اول اینکه من خیلی خوشحال میشم از اینکه آئودیوفیل ها تو ایران تو هر رنج قیمتی صدای مطلوبشون رو بشنوند و خودتون میدونید تا رسیدن به اون مرحله چقدر لازمه شخص وقت و انرژی بگذاره.

امیدوارم همه تلاشها به نتیجه مطلوب برسه و با این همه هزینه های خیلی بالایی که های فای امروز از ما میگیره حداقل نتیجه اش دلنشین باشه.

البته حتما دوستان دیگری هم هستند که الان صدای خیلی خوبی رو میشنوند و من هنوز سیستم هاشون رو نشنیدم و یا صدایی که میشنوند اگر با سلیقه من خیلی هم خوانی نداره برعکس خود اونها رو کاملا راضی میکنه که همین مهمه. چیزی که از نظر من مهم هست اینه که این همه هزینه باید روزی شنونده رو راضی کنه و شنونده احساس نکنه اون همه هزینه ای که داده بی نتیجه بوده.

منم همه سعی ام بر همین بوده ، اینکه همیشه زیاد تر از حد روی برندهایی مثل آئودیونت ویتوس ASR مارتن ESP جورما تاکید داشتم و در مقابل هم خیلی تند در مورد برندهایی که فکر میکردم صدای خوبی ندارند مینوشتم دلیلش فقط این بود که نتیجه برای کاربر مطلوب باشه.

اختلاف نظر همیشه بوده و همیشه هم خواهد بود، من معتقدم باید نوشت خیلی صادقانه و شفاف هرچند نوشته ها خلاف منافع عده ای باشه اما به هر حال من سکوت رو دوست ندارم و معتقدم بیان آزاد عقاید میتونه تغییر ایجاد کنه و با سکوت چیزی تغییر نمیکنه.

مساله دیگری که میخواستم در موردش بنویسم موضوع درایو آمپلی فایر لامپی هست که برای اولین بار من دیدم آئودیونت ژاپن با 27 وات سینگل بدون موازی سازی و افزایش توان تا 40 وات تونسته بود با همین 27 وات بلندگویی مثل مکس رو درایو کنه. البته انتظار نداشته باشید این 27 وات مثل 600 وات Krell کاملا پایدار و با باس خیلی عمیق باشه اما به هر حال کنترل خوب مکس با 27 وات سینگل برای من خیلی عجیب بود.

ویلسون مکسی که با دو تا پاور لامپی پر قدرت تر (یکی سینگل یکی پوش پول) دیگه خیلی سخت و مشکل دار درایو میشد و هم خطای ریتم داشت و هم باس از دست رفته با 27 وات سینگل اندد کوندو اونگاکو خیلی خوب جمع شد.

فکر میکنید چی میتونه دلیل این موضوع باشه؟

چرا هیچ آمپلی فایر دیگری حتی با توان بیشتر و تو مد پوش پول هم چنین کاری رو نتونست انجام بده؟

لامپ که همون 211 نوس هست که تو بقیه هم بود پس دلیلش فقط لامپ نمیتونه باشه (البته منظورم بی اثر بودن لامپ و نوعش نیست و میخوام دلیل اصلی رو پیدا کنم).

ترانس خروجی و طراحی Power Supply دو موردی هست که میتونه مد نظر باشه، همونطوری که میدونید ویتوس هم با توان 25 وات خیلی خوب الگزاندریا رو درایو می کرد و یا اون مدل 100 واتیش حتی بهتر از آمپلی فایرهای 400 واتی دیگه بلندگو رو کنترل میکرد.

پس توان خروجی تو Specification خیلی مهم نیست و نمیتونه بیان کننده همه چیز باشه همونطور که سینگل یا پوش پول بودن و پنتود و ترایود بودن هم نمیتونه بیان کننده توان واقعی درایو باشه.

چیزی که خیلی مهم هست بنظر من Power Supply هست و ترانس خروجی. چیزی که ویتوس ASR و آئودیونت رو از بقیه جدا کرده دقیقا همین موارد هست. یک Power Supply با هسته ترانس متفاوت و رکتی فایر متفاوت با بقیه (ASR از باتری هم استفاده میکنه که خیلی جالبه)، طراحی ساده (حداکثر 3 طبقه مدار در رنج کاملا خطی المان تقویت) با المان های عالی.

شما 100 تا برند آمپلی فایر لامپی سینگل 27 واتی تو دنیا دارید همونطور که 100 تا برند ترانزیستوری 100 واتی دارید پس دلیل این همه تفاوت تو صدا بخش کمی اش به پوش پول یا سینگل یا لامپ و ترانزیستور بودن بر میگرده .

باید نتیجه گرفت صدا رو نباید از روی Specification قضاوت کرد، صدا رو فقط باید شنید و دید که چگونه همه لامپی هایی که به مکس زدند جواب نداد جز آئودیونت اونگاکو و باید دید که چگونه ASR و ویتوس صداشون شباهتی به بقیه ترانزیستوری های تو ایران نداره. فقط باید صدا رو شنید اگر این چنین نباشه مطمئنا فرصت ها رو از دست دادیم.

من قبلا میدیدم خود مایک گفته مثلا Audio Note یا Lamm با الگزاندریا صدای خوبی داشت و من تعجب میکردم مگه میشه !!! ما اینجا تا لامپی رو میزنیم به این بلندگوهای خرس گنده اصلا صدا وا میره و موسیقی میشه فقط میدرنج اونم با دیستورشن و نرمی زیادی پس این مایک چی داره میگه.

نتیجه این موضوع اینه اگر آمپلی فایر لامپی خوب طراحی و ساخته بشه میتونه با توان کم هم کاری کنه که از تصور ما خارجه.

اونگاکو خیلی گرونه کاش میشد تو قیمت های پایین تر چنین پدیده ای رو بدست می آوردیم ، شاید برند EAR آقای فاطمی چنین انتظاری رو برآورده کنه ، باید بشنویم ببینیم EAR چطوره.

بگذریم از این ایده ال گرایی های من ، فراموش کنید هر چی گفتم الانم با همین سیستمی که دارید حال کنید خیلی هم خوبه 🙂

یک جمله ای هم آقای رحمانی در مورد بازار گفتند که خیلی جالب بود هر چند ربطی به بحث بالا نداره اما من براتون نقلش میکنم.

های فای یک هابی هست که مشتریان خیلی بر مبنای میزان پول ای که دارند به خرید های فای فکر نمیکنند بلکه به شاخص “امید به آینده” بیشتر توجه دارند و اگر امید به درآمد بهتر در آینده زیاد بشه اولویت خرید های فای میاد اول و حتی حاضرند بیشتر از پولی که دارند هزینه کنند اما وقتی امید به آینده بیاد پایین حتی با پول زیاد در حساب هم رغبتی به خرید ندارند.

آقای فاطمی دست شما درد نکنه این برند خوب رو آوردید برای علاقه مندانی که صدای میوزیکال رو با قیمت مناسب لازم دارند.

