alexatpos

Nadam se da ce mi puritanci oprostiti sto postam album jednog blues gitariste. Navodno sav jazz vuce korijen iz bluesa, pa to i nije neki prekrsaj, pogotovo sto neka od najvecih imena jazza sviraju kao gosti. T Bone Walker, Very Rare. Album je iz 1974...iako bih svakako preporucio i dupli album JATP a, za one kojima se dopadne i gornji... Par klipova... https://youtu.be/Mc4abSHRhEc https://youtu.be/IUbwHrCuil8 https://youtu.be/pFqK6PBq-hA

Tesko covjek moze doci na red, koliko se posta u ovoj temi....uglavnom, za ovih par upornih ili slucajnih citalaca.... Album jos jednog gitariste za kojeg je malo tko cuo, (u stvari, jos i manje od toga...), osim onih koji su pazljivo citali sastave na ranim albumima Jimmy Smitha i jos pokojeg izvodjaca na Hammondu... Thornel Schwartz, na koliko je meni poznato, svom jedinom solo albumu 'Soul Cookin' iz 1962. Nesto vise podataka o njemu se moze iskopati na netu... Mislim da vrijedi da mu se album cijeli posta ovdje, jer se moze naci samona LP u.... https://youtu.be/8tgpOBAZ1hE

https://youtu.be/kUVNIJl6h38 https://youtu.be/YivFyoUVD3Q Jos jedan neopjevani junak gitare, Ivan 'Boogaloo' Joe Jones, sa svog cetvrtog albuma,u ediciji RVGa. Iako mi nije na prvom mjestu, ovo je funky, soul jazz, u svom najboljem izdanju, ne ljiga koja se tada (kraj 60ih i 70e) vec znala ucestalo svirati. Sto se tice Ivana, paralelno sa svirkom je navodno radio kao krupije u kasinu, snimio nekolicinu albuma, mislim kako je postao 'cjenjeniji' puno kasnije, nego za vrijeme karijere

Tiny Grimes, jos jedan gitarist, koga malo tko spominje....sto je prava steta,ovdje sa Coleman Hawkinsom vise o tome http://www.jazzwax.com/2009/12/coleman-hawkins-and-tiny-grimes.html https://youtu.be/p51MT5OMw-I https://youtu.be/1su8d-sewVA

https://youtu.be/-rJxK-4Bq-8 Oscar Moore, jos jedan iz plejade izvrsnih, a siroj publici (to je oksimoron u jazzu) nepoznatih muzicara, gitarist najpozntiji zbog suradnje sa Nat King Colem, 30ih i 40ih. Ovaj album je iz 1954. no, ne dugo nakon toga se covjek ostavio bavljenja glazbom, sto je svakako steta. Vise o njemu se moze naci po netu. Na klipu je cijeli album, napomena za nestrpljive, prva stvar se uvelike razlikuje od ostatka albuma

Jos jedan izvrstan gitarist, totalno opskuran, mozda na ovaj nacin jos netko sazna za njega. Snimio je dva albuma kao leader (koliko je poznato),ovaj je sa iz 58.,a drugi iz 70'h nisam ni ja uspio vidjeti. Ovdje je u drustvu sa jakom West Coast ekipom. Nesto vise informacija je tesko pronaci, po raznoraznim jazz forumima se nadje kakav trag, uglavnom,snimio je nekolicinu albuma kao sideman, jednog kao leader, nije postao poznat i nastavio svirati lokalno... Opet, za lijencine, jedan klip...https://youtu.be/AyVchMopXT0

Njegov jedini solo (leader) album. http://www.allmusic.com/artist/billy-bauer-mn0000069127/biography Ovaj link je samo za lijene, iz iskustva, nekako je lakse jednim klikom doci do muzike... https://youtu.be/G9x_74wc71c?list=PL1vTNGM5zLFfIo86gkawTXbYBhqQBfxn-

