Vintage high fidelity

A vendre : deux enceintes Cabasse Caravelle 301 Hetre

2010-04-10T21:07:00.001+02:00

A vendre : deux enceintes Cabasse Caravelle 301 Hetre pour amplis de 2, 4, 6, ou 8 ohms.

Voir l'objet en vente sur eBay…
http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&item=130381947063

voir tous les objets en vente en ce moment…
http://shop.ebay.fr:80/www-high-energy-music-com/m.html
http://shop.ebay.fr:80/www-ultra-hifi-com/m.html

Ces enceintes ont été testées et fonctionnent très bien.
Deux coins sont légèrement abimés (voir photos) et une griffe est visible sur le sommet d'une des enceintes.
Il y a de très lègères griffes à peine visibles sur le côté et sur le sommet.

Prix de départ écrasé pour cette vente. Valeur initiale du produit :
1250 euros.

Envoi recommandé avec accusé de réception au prix le
plus bas possible pour l'acheteur : soit au départ de Givet (France) ou
au départ de Namur (Belgique).
L'acheteur peut opter pour une
solution de livraison différente de la
Poste. Dans ce cas des frais supplémentaires peuvent s'appliquer afin
d'emmener l'objet en voiture vers le point de dépot du transporteur
choisi.

L'acheteur peut venir prendre l'objet s'il le souhaite.

Possibilité
de livraison (après réception du payement et après accord mutuel) : 25
cents par kilomètre parcouru.

plus d'informations ici…
http://www.cabasse.com/old/enceintes/caravelle301.php

Haut-parleurs	1 x 21M18 1 x 13M15M 1 x DOM30
Efficacité	93,5 dB
Filtre	650 - 2200 Hz
Réponse en fréquences	55 - 20 000 Hz
Puissance nominale	110 W
Puissance crête	770 W
Dimensions	56 x 27 x 37,1 cm
Poids	17 kg

La canette sur les photos est là pour vous donner une idée de la
dimension de ces enceintes.

A vendre : NAKAMICHI RX-202E unidirectional auto reverse deck - high-end cassette player with unique reverse mecanism

2010-04-10T21:06:00.002+02:00

A vendre : NAKAMICHI RX-202E unidirectional auto reverse deck :
high-end cassette player with unique reverse mecanism.

Lecteur de cassettes auto-reverse NAKAMICHI RX-202E :
matériel de haut de gamme avec un mécanisme unique pour retourner la cassette.

Voir l'objet en vente sur eBay…
http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&item=130382168034

voir tous les objets en vente en ce moment…
http://shop.ebay.fr:80/www-high-energy-music-com/m.html
http://shop.ebay.fr:80/www-ultra-hifi-com/m.html

En très bon état : comme neuf.

Envoi recommandé avec accusé de réception au prix le plus bas possible pour l'acheteur : soit au départ de Givet (France) ou au départ de Namur (Belgique).
L'acheteur peut opter pour une solution de livraison différente de la Poste. Dans ce cas des frais supplémentaires peuvent s'appliquer afin d'emmener l'objet en voiture vers le point de dépot du transporteur choisi.

L'acheteur peut venir prendre l'objet s'il le souhaite.

Possibilité de livraison (après réception du payement et après accord mutuel) : 25 cents par kilomètre parcouru.

plus d'information :
Nakamichi RX-202E, Unidirectional Auto Reverse Cassette Deck
Some technical data:
Manufacturer: Nakamichi, Japan
2 heads
4 motors
Tape counter: 4 digits, electronically
Dolby: B, C
MPX-Filter
Inputs: line
Outputs: monitor, headphones
Tape display: LED-peak
Dimensions: 450 x 144 x 300 mm
Weight: 10 kg
Special features: Unidirectional Auto Reverse System. Microprocessor for drive electronics. Separate engine for turning mechanism. Auto-fader. Auto-recording.