A little history…
Tim de Paravicini has been credited by many with starting the valve renaissance in England.
Tim, who has worked around all corners of the globe, has unique ideas and designs, a clean-sheet break from the designs of old. Too many of his competitors use old, tired designs to flavour the sound, and do not seek to advance the state of the art.
The EAR 859 was designed to be “the best” Single-Ended Triode amplifier on the market.
Tim, as always, was keen to cut a new path through the forest and ignored the weak and vulnerable, inferior and obsolete direct-heated triodes (such as the 300B). He based his design on his favorite valve, the 6KG6/EL519, developing a new operating mode called Enhanced Triode Mode, or ETM for short.
This revolutionary new circuit cleverly tied the control grid (G1) to the cathode, removing the potential difference between the two, and fed the control signal into the screen grid (G2). This gave better, more linear results than directly heated triodes, with the added advantages of high anode power rating, good valve availability and maximum reliability.
This was put together in a DC-connected, low feedback pure Class A circuit, that automatically compensates for valve spread, maintaining excellent, reliable, sound quality for an extended period of time.
The proof of the pudding is in the eating, and the EAR 859 does not disappoint. It has that unique valve sound, but without the usual single-ended “mush”.
All of Tim de Paravicini’s designs bear the influence of his experience designing and using professional products, and this clearly shows.
Hi-fi reviewers around the world have acclaimed the EAR 859 as, to quote one South African Magazine, “The finest Integrated Valve Amp we’ve ever heard.”
In England, Ken Kessler of Hi-Fi News summed up his review by saying “Yes, yes, yes, yes”.
Even in Japan, the world’s most diverse and intense market, the EAR 859 has won critical acclaim from Japan’s most prestigious hi-fi magazine Stereo Sound. It was honored so highly as to be nominated for the Component of the Year award, and was highly commended. An outstanding achievement for a thirteen watt single-ended valve amplifier.

– Review of EAR 859 –
Common to all hobbies is the threat of repetition, of the sameness which can kill progress, and interest, stone dead. So hi-fi enthusiasts, retailers, manufacturers and journalists end up pursuing novelty not just for the sake of it, but because we need it. But there’s one individual to whom I can always turn if I need a jolt of some sort, be it genuine controversy or merely a new approach to a familiar problem…
Tim de Paravicini of Esoteric Audio Research (aka, EAR) is known as, among other things, “the wild man of audio”, “the best tube circuit designer alive” and a few less flattering names which, at the very least, attest to both the fear he instills in his opposition and the respect which even his rivals hold for him.
In the past couple of years, he’s won me over with EAR products from both ends of the price scale, the 26,000 Yoshino amplifier and the 300 834P phono amp. Then there are his awe-inspiring Revox G36 tape deck mods, his regular range of EAR electronics, his work in the recording industry, ad infinitum.
But Tim’s latest wheeze just might be the most political move yet, something which borders on the guerrilla, and we at HFNIRR are willing, nay, grateful accomplices.
Tim’s proposition is a response to an epidemic of what, in the UK market in particular, he regards as third-rate amplifiers passing themselves off as the leading edge in tube development. He’s shocked by the hype, the price tags and, above all, the claims of originality attributed to such designs. But this is not the place to enter into a debate about the history of valve circuit design, because Tim alone could wax furiously for, oh, six hours non-stop.
Suffice to say, he finds a bit too much revisionism going on today, to say nothing of the wholesale appropriation of others’ work. So he’s chosen to put his money where his mouth is by placing in the public domain a fresh design, one which he also markets as a regular EAR model for those who would rather not build an amplifier from scratch. He is giving this circuit away, gratis, free of charge, gornisht. So it can’t be ripped off.
We at HFN&RR are so taken with the unit that we’re offering kit versions of it (though not the built-up version, which is available only from retailers) in this month’s Accessories Club. The complete circuit diagram is published in this article with EAR’s approval. Tim de Paravicini feels confident that skilled hobbyists will be able to follow the circuit, building the amp from raw components they’ve sourced independently (EAR will sell its transformers to such readers who want to build from scratch, sourcing their own bits). It’s probably his way of raising two fingers to those he regards as the new barbarians.
But first, I should let Tim tell you, in his own words, about the Esoteric Audio Research 859 Enhanced Triode Mode SE Integrated Amplifier…
“Designing our single-ended amplifier has proven far more difficult than I first imagined. The first major problems were the reliability and quality of current production triode tubes. Most of the fashionable tubes tested (300Bs etc) offered very poor performance. Driven hard in single-ended mode these tubes give l0W, but with poor reliability – only a few hundred hours use – and diabolical performance. I wanted a minimum of 10W of clean single-ended power, plus a good few thousand hours of valve life. Surely no customer wants to be spending hundreds of pounds on new output valves every couple of months.”
“After deciding that current production directly-heated triodes were more of ornamental value than anything you would want to use in a powerful single-ended amplifier, I turned to conventional tetrodes and pentodes. Sadly, as was the case with the above-mentioned triodes, none could deliver the goods in either clean power or longevity. Parallel single-ended was tried but dismissed on sonic grounds; push-pull with the same valves sounded much better, but it kind of defeated the object somehow…”
“My own 549 amplifiers provided the inspiration. They use four PL519 valves in parallel push-pull to deliver over 250W midband. Most of these are used by professionals in the studio environment, equipment which is left on 24 hours a day, seven days a week. The reliability of these valves has been superb. An average set lasts 20,000 hours – that’s three years continuous use. After reliability tests, the similar EL509 was chosen as the output valve. It’s cheap and lasts for ages.”
“I was still unhappy. I really wanted a triode as an output valve, so after much head-banging I came up with Enhanced Triode Mode operation. Tests I conducted had the control grid (or Grid 1) connected to the cathode, with the audio signal fed into the valve via the screen grid (Grid 2). Operated like this, the output valve behaved as a true triode. In “normal triode mode”, the screen grid is usually strapped to the anode. This is not as successful as Enhanced Triode Mode.”
“In the solid-state world, MOSFETs operate in an “enhanced” mode with the “gate” (equivalent to a valve’s grid) positive with respect to the “source” (equivalent to the cathode). Normal FETs are biased in exactly the same way as a power valve, with the gate negative with respect to the source.”
“The input circuit is a cascade to give the high 150-times gain needed to drive the Enhanced Triode Mode correctly. Actual drive is via a cathode follower, DC-coupled to the ETM’s grid. A minimum amount of negative feedback is taken from the output transformer, just to make sure that the amplifier stays spotlessly clean even when driving difficult loads. DC feedback is also applied across the three stages, as a self-biasing mechanism.” This provides rock-like stability, which helps to further lengthen the life of the valves as well as to improve sound quality.
Translated into a product you can buy, there is now a relatively compact, anguish-free gem called the EAR 859…
The EAR 859 measures 400x400xl50mm (wdh) and weighs a not insubstantial 19kg. The look alone is enough to justify Tim’s nickname for it: Son of Yoshino.
In deluxe form (the kit is available either gilt or guilt-free), the unit bears a perfectly-finished chrome fascia, plated transformer covers and deluxe, gilded knobs. These control the playback level and the selection of up to six line sources. (Quite rightly, Tim suggests that customers acquire an EAR 834 for phono duties, as one of the line inputs has been designated “phono”. Maybe he’s right in presupposing that those who own single-ended triode amps also use vinyl.)
Hidden from view are the three PCC88’s used for pre-amplifier duties, while there for all to see are the EL509’s, right at the front. Other illumination comes from the press-button on/off switch, which glows a tangerine hue.
The review sample was absolutely identical to the production and deluxe kit versions, but minus the cages which protect the two output tubes. The rear of the unit contains the sockets and the proper binding posts, which you can connect to loads as low as 4 ohms. Mains enters via an IEC socket.
A nice touch is that the large badge gracing the area between the Yoshino-branded transformers features a map of the sockets, so you can just reach over and pretty much hit the right inputs.
What Tim’s description doesn’t tell you is that the 859 is a true Class A design delivering 13W per channel, both channels driven and over a power bandwidth of 20Hz to 20kHz +/- 0.5dB. Frequency response is 5Hz to 50kHz for 1W output, sensitivity for full power is 200mV, and distortion at full power is <2% at lkhz and <5% from 20Hz to 20kHz.
By now I would hope that the more mature, balanced and open- minded readers have accepted that specifications only have meaning when designing a product or, if dealing with oddball hardware, when matching amps to speakers.
Even then most specs are meaningless, especially those for power output. Otherwise, how would you explain that a seemingly minuscule 13W per channel can be deemed more than adequate even with speakers which aren’t ultra-high-sensitivity designs?   I wasn’t surprised when the EAR 859 worked a treat with 15,000-worth of Wilson WATT V/Puppy V because the latter’s sensitivity is sufficiently high at 90dB/w/m.
Normal partnering equipment, however, would be 300 watters from Krell or Audio Research or Mark Levinson. Yet the 859 drove them well enough to elicit shouts of “Turn it down!” What of Sonus Faber Minima Amators? LS3/5As? ATC SCM10s? How could the 859 do so well?
It should be obvious by now that single-ended triode amps capable of producing a maximum baker’s dozen of watts are not about specifications. They’re about sound, which is a shock! horror! statement to the myriad hi-fi enthusiasts who still believe all the garbage forced down their throats by the mass-market brands of the early 1970’s.
The EAR 859 doesn’t even look like a conventional amp (tube or otherwise), and it’s absolutely minimalist right down to a lack of balance control. But hook it up to any speaker less voracious than an Apogee, with a decent source, and you have high-end amplification for less than most high-end brands charge for a power supply. Or an interconnect.
So scary is the EAR 859’s prowess that I had to rethink a review of another triode system selling for twice the price of the built-up EAR. Factor in the savings the kit will offer, and it spells curtains for just about every low-power triode tube amp under two grand.
What I heard was the transparency and sweetness that all tube fans cherish, with a natural warmth which placed Sheffield Lab’s Power of Seven CD in the room, each voice with its own turf.
The sax on BB King’s Don’t Get Around Much Anymore on our free CD had an in-your-face honk made up of the requisite readiness, metallics and breathiness. And presence? The 859’s way with imaging is the polar opposite of the typical Linn signature. You listen into the soundstage, with even off-axis seating provided with a satisfactory sonic picture. Heavy metal, large orchestral, reggae – I ran through something like 50 CDs before accepting that, yes, the EAR 859 is capable of exceeding everything that its specs suggest.
It is, in a word, complete. It delivers a sound so truly musical that you find yourself not giving a damn about audiophile concerns. Alas, you will not accept that as a verdict because you know, as I do, that it is not perfect. If it were, I’d be saying that all other amplifiers have been made redundant.
Instead, you know what I’m going to say because of the Nature of The Beast. I’m going to confirm that, yes, the power is a limiting factor if you have voracious speakers, an exceptionally large room and/or a penchant for earsplitting levels. And, yes, the bass lacks that final crispness and that thundering steamroller effect that passes for lower registers in this era of morons with a lust for the nausea-inducing BPM born at the rave party. But so what? Such individuals are partially deaf, intellectually deprived and listen only to portables or PA systems.
Am I happy with the EAR 859?
Would I buy the kit if I felt confident enough to solder?
Would I buy the built-up version if I couldn’t solder?
Would I recommend it to friends?
Yes, yes, yes, yes.
The EAR 859 has provided me with more fun than I can describe. And I didn’t even have the pleasure of building it. −Ken Kessler, Hi-Fi News & Record Review, November 1994.

