Arkivmusic.com ¿ Lo conoces ?

Esta organización y sitio web se presentan como una alternativa para facilitar la búsqueda y encuentro de grabaciones de música clásica e invitan a que si no se encuentra lo requerido se les contacte para que auxilien en esa búsqueda.

"Estamos aquí para ayudarle a encontrar música e interpretaciones que usted realmente desea y entregárselos en la puerta de su casa."

Aaron de Alemania cumple 20 años y nos invita a festejar con su nuevo XX

Aaron y Sovereign acaban de enviar un comunidcado de prensa, celebrarán su 20 aniversario de gran forma. Siendo una discreta pero excelente compañia de audio high end de Alemania está celebrando su 20 aniversario y sensibles supongo a la realidad actual han lanzado un modelo de aniversario el cual lejos de ser el típico producto insignia más bien apuesta por acercar el audio de alto nivel a un mayor numero de personas. Por 2000 Euro, tampoco muy barato pero muy razonable puede uno adquirir el XX (Double XX).




El comunicado de prensa con más información al respecto es este:


PRESS RELEASE:

~~~~~~~~~~~~~~~


An anniversary present for customers and fans. 20 years of AARON amplifiers.

Today, Thomas Höhne, founder of the High End Manufacture in Elze, surprised music lovers and fans of the AARON High End amplifiers: On the occasion of the company’s anniversary, as to the 20th birthday of the AARON amplifiers, there will be a birthday type brought on the market in Elze in Lower Saxony. A real High End integrated amplifier for only 2,000 EURO.

The new integrated amplifier called „XX“(spoken: „Double X“) will be available at selected traders and High End consultants from September.

With two times 80 Watt at 8 Ohm and two times 140 Watt at 4 Ohm speakers, the amplifier will ensure the powerful and precise playback of its owner's favorite music. However , as Thomas Höhne promises, the new High End creation does not only meet the high expectations concerning musical quality, but also the design as well as the build quality of the XX will make the hearts of AARON-Fans beat a little bit faster.

According to Hoehne, the price of 2,000 EUR for the amplifier, which is produced only in Western Europe, will shock far eastern competitors: „We are very proud that we are able to design and produce devices of this quality in the middle of Europe. We would like to maintain this level of quality for the next 20 years. “

If you would like to put a 100 EURO note on your trusted Hi-Fi-salesman’s counter twenty times, you can contact High End in Elze already. Call +49-5068-2858 to get information by telephone. Of course, queries of advance orders via e-mail will be answered as well.

http://aaron.hifi.net/

El audio multicanal para música está muerto, larga vida al estéreo.

Esta es la apreciación de Steve Guttenberg conocido analista y comentarista sobre estos temas y así lo expresó en el blog que participa en C-net, donde retoma y ahonda en un artículo aparecido en la revista Stereophile de julio llamado "Whatever happened to 5.1 channel music".
Las idas y vueltas de SACD y DVD-A y una sembalnza histórica a previos y fallidos sistemas surround para música compatibles tecnológicamente con plataformas ya establecidas y aun asi fracasaron, era previsible. El artículo comenta que el sector más duro del 5.1 para música defiende que hay sellos independientes aun grabando así, sin embargo - y esto lo comento yo - en nada cambiarán la tendencia esos lanzamientos, ya solo es un nicho.
Triste esta historia de competencias inutiles, cuando SACD se anuncio era estéreo, posteriormenet vino la vencida Toshiba con su DVD-Audio con capacidad multicanal y esto obligó a SACD a ofrecer capacidad multicanal también, a la perspectiva histórica SACD se hubiera mantenido solamente para estéreo y mejor empujar más el formato con artistas conocidos y lanzamientos actuales del mercado más general.
Si quieres música en multicanal compra los videos musicales, muchos de los cuales se relanzaran en Bluray y así visto tal pareciera también que el conflicto de intereses de la industria entre video multicanal y audio multicanal, en relación a lo que les reporta más utilidades dejaron en clara desventaja a la música multicanal.

