نمایشگاه سیستم های صوتی در آلمان Highend in Münich 2010 از تاریخ 6 تا 9 ماه May برپاست و ویتوس هم اونجا حضور داره با یک بلندگوی جدید که من اسم برندش رو نمیشناسم . یک سری عکس اینجاست ببینید.
رومی که مشغول جابجایی بلندگوهاش هست و من پیشنهاد میکنم اون پستش رو دنبال کنید چون مطالب جالبی رو نوشته.
مایک هم مثل من انگار بیخیال های فای شده و خیلی وبلاگ و مجله اش رو آپدیت نمیکنه.
FM Acoustics هم یک آمپلی فایر 70 واتی کوچک زده که برام جالب بود دیدم راستی یک بلندگو هم جدیدا معرفی کرده که میتونید اینجا ببینیدش.
سایت های دانلود موسیقی هم مثل BSO و Passionato , RR دارند کم کم زیاد میشن و بنظر میاد در آینده نه چندان دور بجای سی دی خریدن باید از این جور سایت ها دانلود کنیم .
نمایشگاه AKFEST 2010 هم یکم و دوم ماه می در میشیگان برپاست.
وب بروزر http://www.enjoythemusic.com/browser/ هم جالبه ببینید.
شاید جالب باشه بدونید خیلی از solidstate سازها از ترانزیستورهای ژاپنی Sanken استفاده میکنند مثل Krell Evolution One آمریکایی ، Soulution 700 سوئیسی و Absoluta Sound and Space ایتالیایی.
یک سایت جالب که عکس های سیستم های صوتی توش هست هم اینجاست، ببینید:
عکس های جالبی گذاشته و چیزی که تو این نمایشگاه ها به چشم میخوره اینه که خیلی از کمپانی های بلندگوسازی مثل TAD ، Marten ، Peak Consult ، German Physiks ، Tidal ، Kharma ، Amphion ، SW Speakers ، Focus Audio حتی بعضی از هورن سازها از ویتوس برای دمو استفاده میکنند.
نکته خنده دار اینه که این سایت از سایت من عکسهایی رو برداشته و تو سایتش قرار داده ، البته من ایرادی نمیبینم ولی جالبه که عکس سیستم صوتی آقای ابوعلی و آقای کیهانی هم اونجا حضور داره. 😀
حتی عکسهایی که آخرین بار از خوانه آقای ابوعلی گرفتم هم اونجا هست ببینید :
احتما لا تا چند وقت دیگه عکس های مارتن سوپرمی هم اونجا سروکلش پیدا میشه. 😉
فعلا این عکس ها رو از سایت http://www.euphonia-audioforum.se/forums/index.php?act=home ببینید :
اما مهمترین مطلبی که باید مینوشتم مربوط به مجله Audio Perfectionist بود که این آدم هم خیلی آدم حسابی هست و هم چقدر زیبا در مورد اهمیت آکوستیک مطلب نوشته اونم در اولین شماره نشریه اش :
This introductory issue of the Audio Perfectionist Journal will present the basic philosophies and precepts which will become the basis for all J o u r n a l a rt i c l e s.
It will lay the foundation for the info rm a t i o n that will be presented in future issues. In this first J o u r n a l we’ll discuss some of the misinformation that is rampant today and I’ll offer logical arguments to refute this propaganda. As a prelude to the articles on speaker placement and room treatment that will be included in Journal #2, we’ll lay outsome specific goals for assembling an audio system that can provide lasting musical satisfaction and we ’ l l discuss some of the problems that music lovers may encounter in their quest for that satisfa c t i o n .
The series of Journals that fol low will suggest solutions to the problems and provide info rmation to help a c h i eve the goals presented here.
The foundation of the Audio Pe r fectionist Journal i s my high fidelity approach to home audio. This philosophical position is presented in the article titled “ The High Fidelity Ap p ro a ch to Home Music Rep ro d u c t i o n .”