A vendre : enregistreur audio haute définition TASCAM DV-RA1000 avec accessoires

2010-04-10T01:52:00.003+02:00

A vendre : Enregistreur audio haute définition TASCAM DV-RA1000 avec accessoires. Si intéressé contactez Thierry Dambermont à cette adresse dambermont@skynet.be en indiquant TASCAM dans le sujet du message.

voir l'objet en vente sur eBay…
http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&item=130381529231

voir tous les objets en vente en ce moment…
http://shop.ebay.fr:80/www-high-energy-music-com/m.html
http://shop.ebay.fr:80/www-ultra-hifi-com/m.html

Enregisteur audio haute définition TASCAM DV-RA1000 avec accessoires : montage pour rack, télécommande filaire, clavier Qwerty, cordon d'alimentation américain et transformateur 220v vers 110v, et logiciel de gravure de dvd-audio pour créer des dvd-audio : l'extraction des pistes dvd-audio se fait sur un ordinateur (non livré) en utilisant un logiciel comme Wavelab ou autre (non livré).

En très bon état.
Prix de départ écrasé pour cette vente.
Valeur initiale du produit : 1350 euros.

Envoi recommandé avec accusé de réception au prix le plus bas possible pour l'acheteur : soit au départ de Givet (France) ou au départ de Namur (Belgique).
L'acheteur peut venir prendre l'objet s'il le souhaite.

plus d'information :
http://www.tascam.com/products/dv-ra1000.html

The TASCAM DV-RA1000 recorder is a professional solution for recording
high-resolution audio - up to 192kHz/24-bit - to inexpensive DVD media.
The new recorder even features Sony's DSD format, the basis for
audiophile Super Audio CDs, as an available recording format. Its
professional I/O includes balanced XLR connections, AES/EBU and SDIF-3,
and it records standard CD-DA, WAVE and DSDIFF files to CD and DVD
discs. The DV-RA1000 can also operate as a professional CD recorder,
recording standard audio CDs for studio or meeting room installations.

The DV-RA1000 features digital recording formats from CD audio
resolution all the way up to 192kHz/24-bit and DSD recording ? the
formats used by DVD Audio and Super Audio CD. This rackmount stereo
recorder features a user-friendly design on the front panel and
professional connections on the back. Advanced features like a USB 2.0
connector, RS-232 serial control and multiband compression and EQ
establish the DV-RA1000 as the new standard for studio mixdown
recorders.

High-quality stereo recording at up 192kHz/24-bit or DSD format
Records to DVD+RW, CD-R/RW media
Multiband compression and
3-band EQ mixdown effects (in 44.1k to 96k modes)
USB
2.0 connection to PC for use as DVD data drive
Balanced XLR
and unbalanced RCA inputs and outputs
Balanced AES/EBU inputs
and outputs, running at normal, double-speed and double-wire formats
SDIF-3 DSD input and output for external conversion and processing
of DSD audio
Word Sync In, Out, Thru
RS-232C serial
control
PS/2 keyboard connector for title editing
User-definable
function keys
Large, backlit LCD display
Records to
standard CD-DA, Broadcast Wave and DSDIFF formats
Dedicated
input level control and adjustable maximum output level
±6%
pitch control
Fade in/out
Power on play feature
Various
play and record modes such as auto track increment, auto cue, auto
ready, single/continuous play and program A/B play.
Wired remote
control (RC-RA1000) included
Headphone output
19" x
3.75" x 14.1" (483 x 95 x 357 mm)
15 lbs (6.8 kg)

A vendre : platine vinyle tangentielle REVOX B790

2010-04-10T01:52:00.001+02:00

A vendre : platine vinyle tangentielle REVOX B790. Si intéressé contactez Thierry Dambermont à cette adresse dambermont@skynet.be en indiquant REVOX dans le sujet du message.

En très bon état. Cependant un coin du couvercle est fendu (voir photo).
Avec cellule Ortofon (voir photo) en bon état.

Voir l'objet en vente sur eBay…
http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&item=130381901334

voir tous les objets en vente en ce moment…
http://shop.ebay.fr:80/www-high-energy-music-com/m.html
http://shop.ebay.fr:80/www-ultra-hifi-com/m.html

La documentation originale et la boite originale ne sont pas vendues ici.
(documentation disponible en ligne ici :
http://www.vinylengine.com/library/revox/b790.shtml)

Envoi recommandé avec accusé de réception au prix le plus bas possible pour l'acheteur : soit au départ de Givet (France) ou au départ de Namur (Belgique).