Audio Control Concert AVR-1: Impresionante



La legendaria firma Audio Control acaba de lanzar un interesante receptor AV con la ultima tecnología ne procesamiento.

The Concert AVR-1 is AudioControl’s new surround sound receiver/controller designed to be a premium product that reflects refined styling, maximum flexibility and optimum performance for home theater enthusiasts. The high gloss of the front panel is complimented by the striking blue LED display and custom designed trim bezel. Power levels of the Concert AVR-1 are confirmed when one admires the hefty, gold plated, high current 5-way binding posts. One hundred twenty individual Input and Output connectors for video and audio connections confirm that the intention of the AVR-1 is to be the intellect of any theater system.

Designed to offer maximum system flexibility matched with advanced technology, the Concert AVR-1 supports the latest surround codex’s of Dolby True HD and DTS-HD Master along with traditional formats of Dolby Digital and DTS High Resolution. Raising the bar even more, the AVR-1 accepts signals from up to five discrete high bandwidth (1080p) HDMI inputs. The dual HDMI outputs are then assignable by the integrator to allow for priority switching via the display device. Component, composite and S-Video signals are also automatically upconverted and scaled to their maximum potential resolutions. To properly complete the signal path, the Concert AVR-1 utilizes AudioControl’s legendary Class H amplifier topology to powerfully drive even the most demanding speaker systems. Known for pristine sonics, cool operating
temperatures, and ultra reliability, this highly efficient design literally “sips” current, which helps it to satisfy even the “greenest” of customers. Despite it’s minimal current draw, the Class H design is powerful enough to drive 120 watts per channel (840 watts total), with all channels being driven into 8 ohms. The AVR-1 also has the additional ability of driving into lower impedance’s when necessary. In recent years AudioControl amplifiers have received a number of awards and accolades from listeners that confirm the high performance levels of Class H.
  • High Definition Advanced Technology Surround Sound Receiver
  • Newest Generation Technology Allows Scaling and Processing of all Sources
  • Seven channels of Cool running Class H amplification
  • High Current, Gold Plated 5-Way Binding Posts
  • Controllable via IR, RS-232 serial and Ethernet commands
  • Streaming audio via Ethernet or USB
  • Decodes Dolby® TrueHD and DTS HD Master® Lossless Technologies
  • Three Zone Outputs
  • Dolby® Volume for Optimum System Balance
  • 1080p HDMI switching for five sources
  • Dual assignable HDMI outputs with priority switching
  • Upconverting to HDMI of component, composite, and S-Video inputs
  • Sirius Satellite Capable (w/optional tuner)
  • Five Year Warranty

Unas bocinas diferentes: Aurus PM desde Suecia


PM is a three-way loudspeaker system which I started to develop in the mid-seventies. The goal was to construct a loudspeaker that was able to reproduce the real acoustic environment from the recording. Discussions about time-delay in those years, which were confirmed by measurements, led me to a design with a complex baffle and exponential horns. Later on I've made fibreglass moulds for casting the baffle in concrete. The sound from this loudspeaker is something you must experience. It really is competitive with the "big" names on the hi-fi scene.
The PM loudspeaker is a three-way system with a 10" Peerless CC-line woofer, a 4.5" Peerless midrange, and a 1" Peerless soft-dome tweeter. The midrange and the tweeter are mounted at the back of the baffle in exponential horns with machine screws and nuts in the cast concrete. The woofer is mounted in the same way at the front of the baffle. The baffle is designed to produce low diffraction effects and to have a nice appearence, and care is taken to handle the time-delay between the midrange and the tweeter. The exponential horn, especially for the tweeter, works as an acoustic transformer, and the benefit of using it in the design is that, when you compensate for the amplification of the horn in the filter, you also lower the distortion. The use of the horn loading also allows you to place the treble in the correct time-delay plane. The effect of the midrange horn is not as good as for the treble in my design, because of the impossibility of integrating a horn of the full required size that would be needed in the PM's baffle. I had to compromize in that matter, as in the matter of the amount of time delay between the woofer and the midrange. I shifted the polarity of the woofer instead so that I came up with a time delay error corresponding to only a few centimeters in distance.
