سازندگان HiFi Brands

پری آمپلی فایر LYRA CONNOISSEUR 4-2L SE از کمپانی Lyra

جمعه 24 دسامبر 2010
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فعلا دیگه این پری تولید نمیشه اما شاید بشه گفت یکی از بهترین پری های ترانزیستوری دنیاست. جالبه بدونید این پری ریموت کنترل نداره و برای تغییر ولوم شنونده باید از روی صندلی بلند شه بره تا دم سیستم با دست ولوم رو تغییر بده.

http://www.lyraconnoisseur.com/

این شرکت ژاپنی رو سه تا مهندس مدیریت میکنند ، یکیشون به نام Stig Bjorge نروژی هست ، یکیشون به نام Jonathan Carr آمریکایی هست ، نفر سومشون هم Yoshinori Mishima که یک ژاپنی است و این شرکت هم کارتریج میسازه و هم پری آمپلی فایر.

تو ایران هم جدیدا مد شده علاقه مندان به سمت آنالوگ گرایش پیدا کردند و بخشی از پولهاشون رو صرف تجهیزات LP میکنند که میتونند بیشتر روی این برند تحقیق کنند ببینند چه مشخصاتی داره.

این شرکت فونو استیج هم میسازه که من خیلی در موردش نخوندم و فقط میدونم کارتریج ها و پری آمپش خیلی عالیه.

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Goldenote Demidoff Signature

پنجشنبه 23 دسامبر 2010
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میخواستم این مطلب رو تو انجمن بنویسم چون بنظرم ارزش یک پست تو سایت رو نداشت اما دیدم انجمن پر پر شده و تا درست شدنش زمان لازمه و برای همین این مطلب رو اینجا نوشتم.

یک آمپلی فایر Single Ended Class A ترانزیستوری 50 و 75 واتی که محصول شرکت Goldnote هست. داخل این آمپلی فایر طوری هست که انگار عین AudioNote درست شده و اینطور تو ذهن تداعی میشه که همین آقا پیتر Audionote اونو میسازه.

این شرکت تو رنج قیمتی بین 1000 تا 7000 دلار کار میکنه و به قیمتش صداش می ارزه، چند تا تحلیل رو بخونید :

http://www.positive-feedback.com/Issue36/demidoff.htm

http://www.6moons.com/audioreviews/bluenote/demidoff.html

http://www.avguide.com/review/tested-goldenote-s-1-signature-integrated-amplifier-and-koala-cd-player

The Demidoff Silver Plus is a single ended Multi-Powered transformer stereo integrated amplifier that is handcrafted to ensure the highest performance level.
The Demidoff Silver Plus uses the finest version of the Mirror-Amp™ pre-amp section. Such gain stage is obtained using a proprietary special cascade differential amplifier with a mirror current, ensuring a super-linear signal virtually eliminating distortion. It also deploys a different output design than the other simpler Demidoffs, providing state of the art linearity and improved efficiency.
The power supply is managed by 12 different massive transformers made specifically on custom design. In order to ensure the best sonic performance, there is also an extra dedicated smaller transformer electrically isolated from the other ones that is dedicated to power two separate circuit boards controlling the Vu-Meter fluorescent lights, the motor of the volume control, the internal protection relays and even the power ON led light.
Four custom Golden transformers work as “pure” power energy suppliers while eight are decoupling transformers, mechanically isolated, to filter the DC power entering the preamplifier Mirror-Amp™ section. Such massive inductive power supply guarantees the lowest interferences from AC power.
All the strategic power & audio sections are wired with Rounded Solid Silver bars. The RSS is a 2mm diameter bar made with 92.5% pure silver and 7.5% electrolytic OFC. It provides the very best conductivity available.
The input wires are connected to the customised selector with a 2.5mm silver cable specifically made for this flagship Amplifier.
As per all the Demidoff amplifiers, the Demidoff Silver Plus does not have active nor passive filters on the audio signal. We have designed specific passive thermal switches to turn the amplifier power off completely reaching an internal temperature over 80°Celsius (180°Fahrenheit).
Its chassis is completely made of high mass aluminium to minimize RFI and EMI interference through having a completely non-magnetic paths!
The Demidoff Silver Plus has two high precision Blue Fluorescent Vu-Meters and a remote control for the volume, both powered by a dedicated transformer to avoid any kind of interferences on the signal path that could affect the sound quality.
The Demidoff Silver Plus supports a wide range of inductive and resistance loads so it can be matched with any kind of audio cable, allowing users to employ their favourite wiring combination. The use of customised & the finest electronic components plus a totally new power supply cap section ensure supremely high levels sonic performances.
As all the Demidoff amplifiers the Demidoff Silver Plus is equipped with all custom design connectors.

POWER OUTPUT: 75w+75w @ 20-20.000Hz
THD (Total Harmonic Distortion): 0.2% @ 20Hz – 20KHz
POWER TRANSFORMERS: 4 Audio Power E core customized +8 Decoupling Power supply + 1 controlling Transformers
NOTES: Fluorescent Vu-Meters on power output controlled by a separate transformer – RRS™ (Rectangular Rounded Silver bar) on the audio signal path.

شب جمعه خوش بگذره

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The Voice That Is, Dealer of Silicon Arts Design & Concert Fidelity

پنجشنبه 23 دسامبر 2010
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یک نماینده فروش تو امریکا بنام The Voice That Is با مدیریت Doug White خیلی جالب برند انتخاب میکنه و حتی از مایک هم انتخاب هاش به من نزدیک تر . من این آدم رو نمیشناسم و باهاش مکاتبه نداشتم اما برام عجیبه دقیقا دست رو برندهایی گذاشته که مورد علاقه من هست.

لیست برندهایی که ایشون نمایندگیشون رو دارند به شرح زیر هست :

TIDAL Audio
Argento Audio
dCS
Luxman Audio
Organic Audio
Vitus Audio
Fact 8 Loudspeakers
Silicon Arts/Concert Fidelity (http://www.concertfidelity.jp/)
AMR
ASR Audio
Esoteric Audio
Epiphany Stand Systems
Acoustic Revive
Oyaide

قرار بود برند Silicon Arts / Concert Fidelity رو هم معرفی کنم که دیدم باز هم ایشون نمایندگیش رو داره ، برای من که این موضوع خیلی عجیبه!!!!

اسم طراح این برند ژاپنی آقای Masataka Tsuda هستند که خیلی به طراحی ساده و مینیمال اعتقاد دارند. ایشون آمپلی فایر لامپی هم طراحی کردند و صدای آمپلی فایرشون مثل ویتوس اون Sparkle و Color رو خیلی بهتر از بقیه ترانزیستوری ها داره. در مورد ایشون بخونید:

Masataka Tsuda, founder and chief designer of Concert Fidelity, has over 35 years’ experience in vacuum tube and solid state amplifier design. He combines a profound understanding of audio circuits, which allows him to see where many typical design “conventions”;do not make sense, with uncannily creative inspirations and a perfectionist’s drive to pursue the limits of circuit simplification and purity in sound.

Tsuda believes that true depth of musical expression can only be experienced through circuits which do not try to artificially manipulate the signal in any way. His proprietary Direct Signal Path Technology (DSPT) is inspired by his goal to minimize the amount of time music signal spends in circuit, so that it retains the energy and life inherent in the original material.

Circuits, selection of parts, and layout are optimized so that all unnecessary compensating circuitry can be eliminated and the simplest circuitry can suffice, thus causing the least signal degradation. The result of his perfectionist drive for simplification is amplifiers of extreme transparency and the musical expressiveness of the very best SET’s without their weaknesses.