L'acheteur peut venir prendre l'objet s'il le souhaite.

Possibilité de livraison (après réception du payement et après accord mutuel) : 25 cents par kilomètre parcouru.

plus d'information :
http://www.vinylengine.com/library/revox/b790.shtml

Description

The Revox B790 is a Quartz
controlled direct drive turntable with Linear tracking tonearm.

The tonearm has servo electronic follow up control and electronically
controlled, pneumatically damped lowering.

The unit's output is electronically muted until the stylus contacts
the record.

Specifications

Turntable speeds: 33.33 and 45.00 rpm

Speed accuracy: +-0.01%

Manual speed variation: +-7% approx

Speed indication: 4-digit LED readout, quartz precise

Platter (turntable proper): 312mm diameter, 1.1kg weight

Run-up time: better than 2 seconds at 45rpm

Braking time: better than 1.5 seconds from 45 to 33.33rpm

Wow and flutter: better than 0.05% (weighted)

Signal to noise ration: better than 65dB

A vendre : deux enceintes Cabasse Caravelle 301 Hetre

2010-04-10T01:51:00.001+02:00

Haut-parleurs	1 x 21M18 1 x 13M15M 1 x DOM30
Efficacité	93,5 dB
Filtre	650 - 2200 Hz
Réponse en fréquences	55 - 20 000 Hz
Puissance nominale	110 W
Puissance crête	770 W
Dimensions	56 x 27 x 37,1 cm
Poids	17 kg

La canette sur les photos est là pour vous donner une idée de la
dimension de ces enceintes.

tube replacement on Vincent SV236 amplifiers : beware there are two versions of SV236 MKI model

2010-03-13T11:31:00.004+01:00

The new version of the Vincent SV236 is called SV236 MKII. Before that they produced SV236 MKI. But there's a trick. The SV236 MKI comes in two versions…

Version 1 is easily recognizable because it does not have a preamp output.
In that version you have two 6DJ8 tubes inside the amp and a single 12AX7 tube in front of the amp (for arrange the NF-Signal to the left and rigth channel tubes).

Version 2 does have the preamp outpout.
In that version you have two 12AX7 tubes inside the amp and another 12AX7 tube in front of the amp (for arrange the NF-Signal to the left and rigth channel tubes).

So, putting 3 12AX7 tubes inside a SV236 MKI version 1 does lead to obvious sound problems !

Prices ?

2 MATCHED NOS MULLARD GOLDPIN E88CC 6922 6DJ8 7308 tubes cost about 180 USD

2 Electro Harmonix GOLDPIN 6922 cost about 25 USD

en Belgique : nouvelles taxes en faveur des auteurs sur les supports de stockage y compris les cartes d'appareils photo numériques

2010-02-07T15:59:00.000+01:00

Dès le 1er février 2010, l’achat d'une clé USB, d'un lecteur mp3 ou d'un disque dur externe vous coûtera plus cher.

En effet, à partir de cette date, vous paierez également une "rémunération pour copie privée". Cette extension de la rémunération pour copie privée intervient à la demande de la société de gestion Auvibel.

En effet, les recettes perçues sur les "anciens" supports tels que les CD et les cassettes ont diminué. C’est la raison pour laquelle la société de gestion Auvibel a demandé l’extension de ce qu’on appelle la "taxe sur la copie privée", bien qu’il ne s’agisse pas réellement d’une taxe puisque les recettes de cette rémunération pour copie privée ne sont pas destinées aux caisses de l’Etat belge mais bien au secteur de la création.

