2014年9月25日 星期四

Magic 2 MONO equalizer design ---這DIY怎校驗ㄚ?

 LP playback curves equalizer  AKEQ-2 mono
Tube in shielding case.

LP playback curves equalizer  AKEQ-2 mono
Front view.

LP playback curves equalizer  AKEQ-2 mono
front panel


below only ....WiKi explain what's FFRR78

78rpm playback curves

Usage


These EQ curves are presented as a table of "Bass Turnover Frequencies" and "10 kHz Gain Rolloffs". EQ Curves for Audacity can be generated from these Frequency and Rolloff values using the experimental Nyquist plug-in "78 RPM EQ Curve Generator". This plug-in is obtainable from the top of this Forum topic and requires Audacity 1.3.13 or laterPlease give feedback on this plug-in, or ask for help if you need it, by replying to that Forum topic.

  1. Extract 78EQCurveGen.ny from the zip file downloaded from the above Forum topic.
  2. Place 78EQCurveGen.ny in the "Plug-ins" folder inside the Audacity installation folder, then launch or restart Audacity. For more help installing the .ny file to the correct location, click here.
  3. Click Generate > 78 RPM EQ Curve. You can find help inside the plug-in by choosing one of the Help options in "Select Function or Help".
  4. Choose the curve you want from the list below.
  5. Enter the values for your chosen curve for
    • "Bass Turnover Frequency (Hz)"
    • "10 kHz Gain Rolloff (dB)"
    • "LF Shelving Frequency (Hz)" (if a value is given)
    in the equivalent boxes in the plug-in dialogue.
  6. Click "OK" in the plug-in to save the .xml file to your chosen location.
  7. Select some audio and choose Effect > Equalization.
  8. Choose "Save/Manage Curves...".
  9. Choose "Import...", navigate to the location where you saved the .xml file from 78EQCurveGen.ny, then "Open".
  10. Click "OK".




Now ...Equalization (EQ) Curves Explained


When phonograph records are made, the sound being recorded is deliberately distorted by reducing the volume of the low frequencies and increasing the volume of the high frequencies. This process, known as 'pre-emphasis', allows the low frequencies to be accommodated in the limitations of the record groove and reduces the effect of high frequency surface noise. If pre-emphasis was not carried out, the bass notes in the music would create a groove in the record that oscillated so wildly that the stylus could jump out of it on playback, and the treble notes would be drowned out by the surface noise of the stylus in the groove.
On playback, the pre-emphasis must be reversed in order to restore the original sound. This is known as 'de-emphasis' or equalization (EQ).
Modern vinyl records use a method of pre-emphasis and de-emphasis adopted by the Record Industry Association of America (RIAA) in the 1950's, and the EQ curve used is known as the RIAA curve. However, before the RIAA curve was adopted, each record label used its own EQ curve for recording and, for these records (78rpm and early vinyl), the correct EQ curve must be used for playback.
Each 78rpm EQ curve is a combination of two filter characteristics; a bass boost curve, defined by a 'Bass Turnover' (or 3dB) frequency, and a treble cut curve, defined by a '10 kHz Gain Rolloff' parameter, i.e. a defined level of treble cut at 10 kHz.
As an example, Figure 1 below shows the characteristic of the bass boost curve defined by a 500Hz Bass Turnover, and Figure 2 shows the characteristic of the treble cut curve defined by a 10 kHz Gain Rolloff of -13.7dB. These two curves, when combined, give the characteristic shown in Figure 3.




The EQ curve may also include a Low Frequency Shelving filter, (although it is absent from the definition of most 78 rpm EQ curves). This addition reduces the effect of the bass boost at very low frequencies (typically 50 or 100 Hz) in order to attenuate low-frequency noise such as turntable rumble. Figure 4 shows the effect of a 50 Hz LF shelving filter being added to the curve in Figure 3. This is in fact the RIAA standard EQ curve.