“There is no doubt in my mind that Masataka Tsuda’s designs push the state-of-the-art forward, in both solid-state and vacuum tube design arenas.”
– Dick Olsher, December, 2007, EnjoytheMusic.com, Superior Audio Equipment

اینم نگاه ایشون در طراحی:

Concert Fidelity’s amps and preamps are often said to be excellent-sounding, but I feel that this description is inappropriate. It would be more appropriate to describe our amps as having almost zero loss, or as adding almost nothing to the original signal. There is no way that an audio circuit can improve upon an incoming signal in the course of amplification.

The signal can only be degraded, and the less the degradation, the better the circuit. Whenever a good part is discovered, and a good sonic result is produced, my next goal is to figure out how that part might be eliminated, which will, without fail, make the sound even better! Concert Fidelity’s philosophy is to add absolutely nothing superfluous to the circuit; to transmit neither more nor less than the original recorded signal.

The sound of tube amps is often characterized as being soft, warm, mellow, or sweet, but that is merely a description of a large number of tube designs, and not an inherent quality of tubes. A well-designed tube amp should not sound anything but neutral and transparent, a far-cry from the stereotype. If designed and implemented properly, the sound of a good amplifier can transcend the particular amplifying device it employs.

من از آقای لین اولسون Lynn Olson هم قبلا نوشتم (ایشون جزو طراحان آمپلی فایر لامپی و یک Audiophile درست حسابی هستند) و خیلی از نگاهشون به های فای خوشم میاد ، ایشون یک مطلب خیلی جالب نوشتند که من بخشی از متن رو اینجا آوردم :

http://www.audiokit.it/itaeng/KitDiffusori/ARIEL/ArielEffic.htm

There are some very isolated folks who just can’t get their hands on tube gear, or are afraid to make the leap to what to them is an alien technology. Unfortunately, good transistor amps are truly rare; they measure nicely all right, but not very many are lifelike in the sense of delivering that “you-are-there” quality to music … indeed, I would guess that many audiophiles have never heard that effect, even once, due to the degraded condition of modern electronics. Twenty years ago, transistor amps were brittle-sounding, grainy, and very two-dimensional sounding. Nowadays, transistor-amp designers have tweaked the “audiophile” breed of transistor amps to emulate the sound of mediocre tube amps … sweet and rolled-off sounding, but with little realism or sense of depth. The grain and edge are gone, but so is much of the sense of life and sparkle in the music.

I know of exactly three transistor amplifiers that avoid the trap of grain-n-grit on one hand and audiophile flatness on the other … in short, they sound just like a really good triode amp, but with more power! Unfortunately, all three are really obscure. so don’t expect to see them at hi-fi shows or read any reviews any time soon. They are: the R.E. Designs LNPA-150, the latest (yet unnamed) transistor amps from Stan Warren’s Supermods, and a Japanese manufacturer called Silicon Arts Design. All three, although apparently mundane Class AB push-pull transistor designers, have the immediacy, the clarity, and the musical rightness of direct-heated triode amps … but are completely different technologically. How is it done? Don’t ask me … transistor electronics are not my specialty. But it is possible.

درباره این برند بیشتر بدانید:

About Concert Fidelity

Concert Fidelity electronics are designed and built by hand in Japan in the best artisan traditions of that country — with a perfectionist’s fanatic attention to detail and a purist’s pursuit of optimized simplicity as the means of achieving the most musically authentic results.

Incidentally, achieving Concert Fidelity’s level of circuit optimization and simplification requires a deeper understanding of audio circuits — what is essential versus what is best eliminated — than does implementing complex circuits which contain numerous compensatory components, but once our “surprisingly simple” designs are heard, it is difficult to go back to more complex amplifiers with their colorations and limitations.

As a case in point, the sound of the best tube electronics should be that of the tubes themselves, and our vacuum tube products reveal tube differences to a greater degree than we have ever heard elsewhere. This results in achieving “transparency,” allowing the source material to be revealed in all its emotionally involving glory, without hi-fi enhancements, artificial warmth, muddiness, distortion, or glare.

Concert Fidelity goes to perfectionist and no-holds-bared approach in design and manufacture because we feel that discriminating customers will notice the subtle design touches and will readily hear the difference they make in expressive nuance and musical enjoyment.

Our highly optimized and simplified circuits, innovative and perfectionist layout techniques, carefully specified and matched parts, and custom transformers which may be the world’s best, allow you to hear transient speed and low-frequency extension akin to solid state along with purity, delicacy, and musicality akin to single-ended triodes. With our electronics, you will hear, superiority in the following areas, without even being analytical or conscious:

* resolution of harmonic complexity
* microdynamic expression
* transient speed for resolving rhythmic nuances
* extension and speed in low frequencies
* resolution of complex musical textures
* resolution of soundstage details, along with better presence of individual images

ویتوس زیر 100 وات میسازه، این برند 120 واتی ساخته و ASR هم 140 و 250 واتی که نمیدونم آیا ممکنه کسی اون 120 واتی رو بیاره صداش رو بشنویم یا نه.

http://www.enjoythemusic.com/superioraudio/equipment/1207/silicone_arts_zl_120_cf_080.htm

خوش باشید

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Let Sound be Your Teacher

جمعه 17 سپتامبر 2010
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این جمله رو تو ابتدای سایت BYOB (به معنی Bring Your Own Battery) میبینید که بنظرم جمله زیبایی هست و همانطور که قبلا گفتم درک Audio یک چیز Subjective هست و تا خود شنونده دنبال شنیدن صدا نباشه هیچ کتاب و نوشته ای به تنهایی نمیتونه بهش کمکی بکنه.

آقای Charles Altmann از آلمان صاحب برند Altmann Micro Machines که درباره خودش چنین نوشته :

Altmann Micro Machines is a german company focusing on the deliberate application of technology with the intent to improve customer’s wellbeing through procreation of uplifting and joyful experience. Specialty audio products and developments with a number of applied patents include the Altmann Superlative 24 bit / 96 kHz Digital to Analog Converter, The AMM – UPCI – Ultra Precision Clock Injector , the AMM JISCO – Jitter Scrambling Decorrelator ? the Altmann SPLIF – Split Feedback – Amplifier Topology , The Altmann Tube-o-Lator lacquer – a coating that makes semiconductors sound tube-like, the Altmann Do-it-Yourself Tonearm, The Altmann BYOB -Bring Your Own Battery- high performance vibrationally optimized audio amplifier and the Altmann Attraction DAC, a new and unique DA converter that can play up to 192kHz audio without oversampling and features extensive jitter filtering with dual VCXO precision PLL, switchable JISCO function, tube-o-lator-treated R2R converter, high-precision I/V conversion, and high power output and a vibrationally optimized desging employing a musical spruce sound-board. The Altmann Attraction DAC is the first DAC worldwide that can play fast sampled audio with zero-oversampling, sample by sample with unrivalled acoustic performance. Altmann Micro Machines was founded in 1994 by Dipl Ing. Charles Altmann.

Other Altmann Sites:

www.jitter.de

www.altmann.haan.de

www.amm.haan.de

ساخته های دست این شخص قیمت خیلی پایینی دارند و میتونه مورد استفاده کسانی باشه که هم صدای خوبی میخواهند و هم هزینه براشون خیلی مهم هست.

سایت زیر رو ببینید که این شخص ساخته هاش رو گذاشته :

http://www.mother-of-tone.com/

فکر کنم این برند رو دوست خوبمون به نام heaven (من اسم دیگری از ایشون ندارم و با همین اسم ایشون کامنت میگذارند) معرفی کردند و من ازشون تشکر میکنم.

دوباره برمیگردم ، الان باید برم …

خب ، این آدم در ابتدای سایتش توضیحی داده که گفته اجازه بدید بجای پذیرفتن هر ایده ای ما ببینیم “تجربه به ما چی میگه” The experiment decides که بنظر من این جمله بسیار بسیار درست و مهم هست.