Concrètement, vous devrez payer, à partir du 1er février, une rémunération supplémentaire pour les cartes mémoire, les clés USB, les lecteurs mp3 et mp4, les GSM avec fonction mp3 et/ou mp4, les disques durs externes et les "appareils de salon à disque dur intégré" tels que les enregistreurs DVD avec disque dur.    Les nouvelles rémunérations sont comprises dans le prix de vente. Elles varient en fonction de la capacité, allant de 0,15 euro (pour les cartes mémoire et les clés USB de plus de 16 Go) à 13 euros (pour un appareil de salon à disque dur intégré).

En outre, le prix de tous les produits un peu plus anciens tels que les DVD et les CD audio augmentera également à partir du 1er février. Cette augmentation est de l’ordre de 0,12 euro à 2 euros.

source :
http://www.belgium.be/fr/actualites/2010/news_thuiskopievergoeding-uitbreiding.jsp?referer=tcm:116-86543-64-a2

Dois-je payer pour chaque support même si je l’utilise pour mes films personnels?

Oui. Le législateur a consciemment choisi (notamment pour des raisons pratiques) d’établir ce droit à rémunération sur tous les supports utilisés pour la reproduction d’œuvres sonores et audiovisuelles, même si, dans votre cas précis, ces supports sont utilisés pour copier des documents personnels et/ou des œuvres non protégées par le droit d’auteur.  

Ainsi, l’a justifié le gouvernement : "certes, le recours à une technique forfaitaire aura pour conséquence que la rémunération réclamée le sera à tous, et donc également aux consommateurs qui ne commettent aucun acte de piraterie (ainsi, lorsque la cassette vidéo ne servira qu’à enregistrer une fête de famille). La technique forfaitaire apparait toutefois comme la seule possible dans la pratique." (Doc. Chambre, Rapport, 473/33-91/92, p. 266.)

source :
http://www.auvibel.be/fr/index.html

History of the turntable : reference list

2008-11-25T12:15:00.002+01:00

The 1888 Crystal Palace Recordings

The Birth of the Recording Industry

The Cylinder Archive

Cylinder Preservation & Digitization Project – Over 6,000 cylinder recordings held by the Department of Special Collections, University of California, Santa Barbara, free for download or streamed online.

History of Recorded Sound: Phonographs and Records

Enjoy the Music – Excerpts from the book Hi-Fi All-New 1958 Edition

Invention of the Phonograph

Listen to early recordings on the Edison Phonograph

Mario Frazzetto's Phonograph and Gramophone Gallery.

The Phonograph vs. the Gramophone

Record scanning - Ofer Springer

Say What? – Essay on phonograph technology and intellectual property law

Vinyl Engine – Information, images, articles and reviews from around the world

An audiophile fact : north American FM sounds more colourful than elsewhere

2008-05-18T12:13:00.004+02:00

An audiophile fact : north American FM sounds more colourful, and it is really pleasing!

Any audiophile who visited North America and had a chance to listen to the local FM radio stations must have felt that there's a noticeable difference between North American FM sound quality vs. anywhere else in the world.

What explains that difference is the fact that the pre-emphasis stage (used to lower the noise in the highest frequencies) is different in north America.

Also, that explains why european radio tuners must be adapted when used in the USA… Their 50 µs de-emphasis circuitry must be transformed into 75 µs, otherwise they sound like "thumping".

Of course for the regular modern transistor receiver this process does not worth it : it is cheaper to buy another one in a USA electronic store.

For the vintage vaccum tube receivers owned by audiophiles, e.g. the ones that were made in Germany (Grundig…), going the process of replacing some piece of electronics sometimes may worth it. More info about that issue… http://www.radiomuseum.org/forum/american_vs_european_fm_de_emphasis.html

WIKIPEDIA :
> Fm radio…
> Modulation characteristics
> Pre-emphasis and de-emphasis

Random noise has a 'triangular' spectral distribution in an FM system, with the effect that noise occurs predominantly at the highest frequencies within the baseband.

This can be offset, to a limited extent, by boosting the high frequencies before transmission and reducing them by a corresponding amount in the receiver.

Reducing the high frequencies in the receiver also reduces the high-frequency noise.

These processes of boosting and then reducing certain frequencies are known as pre-emphasis and de-emphasis, respectively.