EQ Curve List

Table 1: 78rpm Playback Equalisation Curves
LabelSeriesBass Turnover
Frequency (Hz)
10 kHz Gain
Rolloff (dB)
LF Shelving
Frequency (Hz)
Source
Acoustic Recording
(such as cylinders, etc..)
0 (or as required)0 (or as required)1
AESstandard400-121
AFRS Transcriptions5000 or -51
Allegro750-161
Allied500-161
American Recording Society500-12 or –13.71
Angel500-121
Arizona400-121
Artist500-161
Atlantic500-161
Audiophile300-81
BBC Transcriptions1949500-51
BBC Transcriptionsmost250-3000 to -51
Bach Guild501-529500-750-161
Banneradjust as required500-161
Bartok629-161
Bartok301-304, 309, 906-920700-161
Berlinerspeed = 71.29 RPM001
Blue Bird800-101
Blue Note Jazz400-121
Blumlein2500502
BostonCOL*-161
Brunswickrare1000-8.51
Brunswickfrom 1946300-161
Brunswickearly300-5000 or -161
Brunswick50003
BSI 78353-10.550 [2]1, 2
Caedmon629-111
Caedmon1001-1022700-121
Cameoinconsistent, adjust as required1
Canyon400-121
CapitolFDS400-121
Capitol-Telefunken50001
Capitol500-121
Capitol1942400-123
Cetra Soria400-12 or -161
Cetra400-111
Coliseum400-121
Columbia*1925200-71, 3
Columbia*1926250-51
Columbia*1938-most300-161, 3
Columbia*variousCOL*-161
Columbia*European300-51
ColumbiaEnglish25003
Concert Hall400-121
Contemporary400-111
Cook Laboratories500-111
Cook Laboratoriesbinaural inside band50001
Coral400 or 750-12 or -161
Deccaearly150 or 3000 or -61
Decca 78150-92
Decca1946-400 or 500-121
Decca FFRR1949250-51, 3
Decca FFRR1951300-141
Decca1934400-123
Deutsche-Grammophone300-51
Dial500 or 750-161
Disc300-161
Ducretet-Thomson450-111
EMI193125001, 3
EMI33 LP500-121
EMS375-121
Edison001
Electrola800-101
Elektra629-161
Epicthru 1954COL* or 750-161
Esoteric400 or 500-121
European28001
Festival750-161
FFRR 78300-5402
Folkways629-161
Good Time Jazz400-121
Gramophone300-101
HMV1925-194625001, 3
HMV1946400-101
HMV1946-1954500 or 800-161
HMVAmerican400-121
Handel Society750-16 or -171
Haydn Society750-16 or -171
Harmony Acousticsthru 8/29300-161
Hit of the Week500-51
Kapp700-161
Kendall629-161
King500-161
Linguaphone30001
L’Oiseau-Lyre500-101
Londonearly30001
Londonup to LL846500 or 750-10.51
London FFRR1949-250 or 280-51
London FFRR1949250-53
Lyrichordearly400 or COL*-161
Lyrichordnewer629-161
Mercurythru 10/54400-121, 3
MGM5000 or -121
MGM500-123
Montilla500-121
Musicraft750-141
NABstandard500-161
New Records750-161
Nocturne400-121
OceanicCOL* or 750-161
Odeonearly electricals70001
Odeonpre-1947300-8.51
Oiseau-Lyrethru 1954COL*-8.51
Okehelectricals3000 or -8.51
Orioleinconsistent, adjust as required1
Orthoacoustic Transcriptions500-161
Overtone400 or 500-161
Oxford750-161
Pacific Jazz400-121
Parlophonevaries with era300 or 5000 or –8.51
Parlophone50003
Patheinconsistent, adjust as required1
Period500-161
Polydor300-8.51
Philharmonia400-121
Polymusic500-161
Polymusicbinaural inside band50001
RCA Victorearly acoustics 71.29 RPM001
RCA Victorlater acoustics 76.59 RPM001
RCA Victor1925 78 RPM250 or 3000 or -51
RCA Victor1931 LP only700 or 8000 to –10.51
RCA Victor1933375-8.51
RCA Victor1935300 or 50001
RCA Victor1938500-51
RCA Victor1938 – 19485000 to -121
RCA Victor1938 – 1947500-73
RCA Victor1948500-10.51
RCA Victor1949-500-12 or -131
RCA Victor1947 - 1952500-123
Rachmaninoff Society750-161
Radiofunken40001
Remington500-161
Renaissance750-121
RIAAstandard500-13.7501
Riverside400-121
Romeoinconsistent, adjust as required1
Schirmer1000-241
Stradivari750-161
Supraphone40001
Technicord800-121
Telefunken40001
Transcriptionsvarious, typical500-161
Ultraphone40001
UraniamostCOL* or 750-161
Uranianewer400-121
Vanguard411-22, 6000-18,
7001-7011, 8000-8004
COL* or 750-161
Velvet Toneacoustics to 8/29300-161
Victor1925 (see RCA Victor for 1929-)200 to 500-73
Vitaphone950-18.51
Vitaphonemotion picture30001
Vocalionelectricals30001
VOX500 or 750-161
War Department12” Special Services700-51
Western Electricearly transcriptions30001
Westminsterpre-1956500 or 750-161
Westminster“AES” printed on jacket400-121
Westrex20001, 2
Westrex (later)300 or 50002
Zonophoneearly 71.29 RPM001
Zonophonemost30001
  • COL - Some recordings require a Bass Turnover of 300 Hz or 500 Hz, a 10 kHz rolloff of -16 dB and a LF Shelving filter at 100Hz.
This is often referred to as a "Columbia curve".