این نوع نگرش باعث میشه ما از فضای مورونی حاکم بر های فای که بیشتر ساخته پرداخته مجلات و فروشندگان هست دور بشیم و بجای بحث های احمقانه رایج X بهتر از Y هست و … ببینیم تجربه شنیداری چه چیزی رو به ما میگه. اتفاقا رومی هم روی این مساله تاکید زیادی داره و خیلی از نوشته ها و گفته های فضای های فای رو احمقانه میدونه.

آقای Charles Altmann در ابتدای نوشته هاش تاکید میکنه بهتره قبل از آشنا شدن با من اون ایده های قبلی رو که از جاهای دیگه به گوشتون رسیده و مبتنی بر تجربه شنیداری نبوده فراموش کنید، متن زیر رو دقیق بخونید :

Messages and Distortion
Imagine You would govern a large country with millions of people living there.
Then, not only a code of conduct or laws are needed for this country to work, but also messages.
A simple message would be: “It is good to be able to defend our country” or “wash your hands when leaving the bathroom”.
Why do you need messages? Well, messages are a tool to make your people stop thinking on their own and start functioning automatically in the way you intend.
If you – the governor of the country – think, that many people living in your country are somewhat stupid, then you would more likely rely on very simple messages.
For example: “It’s good for the economy and for the wealth of all of us to consume goods” or “Smoking cigarettes is bad for your health” .
And bang, your people are in trouble. This is a contradiction: Its good to consume but its bad to smoke. Distortion is what happens, when two messages are in conflict.
So a third message is needed, an exception, in order to resolve that conflict: “Its good to consume a product but its bad, when the product is a cigarette since it is able to cause illness”
When the message stops working, an exception is needed. Unfortunately life can be complex so a variety of exceptions are formulated:
“Buy a microwave but don’t put your pet in there”
“Enjoy your coffe, but caution, its extremely hot”
“Its great to have a 400hp sportscar, but beware of curves”
“Burgers are bad and salad is good, but salad with fried chicken is bad, it can have more fat than the burger”
“You must have that louder exhaust, but use it on the racetrack only”
Since You are not really the governor of the country (call me if you are), lets change the focus now. You live in the country and are bombarded with messages. The messages have been formulated in order to put you into a sleep-state and make you a functioning consuming entity with the illusion of individuality.
Since no message can work for all given aspects of life, you can indeed call them distortions, or in other words:
Distortion happens, when a simple message fails to fit into your view of the experience – you putting your pet in the microwave and being unsatisfied with the end result . That is Distortion.
Any message can only work for a limited view, and therefore I suggest the following practice:
a) try to identify the messages that reach you from the media (news, ads) and other persons.
b) find the messages that are triggered in your mind by any situation.
c) forget them all, its time to wake up.

Messages in Audio
There are many messages in the audio field. And many of them unquestioned, like the stuff you have put so much effort into learning in school or university.
These messages have been forwarded by the audio media, manufacturers and individuals.
Let’s take a brief look at the message salad:
“It must have flat frequency response”
“The harmonic distortion must be as low as possible”
1000 Watts is better than 100 Watts is better than 50W is better than 10W is better than 3 Watts
“The step response of the speaker don’t look good on the diagram”
The cone must be made of a stiff material
“SACD is better than DVD-A is better than CD, but Vinyl is best ”
Those messages have put you to sleep, so that you can simply sleep-walk into the next store and buy the stuff with the largest numbers: “I’m going to spend 10.000 bucks and I want 1000 Watts, 100 pounds, most zero’s on the distortion figure and the damn-highest sampling frequency you stock, sucker ! ”
You have already done that and it didn’t work out soundwise? You have followed all of the currently popular audio messages, and what you get is: Distortion.
Well, what do You think why You finally stranded here ?
So before continuing with this funny BYOB site, please forget all messages, at least those audio messages, so you don’t have to ask yourself (or me) boring questions concerning frequency-plots (yes, its flat) etc. (However, I am always thankful for interesting questions or remarks.)
But, as this site also contains messages – what else -, I would like to stress the point, that I don’t want you to unconditionally believe my stuff, I just want you to contemplate about it unprejudiced and awake.
The experiment decides

مطالب جالب دیگری هم خصوصا در مورد لرزش تو سایت ایشون هست :

http://www.mother-of-tone.com/listen.htm

http://www.mother-of-tone.com/vibration.htm

http://www.mother-of-tone.com/mother.htm

http://www.mother-of-tone.com/lacquer.htm

http://www.mother-of-tone.com/current.htm (این لینک خیلی جالب در مورد برق سیستم گفته حتما بخونیدش)

تو آخرین لینک بالا در مورد Power Supply اینطور میگه :

What makes a high-quality audio amplifier expensive ? It is the power supply

قبلا هم گقتم Solidstate های خوب مثل ASR و Vitus همشون تو طراحی Power Supply با بقیه فرق دارند. این آقا استفاده از باتری رو پیشنهاد میکنه کاری که ASR انجام داده و میدونید چقدر هم رومی روی مساله برق وقت گذاشته.

این آدم یک آمپلی فایر ساخته (شکل بالا رو ببینید) که با برق باطری اتوموبیل کار میکنه و 10 وات به 8 اهم میده که نیاز به بلندگوی با حساسیت بالا داره و کل قیمت درخواستیش 950 یورو هست.

دو مطلب هم در مورد فرمت دیجیتال نوشته که خیلی جالبه :

http://www.mother-of-tone.com/cd.htm
http://www.mother-of-tone.com/timeband.htm

http://www.jitter.de/

حتما حتما دو لینک بالا رو بخونید. برخی شرکتها مثل EMM Labs بیشتر روی پاسخ پله تاکید دارند و برخی روی پاسخ فرکانس که این ادم میگه اگر رفتید به سمت بهتر کردن پاسخ فرکانس باید پاسخ پله رو هم بهینه نگه دارید.

و این آقا یک DAC خیلی خوب با قیمت 950 یورو ساخته که تو شکل زیر میبینیدش :

و اینکه ایشون فونو استیج هم ساختند.

ببینید در مورد ساخت بلندگو و انتخاب درایور چه حرف های جالبی زدند :

About Speaker Drivers

As I stated in earlier chapters, a good sound will be always present, when distortion mechanisms are absent.

The same holds true for speakers.

Unfortunately I have the feeling, that today’s designers of speaker drivers seem to have absolutely no idea, what they are doing.

In the early days, a speaker manufacturer or designer listened to his products and if it did not sound good, it was certainly regarded as wrong. Today they rely on measurements in anechoic chambers and many of them respect their own listening less than their futile measurements.

Also the technical specification of speaker drivers gives you lots of useless numbers, but not any information of the most important construction features.

In fact, there are only two real distortion mechanisms concerning speakers, but you will not be able to find any contemporary speaker driver, which is designed in order to avoid those simple distortion mechanisms (there are very rare exceptions).

1) Wrong materials

The speaker cone and coil-former material is much more important to the sound than the geometry and basket of the speaker. The Mother-of-Tone material for cones and coil formers is PAPER.

It is nothing short of ridiculous to make a speaker with an aluminium or titanium, polypropylene or ceramic cone. It doesn’t work. Well, some think it does 😉

The only thing unsuited cone materials can do is to nerve you. Speakers that employ those unsuited materials must have very complex crossover networks in order to keep you from continued vomiting.

Note: On HF compression drivers, aluminium and titanium diaphragms can still sound good, when the horn is made of a decent material, as sound is reflected inside the horn many times and adapts the vibrational character of the horn-material -> see Mother-of-Tone chapter.