پیشنهاد من اینه این آمپلی فایر رو با Spendor S3/5R² صداشو بشنوید. مطمئن باشید برای زیر 10 میلیون سیستم باید عالی باشه.

مشخصات 3/5 رو بخونید :

http://www.stereotimes.com/speak072202.shtml

http://www.stereophile.com/standloudspeakers/879/index.html

آقای فاطمی نمایندگی این برند بلندگوساز انگلیسی رو گرفتند و بزودی امکان خرید این برند در کنار آمپلی فایرهای EAR در ایران وجود خواهد داشت.

http://www.spendoraudio.com/

تیم تحقیقاتی بی بی سی انگلیس طرح بلندگویی رو برای استفاده در پروژه های خودش میریزه که بعدها کمپانی هایی مثل  Harbeth و Chartwell  و Spendor و Rogers با استفاده از لایسنس بی بی سی همون بلندگو رو خودشون میسازند با نام LS3/5a .

این انگلیسی ها سابقه زیادی تو ساخت بلندگو دارند و کمپانی های بلندگوسازی تو این کشور پیدا میشن که اولین سرمایه گذاریها رو روی گسترش تکنولوژی ساخت بلندگوها کردند مثل Kef که درایورهای مدل 3/5 هم همون موقع از این برند بود.

مقاله جالبی رو استریوفایل اینجا در مورد هر کدوم از ساخته های این شرکت ها گذاشته که جالبه :

http://www.stereophile.com/standloudspeakers/361/index.html

پیشنهاد میکنم لینک بالا رو تمام صفحاتش رو دنبال کنید.

 Sidebar 3: BBC LS3/5a Specifications
Description: Two-way, sealed-box, stand-mounted loudspeaker. Drive-units: 0.75″ (25mm) Mylar-dome tweeter, 4.5″ (110mm) Bextrene-cone woofer. Crossover frequency: 3kHz. Crossover slopes: not specified. Frequency response: 80Hz-20kHz ±3dB at 1m with grilles on. Sensitivity: 82dB/W/m. Nominal impedance: 16 ohms (1977-1984); 10 ohms (1989 onward). Amplifier requirements: 50W maximum.
Dimensions: 12″ H by 7.5″ W by 6.25″ D. Enclosure volume: 5 liters. Weight: 11.7 lbs each.
Price: $430/pair (1977), $450/pair (1984), $650/pair (1989), $999/pair (1993), $1295/pair (1996), $1695/pair (2007). Approximate number of dealers: 60 (1993).
Manufacturers: Rogers Loudspeakers Ltd., Mitcham, Surrey, England (1977, 1989); Spendor loudspeakers, Redhill, Surry, England (1984); Harbeth Acoustics, Haywards Heath, West Sussex, England (1993). KEF, Maidstone, Kent, England (1996). Stirling Broadcast, Somerset, England. Web: www.stirlingbroadcast.net (2007).

آقای فاطمی دوست داشتند همون صدایی رو تداعی کنند که های فای انگلیس در دوران کلاسیک گذشته اونرو برای شنونده پخش میکرد و برای همین برند اسپندور رو آوردند.

چه خوبه ما صدای Spendor رو با EAR بشنویم و ببینیم تا چه حد صدا موزیکال و دوست داشتنی هست. من که قبلا مدل 3/5 هاربت رو پیش آقای آلن شنیدم خیلی خوشم اومد و برام خیلی بلندگوی جذابی بود.

