Aiming for such heights in audio componentry is a bold first move for David and Sheryl Lee Wilson, and I wish them all the luck in the world. I have my reservations about their most recent $7000 price increase (footnote 1), though it may not put off any truly potential buyers. About one thing I have no reservations: I can think of no person or company I would prefer to have supporting and warrantying such a substantial investment.

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Western Electric

شنبه 12 نوامبر 2011
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برگردیم به گذشته و ببینیم چه کمپانی هایی دست اندر کار آئودیو بودند. وسترن الکتریک (با نام مخفف WE) یکی از همین قدیمی هاست مثل Altec و JBL و Quad و … که کارهای زیادی انجام داده.

از ساخت لامپ گرفته تا درایور بلندگو و بلندگوی هورن و …

یه تاریخچه از بلندگو اینجاست http://en.wikipedia.org/wiki/Loudspeaker و اینجا هم چند تا دیگه هست که حتما بخونید ببینید وسترن و بقیه چه نقشی در تاریخچه ساخت بلندگو داشتند:

http://homepage.mac.com/oldtownman/recording/loudspeaker.html

http://www.altecpro.com/about/timeline.htm

http://www.nutshellhifi.com/library/tinyhistory1.html

http://homepage.mac.com/oldtownman/recording/notes.html

دلیل توجه من به این شرکت این بود که الان فکر میکنم جای بلندگوی هورن تو ایران خیلی خالیه. قبلا هم نوشتم برای لامپ خصوصا صدای فول رنج (برای غیر فول رنج از همین 2way های آئودیو نت که هورن نیستند هم میشه استفاده کرد) باید به سمت هورن رفت و بهترین آمپ لامپی مثل آئودیونت زمانی همه قابلیت هاش مشخص میشه که با بلندگوی مناسبش Match بشه. منظورم از Match بودن هم امپدانس هست و هم حساسیت و مهمتر از این دو Match بودن شاخص صدا در میکرو.

طبیعتا درایورهایی که پاسخ میکرو بهتری مثل paper ها دارند با آئودیونت جواب بهتری میدهند.

وسترن الکتریک مثل Altec قبل ها هورن میساخته و درایورهایی داره که میشه باهاشون هورن ساخت. عکس زیر هورن وسترن الکتریک تو نمایشگاه مونیخ امسال 2011 هست که شرکت Silbatone دمو کرده بود :

جالبه ببینم چه کسی تو ایران اولین برند هورن رو وارد میکنه یا چه کسی اولین بلندگوی هورن رو بر اساس همین قدیمی ها از جمله وسترن الکتریک یا التک تو ایران میسازه.

اگر مساله بلندگو برای لامپ تو ایران حل بشه (در قیمت های متوسط و پایین) مطمئن باشید تو رنج قیمت های معقول این تلفیق رقیبی نخواهد داشت و ما مجبور نیستیم اگر میکرو صدا برامون مهم باشه پول زیادی برای آمپ و بلندگو بدیم.

http://www.westernelectric.com/

http://www.westernelectric.com/history/tour01.html

http://www.porticus.org/bell/westernelectric_history.html

http://www.porticus.org/bell/westernelectric_history.html#Western%20Electric%20-%20A%20Brief%20History

http://vintagetubeservices.com/we.htm

http://www.audioheritage.org/html/profiles/lmco/shearer.htm

http://www.roger-russell.com/sonopg/sonos.htm

http://vintagehifiexperience.blogspot.com/

http://www.vintage-hifi.2itb.com/

http://itishifi.blogspot.com/

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برند EAR Yoshino با طراحی Tim de Paravicini

سه شنبه 30 آگوست 2011
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آقای فاطمی نمایندگی محصولات یکی از بهترین طراحان دنیا رو گرفتند، برند EAR Yoshino با طراحی آقای Tim de Paravincini هم اکنون در ایران قابل دسترس هست و علاقه مندان میتونند برای خرید کامپوننت های این برند با آقای علی فاطمی تماس بگیرند.

برند EAR هم محصولات استودیویی میسازه و هم محصولات های فای خانگی و بیشتر آمپلی فایر هاش لامپی بین 30 تا 70 وات هست ، البته 100 وات هم داره و یک مدل ترانزیستوری هم داره که 100 وات رو تو مد سینگل اندد میده که خیلی جالبه.

You use vacuum tubes in many of your designs. Some people have said that tubes have euphonic even-order harmonic distortion. Do you rely on this tube nonlinearity to achieve the sound of your mods, or do you always run the tubes in their linear region?

I do not rely on tube nonlinearity. I don’t want a sound in my machines. What comes out must sound the same as what went in.