You are still able to get speaker drivers with non-plasticized paper cones, but most of them will have a voice-coil made of aluminium or plastic (i.e. Kapton). Aluminium and Kapton are very good for heat dissipation and you can make cheap hi-wattage speakers with those materials, but what’s the need of hi-wattage, if you can’t bear to listen to the shit?

Above is a view inside a aluminium voice-coil former of a otherwise excellent speaker construction. Although capable of high power dissipation, a speaker employing an aluminium voice-coil former will always sound like sheet metal, which can be useful if you will be using it exclusively for steel-guitar 😉

See above a Kapton voice coil former. Better than aluminium, but never natural sounding. Actually it sounds as it looks… like plastic.

A Nomex voice-coil former (above) yields a high level of sound quality plus a much higher heat dissipation compared to paper. For many speaker applications Nomex is the ideal voice-coil matierial (especially for bass or mid drivers). Unfortunately it is rarely used today (except for some famous Celestion guitar speakers).

When it comes to highest sound quality (and lowest power dissipation) paper is the way to go. See below the cone and voice-coil former of a perfectly constructed 1950’s radio speaker.

Other speaker drivers that still employ paper cones AND paper voice-coil formers are Lowther (beware of hi-ferric ;-), Fostex FE series and some cheap chinese speakers (see below).

The drivers above feature small paper-voice-coils, paper cones, re-fitted foam surrounds, spruce-phase-plugs, small magnet and small power-dissipation. As they have no distortion-mechanism, they are used without crossover. The paper HF driver at the top is fed through a capacitor.

2) Cavities

The second distortion mechanism for speaker drivers is the presence of cavities.

Cavities create resonances and can totally mess up the performance of otherwise decently made speaker drivers.

See the below illustration of cavities (blue) that can be found in a contemporary speaker:

The very majority of today’s speakers use ferrite magnets that leave a relatively large hollow space between the pole piece and the magnet. As each enclosure or cavity has resonant modes, a cavity behind the voice coil (in the magnet structure) will create a distortion. The character of this distortion is a trashy peaky metal sound. This distortion speaks through the voice-coil and is easily identified, as it results in peaks in the frequency response.

Drivers using Alnico and Neodynium magnets typically have no or very small cavities in the magnet structure -> see below a positive example of how a magnet structure should look:

There’s another cavity in front of the voice-coil between the pole-piece and the dust-cap. This is also an enclosure which will generate a resonance frequency peak in the speaker response. It will also prevent accurate signal reproduction of the speaker. The character of this distortion depends largely on the size of the dustcap (the smaller the better) and the voice-coil-former material. A dustcap will in any case fuzz the sound. It will prevent a otherwise focused clean sound production.

If the cavities are so small that their resonance frequencies are above 20kHz, the problem is gone to a large degree. A phase plug (preferrably lacquered wood) is a simple and effective measure to eliminate the front cavity as shown below with a modified Fostex FE164.

If dust protection is needed, this can be accomplished with a sound-permeable material (i.e. textile gauze) as found still today i.e. on the Celestion Vintage 30 and Greenback guitar speakers (guess why).

So let’s summarize:

Any speaker that prevents cavities in front or behind the voice coil and employs paper for the cone AND the voice-coil-former will sound good. ANY SPEAKER!

That was all.

Is it really so EASY to make a great sounding speaker? Yes

A perfect Speaker Driver

A perfect speaker driver employs a non-plasticized paper cone, and a paper or nomex voice-coil former. It uses any kind of magnet, provided that there is no cavity in the magnet structure.

A perfect speaker driver also has no dust-cap, but a phase plug (preferably made of wood), that fills the voice-coil cavity. If a dust-prevention is needed, a sound-permeable material should to be chosen in combination with a short phase plug.

See below, the corrected speaker construction, which avoids cavities:

The suspension and voice-coil diameter is chosen with respect to the desired frequency response.

A speaker as described above, is not necessarily expensive to manufacture, and it also needs no elaborate crossover network, as distortion-mechanisms have been avoided.

ایشون یک بلندگو هم ساختند به ادرس http://www.mother-of-tone.com/speakersystem.htm و به قیمت مناسب 2000 یورو که امکان ساخت توسط خریدار (DIY) هم فراهم هست.

این آدم ایده جالبی هم تو ساخت پنل آکوستیکی داره که بران خیلی تازگی داشت :

http://www.mother-of-tone.com/acoustic_panel.htm

این پنل ها حالت رفلکتور دارند (برخلاف همه که یا جاذبند و یا دیفیوزر!!!!!!) که از چوب ساخته میشوند.

دیگه نگید اکبری برند ارزون معرفی نمیکنه و بهتره برید سراغ فروشنده ها و ازشون بخواهید بجای وارد کردن برندهای درپیت این برند ها رو وارد کنند 😉

یک خبر بی ربط بدم اونم اینکه Luxman چیزهای خوبی داره میسازه (البته نه به خوبی ویتوس و ASR) و من به کسانی که از آکوفیض خوششون میاد پیشنهاد میکنم سری به Luxman بزنند چون الان این برند ژاپنی چیزهای خوبی مثل M-800A ساخته که یاد اون آکوفیض قدیمی ها رو زنده میکنه.

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با Jean Hiraga بیشتر آشنا شویم

شنبه 11 سپتامبر 2010
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Comments Closed

آقای Jean Hiraga یکی از کسانی است که من لازم دیدم در موردشون بنویسم. اولین دلیلش این بود که ایشون یک مقاله خیلی جالب در مورد آمپلی فایر نوشته اند به آدرس زیر:

http://www.tcaas.btinternet.co.uk/hiraga1.htm

زندگی نامه این آدم رو آوردم بخونید :

Born in Paris in 1943 from a french mother and a japanese father, Jean Hiraga shown early a considerable interested for complementary domains of audio and electro-acoustic fields.

In 1965, he moved from France to Japan, where he was one of the most influent spécialists who promoted, from 1969, sound and musical qualities of tubes, specially directly heated version such as 45, 2A3, WE300B, 4300B, 211, 845, 6C33C.

In 1968, he started to contribute for french Revue du Son and, later, in Nouvelle Revue du Son, as special correspondant in Japan. He published in these magazines several articles that had considerable impact in hi-fi world, such as :

“Amplifiers, harmonic distortion analysis” (dec. 1975) ;

“Can we hear audio connecting wires” (oct. 1976, translated in august 1977 in british HiFi News & RR review).

In 1977, Jean Hiraga, one of the pioneers of audiophile philosophy, founded and started to take in charge, a chief editor, L’Audiophile, a magazine dedicated to this new high end audio world. He largely contributed in this magazine with the publication a many articles demonstrating, from 1977, importance and influence on sound quality of passive components (capacitors, resistors, volume controls, selector switches, soldering, influence of analog turntable mats on sound quality, while showing strong interest for high quality, high efficiency loudspeakers.

In 1986, he received from the british audio review HiFi News the “1986 HiFi annual Award” for his important contribution in audio field.

Jean Hiraga invested a considerable time to tune up many audio circuits for private use. Some of them have been designed for the account of La Maison de l’Audiophile and Lectron companies and were on the international market between 1978 and 1982, such as :

– Le Prépré (head preamplifier for MC phono cartridge) ;

– Hiraga Classe A 20 W, pure classe A solid state power amplifier ;

– “Minimum”, a solid state, battery operated ultra-compact phono preamplifier ;

– JH 30, JH 50, JH 60, JH 80, a series of hybrid power amplifiers, added later by PA50 line preamplifier. This last line of products, added by several improvements, is partly on the actual market through Jean Maurer company in Switzerland.

Jean Hiraga was the author of several books such as :

– Les Haut-parleurs, (Loudspeakers, 1980, three times re-edited, 5 times reprinted) ;

– Initiation aux amplis à tubes (1980, Audio tubes amplifiers initiation, four times re-edited + one edition translated in swedis ” Rörforstärkare”, 1986).