http://www.kef.com/ca/about/ls35a

Raymond Cooke, the founder of KEF in 1961, had close links to the BBC dating back to his time in the BBC Engineering Designs Department in the early 1950s, where he worked with influential sound engineers such as Dudley Harwood and D.E.L.Shorter. This connection was re-established in the early 1960s when KEF signed an agreement to manufacture the BBC designed LS5/1A monitor under licence to the corporation – production continued into the mid 1970s. Also manufactured during this period were the LS5/2, LS3/4 and the 3-way LS5/5 – for which KEF also manufactured the 12” bass and 8” midrange drivers. KEF’s meticulous approach to production engineering was well suited to the manufacture of these tight tolerance monitors.
Much of the early communication between KEF and the BBC Research department at Kingwood Warren centred on new materials for loudspeaker diaphragms and surrounds. KEF had utilised a laminate of polystyrene and aluminium foil for the B1814 and B139 bass drivers, and chose Melinex for the diaphragm of the T15 tweeter. In the mid 1960s the BBC started experimenting with the use of plastics, and the result was the three-way, Bextrene coned  LS5/5.
In 1966 KEF introduced the first commercially available Bextrene coned drive unit, the B110 (A6362), a 110mm bass/midrange unit. Along with the new T27 (A6340), a 19mm dome tweeter with a Melinex diaphragm, these two units found application in the new bookshelf Cresta system, and in the three-way Concerto in 1969. As was the custom in those days, these units were shown to the BBC and a small batch was subsequently sent in for evaluation.
In 1968 the BBC made a decision to study acoustical scale modelling to assist in the design of new music studios [1]. For this work, they required a small sound source that would produce controlled acoustic radiation up to 100kHz. The first system produced was a 2-way.
The bass section, required to operate up to 15kHz, comprised two BBC built 110mm Bextrene coned units mounted at 60 degrees to each other to produce the wide dispersion required. To achieve the required 15kHz bandwidth (note that the KEF B110 is useable only up to around 5kHz) they had steeply flared cones, and to reduce the effect of acoustic modes in the neck of the cone, an extra PVC diaphragm was placed close to the normal dust-cap position. The frequency range above 15kHz was reproduced by an array of small electrostatic transducers in a hemi-spherical array.
This system was found to be somewhat lacking in performance and so it was developed into a 3-way version [2]. Here, just one of the 110mm bass drivers was mounted facing forwards, crossing over to a KEF T27 tweeter at 3kHz, which operated up to the 15kHz crossover to the high frequency array.
This revised system performed significantly better, and its sound quality when reproducing normal program material suggested that is could form the basis of a small monitor loudspeaker for use where space is a premium, such as outside broadcast studios. So in 1970 it was subsequently developed into the 9 Ohm, 5 litre LS3/5, using the original KEF B110 (A6362), the KEF T27 (A6340) and crossover filter FL6/16 [3]. In this system the driver layout was ‘inverted’ with the tweeter mounted below the bass driver. A small batch of these were made internally at the BBC and sent out for field trials, the success of which prompted a requirement for a significant extra number to be made.
In the planning for a new batch of LS3/5s it became apparent that the original units, B110 (A6362) and the T27 (A6340), were no longer available, and the latest units, B110 (SP1003) and T27 (SP1032) at that time being used in the KEF Coda, had slightly different acoustical characteristics resulting from production refinements. It was therefore necessary for the BBC to re-engineer the system around these latest units. The rework of the LS3/5 was done in the early summer of 1974, and the result the LS3/5A [4,5].
The LS3/5A has the drivers in the normal orientation, with the tweeter above the woofer, includes diffraction reducing felt on the edges of the baffle and has the addition of a perforated metal cover for the tweeter – which not only offers protection but also assists the acoustical response. Careful attention was paid to the way the new bass driver was coupled to the enclosure to ensure that the LS3/5’s low level of cabinet colouration was maintained. Due to the new 8 ohm drivers and the revised crossover, FL6/23, the nominal input impedance of the system increased from 9 to 15 ohms.
The system went into manufacture internally at the BBC and licenses were offered to commercial companies to produce the loudspeaker, the most notable of which was Rogers Developments (later Swisstone) who started production in 1975. The only update to the LS3/5A system was in 1987 [6] when ongoing problems with the acoustical consistency of the B110 SP1003 were resolved by replacing this unit with the specially designed SP1228 version, and an updated crossover, FL6/38. These changes resulted in the revised version having a lower input impedance of 11 ohms. The driver and crossover re-work was carefully done by KEF’s Special Products Division to ensure that this version was acoustically identical (within normal tolerances) to the original, so that old and new versions would be interchangeable. It was at this time that KEF started to supply the crossovers (SP2128) as well as the drive units, in matched sets, to ensure maximum consistency. A bi-wire crossover (SP2195) was made available in 1991.
Rogers produced upwards of 80,000 systems from 1975 to 1993, with significant quantities also made by Spendor from 1982 and Harbeth who started in 1988. Other licensees included Chartwell, Goodmans, Audiomaster (K.J. Leisuresound), RAM, Decca, and more recently Richard Allan and Stirling Broadcast. KEF finally took out a license in 1993 and produced around 4000 systems. The total number of LS3/5As manufactured (singles – not pairs) exceeds 100,000 [7], the vast majority of these by Rogers, Spendor and Harbeth.
In 1981 KEF introduced the Constructor Series CS1A, a kit that included the B110 (SP1003) and T27 (SP1032) drivers and a crossover designed to match the subjective balance of the LS3/5A but in a simpler form than FL6/23.
Although KEF has produced a number of 2-way loudspeakers with the B110/T27 combination – Cresta (1967), KEFKIT4 (1969), Cresta II (1970), Coda (1971), CS1/CS1A (1981) – the closest KEF came to making a direct competitor to the LS3/5A was in 1979 with the introduction of the Reference 101. This system used the T27 (SP1032) with the B110B (SP1057) in a 6.7 Litre enclosure with a crossover of similar complexity to the LS3/5A and the inclusion of S-Stop protection circuitry. The Reference 101 benefited from the advanced measurement and analysis infrastructure that KEF had developed throughout the 1970s.

KM1 Studio Monitor
No discussion of KEF and the BBC would be complete without mention of the mighty KM1. This 3-way active studio monitor was designed to facilitate the BBC’s increasing need for system that could deliver accurate reproduction at high levels. The bass section comprised four 12” bextrene coned drivers (SP1196), two B110(SP1186) midrange units and a T52(SP1187) tweeter. From the outside the system looks impressive enough but on the inside was a plethora of engineering solutions to the problem of reproducing high output levels with low distortion, particularly thermal compression. The ferro-fluid cooled tweeter used a magnet of the size normally found on a 12” bass unit. The midrange units had polypropylene diaphragms instead of bextrene to withstand the high g-forces and 64mm metal bars thermally connecting the magnet structures to the heatsink on the back of the cabinet.  Inside was a sophisticated amplifier system including driver protection circuitry. The first system went into operation at the BBC’s Maida Vale studios in 1982

عالیه

http://www.ls35a.com/

http://www.regonaudio.com/Spendor%20SP1.html

http://www.positive-feedback.com/Issue2/harbeth.htm

http://www.enjoythemusic.com/magazine/equipment/0601/spendor35.htm

http://www.affordablevalvecompany.com/ls3_5a.htm

http://www.mhennessy3.f9.co.uk/rogers/others.htm

http://www.keith-snook.info/Loud-Speakers/BBC-LS3-5A/LS3-5A.html

http://www.hifiloudspeakers.info/Anatomy/SpeakerSystems/LS3_5a/LS3_5aJohnSmith.html

http://www.g4dcv.co.uk/ls35a/rogershistory.html

http://www.gramophone.net/Issue/Page/July%202003/105/759629/Spendor+S35se

http://www.harbeth.co.uk/usergroup/showthread.php?813-Mini-monitor-doubts-started-by-a-Spendor-demo.

امیدوارم آقای فاطمی موفق باشند

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در مورد آقای فاطمی نوشتم و گفتم ایشون دو برند خیلی خوب رو آوردند و قراره اونها رو دمو کنند.

بگذارید قبل از معرفی دو برند ابتدا در مورد خود آقای فاطمی و دیدگاهشون بنویسم چون بنظرمن خیلی این موضوع مهم هست.من سعی کردم ابتدا صحبت های آقای فاطمی روخوب بفهمم و بعد بیانشون کنم با این حال اگر تو نوشته هام چیزی رو درست بیان نکردم از ایشون عذرخواهی میکنم.

آقای فاطمی در مورد هدفشون از آوردن این دو برند به من گفتند به دنبال جذب مخاطبانی هستند که دنبال لذت بردن از خود موسیقی هستند و نه کسانی که دنبال Impress شدن از صدا هستند. تا قبل از این نه تنها فروشندگان در ایران بلکه کل های فای در دنیا بدنبال برندهایی بود که صدای خوبی به معنای های فای داشته باشه، مثلا بلندگوهای بزرگ و سنگینی که باس اونها همه رو شگفت زده میکرد و یا آمپلی فایرهایی که صدای خیلی به ظاهر واضحی داشتند و مخاطب رو در دقایق اولیه شنیدن تحت تاثیر قرار میدادند.