The amount of pre-emphasis and de-emphasis used is defined by the time constant of a simple RC filter circuit.

In most of the world a 50 µs time constant is used.

In North America, 75 µs is used.

This applies to both mono and stereo transmissions and to baseband audio (not the subcarriers).

The amount of pre-emphasis that can be applied is limited by the fact that many forms of contemporary music contain more high-frequency energy than the musical styles which prevailed at the birth of FM broadcasting.

They cannot be pre-emphasized as much because it would cause excessive deviation of the FM carrier. (Systems more modern than FM broadcasting tend to use either programme-dependent variable pre-emphasis—e.g. dbx in the BTSC TV sound system—or none at all.)

http://en.wikipedia.org/wiki/FM_radio

One of the first semi-professional digital audio recorders from SONY : the PCM 501ES

2008-04-06T08:39:00.012+02:00

The 501ES, in full SONY DIGITAL AUDIO PROCESSOR PCM 501ES, is a piece of equipment that offered digital sound recording. It was released in year 1984.
It was a semi-professional product and was sold for something like 900 USD. The "ES" is the label for the high-end product from SONY. It was the top of the range products. CD players and other devices hold that "ES" label too.

It had to be placed between the sound source and a video recorder. While recording, the video recorder acted like a storage device. And while listening it acted like a playback device.

One could use VHS videotapes, or Betamax videotapes, one of the two major consumer videosystems. VHS offered less reliability over time than Beta, since VHS video signal has a poorer quality from the beginning. Dropouts occurence occured more often with VHS than with Betamax. The V2000 consumer videosystem from Philips and the U-Matic professional video worked well too.

The 501ES does not need that the videorecorder be hifi-stereo in order to record stereo digital sound. As sound from the source is converted into pictures while recording, and pictures from the tapes converted back again into sound while listening. The soundtrack on the videotapes is left blank and is not used at all while recording or playing back.

Although digital duplicating of recorded tapes was possible with the 501ES, through a re-generated video signal output (available through the "COPY out" RCA plug at the back of the 501ES, there wasn't a standard digital output on that device. 601ES added that digital output. There wasn't any digital input either. Anyway CD players did not offer digital output at that time.

501ES sound quality was 16-bit/44,1KHz.
14-bit encoding was possible to bring compatibility with the Matsushita Technics PCM adaptor.

DAT, the replacement for the PCM adaptor, were released in year 1987. It offered better sound quality, 16-BIT/48KHz. But the cost of the DAT tapes was 12 times higher than VHS! So 501ES was still a good option for those interested in archiving, or radio stations… in LP mode, with a 5 hour VHS tape (an unuasual length, 4 hours being more standard), one could offer a 10 hours program of non-stop mixed music!.

About year1988 hifi-stereo video recorders were released. They offered video with stereo sound. But for recording sound only, 501Es offered a better sound quality.

I owned three of these 501ES devices back in the eighties. I still have two of them on a top of a shelf. The third one has been stolen!

I have about 500 videotapes with PCM signal which I transfered onto cd in year 2003.

The thing I can say is that the sound of this device is not extremely good, for the ears of the audiophile which I became, but at that time it offered a very very good price/quality ratio, compared to better recording devices like the DAT (which appeared 4 years later than the 501ES).

One thing to know is that the sound is better when using two of these devices along : you plug the video signal from the VCR into the "video in" of the PCM #1, you push the copy buttton, you take the "copy out" signal and put it into the "video in" of the PCM #2. Then the sound is better.

Still, in year 2003 I had to use, with some tracks, an equal curv (I used Nero at that time) in order to get an even better sound quality, and sometimes a barely audible reverb effect (something like 0,003 second).

Another thing to know is that you shouldn't record too close to the zero db, I mean too close to the saturation level. Why? Due to the technical concept, the more the sound is loud onto he recording, the thinner the lines are on the video signal image, that means that it is more likely to have "drop outs" when recorded loud.

That leads us to the other problem with these devices: dropouts! Any problem on the videotape and it's a mess during one or two seconds in the recording. That's why I always made copies of my videotapes (using the "copy out").