In 1982, Jean Hiraga moved back to Paris. In 1983, he was asked him to take in charge Nouvelle Revue du Son as chief editor, this until early 2007, giving to him the opportunity to test, analyse and listen several thousand of international audio products during more than 25 years.

لینک های زیر بنظر مفیدند:

http://www.tcaas.btinternet.co.uk/

http://www.tcaas.btinternet.co.uk/index-3.htm

http://www.tcaas.btinternet.co.uk/hiraga.htm

http://twogoodears.blogspot.com/2009/12/ears-and-hearing-some-jean-hiragas.html

http://www.nutshellhifi.com/library/europe3.html

http://www.6moons.com/audioreviews/auditorium23/23_2.html

http://www.6moons.com/industryfeatures/hiraga/hiraga.html

http://diyaudioprojects.com/Solid/Jean-Hiraga-Le-Monstre/

http://diyaudioprojects.com/Solid/Jean-Hiraga-Class-A-Amplifier/

http://www.tubecad.com/2005/December/blog0055.htm

این آقا هم با لامپ کار کرده و هم با ترانزیستور و هم به Power Supply باتری توجه داشته و تو فستیوالهای ترایود اروپا هم سخنرانی میکرده و روی نوع دیستورشن ها هم مطالعاتی داشته.

بحث منبع تغذیه برای ترانزیستور خیلی مهم هست و برخی از کمپانی ها کلا رفتند به سمت باتری چون گرفتن پاسخ خوب با قیمت های پایین کمی با این ترانس ها و خازن ها مشکل هست.

چند روز دیگه در مورد دو برند http://www.mother-of-tone.com/ و http://www.redesignsaudio.com/ خواهم نوشت.

خوش بگذره

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Lampizator DAC

پنجشنبه 26 آگوست 2010
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برند Lampizator برند جالبیه، اگر دقت کرده باشید من برندهایی رو دوست دارم معرفی کنم که طراح اونها مانند Decware تو سایتش مطالب بدربخوری رو نوشته باشه و علت علاقه من به AudioPax یا Audio Note و یا خیلی از برندهای دیگه ای که دوست دارم فقط صدای اونها نیست بلکه گفتگوی مبتنی بر تجربه شنیداری اونهاست. البته رومی معتقده روی نگاه و تجربه شنیداری یک طراح یا مودیفایر مثل آقای Lampizator خیلی نمیشه حساب کرد اما من جدا از این موضوع اطلاعات جالبی رو تو سایت این آدم دیدم و فکر میکنم برای شما هم جالب خواهد بود.

بحث در مورد طراح این شرکت قبلا تو انجمن من توسط آقای نوید مطرح شد ببینید :

http://forum.hifi.ir/viewtopic.php?f=55&t=139&st=0&sk=t&sd=a&hilit=Lampizator

آقای Lukasz Fikus طراح لهستانی Lampizator سایت خیلی جالبی داره و مطالب خوبی در مورد تست صدای انواع سی دی پلیرها داره که نشون میده این آدم خیلی از برندهای گران و ارزان رو شنیده ، مودیفایشون کرده و خلاصه اطلاعات جالبی رو از هر کدوم اونها تو سایتش گذاشته که هم برای من جالبه و هم برای کسانی که دوست دارند بیشتر از طراحی داخلی پلیرها بدونند.

این آدم خیلی به آقای Peter Quvortrup (راستی یادتون باشه آقا پیتر اهل کشور دانمارک هستند اما انگلستان زندگی میکنند)  طراح  Audio Note UK احترام میگذاره و در مورد خودش تو سایتش اینطور گفته :

This private site LAMPIZATOR is dedicated to tube DIY, music, and practical ways to best sound reproduction.
More specifically: my goal is to own “the best stereo system in the World” and to do it on a reasonable budget. The second aim is to share with others what I have found out in the process, i.e the Lampizator, The Saba speakers, the gem DAC’s and Russian supertubes.
Since I can’t afford a dream system, I decided to learn what makes this technology “tick” and to build the system myself. Soon the pursuit of hi-fi truth became my passion and I relentlessly look inside the boxes, in vain hope to find honestly made and good sounding products. When I discover something worth noticing, I publish it here. I am sure there are ways of owning an absolutely fabulous hi-fi system which everybody can afford. To put things into perspective, I build for myself systems costing circa 1500 Euro, which beat sonically everything I heard before at cost-no-object demo’s in Frankfurt HighEnd show. If we can buy it – thats fine. If we can’t – we must do it with our own hands. It is a combination of buying used gear on ebay, modifying, mixing and matching, and having open ears to new gems from China.  In fact – it is easy. I think I have found all elements I need: best source – CD player with Lampizator, best amplifiers (tubed of course) , and best speakers (alnico). In my subjective opinion my current system can easily be called one of the best stereo systems in the World. This page is about sharing with others my experience acquired in the process.
I am trying to condemn marketing and engineering B/S which I find inside gear. I am a self proclaimed Prometheus. I steal the industry secrets and give them back to the people. I ridicule the ridiculous. I also easily offend the easily offendable.
Of course you can go out and buy yourself such quality in the shop, in this case the price tag may reach approx. 20 000 -40 000 Euro, so anyone not needing such money is more than welcome to go and spend it. And after you buy it, I challenge you to meet me and compare. I will bring gear costing 1000 Euro and I will win.
My approach is to achieve best sound regardless of the cost, but fortunately my discovery is that it is not the money that make the sound, but intelligent choices.  This page is not a “poor man’s Hi-Fi”, it is about best hi-fi period.

———————————————————————————————————————–

Executive brief: in this private website I summarized my 20 years of experience in designing, building and modyfying the stereo hi-fi equipment. Oryginally inspired by Audio-Note’ Peter Quvortrup philosophy of constant upgrading by better parts, I started a new era in my audio hobby – DIY. Then encouraged by Thorsten Loesch page I started learning about all things related to digital. In the countless articles  I try to share with others the various projects which I tried myself. I minimize the voo-doo talking, and try to ridicule the myths. As diplomma engineer I demistyfy many marketing fairy tales and I try to reward honest companies with my aplause. I do not differenciate between 100 USD dac from Hong Kong, or a 20 years old Philips for 20 Euro on ebay, a grandfathers’ SABA radio or Mark Levinson, Linn, Mc. Intosh or Wadia products. They all can be equally good or equally bad.
I deal with simple improvements, modifications, tweaks, very heavy surgery – all kinds of things you can do to improve your stereo. I also deal with buying HIFI online from Hong-Kong and China. There is a little bit about restoration of old gear, about room accoustics, and about listening enjoyment. Psychoaccoustics, soldering technique, measurements and component matching sometimes also appear in my pages.
You can find many confronting opinions, because what I deeply believed 20 years ago (that Scanspeak is the only good loudspeaker out there) is not necessarily my belief today. So in the form of BLOG rather than a finite webpage – I applaud many products like CD Player Grundig or ribbon tweeter Raven 2 to be World’s best. After some time, thanks to my relentless pursuit for truth – I discover new kings and report that finding to you. So don’t blame me for changing kings and queens every quarter or so. That is the very nature of the search. And by the way, the chase is better than the catch.

I devote great deal of time to tube technology, tubes in general and the circuits. I try many different Telefunken. Siemens, Amperex, Philips, Kenrad, Brimar and Sylvania tubes and I compare them to Russian military ones which I love. But of course YMMV.

Finally, I talk a lot about the tube output stage – the Lampizator. I think it is great. After 5 years of research on over 200 CD players I arrived at a conclusion that NOTHING beats properly made Lampizator stage, and  I described a couple of Lampizator variants with more than 20 different tubes.
I published a short summary of this experience in my DOC called LAMPIZATOR 2.0 which was released in july 2008.