Table 2: Pre-1955 LP Playback Equalisation Curves

LabelSeriesBass Turnover
Frequency (Hz)
10 kHz Gain
Rolloff (dB)
LF Shelving
Frequency (Hz)
Source
Angel500-123
Audio Fidelity500-163
Bach Guild501-529500-163
Bartok301-304, 309, 906-920629-163
Boston500-163
Caedmon1001-1022629-163
Capitol400-123
Capitol-Cetra400-123
Cetra-Storia(a)500 or (b)400(a)-16 or (b)-123
Colosseum(a)400 or (b)500(a)-12 or (b)-163

2014年9月22日 星期一

西電低頻(profile)掉很多...驚艷的很誇張.




1928 Western Electric cinema speaker


2011 High End Show in Munich
WE16A each channel  Mid.WE555x2 Tweeter WE597A x1



Play music ...Max Bruch .... Scottish Fantasia, op.46 ...1.Grave-Adagio cantabile




















K2HD reversion











2014年9月11日 星期四

2014年8月18日 星期一

G.I.P. 勵磁式號角喇叭

G.I.P Laboratory 是以復刻WE西電-勵磁式號角喇叭的公司,是在日本 YL Acoustics 復刻WE西勵磁式號角喇叭之後才開始全部單體的磁鐵都是勵磁式設計,也就是需要額外供應電源才能產生磁力勵磁喇叭號角另接

8吋全音域喇叭原是以復刻WE755A(鈷磁Alnico)為樣本 ,另補高音GIP-597A


G.I.P Laboratory 三音路設計,高音單體原廠編號是GIP-597A Model 2,它是以W. E.經典的597A高音單體為樣本復刻而成。中音則是GIP-D5015A (原WE594),前方擁有開口頗大的號角 低音單體則是GIP-W4601A,深埋在箱體裡面,以woofer horn 設計是所謂低音號角。箱體採用美松夾板製成,兩側金屬方形外殼是額外供應電源才能產生磁力勵磁式喇叭電源,採定電壓定電流源設計


這是分音器,金屬方形外殼的是電容,是油質電容,兩側木板(線軸)中復刻古時的電感,無電阻。全部以搭棚製作,紅色線材是WE的布線。

2014年7月20日 星期日

2014年3月17日 星期一

Plasma tweeter , plasma mid diy

GE211/Plasma tweeter /Plasma mid co-work movie


Plasma tweeter RF amplifier 6jm6


Plasma mid RF amplifier PL519




2014年1月26日 星期日

Diy Amplifier E88CC + 6JM6

Amplifier case high 9.5cm .

Top view.

Tube window close view.

Front View.

Rear view.

2014年1月19日 星期日

Diy Amplifier 6C45Pi + 6JM6

Diy SE Amplifier 6C45Pi + 6JM6
 High voltage 470V, screen 190

 
Cap couple , OPT 1.75K : 8 ohm


2013年11月24日 星期日

Diy foot heater



Foot heater cascade 5 tubes PL519  heater and usage 110 AC light on.