آقای فاطمی امروز دنبال چنین برندهایی نیستند، از نظر آقای فاطمی بیشتر شنوندگان تو دنیای صدا گم شدند و اصلا یادشون رفته هدف لذت بردن از خود موسیقی هست و نه Impress شدن از صدا.

بنابراین اگر کسی دنبال ساند استیج بزرگ و باس زیاد و صدای آنچنانی و کلا Impress شدن هست نمیتونه مخاطب آقای فاطمی باشه اما اگر کسی واقعا دوست داره بشینه موسیقی گوش بده و از خود موسیقی لذت ببره دیگه نباید به اون شاخص های Impressive صدا توجه بکنه و باید سیستمی رو انتخاب کنه که اون سیستم اجازه لذت بردن از موسیقی رو میده.

آقای فاطمی عبارتی رو بنام British Old School بکار بردند که من فکر میکنم منظور ایشون یک نوع نگاه خاص در طراحی صدای سیستم صوتی در زمان های قبل تر بوده و از نگاه ایشون اون رویکرد در طراحی و اون نوع صدا میتونه برای لذت شنیداری ما مناسب باشه هرچند که طبیعتا این صدا با صداهای Impressive امروزی کاملا تفاوت داره.

آقای فاطمی تو انگلیس تو استودیو هم کار کردند و تجربیاتی در این زمینه دارند که کمکشون کرده تا مسیر درست ای رو در پیش بگیرند و معتقدند های فای تنها وسیله ایست برای لذت بردن ما از موسیقی و نه ابزاری برای Impress شدن ما از صدا و نه یک سرگرمی برای لذت بردن ما از خود کامپوننت ها.

از نگاه آقای فاطمی برندهایی که هم تو های فای و هم تو Pro Audio یعنی تو استودیوها فعالیت دارند بدلیل اینکه استودیوهابه کامپوننت ها به دید ابزار نگاه میکنند و هزینه براشون مهم هست و بفکر ظاهر دستگاه نیستند این برندها هم قیمت های معقول تری دارند و هم اساس طراحیشون بر مبنای یک صدای طبیعی و Real هست و نه اون حالت خوش صدایی غیر طبیعی رو دارند و نه اون حالت صدای استریل و خشک و بی روح رو.

البته این یک قانون نیست اما در کل برندهایی که تو استودیو ها هم فعال هستند بالطبع مجبورند برای ادامه فعالیت هم قیمت هاشون رو منطقی اعلام کنند و هم صداشون رو به سمت و سوی طبیعی و درست پیش ببرند.

خیلی از شنوندگان تو دنیا هستند که در طول سالها تجربه شنیداری چون با صدای واقعی از نزدیک تماسی نداشتند Coloration یک سیستم صوتی رو که بنظرشون خوشایند می اومده (مثل حالت Sweetness غیر طبیعی یک آمپلی فایر یا حالت Sharpness زیاد یک بلندگو) به حساب صدای درست گذاشتند و سالها با اون اشتباه به راهی رفتند که نتیجه خوبی نداده و برای قضاوت درست لازمه ما یک رفرنس درست از صدای سازها و اتفاقاتی که تو استودیو برای صدا میفته داشته باشیم. خیلی اوقات دستکاری یک صدا باعث اشتباه در قضاوت شنونده شده و لازمه شنونده تجربیات بیشتری از صدای واقعی داشته باشه.

آقای فاطمی معتقدند برندی که صدایی طبیعی و بدور از خوش صدایی غیر طبیعی و یا حالت خشک و شارپ داشته باشه خیلی تو دنیا کم و محدود هست و البته قیمت این برندها هم خیلی بالا و غیر منطقی نیست.

کافیه بتونیم درست تشخیص بدیم و درست انتخاب کنیم تا گرفتار خرید برندهای بد صدا با قیمت های احمقانه بالا نشویم .

مساله خیلی مهم دیگری که تا قبل از این یا بین فروشندگان مطرح نبود و یا خیلی بهش توجهی نمیشد مساله جدا جدا فروختن کامپوننت ها یا یکپارچه سازی اونها بود.

منظورم اینه تا قبل از این فروشندگان روی برندهاشون تاکید داشتند و هر کسی مدعی میشد مثلا آمپلی فایری که میاره از همه بهتره و یا بلندگویی که میاره از همه عالی تره اما آقای فاطمی دقیقا خلاف این رویکرد بدنبال تحویل فقط کامپوننت بهتر به مشتری نیستند و دنبال تحویل یک صدای خوب به مشتری هستند. به این معنی که ایشون به جای تاکید روی فروش تکه تکه کلا یک پکیج کامل به مشتری پیشنهاد میدن و برندهایی که میارن رو بصورت Match با هم بشکل یکپارچه به مشتری پیشنهاد میدن.

بنظر من خیلی این موضوع مهم هست و اگر آقای فاطمی روی این موضوع تمرکز کنند مطمئنا موفق خواهند بود چون یکی از بزرگترین ضعف هایی که من در سیستم های مشتریان در ایران میبینم Match نبودن برندهایی است که از این ور و اون ور خریدند (جمله صورت فلانی تجزیه اش خوبه اما مرده شور ترکیبشو ببرند رو که شنیدید).

مساله خیلی مهم دیگر اینه که آقای فاطمی آکوستیک رو شرط اول و مهمترین کامپوننت بین کامپوننت ها میدونند و بدون حداقل شرایط آکوستیکی حاضر نیستند به مشتری سیستم بدهند، البته منظور این نیست که همه باید کل ساختمون رو از پایه با کلی هزینه آکوستیک کنند نه ، اما باید حداقل شرایط آکوستیکی رو برای صدای خوب داشته باشند تا بتونند از آقای فاطمی خرید کنند.

نکته دیگری که از نظر آقای فاطمی مهم بود این بود که همیشه شنوندگان باید صدای نهایی رو برای شنیدن ملاک قضاوت قرار بدهند و نه چیزهایی مثل نام معتبر یک برند و یا چیزهایی مثل قضاوت در مورد صدا با توجه به پوش پول بودن یا سینگل اندد بودن و غیره.

چیزی که از نظر ایشون مهم هست خود صدا هست که باید بدون هیچ پیش فرض و پیش قضاوتی شنیده بشه و این گوش ماست  که تعیین میکنه ارزش اون صدا چقدره.

اینکه بگیم برند X پوش پول میسازه و برند Y سینگل پس برند Y بهتره و یا خازن توی این برند فلان مارک هست پس بهتره اینها نمیتونه ملاک دقیق و مطمئنی برای قضاوت باشه .

امیدوارم سایت آقای فاطمی هم زودتر راه بیفته و ایشون تو مسیر ای که در پیش گرفتند موفق باشند.