خیلی خوب میشه این برند بیاد ایران و ما ببینیم تو سورس های زیر 3000 هزار دلار چه پاسخی به ما میده. گزارشات زیر رو ببینید :

Vincent
TDA1541A chip (جالبه)
Theta
MHZS
Digilampizator
Goldmund (شاشید به این برند سوئیسی)
Shanling ()
Teac VRDS
Lampucera
Capacitors (اطلاعات جالبی در مورد خازنها)

بخش تازه ها اینجاست : http://www.lampizator.eu/Updates.html

تو بخش تازه ها مطالب زیادی برای خوندن وجود داره مثل:

http://lampizator.eu/LAMPIZATOR/photogallery/STEPS/Lampizator.doc

که مرحله به مرحله مودیفای رو توضیح داده و یا رنکینگ سورس ها در:

http://lampizator.eu/LAMPIZATOR/CD_player_ranking.html.

چیزهایی هم در مورد ساخت بلندگو اینجا نوشته:

http://lampizator.eu/SPEAKERS/PROJECTS/P24/P24_monster_speakers_raal_altec_lansing.html

و لیستی از سورس های ارزان :

0.  Sony XA5ES
1. ARCAM CD73 (Wolfson based, price circa 400 GBP on ebay) (and all other Arcams with Wolfson) Also new WM8741 based Arcam CD17 – yummy !
2. Nakamichi CDP-2E with TDA1541A, Sony CDP557ESD with BB PCM64 DAC
3. Philips 753 and 751 with Philips TDA1549 DAC (and Marantz cd5000 and CD48)
Luxman D-103u
4. Sony CDP-555ESD with TDA1541, Kenwood DP8010 with PCM58P, Sony CDP338ESD with BB-PCM58P DAC
5. Cambridge Audio CD3, CD2
6, JVC 1050Z with K2 filter and JVC DAC
7. Maxi Lampucera with CS4397 DAC from Cirrus (needs transport)
8. SATCH DAC with the TDA1541AS2 (needs transport) now it even comes with factory installed lampizator
9. Cambridge AZUR 540-640 with Wolfson DAC
10. Copland CDP 289
11. Zhalou DAC 2,5 MK2 and 3,0 (needs transport) based on CS4397 and 98
11.B) LITE DAC-AH with 8 x TDA1543 DAC
12. ZERO DAC with AD1852 DAC chip
13.  Bang and Olufsen CD5500 (TDA1541a)
14.  MHZS 66 and 88 (Yes, they sound quite nice ) based on Burr-Brown 1742 DAC
15. Creek CD60
16  AMC CD9
17. Pioneer PD-S06
18. Kenwood DP8010
19. Philips CD 930 and CD 940 which is the same

and of course – all Audio Note DACs (not players) – they are on position ZERO above all players listed.

اینجا هم در مورد عشق بنده Audio Note DAC 4 نوشته که جالبه اگر ترنسپورت CEC رو با DAC آئودیونت جمع کنیم چون اینجور که بوش میاد آئودیو نت خیلی ترنسپورت ساز نیست. میگه :

The power transformers are all EI (Audio Note hates toroids)

مقایسه ترنسپورت ها رو اینجا ببینید که CEC هم تو شون هست :

http://www.lampizator.eu/LAMPIZATOR/TRANSPORT/Transportbattle.html

در مورد آمپلی فایر هم چیزهای جالبی نوشته :

http://www.lampizator.eu/AMPLIFIERS/AMPS.html

1. In pentode tube amps ALLWAYS make a triode mode conversion (unless there is a switch to change the modes). This applies to ultralinear circuits etc.
Triode mode pentodes sound great, but in pentode mode – they sound really BAD. Bad bad bad. The mod is easy and costs nothing.

2. In the input section – remove and short all series resistors – we don’t need any of them. Tubes are happy when coupled to each other directly.

3. sometimes there is too many paralell resistors which form – together with series resistors – some signal attenuators. Get rid of all of them except the resistor which goes from tube grid to ground. Every small tube needs grid grounding resistor, value between 200K to 1 M.
The first input tube may use the volume pot as a resistor – so the paralell R can go out.

4. I like triodes without the cathode capacitor. Most amps use an electrolytic cap across the cathode resistor. Remove it and maybe you can decrease the cathode resistor by half. This sounds much cleaner.

5. Coupling caps: all tubes connect to the next tube by a series cap. Use sizes like 0,47 uF or more in the first stage, and over 1 uF in driver stage. use the RADIAL wound, round type not the box type and not the oval. Radial is the way to wind a good cap.
The best type is paper in oil (PIO) type, copper foil is the best electrode material. (jensen or audionote) or any decent MKP.

6. I routinely remove the global feedback loop and never I found it to be a problem. Without feedback EVERY amp that I know – performed better – more open, louder, with deeper bass, more magic, more what I like.

Thats basically all we need to do. The improvement depends on the circuit but usually the mods open up the sound a great deal. Triode mode is most important of them all. Theoretically we “loose power” but subjectively the sound is louder, more spacious and free. Wery well worth doing.

اینم بهترین هایی که این آدم شنیده از نگاه خودش :

# Best speakers I ever heard:
Audio Artistry Grand Beethoven. (I will never forget the demonstration). That memory lead me to creation of P12 the best of the best projects of my life)
# and — My own P-12 INNERLIGHT- Alnico open baffle.
# Worst audio system:
the award for worst sound at Frankfurt 1995, 1996, 1997 and 1999 goes to full Naim system. Demonstrated by NAIM, so cant blame the set-up or component matching. Everything that I hate about reproduction, in one ugly package.
# Best Audio sound: at Frankfurt 1995, 1996, 1997 and 1999 goes to STAX Omega headphone system.
# Worst demonstration of well regarded audio system in the history: Grande Utopia speakers driven by Carin monos at Warsaw Holiday Inn.
# Best cables regardless of the price:
IC: Audio Note AN-VZ
Loudspeaker: Audio Note AN-SPZ in biwiring mode.
# Best budget IC: Goertz Sapphire , Nordost Blue Heaven
Best small loudspeaker without bass: Sonus Faber Guarnieri Homage.
# Best CD transport: Audiomeca Mephisto with Audio Note AN-Vx analogue cable as digital.
# Best CD player: Tube Technology Fulcrum. Best economy player: Copland 289
# Best small signal tube: 6H2P (for 6922 circuits it is a revelation). In every application it is a revelation. Head and shoulders above other, not counting real exotica NOS. MUCH better than the 6H30P so called supertube by mr. Khomenko.
# Best Amplifier regardless of price: Audio Note Ongaku. No comments.
# Best capacitors for de-coupling:  Audio-Note copper foil paper in oil, and same goes for the tweeter cap. But beware: they tend to BREAK short very easily for no reason at all.
# Best solid state amplifier: TACT Millennium Mk2.
# Best recorded CD for testing of the equipment:  Shirley Horn – “Remembering Miles”. Patricia Barber: “Modern Cool”
# Best vinyl playback: Clearaudio deck and cartridge.
# Best power tools for woodworking: Kress
# Best DAC chip – Philips TDA1541aS2

برندهایی که از نظر ایشون پدرسوخته نیستند اینجاست :

http://www.lampizator.eu/Thegoodthebadandtheugly.html

SONY
Audio-Note
Twisted Pear (Russ Audio)
Copland
Cambridge
Saba (till 1970’s)
Arcam
Meridian
Grundig till 1990
DUAL
Philips
Yamaha
NAIM
Audio Alchemy
Tube Technology
TEAC
Kenwood
BAT
VAC
PS Audio
Audiomeca
Revox
Creek
Marków
AMC

نگاهش به فیلتر برق هم جالبه :

http://www.lampizator.eu/AC%20FILTER/SILK/FILTER.HTML

میگه :

http://www.lampizator.eu/NIRVANA/nirvana.html

So what do I mean by the state of audio Nirvana?