The concrete baffle is mounted in the enclosure with wooden sqrews so that you can change a driverif anything should happen. The design of the baffle was quite a drawing and calculating experiencein the mid-seventies, as in those days I only had a pocket-calculator at my disposal. The design involved both calculatingexponential curves and geometric drawings to get the right angles of the drivers to make themcoincide at a proper listening distance. But the design really was correct, which I found out later when I started measuring the PM's acoustic responce. The slope of the baffle also places the sound "image" at a good height even though the loudspeaker is not very tall.
The enclosure is made of veneered 16 mm MDF exept for the bottom and the back of the enclosure.These pieces are made of 22 mm veneered birch-plywood. The veneer used for the enclosure in the picture on the homepage is called pyramid-mahogany. I've also veneered in birds-eye maple, padoc, American walnut, ash, Nordic pine, cherry and some others. It all depends on each person's individual taste.
The bass vent is tuned to about 25 Hz. The midrange has a separate chamber that is also vented. The midrange vents come out in the front at both sides of the baffle. The bass vent is placed in the enclosure base where the crossover filter also resides.
Both the woofer and the midrange are acousticly damped; that is, you put the damping material at the back of the driver basket. This is a damping method that is not commonly used, but it is recommended by, for example, Doctor R.H. Small. Adding this type of damping allows you to adjust the driver Thiele-Small parameters. The PM's outside dimensions are: W = 37.5 cm, H = 71 cm (including Sonic Design damping feet which I use to minimize vibrations in the enclosure) and Depth = about 48 cm.
The crossover filter used in the PM's includes CFAC inductors in series with the woofer and midrange, and MIT capacitors in series with the treble. The other elements in the filter are polypropylen capacitors and non-inductive resistors. The crossover frequency between the mid and treble is roughly 4000 Hz with a 6 dB/octave slope on the treble and 6-12 dB lowpass slope on the midrange. The woofer-midrange crossover is at about 400 Hz and uses filters with 6-12 dB/octave slopes. In the 6-12 dB/octave filters you start with a 6 dB/octave filter and then you cut 6 dB/octave more at about one octave higher (or lower). The filter is hard-wired. The filter construction is computer optimized using the CALSOD software package and fine-tuned by listening. Special attention has been paid to the impedance responce to produce a "nice" load for tube amplifiers.
The PM loudspeakers was tested in a Swedish magazine about two years ago and the journalist found them really capable of reconstructing the "acoustic room". He also made a bass test where he used a 40 Hz and a 100 Hz tone and drove the loudspeaker to a distorsion level of 10 % and then checked the output level at 1 m. The PM's had exactly the same level at both 40 and 100 Hz, and it was comparable in level with another loudspeaker in the test with 18" woofer. The PM's have really got a tight and clean bass responce and with a capability of playing very loud. You get that subwoofer feeling withoutrumble. The "imaging" is almost perfect because of the clean mid-bass and the homogenity between the drivers, which makes you "see" the whole recording room. Someone called the reproduction quality "seemless". This person also said that he never before had that feeling of "having the whole symphony orchestra in his room".

Kaiser Acoustics

La atención al detalle y refinamiento de tecnología y construcción solo reciben justicia en esta increíble sala de audio. http://www.kaiser-acoustics.com/

Soluciones acústicas moviles


Lamentablemente esto es en Austria, una interesante propuesta de adecuamiento acústico in situ y no fijo, creo que no nos vendrían mal unos de esos paneles en muchos cuartos audiofilos.

Claro que también ofrecen soluciones un tanto más "convencionales" para adecuamiento acústico en casa para cine en casa.




Abrahmsen V1.0 CD desde Noruega



.:Specification

The V1.0 is a CD player with a newly developed advanced electro-mechanical damping system (EMD). This will give you a more exact reading of the CD disk. The V1.0 is equipped with fully balanced XLR outputs meant to be used with preamplifiers with balanced inputs, such as the Abrahamsen V3.0.It has a volume control for the analog outputs, and a coaxial output that let you use it with other digital recorders and amplifiers.The V1.0 features a fully balanced 192 KHz Class A D/A converter with 24 bit upsampling and soft filter -3dB 80 KHz.The remote control is compatible with the rest of the products in the V-series.