All info rmation in the Journal is based on the high fidelity approach which requires that a home audio system accurately reproduce the recorded signal. Proper system set-up is integral to the high fidelity approach and proper set-up starts with the preparation of the listening room.
Your listening room is a fundamental element of your home audio system and the acoustics of your room must be considered even before you start to choose audio components to accurately reproduce the recorded signal in that room.
Room acoustics cannot be corrected by electronic gadgets that alter the recorded signal and the response of the speakers The sound from the speakers and the sound from the room must be considered separately.
The article Equalization Can’t Fix Your Room :
Acoustics is the first in a series about getting the best sound from the components that you already own. It debunks the popular idea that all your acoustic problems can be electronically corrected and explains why room acoustics must be corrected acoustically.
It lays the groundwork for future articles about both system components and room acoustics by explaining why these two major aspects of sound—system and environment—must be treated as separate entities .
There are two major elements of the sound that you hear from a home audio system:
the sound that comes from the speakers—which is influenced by the quality of the system components—and the sound that comes from the environment in which the system resides—which is influenced by the room coustics.
These two major elements of sound can be further divided into two parts: bass frequencies up to about 140Hz and everything else. Speaker placement and room acoustics will be covered in future Journals but first we have to establish some fundamentals.
Before I suggest where you should place your speakers, you need to know why they should be placed there.
Before I suggest how you should treat your room, you should understand the goal.
You are wasting your time spending big money for small improvements in component performance before you’ve realized all the performance possible from the equipment you have now and the room in which that equipment is used.
A screwed up system in an untreated room may prevent you from hearing the improvement that an expensive component upgrade of f e r s .
But when you insert a better-sounding component into an optimized system, a subtle sonic improvement becomes a significant advance in fidelity and satisfaction.
The article titled The High Fidelity Approach to Home T h e a t e r :
proposes that a high fidelity audio system that accurately reproduces the recorded signal can be effectively utilized for home theater, too. If you want to really hear what the filmmakers intended, you’ll want to hear the signal just as they recorded it.
The popularity of home theater has been responsible for the biggest setback in the cause of high fidelity music reproduction since the introduction of the compact disc. T h a t ’s because the marketeers decided to offer a false paradigm as the standard for home theater fidelity in order to license and sell more products .
The article Home Theater Myths describes this false paradigm and explains why it has caused a division in the ranks of audio enthusiasts that really makes no sense at all.
This article presents arguments that counter the many heavily promoted “truths” about home theater performance that go largely unchallenged today. If you love music and want an audio system that serves double duty for music and movies, this article is a must read.
Home theater is a lot of fun and there is no reason that music lovers have to be at war with home theater buffs. High fidelity sound is what the Audio Pe r fectionist Journal is all about.
There is no caveat about what that sound has to represent, and there is no rule that says we have to use our hi-fi systems only for music. We can have it all if we get our priorities s t r a i g h t .
Future articles will describe how to use your high fidelity audio components for home theater sound without sacrificing musical performance in any way.
We’ll discuss the fidelity of film sound and I’ll tell you how to add home theater capability to your audio system without wasting money on components that claim to deliver more than the film medium allows.
Product Reviews :
I intend to do some product reviews but they will not be like the ones you’ve been reading elsewhere. Relying on reviews is a crutch that you should learn to do without. When you have firmly established your own sonic tastes you’ll realize that someone else ’s subjective impressions of an audio component are useless to you.
The influence of product reviews is a primary reason that so many music lovers are frustrated with their audio systems.
Seeking that magic component that will transform your system into a sonic wonderland is a futile pursuit.
Some audio components sound better than others but many people have systems that are so poorly set-up, in rooms that sound so bad, that the subtle differences between competing components will be all but inaudible. An inferior component may actually be preferred if it compensates for a flaw somewhere else in the system.