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آقای Fred Crowder از مجله dagogo که میشناسیدش از شو روم دوست خوبمون مایک دیدن کرده و گزارشی رو نوشته که جالبه :

 http://www.dagogo.com/View-Article.asp?hArticle=910

یکی از بهترین طراحان در دنیا به نام tim de paravicini رو بیشتر بشناسید ، هم تو استودیو کار کردند و هم تو های فای :

http://ear-usa.com/timdeparavicini.htm

http://www.stereophile.com/interviews/1107parav

http://www.stereophile.com/interviews/990paravicini

http://www.stereophile.com/interviews/tim_de_paravicini/index.html

http://www.positive-feedback.com/Issue24/timdp_interview.htm

http://www.chesky.com/core/body_librarydetails.cfm?newsid=171

http://213.134.203.22/~kostik/Radio/TimdeparaDecoder-for-stereoFM.html

http://www.enjoythemusic.com/superioraudio/equipment/1206/ear_yoshino_834t.htm

http://www.positive-feedback.com/Issue32/ear.htm

http://www.goodsoundclub.com/Forums/ShowPost.aspx?PageIndex=2&postID=7504#7504

http://www.goodsoundclub.com/Forums/ShowPost.aspx?postID=2052#2052

http://twogoodears.blogspot.com/2007/12/tim-de-parravicini-audio-maven.html

http://www.stevehoffman.tv/forums/archive/index.php/t-120474.html

http://allegrosound.net/EAR_869_2_AllegroSound.html

http://allegrosound.net/EAR_869_3_AllegroSound.html

http://www.whatsbestforum.com/showthread.php?216-Excerpt-from-Tim-de-Paravicini-regarding-the-state-of-digital

http://www.inner-magazines.com/news/213/67/Tim-de-Paravicini-at-Helsinki-HifiExpo/

http://www.jogis-roehrenbude.de/Leserbriefe/Synola-509/Paravicini.pdf

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آقای فاطمی (شرکت High End Audio) بعد از یک دوره توقف نسبتا کوتاه دوباره به جمع مجموعه شرکت های فعال در زمینه دمو و فروش محصولات های فای بازگشتند.

خبر خوبی برای ما میتونه باشه البته باید یادآوری کنم خبر خیلی بهتر اینه که ایشون با دیدی متفاوت با دیگر همکاران و رویکردی بسیار جالب این فعالیت رو از نو شروع کردند.

آقای فاطمی از نگاه من در بین توزیع کنندگان های فای در ایران دموکرات ترین شخصی هستند که دیدم چون همیشه میتونید باهاشون راحت در مورد برندها صحبت کنید و حتی در مورد برندهایی که خودشون میارند انتقاد کنید.

ایشون تجارتشون جای دیگری هست و چون این کار رو برای علاقه انجام میدن برخوردشون با نظر مخالف حالتی تند و غیر منطقی نداره و با مشتری طوری برخورد میکنند که مشتری بیشتر احساس کمک از طرف ایشون رو داره و نه کسی که میخواد چیزی رو بفروشه.

شایدم های فای ایران شانس بیاره و ایشون از تجربیاتشون تو یک سایت به زبان فارسی بنویسند ، این کار حتما با استقبال من و بقیه روبرو خواهد شد و من منتظر چنین اتفاقی هستم.

منتظر باشید تا در مورد ایشون و رویکرد جدیدشون و برندهایی که آوردند بنویسم …

شماره همراه ایشون 09121040303 هست شاید دوست داشته باشید زودتر از نوشته من خبر ها از خود ایشون رو بشنوید.

این مطلب جالبه از انجمن رومی آوردمش :

 http://www.goodsoundclub.com/Forums/ShowPost.aspx?PageIndex=4&postID=16799

Romy,  I have been trying to explain to myself what happened and how I got to it and trying to recreate this wonderful boiling point.
I tried to make a write up of all the steps needed in order to make it happen,  but it is ever so elusive.
I do have notes on the gea I was suing but several changes have been made since then, that I am confident will eventually help me on the way.
Any way I want to share this in case anyone has got to it or part of it so we can find a more  scientific way to make it happen.