The “warmth” in a lot of tube electronics is due to their dismal top end, the bad transformers they use, and the loading down of their high-impedance outputs. Because of the output transformer and the feedback used, many tube circuits have a partial bass instability that gives a bloated bass. Any warmth in the tube sound is a defect, but listeners don’t want to know that.

I don’t have to use tubes in my designs; I only do it for marketing reasons. I’ve got an exact equivalent in solid state. I can make either type do the same job, and I have no preference. People can’t pick which is which. And electrons have no memory of where they’ve been! The end result is what counts.

Most transistor-circuit architecture was different from tube-circuit architecture, and that’s what people were hearing, more than the device itself. The main advantage of tubes is that an average tube has more gain than an average transistor. Second, tubes don’t have the enormous storage times of transistors, so they are very fast. Tubes go to 100 MHz without trying.

متن پایین در مورد آقای تیم نوشته :

There are very few modern designers in the audio field who can claim as much as de Paravicini. No aspect of the recording and reproduction chain has been left untouched, no aspect of circuit design not further researched and developed.

As early as 1965 Tim was involved in custom design work for rock and roll bands; manufacturing his own public address equipment, and modifying existing studio equipment to realise even greater potential. A move to South Africa from England saw a further development of his own unique design genius, and the launch of his own professional amplifier product, sold simply as “de Paravicini”.

While working in South Africa, Tim had a chance meeting with representatives of the Lux Corporation, and in 1972 was invited back to Osaka, Japan, and offered a job as audio designer. Tim soon put together some very interesting designs for Lux, including the remarkable C1000/M6000 pre/power amplifier combination. One of his own favourite designs from this period was the Luxman 3045 tube mono block. At the time, this was the only mono block design available in the audio field, and backed up de Paravicini’s preference for locating the power amplifiers close to the loudspeakers. Tim also designed the actual output tube for this amplifier, the 8045 power tube. As always with his designs, the output transformer was a custom de Paravicini design.

In 1976 de Paravicini returned to England, and very quickly made an impact as a design consultant, initially working with the ALBA Radio Corporation, and Tangent Loudspeakers. Tim was also responsible for the later ranges of Michealson and Austin tube amplifiers, including the TVA10 and M200 mono blocks.

Within a year, he had set up Esoteric Audio Research Ltd., and was marketing the remarkable EAR 509 100 watt professional tube mono block power amplifiers. He developed a unique output transformer/tube interface circuit called “balanced bridge mode”, in which all the electrodes (except the control grids) have their own separate windings on the thirteen-section, biflar wound, output transformer. In addition, the amplifier has no overall feedback, something of a de Paravicini trade mark. Technically this amplifier proved that tubes are capable of performing equally as well as transistors in a laboratory, with a specification that included a power bandwidth of 9-85,000 Hz, -3dB, and also proved that tubes are capable of better things than the “retro” sound some manufacturers look for. Subjectively the 509 amplifiers were a big hit. Although aimed at the professional market, several Hi-Fi magazines picked up on the 509’ss, and compared them to the then State of the Art domestic High End equipment. The fact the 509 beat all of the competition at the time helps explain why the 509 is still in production today. the 509 was designed by de Paravicini to have no sound; trying to sum up the 509 is hard, it does not offer the warm ‘comfortable’ tonal quality which so often mark most tube amplifiers out. They are remarkably clear, transparent, with firm realistic bass, effortless top end, detailed and very alive.

In the twenty years since 1976, Tim has designed a mammoth catalogue of Hi-Fi and Studio components, both for Esoteric Audio Research and for other domestic audio companies. Currently the ‘E.A.R.@ professional product range includes a tube capacitor microphone, built with a rectangular gold spluttered capsule. A design which easily betters the classic European designs. Tube microphone preamplifiers, tube equalisers, record cutting systems, analogue to digital converters (for CD mastering) plus custom components and servicing for some of the Worlds most famous recording artists. His is most famous in the studio industry for the stunning analogue tube master tape recorders. These units have very special custom designed heads, and are capable of digital levels of signal to noise ratio, with a bandwidth in excess of 8Hz to 80,000Hz!

Work for the recording industry has brought critical acclaim. On the ‘Waterlily’ label, “A Meeting by the River” received a prestigious ‘Grammy’ award for its sound quality. This was a mid/side technique recording using a pair of crossed microphones. Waterlily’s microphones, preamplifiers, analogue master recorder and A/D converter were all built and designed by Tim.

In 1985, de Paravicini introduced his new record cutting system. Now installed at ‘The Exchange’ in the heart of London, (originally Island Records ‘Sound Clinic’ facility). This is phase corrected, and uses in excess of 1,000 watts of tube audio power, based on the classic EAR 509 circuit. The cutter head is again, a custom design, and is capable of cutting deeper, wider grooves than any other system. The result is higher dynamics, with a true signal to noise ratio in excess of 65 dB from records pressed off a master cut on this system. It is truly as close to the original master tape as it is physically possible to get.