I have visited many rooms where the best components available were making the worst imaginable sound. Set-up is far more important than the choice of equipment. The sonic dif f e rence between a good component and a great one is subtle compared to the huge difference between a bare room and one with proper acoustic treatment.
Equalization Can’t Fix Your Room Acoustics :
Getting good sound from your home entertainment system requires attention to set-up. You can choose the best equipment in the wo rld and still be disappointed by the sonic results unless you devote some time to adjusting the system and the room that you put it in.
The contribution from the environment in which it resides can make or break the sound of a hi-fi system. Yes, your room is an important component and if it sounds bad, your potentially great-sounding system may be overwhelmed. Nothing I’m going to say in this article is meant to imply that the room is not an extremely important aspect of the total sound. What I am saying is that you can’t fix a poor-sounding room with electronic
equalization that alters the response of the speakers. Y o u must fix poor room acoustics acoustically. Learning why you can’t fix room acoustics by equalizing the speakers is important in order to understand how to do it correctly.
Please don’t jump to any all-encompassing conclusions. I don’t have a problem with equalization per se. Recordings are equalized to compensate for flaws in the equipment used to make them and play them back. Speakers can be equalized to correct response errors that should have been fixed in the original design. In fact, that’s what well-designed crossover networks are supposed to do—equalize driver response errors. Using an
equalizer as a tone control to tune your system to suit your specific tastes or to make poor recordings sound listenable is a reasonable concept, although I think that there are better ways to do this. I don’t mean to condemn all forms of equalization—just so-called “room EQ,” also incorrectly called “room tuning.”
I have a problem with the idea that you can compensate for poor room acoustics by altering the response of the loudspeakers to make them inaccurate in a complementary way. In a room where the speakers and the listeners are properly placed, well-away from the room boundaries, “room EQ” simply does not work.
As powerful digital signal processors become ever more economical, magic computer boxes designed to fix all your acoustic problems will be springing up like weeds. They work just like traditional room EQ. They falsely assume that the ear/brain mechanism can’t distinguish between the sound from the source and the sound from the room. When we start to actually tune the room with acoustical treatment, you’ll see that the sound from the speakers and the contributions from the room are separate entities.
Does the Piano Sound Different in Different Rooms?
My piano has been in many different rooms over the years. If I positioned the piano in a bare room and played it before placing other furnishings in this room, the sound of the room would be overly reverberant and the long decay time of this reverberation would blur and confuse the sound from the piano somewhat.
However, when placed in a variety of normally furnished rooms with very different acoustic characteristics the sound from the piano remains exactly the same. The environment sounds different—you can certainly differentiate one room from another—but the piano sounds exactly the same. No one would ever confuse the sound of my piano with the sound of a Steinway or a Bösendorfer. And no one would ever confuse my playing with that of Chopin.
A familiar voice is another real-world example. My wife’s voice is clearly identifiable whether she speaks to me in the kitchen or in the bedroom. When she shouts to me from the den, I can tell where she is by the sound of the room acoustic, but her voice remains clearly hers. Regardless of the acoustics of the room in which she speaks, her voice is easily recognizable.
The room contributes to the overall sound of the experience but makes virtually no difference in the sound of the piano or of a human voice. Why is this? What about all those dreaded “standing waves”? If we need to electrically equalize our home audio systems to compensate for room acoustics, why do the piano and my wife’s voice work just fine without EQ?
I’ll give you a couple of good reasons: there is a big dif f e r e n c e between our ear/brain mechanism and a microphone/spectrum a n a l y z e r, and there is a big difference between music and voices (or sound effects for that matter) and a continuous stimulus, whether it’s a sine wave or pink noise. In simple terms, the measurement system used for “room equalization” is completely bogus. The sound from the room and the sound from the speakers don’t sum because these sounds originate in dif f e r e n t places and they arrive at the listener at different times. A m i c r ophone integrates these signals but the ear/brain dif f e r e n t i a t e s between them.