I used the devices with my synth's. I didn't had a multiple track analog recorder, so I programmed my 16k computer to play the synth, recorded it onto one PCM, then changed computer programming to play once again the synth, played back the recording while mixing it with the synth, recorded it onto the other PCM of course, and so on, 3, 4, 5 times, maybe more. In order to keep sync, I always had to play back the recording in the same VCR that recorded it, otherwise the speed changed… one VCR do not play exactly at the same speed from another ! Of course that wasn't very convenient, as the only option was to get rid of the last layer of synth by reverting to the previous recording. Getting rid of one of the first layers of synth simply wasn't an option.

These are the tracks that I made 20 years ago! http://www.electrobel.be/artist/5337#songs

Understand me well, I mean the sound of these 501ES devices is not bad at all, but it's a little bit less good than the sound of a cd.

Nowadays I use a TASCAM DV-RA1000 DSD recorder in order to backup and sound process my vinyl collection : recordable CD is not good enough for my audiophile ears.

(WIKIPEDIA) :

How a PCM adaptor works

High-quality PCM audio requires a significantly larger bandwidth than a regular FM-modulated analog audio signal. For example, a 16-bit PCM signal requires an analogue bandwidth of about 1-1.5 MHz (compared to about 15-20 kHz of analog bandwidth required for an analog audio signal), and, clearly, a standard analogue audio recorder could not meet that requirement. The obvious answer, at that time, was to use a video tape recorder, which is capable of recording signals with this high bandwidth, to store the audio information. Such an audio recording system therefore includes two machines, namely the PCM adaptor and the video tape recorder. A PCM adaptor has the analogue audio (stereo) signal as its input, and translates it into a series of binary digits, which, in turn, is coded and modulated into a NTSC (or PAL)-standard monochrome video signal.
This video signal can be stored on any ordinary analogue video tape recorder, since these were the only widely available devices with sufficient bandwidth. This helps to explain the choice of sampling frequency for the CD, because the number of video lines, frame rate and bits per line end up dictating the sampling frequency one can achieve. The sampling frequency of 44.1 kHz was also adopted in the Compact Disc, as at that time, there was no other practical way of storing digital sound than by a PCM Converter & video recorder combination. The sampling frequencies of 44.1 and 44.056 kHz were thus the result of a need for compatibility with the NTSC and PAL color video formats used for audio storage at the time.
Most video-based PCM adaptors record audio at 16 bits quantisation, and a sampling frequency of 44.1 (or 44.056 for NTSC) kHz. However, some of the earlier models, such as the Sony PCM-100, recorded 16-bits quantization as well, but used only 14 of the bits for the audio, with the remaining 2 bits used for error correction, in case of dropouts or other anomalies being present on the videotape.
A PCM adaptor can only store a single stereo signal, and is not capable of studio multi-track recording.

Models of PCM adaptors

The Sony PCM-1600 was the first commercial video-based 16-bit recorder (using a special U-matic VCR for a transport), and continues in its 1610 and 1630 incarnations. The 1600 was one of the first systems used for mastering audio compact discs in the early 1980s by many major record labels.
Several semi-professional/consumer models of PCM adaptor were also released by Sony, including:
The PCM-F10 (the first consumer-marketed model),
The PCM-F1 (which was sold with a companion Betamax-format VCR, the Sony SL-2000 or SL-F1, for recording & playback),
PCM-100,
PCM-501,
PCM-601,
and the PCM-701.
Technics also made a portable PCM adaptor as well, the SV-100, and a version with a built-in VHS videocassette transport, the SV-P100. Nakamichi as well manufactured a PCM adaptor, the DMP-100.
dbx, Inc. also manufactured a PCM adaptor, the Model 700. It differed from the above listed models in the fact that it did not use PCM, but rather delta-sigma modulation. This resulted in a higher quality digital recording with more dynamic range than what standard PCM modulation could offer. Like a standard PCM adaptor, the Model 700 also utilized a VCR for a transport.

http://en.wikipedia.org/wiki/SONY_Digital_Audio_Processor_PCM-501ES