Nisam slusao spomenute zvucnike, no tog Pathosa jesam.Ne znam kolika ti je soba, ni koliko glasno volis slusati,no na prvi pogled, gledajuci specifikacije zvucnika, 87db,4 ohm,mislim kako bi ti moglo faliti snage. To je fino zvuceci integrirac, ali se ne razbacuje snagom. Ako usput mogu nadodati,nevezano uz Logosa, imao sam i Burmester 001, i da nisam kasnije kupio i 011 pre amp, vjerovao bih kako je njegov, ugradjeni pre amp u cd u, sasvim dovoljan. No, u kombinaciji, 001, sa 011, nema usporedbe u odnosu na 001. Jedini problem,naravno, cijena...

https://youtu.be/UKyDmrDnB1o Howard Roberts, studijski muzicari edukator, koji je tu i tamo objavljivao jazz albume...koje sve treba nabaviti...pogotovo ove iz ranije faze

Ovo je hvale vrijedna tema, nadam se da ce zazivjeti. Kao svoj prilog, dodati ce albume nekih nedovoljno poznatih, a opet izvrsnih izvodjaca, koji bi mogli biti nepoznati cak i ljubiteljima. Nadam se da ce to neke od njih spasiti od zaborava, pravca u kojem generalno ovakva muzika i ide...Kao prijedlog, mozda bi bilo lakse i preglednije na nekakav nacin sortirati prijedloge, npr. east ili west coast, bop ili cool, godina ili mozda po vrsti instrumenta, npr.sax iz tog perioda... No,to je na pokreatcu teme... https://youtu.be/03YDIOPjxT8 'Guitarist Ray Crawford, best known for his associations with pianist Ahmad Jamal and organistJimmy Smith, only led one session in his early years. Because the Candid label soon went bankrupt, the set went unreleased altogether until this 1988 CD. Comprised of five Crawford originals, the session finds the guitarist playing fairly advanced hard bop with trumpeter Johnny Coles, baritonistCecil Payne (in top form), pianist Junior Mance, bassist Ben Tucker, and drummer Frankie Dunlop. Everyone sounds fine, making one regret that this set fell between the cracks for so many years.'

Na temu 'loudnessa'...http://www.youtube.com/watch?v=dcKDMBuGodU

Nadam se da ovo nece biti shvaceno kao off topic, netko je gore spomenuo Luxmana, a i postovani Suca svoj 001, pa da se nadovezem. Prije par dana sam kod prijatelja slusao Luxman 590 ax, mislim da je oznaka, 30 w A klasa, integrirac, i covjek je na njega spojio Burmesterov 001 player, koji je kupio nedavno, ako smijem reci i na moju preporuku.(imao sam ga takodjer). 001 ima mogucnost spajanja direktno na amp ili kada se spoji na integrirac, pojacavanja preko njega. Dakle, spojili smo ga na Luxmana, odvrnuli pojacalo do kraja, tako da volume control ima sto manju funkciju (najbolje bi bilo nikakvu) i upravljalli pojacanjem preko playera. Karakter zvucne slike se promijenio, po meni na bolje, slusali smo 'Kind of Blue' i sviraci na pozornici su mi djelovali puno ujednacenije, dok kada slusamo preko Luxmana truba uvijek izbija u prvi plan, veca je i glasnija od ostalih clanova benda. Naravno, to samo po sebi nista ne znaci, to je samo moje subjektivno misljenje. Imam mogucnost probati i 011 preamp, Burmesterov, no tragam za njihovim izlaznim pojacalom, i onda cu moci reci ima li smisla koristiti i predpojacalo. Opet,samo po mom skromnom i subjektivnom misljenju, i samo za taj slucaj, ipak je ovo Accu tema.