Throughout the past twenty years, Tim has worked with many different manufacturers. For London based Musical Fidelity, Tim designed the amazing A1, taking the concept of a cut down ‘High End’ audiophile amplifier, the only compromise being the 10 watts output, albeit pure class ‘A’. Other products designed for ‘M.F.’ include the A470/370, P270, Digilog, CD-T, etc.

More recently in Europe, the ‘Tube Scene’ in domestic audio has really taken off. A lot of European manufacturers have stolen both older European designs, and designs from Japanese magazines and journals. Most of these amplifiers are very poor sounding, and terribly unreliable. These manufacturers neither understand the designs or how to build them. They use the reputation of tubes to sell their poor, none original product. De Paravicini’s answer to these companies, was the award winning EAR 859 amplifier. His all new Enhanced Triode Mode circuit bettering the performance of directly heated triodes designs. It provided the public with a real design, from a professional maker.

The EAR 834P phono stage was also introduced, and similar to the ‘859 has proved very popular, offering un-rivalled performance per dollar. The particular speciality being the stunning Moving Coil stage transformers – transformer design being one of Tim de Paravicini’s fortes – unlike most manufacturers, who just buy in ‘off-the-peg’ transformer designs or just specify the most basic requirement to an outside supplier.

All EAR amplifiers are truly original, including the custom transformer, metal work, circuit printed cicuit board. All the work of Tim de Paravicini.

Tim de Paravicini works by a simple premises: If he designs it, it must be a better design than anything else, or he will not manufacture it. His sole goal is taking audio to the furthest possible point of development. Current research is taking him further along this path than any single competitor.

در ضمن آقای Tim برندهای Jorma Design ، Marten Design و TownShend رو در امریکا دمو میکنند و تو اکثر نمایشگاه ها با همین دو برند جورما و مارتن حاضر میشوند.

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Cessaro Horn Acoustics

چهار شنبه 1 ژوئن 2011
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شرکت آلمانی Cessaro بلندگوی هورن میسازه و بین بلندگوهای تو بازار تا حدی مورد توجه رومی (Romy the cat) هست. از اونجایی که رومی خیلی بد میزنه تو سر برندها (مثلا خیلی زده تو سر همین مارتن و خارما یا آوانگارد البته باید اضافه کنم رومی معتقده استفاده از درایورهای سرامیک تنها با پوش پول ترانزیستوری بدون ترانس خروجی مثل ویتوس یا ASR خوب جواب میده) و خیلی هم کم پیش میاد از برندی تعریف کنه آدم کنجکاو میشه ببینه این برند چه خصوصیاتی داره. رومی در مورد مدل اومگا نوشته خیلی پیاده سازیش شبیه به بلندگوی خودش یعنی Macondo هست و احتمال داده طراح این برند به سایت رومی سر میزنه.

غیر از پیشنهاد رومی (که من معتقدم بدون فهمیدن دقیق دلیل علاقه رومی به یک صدا ، پیشنهاد اون صدا یا برند به دیگران کار معقولی نیست) دو نفر از کسانی که از نمایشگاه مونیخ امسال بازدید کردند (از ایران) هم نظرشون خیلی در مورد صدای Cessaro تو نمایشگاه مثبت بود و در مجموع میشه احتمال داد اومدن این بلندگو به ایران میتونه اتفاق مثبتی باشه.

دلیل علاقه من به پیشنهاد شنیدن صدای Cessaro حساسیت بالاش هست که تازه علاقه مندان میتونند با این بلندگو به ارزش صدای آمپلی فایر های خوب لامپی مثل Audio Note پی ببرند. با اومدن Cessaro تازه میفهمیم Audio Note چه صدایی داره که قبلا تجربه اش نکردیم. بدون بلندگوی مناسب حرف از لامپ زدن نتیجه مثبتی در عمل نخواهد داشت اما با بلندگویی مثل Cessaro و آمپلی فایری مثل Audio Note میتونید ادعا کنید هیچ آمپلی فایری حتی Vitus و ASR هم واقعا نمیتونند صدای Audio Note رو به ما بدهند.

من که برام خیلی خبر خوبیه بشنوم یک بلندگوی با حساسیت بالا مثل Cessaro بیاد و با Audio Note دمو بشه چون یک مسیر جدید کاملا مثبت پیش روی علاقه مندان باز خواهد شد اما باز هم تکرار میکنم من به شخصه در مورد صدای Cessaro نه مطالعه ای کردم و نه صداشو شنیدم پس من تنها شنیدنش رو پیشنهاد می کنم چون ایده ای در مورد صداش ندارم.

http://www.cessaro-horn-acoustics.com/

http://www.cessaro-horn-acoustics.com/index.php?id=39

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