Let me list some very basic conditions:
1. The music in our room sounds drop dead gorgeous
2. five seconds after closing of our eyes and listening we can visualize all musicians and their instruments. We can follow each instrument and each thread easily and we can enjoy the piece as a whole
3. We do not have absolutely any clue that we listen to stereo not musicians (with eyes closed)
4. When the music is touchy we get goose bumps
5. When we listen to good albums we continue all the way to the end and we finish with an eargasm
6. We have zero itch to tweak, sell, buy or upgrade. System becomes unimportant and invisible
7. 10 out of 10 visitors, be it audiophiles or regulars, comment that they never heard better music reproduction
8. The illusion of  “they are here” or better “I am there” is so real it is truly scary. The room in our brain is totally replaced by the perception of the recorded event.
9. The music sounds fantastic at REALISTIC levels that means at the sound level similar to the loudness at the original event (usually this means bloody LOUD)
10.  I cant think of point number ten just for the sake of having a nice round list of 10.

How not to get to audio Nirvana

1. Read all audio magazines. Especially cut through the writing straight to the verdict.
2. Pay attention to 5 star products only.
3. Invest in shakti stones, spiked cones, snake oil, CD demagnetizers, anti vibration platforms, cables that contain silver and gold,
4. Pay attention to CD players which have lowest THD (total harmonic distortion) and amplifiers which have highest damping factor above 1000
5. Regularly visit your friendly dealer and without any strings attached let him get you hooked on the latest Stereophile Recommended Levinson 959.05 for 33 000 USD like a bargain
6. Fill your room with bass traps, diffusers, and sound lenses
7. Move to the basement and build a dedicated room isolated from family, friends, relatives and fresh air.
8. Go to every audio show you can
9. replace all capacitors with Black Gates and all resistors with Vishays and all diodes with Hexfreds IMMEDIATELY.
10. Play the pink noise at max volume and leave the system on repeat for one week.
11. Buy a 10 KWatt pure sinus replicator generator and feed your system with proper AC, and immediately  the music will just sound heavenly … dead. The master guru in the magazine said that the AC is really out of shape these days and that it is REALLY bad for the system.

خیلی نوشته بالا باحاله

ببینید سورس شما از چه چیپی استفاده میکنه :

http://www.vasiltech.nm.ru/files/cd-players/CD-Player-DAC-Transport.htm

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معرفی برند با قیمت های مناسب

یکشنبه 22 آگوست 2010
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واقعیت اینه من دوست داشتم یک سری برند خوب تو کلاس قیمتی Cost no Object مثل ویتوس و ASR و مارتن و ESP Loudspeaker و جورما به ایران بیاد که بیشترشون اومده و مارتن هم طبق اعلان آقای رحمانی دیگه همین روزها باید پیداش بشه .

فقط بلندگوی ESP Loudspeaker و کابل جورما مونده که فکر میکنم مانعی نیست و فقط کمی زمان لازم داره تا اونها هم وارد ایران بشه (مخلص آقای ابوعلی هستیم 😉 ) و در مورد سورس و بقیه چیزها هم کم کم اتفاقاتی خواهد افتاد. چیزی که فکر میکنم برام جالبه الانا کمی روش وقت بگذارم برندهای خوب ارزان هست.

من این برندهای خوب و ارزان رو که میشه تو قیمت های خیلی پایین ازشون صدای خوبی شنید رو معرفی میکنم و هر وارد کننده ای خواست میتونه اونها رو وارد کنه و خودم هم سعی ام بر اینه آقای رحمانی رو راضی کنم که برخی از اونها رو وارد ایران کنند.

یک دسته بندی جدید هم بنام Affordable Audio اضافه کردم که این نوع مطالب رو تو این دسته بندی مینویسم. حتما مطالب مجله Affordable Audio رو دنبال کنید که اونم چیزهای جالبی رو معرفی کرده.

اینجا رو ببینید :

http://www.affordableaudio.org/aa2010-08.pdf

معتقدم اگر کسی صدا گرفتن بلد باشه میتونه از برندهای خوب و ارزان هم صدای بسیار خوبی بگیره و قیمت های بالا هم سرجای خودشون هستند و من تابحال سعی ام بر این بوده تو هر کلاس قیمتی یک چیز خوب رو معرفی کنم.

باید این بازار تغییر کنه و امیدوارم این اتفاق بیفته.

اولین برند رو من LAMPIZATOR انتخاب کردم (اونم به پیشنهاد TwoGoodEars) به آدرس زیر :

http://www.lampizator.eu/

این برند DAC میسازه و قیمت های خیلی مناسبی رو برای کامپوننت هاش در نظر گرفته و حتی برای علاقه مندان کیت هایی رو هم آماده کرده که هر کسی دوست داشت میتونه خودش اونها رو سرهم کنه.

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nowe audio

یکشنبه 14 مارس 2010
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contact

یکی از برندهای ارزانی که میشناسم nowe audio mono3.5 هست که یک آمپلی فایر ترانزیستوری ده واتی بدون فیدبک منفی هست که تو مد سینگل اندد Class A کار میکنه البته با ماسفت خوب توشیبا.

توشیبا برای Audio ترانزیستورهای خوبی ساخته که ASR Emitter هم از اونها استفاده میکنه و بنظر میرسه میشه صدای خیلی خوبی از nowe شنید البته به این شرط که بلندگوی مناسبی با حساسیت بالای 94 و امپدانس نسبتا خطی بالای 4 اهم بهش بزنیم.

برندهای زیر هم درخور توجه اند:

Valvet Audio

Sugden Audio

AudioProjekte

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Vitus Audio

دوشنبه 18 آگوست 2008
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vitus-audio.jpg

Vitus Audio یک برند دانمارکی است که توسط دو شخص به نام های Hans Ole Vitus و Anders Grove اداره میشود. محصولات این شرکت دست ساز بوده و طراح این شرکت یکی از حرفه ای ترین طراحان سیستم های Solidstate در دنیاست.

من از شرکتهایی خوشم میاد که ده جور محصول تولید نمیکنند و در یک زمینه تخصصی فعالند و این برند همانند ASR آلمانی جزو معدود برندهایی است که هم طراحی خاص خودش رو داره و هم تمام توانش رو صرف ارائه بهترین محصول میکنه . من خیلی خوشحال شدم ASR اومد به ایران و فکر میکنم باید برندهایی بیاد که حرفی برای گفتن دارند و مهمتر اینکه من و شما باید از این اتفاقات استقبال کنیم. برای همین دوست دارم Vitus Audio به ایران بیاد و صداش رو بشنوم.

Vitus Audio خیلی برند پرسروصدایی نیست و بازار محدودی داره و مثل Jorma Design خیلی شناخته شده نیست. Vitus Audio قیمت هاش بالا هست و من فکر نمیکنم تا کسی در ایران دنبالش نباشه هیچ Dealer ای حاضر بشه اون رو بیاره . من امیدوارم دوستانی که در کلاس 50 هزار دلار آمپلی فایر میخرند این برند رو جدی بگیرند چون من بعید میدونم بین Solidstate ها صدایی دوست داشتنی تر از Vitus Audio پیدا بشه.

من دوست دارم کامپوننت هایی مثل سورس آنالوگ Goldmund ، آمپلی فایر Vitus ، بلندگوی Marten Design با کابلهای Jorma Design به ایران بیاد.