Basic guide to advanced audio
Several stages of performance can be observed in a music reproduction system: Perfect resolution, Sphere like soundstage, Harmonizing effect and Boiling point.  These effects are achievable one after the other on your sound system and will help convert a good performance into a moving, even life changing event without having to leave your listening room.  I will try, to the best of my knowledge to describe these points as detailed as possible, trying to keep the thread of what we are talking about, sound reproduction, and not stray into electronics or equipment setting.
Perfect Resolution
The first step of the way to achieve is a Prefect Resolution of the recorded material. This in itself is what this hobby, art form and industry has been all about if we take away the ego buys.
Of course achieving this is no easy task, but a seasoned audiophile should have perfect ability to do so and can get to this point, mostly if we start talking about sound reproduction and stop talking about equipment as an isolated object in a fetishist way.
The first big barrier to cross is to get rid of the big mess and terrible reproduction at the upper bass level.  The most complicated range of music is here, where most instruments have their fundamental frequencies.  This range has to be solved perfectly to bring transparency to the whole spectrum of listening.  Most setups without a specific channel for this frequency sound cluttered and obscure; Imagine there are high and mid frequencies spiking up and down, but  a flat line of some sort at around  300- 200 hz,  sound just doesn’t seem to go past this flat line,  so you get chopped up instruments going up high,  then a big mess at 300 hz,  and then big thumping disconnected bass from 100 hz down,  but it is hard for an instrument to pass that barrier and go cleanly all the way through,  down to the lowest ranges of listening.   Once you get rid of this barrier, instruments just come to life with much more power and punch, even at lower listening levels; this is what brings in that reality feeling!  Bass being totally integrated with the mid range in one sphere like sound. Yes even a violin sounds fuller with a clean response down to 20 hertz.
Even within a perfect resolution there are still levels.  You can get this complete instrument effect, easily with a single driver speaker, and I guess this is why they have so much popularity, but I would not say getting the complete instrument effect will bring in perfect resolution; for this you need to have the frequency extremes perfectly solved and to be able to reproduce more than one instrument.
I will call a Perfect Resolution of a system when you can be able to play a full orchestra at real life volume levels without even a glitch in reproduction, no small distortions anywhere in the spectrum, no saturation of any level not bass dragging around, good dynamics at each and every frequency, with perfect macro and micro detail resolution.
When the instruments sound like real full instruments perfectly delineated and existing in their own space and you can pin point each one of them in the sound stage.
Sphere like Soundstage
Here is where things start getting more complicated, to achieve this you need to measure the response of your system, an RTA is completely necessary if you didn’t have it already. Also you need to have each channel of your speakers independently wired so you can connect and disconnect it and also be able to modify the volume it is playing at.
This ritual I am about to describe will become part of your setting of a system and unluckily needs to be done often, when a new piece of gear is introduced or when the effect starts to wear out.
The first thing to do is disconnect one side of your play back and concentrate on the other.   Disconnect all the drivers and measure only the response of the tweeter. Then disconnect the tweeter and measure just the response of the midrange, the upper bass, and whatever channels you have individually.  Adjust the volume of each one to get the same volume out of every channel.
You will notice when you start getting under 200 hz big bass peaks and valleys in response appear, this is your room playing tricks on you. There is no easy way to fix this, go ahead and push all the EQ buttons you want, you will just kill sound, but do it because it is good to recognize what dead sound is, and because you will of course not believe me when I tell you that all the electronic gear and digital xovers and room equalizers are useless.  Spend as much time and money as you wish.  Eventually you will come to realize that the only solution to the bass room modes is speaker positioning and volume levels of the different channels you have playing under 200 hz, and learning to accept what you cannot change.
After you are done measuring and adjusting both sides your system will sound like shit.
This is where your training and culture play a roll, all those nights at the concert hall, all those piano lessons, the live events you have listened to; all will become part of how your system sounds. The rest of the adjusting has to be done by ear, this is the detail of it and the devil is in the details.
A completely flat system sounds horrible, depending on your room acoustics and your tastes the volume of each channel, either mono or stereo has to be very slightly readjusted, adjustments of half a db are in place, if you need to adjust too much, it means the measuring will be lost and you will need to start the whole process again.
For this we are already talking about a well set up system with no TV in the middle and with the speakers perfectly positioned and equidistant from the sweet spot.
When everything is in place and al the volumes are perfectly set. You will need to check this 2 points that are off in almost every system I have listened too:
Most probably you will need to lower the highs, most tweeters are set with too much volume because of a cultural mistake,  we have learned to listen and enjoy the sparkle on top of the instruments,  like a foam on top of everything,  tweeters don’t need to call the attention of your ear, tweeters need to disappear and form part of the instrument midrange,  they need to fill in the response of the instrument at the higher levels where the midrange driver cannot go,  but don’t ever be present,  this will kill the reality feeling and destroy the sphere like soundstage.
Lower bass say from 50 hz under depending on your channels, will probably be too high. Again we have been taught by the industry that bass is good and that punchy sound is what we need, I have seen subwoofers in good systems dragged all across the Swan Lake. Subwoofers are there to disappear, to never be heard and just complete the instrument´s lower registers, without calling any attention to them.  But also they are there to bring out the shine of an orchestra when the crescendo is in full.  This is where big dynamics of the subwoofers are needed and this is where they usually can’t perform, the horn channels will be jumping up and down but the bass channels won’t be able to keep up, so one is  tempted to raise the volume, do not do it: when the crescendo is over the bass will be ever present.  The problem is not the volume but the poor dynamic response of the bass channel and it should be addressed this way.  I order to fix this you need to either add more bass speakers, more transducer area, or make one of those huge Bass horns.
These two points could be part of a Perfect Resolution, but be certain that if this is not addressed; the Sphere Like soundstage will not appear properly. Somehow miss adjusted channels break through the sphere and pop the bubble.  The sound shall be of an extended midrange without the crisp highs and the ever present lows.
When all this is achieved the sound stage of your system will gradually begin to increase, instruments will be pin pointed in the space and the midrange will acquire a beautiful fullness, a roundness that will keep growing and on certain recordings you will eventually form a Sphere like Soundstage, where the sides of your soundstage will grow so much and the deepness of the soundstage will be so that the instruments are detached perfectly from the speakers and form a sphere right in front of you.
Again there are levels for this and some systems with better gear and more attention to set up will sound better, will give a fuller sphere soundstage with more ease and with better micro detail of the instruments.  Bigger rooms will of course have a bigger soundstage and are capable of withholding higher volume levels.
To get to this point you already need a speaker system that allows each driver to be adjusted independently, and at least a geometric visual time alignment of the drivers is needed, a separate amplifier for the bass is a requirement too, in order to be able to manage bass response. Be clear, if any of these points are missing from your system you will not be able to get the effect.
Harmonizing Effect
This is very difficult to achieve, I have managed to get there just a few times, and if any adjustment or change of gear is introduced in the system, the effect will be lost and you will need to readjust everything.
Things start to get to a point here where recipes are not easy to give and will not even ensure success.  But some basic points must be established that are definitely needed to achieve this.
I have never been able to get the Harmonizing effect without multiamping.   Biamping has already been established as needed for the prior point, being multiamping very useful.  For the harmonizing effect biamping won’t be enough no matter how perfectly set each speaker volume is, you could probably share one amp for two speakers with very similar response,  but one amp per speaker is the best bet.
The minimal adjustment of volume levels for each driver is so perfectly needed that any contraption being Lpads, speaker level volume controls or even wire gauge adjustments will not bring in the response level we need.
Time Alignment is a must.  For this level you need to have each driver of your speaker system, of course wired independently, but also physically detached from the others in order to be able to slide it forward and backwards until it snaps into place.
The ritual described above has to be conducted again, but this time with another purpose in mind: to time align each driver on your speakers.  This process has been described before in some Altec literature and on some expert websites.   You will have to play a tone at the frequency where the driver´s cross over is set at: for example 500hz.  You connect only the 2 drivers we are measuring and invert the cables on one of them. Then play the tone at the crossover point, 500 hz: and you slide the driver you are adjusting until the SPL meter shows a dip in the response at that frequency.  This has to be done on all of the drivers on both sides of your speakers.
Once everything is reconnected and the system is sounding again a seemingly endless micro volume adjustment of each driver is performed while listening to music.  Again your cultural baggage will play the most important roll on deciding which volume to adjust a how much higher or lower.
Brick by brick is layered of micro adjustments until the volume and the tone on each instrument all along its frequency range are set in order to give it a full image.  Place the image of a violin on your head and imagine it is distorted, if the lower registers are too high, the figure of the violin will be distorted on the bottom, with a big flatulent ass.  You have to lower the volume of that driver to give the violin in your head the perfect size, shape and tone.  This has to be done for every instrument in the orchestra.
If your reference recording, the music you are playing in order to set all the volumes right, is a girl with guitar, you will not have a clear vision of the sound of each channel you are trying to adjust and so you will be blind in most frequency ranges.  Try to adjust the shape of a violin drawing if you cannot see parts of it.  This is why our system needs to be able to play a full orchestra and why our reference recording cannot be simpler music.   If there are no instruments playing on each and every frequency range then we have no “visual” reference present in order to adjust the volume on each speaker driver.
That being said I usually play female voices after all the volumes have been readjusted just to check the response with a more familiar sound, but never readjust volumes then.  It should not be needed The voice will sound perfect and jump out at you beautifully.
With every micro level adjustment the Harmonizing Effect will be more and more present and it will be noticeable.   In the beginning of a concert or when the pianissimo is playing with few instruments you will not notice anything different, but when all the instruments come together the sound will vibrate outside the speakers with this beautiful tone in a resonating sphere like soundstage and you will be unable to leave your seating position!
Boiling Point
This is extremely difficult to achieve, I have only got it once by accident and another time by careful approach, and lost it soon after because of unneeded re adjustments.
It is also very difficult to explain if you have never listened to it.  Above is a narration of it I made when I accidentally got it:
Going back at this narration it explains all of the above points I have been achieving one by one in order to eventually start a boiling point.  How it is done, by magically readjusting everything in an already perfectly set up system!
You can have your system on the Harmonizing effect most of the time,  but only on certain recordings and on a given day when maybe the electricity is better and your senses are relaxed the system might begin to explode in such a way.

نمایشگاه سیستم صوتی California Audio Show 2011 از 15 تا 17 جولای تو کالیفرنیا برپاست.

http://www.dagogo.com/

http://www.stereophile.com/category/cas-2011

فعلا گزارش بیشتری در دست نیست، فقط یک خبر رو تا یادم نرفته بدم اونم نوشته رومی در مورد 88 کیلوهرتز شدن مستر های سونی هست :

http://www.goodsoundclub.com/Forums/ShowPost.aspx?postID=16683#16683

این لینک رو هم یکی تو سایت رومی گذاشته بود که جالبه :

http://www.youtube.com/watch?v=azGh07lBAIg&feature=related

عید رو همیشه اول تبریک میگن حالا من ترتیبشو عوض کردم آخر نوشته عید رو تبریک میگم.

خوش باشید

خوندن یک تحلیل از ویتوس ممکنه براتون جذاب باشه.

تو این تحلیل جالب ویتوس برای تحلیل گر دو چیز رو یاداوری میکنه یکی حالت صدای آنالوگ هست و دیگری همانند بهترین لامپی ها مانند Audio Note ژاپن صدا دادن.

بنظر من دلیل آنالوگ تر صدا دادن ویتوس در مقایسه با Soulution ، Accuphase و بقیه بخاطر میکرو داینامیک خیلی بهتر هست و مساله دیگر صدایی شبیه به بهترین لامپی ها مانند Audio Note Kondo داشتن دلیلش درست بودن تونالیته و نداشتن هارمونیک های رده بالاتر در مقایسه با بقیه سالید استیت ها هست.

قبلا هم گفتم ویتوس کل دیستورشنش مثل آئودیونت بیشتر از بقیه سالید استیت ها هست اما بخاطر فیدبک منفی خیلی کمتر شکل دیستورشن روی هارمونیک های پایین تر متمرکز هست و در نتیجه صدای خیلی بهتری داره.