2013年9月2日 星期一

Mid Plasma 555 and Plasma tweeter speakers working together




Mid Plasma 555 and Plasma tweeter speakers working together.



Mid Plasma 555 speaker.


Turn on the light.


2013年6月8日 星期六

Mission impossible ---- Plasma Mid (Plasma 555) 離子中音 ...2
























Ike Quebec
Heavy Soul [RVG Edition]
08 Nature boy
Below 3 YouTube files ..........No Plasma Tweeter play (離子高音...未開).


Ike Quebec
Heavy Soul [RVG Edition]
08 Nature boy
Plasma 555 Play only!


Ike Quebec
Heavy Soul [RVG Edition]
08 Nature boy
Plasma 555 will be Plasma Mid of 2.1 channel!     .....After Plasma tweeter of 2.1 channel!
中音路- 離子中音 .....繼中音路- 離子高音之後 new design.
2013-06-08 My audio diy diary.





Ike Quebec
Heavy Soul [RVG Edition]
08 Nature boy
Jensen 302+Altec 288+Tad1601 playing .....One channel only.
Plsama 555 black out.
2013-06-08 My audio diy diary.

2013年4月25日 星期四

貫古通今的聲音---喇吧

Listen to Historic Speakers - from 1924 to 1944 - Part 1



Listen to Historic Speakers - from 1924 to 1944 - Part 2

2013年4月22日 星期一

Mission impossible ------- Plasma Mid (Plasma 555) 離子中音


不可能完成的任務................. Plasma 555 離子中音


Ike Quebec
Heavy Soul [RVG Edition]
Plasma 555 playing only (driver VT4C-211), no Tweeter no Woofer.
250hz~4khz.



Ike Quebec
Heavy Soul [RVG Edition]
05 The Man I Love

2013年4月19日 星期五

讓西電 L9 的恐怖低音更恐怖.....哪裡掉的哪裡找回來

woofer spec. real  Imp. black line

 
 
Woofer low pass x-over simulation
mark 30hz close speaker Fs.


有沒發現喇叭內的 coil  10Hz~1kHz的連續阻抗線上黑色與另woofer分音線路下紅色線剛好相反mirror.
加起來也就阻抗是共軛matching......醬發現人家30hz 凸很高.......我們也能凸很高.
這就是建議的 .......哪裡掉的哪裡找回來.......否則別的暴力方法是容易多個香爐多個鬼.

模擬後smith chart 30hz close .實數組抗





2013年4月18日 星期四

有錢沒錢, 買個WE (西電)好過年-----西電 L9 的恐怖低音



有錢沒錢, 買個WE (西電)好過年-----西電 L9 的恐怖低音



1948 Western Electric L9 loudspeakers

Authentic 1948 Western Electric L9 loudspeakers in action at 2010 High End Show in Munich,
Germany. The music in the video is from Friedrich Gulda's LP "As You Like It",
on BASF (courtesy of Mr. Joe Roberts and Frank Schroder ).
連鋼琴踏板都很大聲.
Play Friedrich Gulda's LP "As You Like It"


以上有CD.....台灣沒賣
但可買 .....

Jazz Club - Swinging Jazz Piano  搖擺琴聲
01.Billy Taylor - La Petite Mambo
02. Tete Montoliu - Speak Low
03. Monty Alexander - Blue Alexander
04. Friedrich Gulda - Blues For H.G.
05. Milt Buckner - Glady's Dance
06. Francy Boland - Dark Eyes
07. Earl Hines - Second Balcony Jump
08. Oscar Peterson - Lulu's Back In Town
09. Eddie Thompson - How Could You Do A Thing Like That To Me
10. Eugen Cicero - Hello Dolly
11. George Shearing - Love Walked In
12. Paul Kuhn & Horst Jankowski - Honeysuckle Rose
13. Hank Jones - The Oregon Grinder
14. Red Garland - Daahoud
15. Hampton Hawes - I'm All Smiles


只是鋼琴踏板很小聲, 低音規模還是很恐怖.