اما هیچ کدوم این برندها بجز Jorma در ایران نیست ، البته Jorma هم هنوز نرسیده و قراره در آینده بیاد. واقعیت اینه در ایران برندهای خیلی گران هم فروش میره اما برندهایی که وارد میشه بیشتر بر اساس تبلیغات Stereophile و Absolute Sound و دیگر مجلات هست. من دوست دارم این قضیه عوض بشه و برندهایی مثل Spectral ، Vitus و یا FM Acoustics به ایران بیاد.

البته فقط این مساله در قیمت های بالا نیست بلکه در قیمت های پایین و متوسط هم ما شاهد برندهای خیلی عالی نیستیم ، البته برخی شرکتها خصوصا آوین آوا برندهایی با قیمت مناسب و خوب وارد میکنند اما جای خیلی از برندهای دیگه مثل CTC Blowtorch ، Bel Canto ، McCormack ، Clayton ، Plinius ، Parasound و … خالیه.

آقای Jorma هم بنظرم با Vitus Audio و Marten Design کابلهاش رو تست میکنه البته خیلی مطمئن نیستم اما فکر میکنم این طور باشه. آقای Roy Gregory که از نظر من یکی از تحلیل گران خیلی خوب هست میگه :

“Vitus audio may be small; they may be the new kids on the high-end block, but that they deserve their place is indisputable.

The name might not be that well known but I’ve a feeling that that’s only a matter of time. Take the trouble to seek them out and I’ll be surprised if you are any less impressed than I was. More evidence indeed that the status quo in high-end audio is on the move. These electronics might seem expensive, but unlike so many of their price peers, they deliver full value in both engineering and musical terms.

 

I loved them!”

این پست رو نوشتم بدونید دوباره دارم برمیگردم و این علاقه در من به این زودی ها کم رنگ نخواهد شد.

از اینجا به مهندس پوینده عزیز سلام میکنم و دوست دارم از ایشان تشکر کنم چرا که عشق و علاقه ایشان به های فای همیشه برایم جذاب و تشویق های ایشان همیشه باعث دلگرمی من بوده است.

لینک ها اینجاست :

www.sixmoons.com/audioreviews/vitus/vitus.html

http://www.stereotimes.com/amp060807.shtml

http://www.vitusaudio.com/products/files/SS010_hifiP.pdf

http://www.stereotimes.com/amp011807.shtml

http://www.ultraaudio.com/twbas/twbas_20070101.htm

http://www.hififorum.nu/artiklar/vitus@md/index_eng.htm

http://www.ultraaudio.com/twbas/twbas_20071215.htm

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سورس دیجیتال APL HiFi NWO-3.0 Game Over

چهار شنبه 27 فوریه 2008
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nwo-3.0go-aplhifi.jpg

اگر دوست دارید در آخر هفته دنبال مطالب جالبی در اینترنت بگردید پیشنهاد میکنم به سایت شرکت APL سری بزنید و مطالبی در مورد DAC این شرکت بخونید. به این کلاس سیستم ها میگویند SOTA (یعنی State of The Art).

یک طراح بلغاری بنام Alex Peychev که سورس های Esoteric رو Modify میکنه سورسی ساخته بنام NWO-3.0GO (منظور از GO همان Game Over هست) با قیمت 30 هزار دلار که برای خیلی ها جالبه. این سورس از 20 تا DAC موازی AK4396 استفاده میکنه. این سورس یک طبقه خروجی داره که مستقیما به Power وصل میشه. در تحلیل زیر این سورس به یک آمپلی فایر مینیمال لامپی Jadis وصل شده و پاسخ نهایی فوق العاده شده.

بد نیست این تحلیل زیبا رو (همون تحلیل اینجا هم هست) بخونید تا بهتر بدانیم حرفه ای ها چگونه سیستم Setup میکنند و چگونه صدا رو تشریح میکنند. تحلیل Srajan Ebaen اینجاست.

اینجا رو هم ببینید که در مقایسه در مورد مدل 2.5 این شرکت چی نوشتند. همانند Alex کسانی در دنیا هستند که هم Modifier سیستم هستند (مانند Arthur Salvatore یا Tony و یا Steve Huntley) و هم صدا رو خیلی خوب میشناسند و هم طراح فوق العاده ای هستند.

سورسهای مورد توجه در دنیا عبارتند از :

MetronomedCSEMM LabsEsotericSpectralAccustic ArtsReimyoZandenAudio NoteAccuphaseWadiaAudio AeroEnsembleJadisAudio ResearchNaimOracleAudiomecaElectrocompanietWeissNagraLinnResolution AudioLindemannCaryBurmesterAMRSonic FrontiersOrpheus LabsKrell MBLGryphon47 LabMeridian

ChordMark LevinsonMusical FidelitySoulution AudioVitus

Stahl~TekBerkeley Audio Design

لینک های زیر رو ببینید :

http://sixmoons.com/audioreviews/aplhifi/uas1.html

http://6moons.com/audioreviews/esoteric4/trio.html

http://www.dagogo.com/Spotlight/APL-Hi-Fi.html

http://www.6moons.com/audioreviews/westernelectric/300b.html

http://6moons.com/audioreviews/zanden2/2000_2.html

http://www.audioasylum.com/cgi/t.mpl?f=hirez&m=225237

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Harmonix Reimyo CDP-777 CD Transport/Player

دوشنبه 19 نوامبر 2007
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هر از چند گاهی برندهایی رو معرفی میکنم. اینبار نوبت سورس دیجیتال شرکت هارمونیکس هست بنام Reimyo که در ایران نمایندگی نداره و من هم صداش رو نشنیدم اما تا اونجایی که من میدونم جزو سورس های خوب دیجیتال هست. مهمترین شاخص ای که در مورد صدای این کامپوننت برای شنوندگانش جالب هست حالت آنالوگ داشتن صداست به این معنی که صدا راحتی و روانی Fluency & Liquidityٍٍ رو با Neutrality و Macro Dynamic خوب با هم داره. یعنی شاخص صدا (Timbre) هم Emotional هست با Texture طبیعی در حالیکه وضوح صدا بالاست. برای کسانی که بلندگوی خیلی Revealing دارند با Solidstate Amplification این سورس میتونه صدا رو بسمت خوبی ببره. صدای این سورس چیزی بین صدای Emm Labs و Zanden هست که فکر میکنم طراحی خاص اون همانند Accustic Arts یکی از بهترین طراحی ها در طراحی DAC باشه. از نظر من (با تکیه بر تحلیل هایی که خوندم) اگر در سیستمی این DAC خوب Match بشه در digital domain صدای خوبی خواهد داشت هرچند سلیقه شما ممکنه با من فرق داشته باشه. اینجا رو ببینید، خیلی ساده و خوب تفاوت ها رو توضیح داده و نشون میده هر یک از سورس ها در مقایسه با دیگری چگونه هست. جالبه حتی سورس 60 هزار دلاری Esoteric D-01 هم صداش شاخصی داره که با دیگر سورس ها متفاوت هست و ما باید با Matching صدا رو به سمتی که دوست داریم ببریم نه اینکه یکسری کامپوننت گران رو همینجوری سرهم کنیم . همه سورس های خوب در Macro به هم نزدیک میشوند اما در Micro با هم تفاوت دارند و نباید فکر کنیم در قیمت های خیلی بالا به ایده ال رسیدیم. چقدر جالب میشه این سورس به ایران بیاد. جستجوی گوگل رو ببینید و اینم لینکها :

http://www.combak.net/reimyo/CDP-777.htm

http://www.sixmoons.com/audioreviews/combak2/cdp.html

http://www.ultraaudio.com/equipment/reimyo_cdp777.htm

http://www.stereotimes.com/cd081805.shtml

http://www.enjoythemusic.com/

http://audioenz.co.nz/2005/reimyo_cdp-777.shtml

http://www.6moons.com/audioreviews/combak3/system.html

http://www.combak.net/pdf/CDP-777Test.pdf

 

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