Plays CD/CD-R/RW Frequency response:10-20.000 Hz +/-1 dB Signal/noise: >100 dB THD: 0,002 % 24-Bit/192 kHz D/A Converter24-Bit/192 kHz Upsampler 1 Pair output XLR (balanced) 1 Pair output RCA (singel) 1 digital output (coaksial) Ring core -transformer LCD-display Digital volume control Remote controlWidth 430mmHeight 105mmDepth 321mmWeight 7.5 kg

Symphonic Line RG 6 Das Laufwerk




















WEGE ZUM SCHALLPLATTENGENUSS


RG 6
Das Laufwerk. Damit loten Sie die Klangschönheit und Farbpracht der Analogwiedergabe aus. Bei völliger Ruhe.
23.000 Euro

Gebaut für die Ewigkeit. Lagerboden aus Widia, Lagerachsendurchmesser 16 mm, Bestehend aus den separaten

Werkstücken Motorgehäuse, Lager mit 25-kg-Teller + Puck, 1 Tonarmbase nach Wunsch, Trageplattform,

Powernetzteil mit 100.000µF + Trafo 330 VA + Steuereinheit. RAL-lackiert nach Wunsch, Knöpfe und Puck vergoldet.

Sie wählen die Oberfläche. Inkl. edler Marmorgrundplatte, Audiobasis, Stroboskop, Matte und Netzfilter.

Drehzahl: 33-45-78 U/min. Test: Absolute Sound, USA, Mai 1992: Musikalisch nicht zu beschreiben.

Zeigt im Vergleich die Grenzen digitaler Wiedergabe auf.

Tunning Chip: ¿ Física en el sonido o más de lo mismo ?

Para los escépticos clásicos estpo será más de lo mismo sin embargo el grado de aceptación y resultados y no solo en audio si no en electrónica en general no me deja duda que algo encierra este nuevo desarrollo de Creaktiv / Audio Selection.

Para su valoración, toma tiempo son 5MB aproximadamente.








Y aquí un documento sobre los fundamentos de este producto, el Tunning Chip

harman kardon aun sabe diseñar buenos reproductores de CD

Reconocido con el Stereoplay Highlight de la rvista alemana Stereopley (07/09) el reproductor HD 990 muestra que harman kardon aun recuerda al audiofilo y le provee un equipo decente para su gozo.



Con un excelente conjunto de entradas y salidas, incluyendo balanceadas (XLR) este aparato por 600 euros se aprecia muy atractivo pero, solo es para ese otro cliente audiofilo por excelencia, es decir no para el consumidor en América si no para el europeo que junto al asiatico gozan de gran cantidad y opciones de marcas, donde aun marcas ya opacas en América en el audio HiFi y high end como harman kardon orecen productos refinados.

La tornamesa mas funk (Funk V) en un muy funky acabado blanco.

Desde Inglaterra que tiene también una buena industria de audio análogo.


  • Vector drive (pat pend): Simply “State of the Art”…for any turntable. Conventionally, a belt yanks at the bearing / platter. As the platter rotates this continually causes bearing judder, seriously degrading low frequency resolution. To balance and linearise the drive to bearing and platter, Vector uses a patented asymmetric triple pulley arrangement. Permitting a faster servo loop, the motor now has less work to do and so gets on better with its job of smoothly turning the platter. All this is of little use unless it actually benefits us in listening. Well with noticeably enhanced low level, low frequency resolution, Funk V is clearly a superbly engineered Giant Killer of a design.
  • Achroplat(pat pend): Improving on acrylic, it is the perfect Achromatic (non-resonant) support
  • Inverted Sapphire Bearing. Very hard, very highly polished. Seen in the highest performance decks.
  • DC Motor drive. Low vibration and optimally matched to the platter’s inertia for consistent drive.
  • Sorbothane connected feet to isolate critical midband energy from the outside world.
  • Available in purple, black and white colours.