2013年4月17日 星期三

Magic modify of converting cheap PP EL34 Amp's to 300B SE

Magic modify of converting cheap PP EL34 Amp's to 300B SE
              ------after all is dr. Klimo 300B circuit (OPT with Degauss coil inside )
Below  detail just usage one pole of P-P (push-pull)OPT coil to do  Degauss coil function.

hyper-link ....
http://www.audioasylum.com/cgi/t.mpl?f=tubediy&m=76018

Document...
I have now invested some time into this lark and a few things become clear.
If a typhical EL34 PP Amp is used with one EL34 as pure "Ballast" you can add your 300B on the other side.
The Impedance loading the 300B becomes 1/4 of the A-A impedance of the EL34 OPT. Typhically this will give between 1K - 1K5 nominalimpedance.
If we declare the 4 Ohm tap to be 8 Ohm and the 8 Ohm tap to be 16 Ohm we are fine(ish). If you need a < 8 Ohm output impedance you are nearly out of luck if your amp does not have 2 ohm Taps (few cheap chinese EL34 PP Amp's do). BUT, you can use a trick and connect your < 8R Speaker between the 4R & 8R Tap. This will give a tap with a very low nominal impedance, which would limit available power a little (which might explain thge rated 5W for the Beltaine).
BTW, I got a copy of the readers letter to CHF with the Beltaine schematic . Some interesting tricks. The EF184 driver pentode gets it's screen voltage from the 300B Cathode, 300B has LCL filtered DC heater. The EL34 uses an unbypassed cathode R and is indeed merely "ballast", balancing DC. The rest of the circuit is very traditional, EF184 drives 300B in classical Pentode driver, Triode output self biased circuitry .
So, converting any "surplus to requirements" cheap EL34 PP Amp to 300B SE in Klimo Beltaine style should be easy enough.

This is based on re-cycling a Dared Tube VP-80 which prooved way to unreliable for the guy who bought it.... Looks nice though:
Heaters for the 300B's will DC (probably LT1085-5 Reg) from the 6.3V Output Heaters and shared with the EL34 which will run AC.
The 6SN7's stage on AC, lifted to around 70V (in other words EL34 Cathode.
Some ideas are filched from Klimo (Screengrid/cascode upper grid bias, NFB switchable), some are mine.
To improve the way the DC magnetisation cancellation in the OPT tracks varying 300B's and to reduce differences between various EL34's the EL34 "Ballast" valve gets the Cathode voltage of the 300B as Gridvoltage, the cathode Resistor is suitably increased.
The Frontend uses a 6SN7 cascode to approximate a pentode, you can of course use a real pentode. The idea for me is to use only stuff I have "around" and good octal Pentodes are non too common in my stash.
The PSU substitues a Mosfet"Voltage Follower" for a choke, smaller (size is a premium).
Anyway, this should make an interesting little amp, gor for the usual WE Standard 7 - 7.5W....

In document we know Dared Tube main land China VP-80 clone already.

Principle ...
Old SE 300B connect high voltage on OPT coil cause  Hysteresis curve floating up (磁滯曲線飄起來) to O2 point.
Audio AC signal trasfer on the  Hysteresis curve then cause Audio AC signal  floating up too.
Meantime audio AC signal Loss signal sensivity and linearity (just partial saturation).


Here dr. Klimo 300B usage Degauss coil to pull back Hysteresis curve as below.
Driving Degauss  Tube as EL34 in circuit (as red line function).
If use Mosfet to replace EL34 then your need big heat sink(because always have DC current cross over Mosfet's D & S pole ).

Dr. Klimo is a  really master.

Sense of hearing
Old Tube amplifier always have good man-vocal  but woofer and tweeter seem  is  less a point .
But Dr. Klimo  circuit have something different just opposite.

The issue is cause tube ampifier RIAA play-bake curve have a drastic changes.

2013年3月22日 星期五

頻率響應是不是唯一的東西.....有沒發現人家30hz 凸很高.