The following is an explanation of some of the many components used to create Running Springs products (this is an excerpt from one of Dan's White Papers on power management): After studying the various forms of harmonic distortion artifacts associated with audio/video, I quickly realized that caps alone would not do the whole job if the aim was not to affect dynamics. But there are aspects that capacitors can address successfully. Now don't assume that just because you're living in rural Idaho, your power is squeaky clean. No inhabited place on the planet is safe from transient harmonics, not to mention the inherent possible feedback between the magnetic fields surrounding your equipment stand. You see, I had to think both ways - differentially to be exact. Capacitors were a good place to start. Running Springs makes them six days a week and know which problems they can solve based on specific attributes of their construction. The following is a brief discussion about film capacitors to get you familiarized with this subject. A capacitor is a passive device used to store electrical energy. Think of a capacitor as a bowl of water that can be filled or emptied at a very fast rate. The capacitor is the bowl, the electrical charge the water. Just as the water can be measured in liters, this electrical charge is measured in farads. Typically we measure capacitance in microfarads or 1/1,000,000 of a farad (a one farad cap would be extremely large). Generally, a capacitor consists of two conductive metal plates separated by a non-conductive insulator or dielectric. This configuration has the ability to hold or store energy. When an electrical signal is applied across each lead, the capacitor will charge up very much like a battery. When the charge is removed or interrupted, the cap stays charged until the two lead wires are connected. Then all the stored energy is released at once. The capacitor is now ready to resume the charge-up process again. The charge which a capacitor can hold also depends on the type of dielectric used to separate its plates. Each di-electric has its own dielectric constant. This constant ‘K' is used to calculate the amount of capacitance a capacitor can store: The formula is: C = (A) x (K) [where C = capacitance; A = surface area; K = dielectric constant; d = distance between the plates] The bottom line is that more surface area equals to more capacitance. This ability to store energy can be beneficial in a circuit to absorb a large electrical signal such as delivered by a voltage spike from your wall receptacle which could damage your entire system connected to it. So capacitors store energy, guard against voltage spikes, absorb power but then release it at a more moderate rate. And there are other functions or attributes for our purposes, specifically frequency discrimination. Capacitors possess the inherent ability to either pass or block specific frequencies. A capacitor's impedance regulates those frequency values as a resistance which prevents certain frequencies from passing (in our case line noise). As capacitance or frequency increase, impedance decrease. Less impedance means less equivalent series resistance. Low resistance allows the signal to pass. By arranging capacitors in either series or parallel combinations, the input signal can be separated into AC and DC components. By using different values and types of film capacitors, AC frequencies can be further attenuated or suppressed. Especially in high-end audio, wide-band frequency response is extremely important. Inconsistent frequency response creates distortion. 20-amp 2400 watts of continuous uncompressed, uncolored power Ten isolated RSI modified BMF1 20-amp duplex (12 outlets) Non-magnetic aluminum chassis w/ carbon fiber faceplate and feet Proprietary passive components built to +/- 1% tolerance 14.75" x 6" x 10.75" 67 lbs Hand made in the USA 5 year warranty Istina ili ne, mogu samo komentirati kakav je moj utisak. Vrijede li ti ugradjeni dijelovi tih novaca, pojma nemam. Pretpostavljam kako sve treba probati kod kuce u svom sistemu, pa donijeti odluku.Ja sam imao priliku probati najmanji njihov uredjaj, pa sam sticajem okolnosti kasnije uzeo najveci. Inace, pasivni kondicioner nije rjesenje ako imate velike oscilacije u naponu. Sto se tice trenutka potencijalne kupovine, njega bih predlozio kao zadnjeg,i nakon izbora strujnih kabella. Tada ima smisla probati i vidjeti slaze li se sinergijski i ima li poboljsanja, drugacije nije uvijek i bolje

http://www.digitalaudiofidelity.com/index.html Na 'nasem' forumu se razvila rasprava na isti pocetni tekst, te je postan i ovaj interesantan tekst, mozda ce i clanovima ovog foruma biti interesantan za komentiranje