تو این مقایسه جالب تحلیل گر کاملا ویتوس رو به همه آمپلی فایرهای Solidstate ای که شنیده از جمله Soulution ، Luxman M-800A ، Accuphase A-65  ترجیح میده چون هم Bass و وضوح و سکوتش هم پای بهترین سالید استیت هاست و هم صداش به زیبایی بهترین لامپی ها.
نکته دیگری که در رابطه با ویتوس بهش اشاره شد این بود که برخلاف Soulution که صدا انگار با عجله و سریع داره پخش میشه ویتوس برعکس اجازه میده شنونده زمان بیشتری رو درک کنه و خیلی راحت تر با موسیقی ارتباط برقرار کنه. قبلا اگه یادتون باشه من در مورد دموی منگر نوشته بودم چون تو Time Domain ما پاسخ شفافی داشتیم احساس میکردیم زمان بیشتر کش میاد و ما ارتباط راحت تر و بهتری رو با موسیقی برقرار میکنیم و دقیقا اینجا هم ویتوس اجازه میده فضای بزرگتری تو زمان شکل بگیره و مغز راحت تر و بهتر با موسیقی ارتباط برقرار کنه. بنظر من دلیل این موضوع عدم دیستورشن تو Time Domain و پاسخ فاز درست هست چون هم منگر و هم ویتوس بدلیل پاسخ فاز درست تو Time Domain وضعیت خیلی خوبی دارند اما آمپلی فایری که از فیدبک منفی استفاده میکنه مثل Soulution چون پاسخ فازش تغییر میکنه تو Time Domain وضعیت بدی خواهد داشت.

قبلا هم نوشتم تو بحث سورس های دیجیتال سورس هایی مثل Weiss هستند که پاسخ فرکانسی عالی دارند اما پاسخ Time Domain اونها به خوبی سورسی مثل Playback Design نیست و در مقابل Playback Design پاسخ فرکانسی اش اصلا به خوبی سورسی مثل Weiss نیست. این تقابل پاسخ تو Frequency Domain و Time Domain بین بلندگوها و آمپلی فایر ها هم هست و ویتوس جزو اون دسته طبقه بندی میشه که پاسخ Time Domain بهتری داره و از نگاه من همونطور که قبلا بهش اشاره کردم پاسخ Time Domain مهمتر از پاسخ فرکانس هست.

مایکل فرمر میگه The greatest components make time move slower

البته این ویتوس ای که در موردش تحلیل نوشته شد تازه جزو سری رفرنس ویتوس هست و ویتوس دو سری بالاتر از این مدل هم داره که بالاترین مدلهاش که فکر کنم هر کامپوننتش بالای 100 هزار دلار باشه فقط به سفارش ساخته میشن.

http://6moons.com/audioreviews/vitus3/1.html

http://www.highfidelity.pl/@main-850&lang=

Since I hadn’t mentioned it yet, the Vitus build quality is exceptional.
The sound of the Vitus amp paired with my Ayon preamplifier reminded me of some very good analogue turntable systems. I refer to a dense deep and very communicative presentation. This particular communicativeness consists of highlighting the sonic aspects which deliver the emotional charge encoded in a tone. So this becomes an emotional proposition. The timbral center of gravity is the lower midrange and as such lower than the Class A Luxman M-800A and Accuphase A-65 and lower also than the Soulution 710, Reimyo KAT-777 or Ancient Audio Silver Grand Mono. Quite a list. I’d peg the Danish amp’s timbre most similar to components I’ve heard from Audio Note (Kondo), Jadis or the Mastersound Compact 845 I recently reviewed for Audio. This isn’t relative to a general performance plateau but simply a pointer on the type of tonal balance you might expect. This is the aspect which influences our perception the most.
The plateau of performance is at the very top, on the same level as Soulution, Reimyo and Ancient Audio. All the others fall way behind. You might find such a statement premature at the very beginning of a review but during what follows I want you to be mindful that this discussion is about a state-of-the-art component. Whatever pros and cons might get mentioned are in the context of a best-of-the-best contemporary amplifier regardless of circuit or output device choices.
The hammer strike was slightly round and thick and the focus on the sustain. That focus we know mostly from tube amplifiers.
When I began listening to the Vitus right after the very fast Soulution 710, I thought for a moment that it slowed down the sound significantly. Even though the Vitus is bit slower than the Soulution, it’s not really about speed but a different strategy of presentational interpretation. The Danish amp never seems to hurry things up – not because it is slow but because there’s plenty of time to always manage to deliver in the pocket. It doesn’t really matter what kind of music. For me the best indicator was the 1955 opener of Chet Baker’s Chet Baker Sings and Plays played by a quartet. With the Vitus the musicians played with ease, very smoothly and I had the impression that they enjoyed themselves. With the Soulution I could hear that the musicians were still young and although already very accomplished, their performance was not that smooth yet to suggest that their best years were still ahead of them.
Its huge size could have suggested Krell-type grip whilst the paper specs’ 50 watts would bow to a Music Hall A15.2’s 75wpc.
In my obviously subjective opinion the Vitus delivers the same bass quality as the Soulution.
Its character is bit different though. I would say that it is a continuation of the lower midrange’s dense richness. Decays on Laurie Anderson’s Homeland were really beautiful and probably sustained a bit longer than with the Soulution. This created an impression of a bigger event. On the other hand the Swiss amplifier was able to differentiate better and show subtleties more clearly. For me the control of both amplifiers over this part of range was perfect as I couldn’t point out any weaknesses. What’s more, I never heard any amplifier controlling the bass range better than these two.
The bass quality doesn’t merely reflect complete extension but perhaps most importantly great coherence and richness. This is how well reproduced bass should sound like – full of harmonics and without any phase shifts. It’s why Chet Baker sounded so good and later Ella Fitzgerald on the Cole Porter Song Book. I must say that all recordings with vocals—and I listened to a lot of them—came off very good. It was likely because of this very combination of dense midrange and extended well controlled bass.
As I declared earlier it was important for me to confront Vitus and Soulution amplifiers. They carry a similar price and potential customers might chose between these two fabulous options. To do so I had to replace the Soulution 710 with the SS-101 and run the latter with my usual Ayon Audio Polaris III preamplifier.
The Danish preamplifier reminded me more of the Reimyo CAT-777 Mk II than my own Polaris III even though the latter two are based on tubes and the Vitus in an exemplary solid-state ambassador.
At this level of performance all this is a question of personal choice and preferences.

The Vitus system belongs to the absolutely best solid-state (or other) systems I have listened to.

خب به اندازه کافی هم از ویتوس تعریف کردم و هم زدم تو سر برندهای دیگه ای که دوستشون ندارم، فعلا کار دیگه ای ندارم، خوش بگذره

نمایشگاه سیستم های صوتی Capital AudioFest 2011 برپا بوده:

http://www.stereophile.com/category/capital-audiofest-2011

http://www.capitalaudiofest.com/

http://audiograb.wordpress.com/2011/07/05/capital-audio-fest-2011-pregame-show/

http://audiograb.wordpress.com/2011/07/08/capital-audiofest-2011-take-1/

خبری ندارم جز اینکه فضای های فای بین علاقه مندان بسیار بسیار صمیمی و گرم و دوستانه هست و های فای خیلی روابط آئودیوفیل ها رو در ایران گرم و خوب نگه داشته خصوصا فروشندگان هم مثل همیشه این فضا رو گرم تر و صمیمی تر میکنند 😉

ما هم تو این اوضاع اقتصادی مشغول فروش سیب هامون هستیم و خبری از عالم نداریم.

بی خبری و خوش خبری