頻率響應是不是唯一的東西 
 譯...Ultraudio   Frequency Response Isn’t the Only Thing

在過去的4年左右的時間,我已經在我的試聽室,測試-儲存近30 款揚聲器的頻率響應的測量,成果豐富。
我學會了如何使揚聲器在房間裡有良好互動,並熟知其中的關聯,
我聽到的音色變化如頻率響應圖所示;我變得敏銳地意識到這些細節非專家所說,也不顯示在頻率響應圖圖表中。
我認為每一個評論-及每一個死硬發燒友-該在家裡真確的測量揚聲器的頻率響應。
關於聲音重播的真相像永遠比知道的少。
揚聲器的頻率響應frequency-response(FR)的細節可以告訴你很多關於它的聲音。最明顯的例子是FR如何定義的音調平衡。
如果有一個上升的中頻(100-1000HZ),然後聲音通常會聽起來更前傾的聲場和有更大音像的存在。
如果在非常高的頻率(10kHz以上)有一向下的滾降,聲音將缺乏空氣感的表現且會有些沉悶。
如果有一個凸出的中低頻(60-100HZ),但很少低音音量(低於40Hz的),聲音將是沉重的,強硬的,
缺乏上述基礎,將無法擁有最深遠低沉的低音。這有太多案例。
關鍵是要了解如何你在圖中看到的修正與你所聽到的位置。
您聽到的聲音將永遠是你的揚聲器的輸出和房間所貢獻的,塑造該聆聽的組合。
這些是聆聽位置所聽到的。
但任何人都知道的任何經驗,在室內測量,和揚聲器的FR規格可以可以告訴你,
你聽到了很多關於它不能告訴你整個故事。其他聲音特性,在室內頻率響應:分辨率,透明度,音場,
成像等在我的經驗中,如沒有在無響室測量無法得到一些技術要素的根本你將有一個長長的清單的扭曲,
我不知道,它可以告訴你如何準確的重播現場在你的音響室。

丹拿 Dynaudio Focus 360



Rockport Technologies Arrakis


我能想到的兩個揚聲器的頻率響應曲線圖出現上面的例子沒有比這更好的。
Rockport Technologies Arrakis(下圖,綠色)和 Dynaudio Focus 360(上圖,紅色)是最中性的喇叭,
我曾經有過在試聽室測試。兩者基本維持平坦曲線。從平坦的偏差中,每個圖 - 峰表示,在25,160和480Hz的
 - 房間影響。兩者之間最明顯的差異是 Dynaudio Focus的輕微上升幅度從3到7KHz,
Rockport Technologies Arrakis在同一區域則輕微衰退。在每一案例下,如果你是在一寬廣試聽室。
這模式你會留下的基本上是中性的揚聲器。
雖然上面的FR頻率響應彼此都近乎完美的覆蓋,但任何人會告訴你在我的房間裡聽到的兩個揚聲器,
這兩個揚聲器的聲音是非常不同的。雖然都可以準確地描述為具有中性色調平衡,在沒有比較時,
當涉及到其決議的細節是整個演奏聆場感,原始錄音程度的透明度,其音場的寬度和深度,
其低音清晰度和整體的低音力量,Rockport Technologies Arrakis 明顯是簡單的優越在所有這些領域,
超越很多。
在房間的頻率響應不是一個有爭議的問題。進行這些測量結果也應該不是發燒友的一個音響系統信仰的威脅。
我相信,在室內,頻率響應 FR可以保持在適當的角度看,它只是其中的工具,
可以幫助你了解你所聽到的聲音-它絕不會告訴你一切。但是,如果你的目標是使您的聽音室,
還原現場的音質,它會是明智的...做法是不能忽視任何影響Hi-Fi議題,這些都有助於完成聲音拼圖,
並使聲音更身歷其境。全憑個人喜好。




有沒發現 30hz
......有沒發現人家30hz 凸很高.


在此25~40hz  剛好接近speaker Fs 也是易 mis-match 的點.
也就是喇叭內的 coil (等效電感啦) 的 Fs.
再想想石機管機輸出阻抗在那, 30hz ~1khz  來回阻抗差多少.
實際系統上每一級都是8Hz~20kHz的連續阻抗匹配包括cable....也包括喇叭內的 coil .