All the transports, including the BADA Alpha USB, were connected to my dCS Scarlatti DAC using the generic BNC cable. I'm a firm believer in BNC cables, as in my experience, even a cheap, $10 generic BNC cable can outperform fancy RCA and AES cables costing hundreds of dollars. The only exception was the McIntosh MCD-1000, which was used with the Stealth Varidig Sextet AES/EBU digital cable, as it lacks the BNC output. During the tests, I have also tried the matching Accuphase DC-801 and McIntosh MDA-1000 DACs. In the case of dCS and Accuphase DACs, I did not use the available clock link feature (which greatly improves the sonics in all-dCS and all-Accuphase systems) as I was interested in comparing the pure SPDIF performance of all transports, not learning that SPDIF as a standard is flawed, which I have ackowledged a long time ago. The test was as fascinating, as it was ... short. The BADA Alpha USB turned out to be much better than all of those transports mentioned. There was even no need to switch back and forth as we often do to hear the differencies. The difference was so obvious, that you could hear it in the first 10s of a familiar recording (I recommend a recordings with lots of HF energy, like lots of percussive instruments - triangles, hi-hats etc and a lively acustics; pesonally, when comparing different digital cables, digital transports, USB converters or computers, I always use 'La Spagna' by Atrium Musicæ de Madrid and Gregorio Paniagua published by BIS records - a fabulous recording of XV century music; there is also one by Harmonia Mundi, but I like the BIS one better). The BADA Alpha USB made the sound smoother, with ZERO artificial edge, grain or digital glare. There was also much better layering of instruments, and air around the outlines. The instruments sounded not only better separated in space, but also much more 3-dimensional. The resolution also improved quite a bit. You could hear the sounds that you were not aware are on the recording, the HF decays had much longer trails and hung in space much longer. The most fascinating thing was that sound had better resolution, but at the same time, was so much smoother and fluid. Usually, it is another way round. Very often we try a new component or a cable and at first are fascinated by improved resolution, only to find out a few days later (after we had X-rayed all our recordings), that the increased resolution brings listener fatigue and makes the listening far less enjoyable. Not this time. BADA pulls this incredible trick of sounding both more resolute, more transparent, and much smoother at the same time. The traditional transports sounded grainy and congested at the same time. The whole rendition of space just shrunk, as if someone sucked out all air. Once I have heard the BADA, there was no going back. One may ask - how it is possible that a $1800 device can outperform a $33k transport ? For starters, the USB converter is much cheaper to manufacture, as it doesn't have an expensive (in case of Scarlatti - EXTREMELY expensive @ $5000) CD drive, fancy box, big PSU with separate legs for the drive, display, servo, control logic and SPDIF out, etc. Since it is so small and has no controls, it can get away whit what looks like a $100 box that can be hidden away. On performance side, I think it all goes down to the quality of the onboard clocks used (and their respective power supplies). The clock stability has a direct influence on the quality of the SPDIF signal, as the whole SPDIF signal is generated using clock as a reference. So more stable clock = more stable (less jittery) SPDIF signal. All the transports I mentioned use clocks that were available 7-8 years ago, when those transports were designed. They were probably one of the best avalable at the time, but are rather avg by today's standards - there was a great advancement in clock art (with respect to their phase noise) in the past 3 years. The latest Ultra Low Phase Noise clocks that are used in BADA Alpha USB (made by Crystek), have the levels of phase noise that rival the ultra expensive Rubidium Clocks. Sure they do not have the long time accuracy of the Rubidium Clocks (the PPM figure), but that doesn't really matter, as what is important in digital audio is the short term clock stability (the level of Phase Noise). Were does this leaves us ? Well, the dCS owners do not really have to worry, as enabling the clock link feature between the transport and a DAC (during the course of this test I kept the clock link feature disconented to level the playing field) will improve its performance. The Scarlatti clock may not be enough to get past the performance offered by the BADA (the U-Clock shurely wasn't), but the Antelope 10M Rubidium Clock is. Scarlatti transport driven by Antelope 10M clock (and needed Antelope OCX clock divider) still gave me the best sound I have ever heard from my Scarlatti system. Not to mention the fact, that it does SACD as well. But for the rest of you, who DO mind spending $50k for the transport, clocks and cables, this is a great news. Nowaydays for ~$5000 (BADA Alpha USB + CAPS v3 Lagoon computer + NAS) you can have a State-of-the-Art digital transport, that will rival most super expensive CD spinners. __________________