......要共軛阻抗matching.

2013年3月15日 星期五

SPL 1k dips issue ...1KH凹陷的原因


sorry 借小郭的圖好開個頭!
3音路電子分音 SPL.
1KH凹陷的原因.



Use ProAc M1 woofer crossover net to simulate.
Amp. out 8 ohm to  crossover { low pass filter ) to Speaker Scanspeaker 8545 .
Smith chart S21 blue line 藍色常看曲線 low-pass filter.   純量圖.


向量圖. vector.
共軛實部阻抗....
8 ohm @10hz.
6.8 ohm @1khz
3.2 ohm @3khz 已接近常態分頻點.



大於1khz 阻抗 over 8 ohm already.
在此1khz 剛好接近mis-match 起點.
實際系統上每一級都是8Hz~20kHz的連續阻抗匹配包括cable.

級 與 級之間......要共軛阻抗matching.

2013年2月23日 星期六

Plasma-555 .....Origin 緣起



2012年底在台看到有人要賣YL-555.


看到..."555" 讓我想起另人神往的 ..."WE-555".

別說有沒有.......連聽都沒聽過.

沒辦法動了念頭 ....  想說...怎比啊!

去前先在家用S.G. 餵給Altec288b 加了horn.
想說去一樣用S.G. 餵給YL-555.同音壓.


YL-555就像的spec. 250hz ok... 密度韻味好的.....Altec288b沒得比了.....她沒horn呢.
且.Altec288b 400hz開始薄要騷蝦的樣子.
YL-555 200hz音壓沒啥變 不敢再降.

密度韻味好的.....神往啊.


又來了秉持 Diy 到底 的骨子!
買不起.... 買不到的.... 來個畫虎不成...XX犬.

轉眼間也有了 ....
線性EQ (like FM268)..../梨子高音.



心一橫來個射日般的目標.......plasma-555.
這是再請教澳門客大大......後暫自訂.....plasma-555 規格 freq.250hz~4khz.

胆艺轩    forum 有ALTEC有TAD當然要有JBL用家大聚会 - 樓主 澳門客大大 精闢見地與分析.

見地與分析1.
不單300hz有號角,就連更低的百多周也有號角,號角只是物理上集聚聲音達到擴聲的一種方法,這是因為越向低頻,聲音效率越低,但驅動頭音膜基於先天設計關係,在同頻率下比紙盆單元工作速度快,所以在中頻至高頻,驅動頭音膜必然好於紙盆單元,這是物理上的問題
 但在低頻上,由於不需快速振動,所以紙盆單元才有良好發揮.

見地與分析2.
以前我曾用台525電分去試分頻點,分別測試288-16g,2482,375,hf-4000等我手上的大驅動頭,發現有二組分頻點都會容易出好聲
 第一組是380至4200hz之間,這組聲音厚,快速,雄渾,但這組配號角較困難,適合古典及爵士音樂.
 第二組是650至8000hz之間,這組聲音雖然較薄,但更快,這組配號角較容易,適合現代及流行音樂.
.......感激有澳門客大大分享.


plasma-555 已在實作與意念中修正前進.

實作想法1.是 midrange plasma 在那頻點工作效率好嗎? 比紙盆好多少?音壓夠嗎?
                       RIAA (250hz~4khz) gain profile need modify.

               
實作想法2. 30W/one channel 60hz可聽到 120hz 很大聲 因gain profile 上升很大 .
                plasma midrange 發聲是AM modulation on plasma flame and 人耳 demodulation.
                空氣傳遞.  
          
實作想法3.   再不行plasma 我有90w/one channel的. 免horn.


Diy 到底!

走過咖啡店早年歲月

咖啡店從無到有... 從有到無... 歲月的流逝 ,剩下的祇有記憶.

從無到有--- 舊店設立.
從有到無--- 拔營....牧咖啡的咖啡人.....移址, 啡客...........的遷徙.

咖啡店=咖啡+音樂

咖啡=日式咖啡+美式咖啡
日式咖啡=日式單品+日式花式咖啡
美式咖啡=美式單品+美式花式咖啡
.........."請不要找茶".

音樂=古典音樂+真空管