ELP, o Giradiscos a LASER.

Olá a todos.
Apesar de o projecto ter barbas e muitas dificuldades no caminho, parece que o producto final está devidamente amadurecido para degustar!
Também sou gajo para comprar isto:





http://www.elpj.com/

Aceitam-se opiniões!

Inté!

E queres isso para quê ?
Só se fôr para começares a torrar dinheiro nas velharias de vinil....

A minha opinião? Nem pensar.

O vinil tá na moda!
Há que acompanhar as tendencias!
O último disco que comprei foi uma edição holandesa do album "Eastern Wind" do Chris de Burgh em vinil! Mete a edição portuguesa no "pacote"!
O penúltimo foi um SACD da MOFI, Ricky Lee Jones - Pirates... Ui, que sôpro!!!
O que me torna mais reticente em relação ao ELP é o facto de não poder tocar nele uma edição da Vinyl Lovers de cor cinzenta do album "Faith" dos The Cure!
Paciencia, quando um gajo está bem na vida, como eu e não sabe o que fazer ao dinheiro... há que inventar!
Vá, acabei com a brincadeira!
De qualquer modo este velho projecto megalómano do ELP, que começou nos EUA com o Finyl, se bem me lembro e depois estagnou por falta de verba, é digno de referencia pela ideia, apesar de ser um deja vu tecnológico por causa do CD, e audácia!
Como é que seria o audio disc da Philips em suporte "analógico" em vez do digital do CD? A parte de imagem dos Laserdisc era "analógica", por isso também era possivel o audio sem ser digital!
Fica a dúvida no ar!

Saudações Galácticas

António José da Silva escreveu:

A minha opinião? Nem pensar.

)__((:
Lamento! Mas a sua opinião foi: Nem pensar!
Está dada!

A minha opinião:

Gostava de experimentar, isto é, ouvir, manusear, etc.

SA,

MJC

E depois digitalizas tudo aqui a 25/96 para retirar os clicks todos que isso induz, e que só se conseguem retirar no domínio digital... usando isto: declicker

Se depois de experimentar tiver que recorrer ao declicker ou a outro de-qualquer coisa, tenho umas ferramentas da CEDAR no estúdio que dão uma jeiteira do caraças.

SA,

MJC

E logo de seguida da ferramenta da Cedar tenho aqui uma marreta de ferreiro de 5Kg que assentava nessa aberração que nem uma luva !!!

MikeF escreveu:

E depois digitalizas tudo aqui a 25/96 para retirar os clicks todos que isso induz, e que só se conseguem retirar no domínio digital... usando isto: declicker

Boas!
O declicker é uma situação de "non sense". O ELP é uma tecnologia alternativa para a leitura de discos em vinil. Aposta na caracteristica de extrair a informação sem contacto fisico de uma zona das espiras que uma agulha pouco ou nada acede!
Se não quisermos clicks, compramos a versão SACD, DVD-Audio, stream da net em alta densidade, que são produzidos com material profissional, com origem nas masters! Acho eu?!!
O que acho interessante é a alternativa apresentada.O processo tradicional é refinado há mais de 100 anos, é natural que nesta altura do campeonato o ELP não faça frente aos bons sistemas com "agulhas"!
Boa noite a todos!

Excerto de um texto de Jonathan Valin no The Absolute Sound,

»...The ELP was originally marketed to libraries and restoration outfits as the ideal device for archiving rare or badly worn records to tape or CD. But its virtues are just as important to audiophiles with large record collections. First and foremost, because the ELP uses light, rather than a diamond stylus, to play back LPs, you no longer have to worry about adding tics, pops, and scratches to your precious recordings. The ELP eliminates record wear. Second, because the lasers can be adjusted (via VOS) to read relatively fresh parts of the groove, it is possible to play “virgin vinyl” even on well-worn records. [2] It is also possible to focus the lasers “beneath” a scratch and play back LPs without hearing that dreaded “click” on every revolution of the disc. Third, because records are stored inside it for playback and its stylus is a beam of light, the ELP is considerably more immune to acoustical and mechanical feedback than a conventional turntable/tonearm/cartridge. Where a heavy footfall can cause a conventional record player to skip, you can pound your fist on whatever is supporting the ELP and not affect the sound.

ELP claims all sorts of other sonic virtues for its ingenious device, but the proof of the pudding is in the tasting, and the tasting was a mixed pleasure.

First of all, the ELP sounds exactly the same on any disc. More importantly, it makes every disc sound the same. If I were to describe its presentation in a few words, they would be “pleasant but dull.” The ELP’s soundfield is very detailed in an unaggressive way—marginally more detailed, in fact, than my reference ’table, the Walker Proscenium Gold, with the Shelter 90x cartridge (but not with the Clearaudio Titanium cartridge). Its soundstage is quite respectably wide and deep, though not as wide or deep as that of the Walker. Dynamically, it is exceptionally smooth and continuous from piano to mezzoforte, without any of the “stepped” quality of CDs; at the same time, it is less spectacular- and explosive-sounding on sforzandos and fortissimos than any conventional record player (or than instruments in real life - Lá estão estes gajos com a mania do som dos instrumentos na vida real; como se isso interessasse a alguém...). Its bass is taut and detailed but somewhat anemic, robbing many instruments of natural body and weight and flattening them into two-dimensionality. (Bass fiddles sound rather like they’ve lost their E-strings, pianos some of the power of their bottom octave.) Its treble is a little dark but sweet and engaging with the “Analog Noise Blanker” (a high-pass filter designed to reduce pops and clicks) turned on; with the ANB turned off, the treble broaches on the unlistenable—dry, raspy, noisy, and unpleasant. Its midrange is neutral in the audiophile sense of the word, meaning that tonal colors are neither vividly bright nor dark. They aren’t vivid in any sense.

Now, there are various ways to assess the ELP’s sonic signature. At one point in his Stereophile review, Fremer compared the sound of LPs through the ELP to the sound of mastertapes. All of the mechanical resonances and colorations of turntables, tonearms, and cartridges having been eliminated—all of that jazzed-up, inaccurate sweetening and energizing having been stripped away—one is left, said he, with something closer to what the tapeheads recorded. I can see his point. The ELP does have some of the qualities of mastertapes— dynamic smoothness (or continuousness), much inner detail presented in a nonanalytical way, and an audiophile-neutral tonal balance. However, it needs to be said that, unlike the ELP, mastertapes do not trade off large-scale dynamic contrasts to achieve continuousness, do not sacrifice bloom and dimensionality to achieve clarity, and do not deracinate tone color to achieve neutrality. If they did, we wouldn’t extol them. (Fremer’s reasoning seems to go like this: Because Object A shares some of the properties of Object B, Object A must share all of the properties of Object B—which is like saying that because cows have four legs and hooves, they’re just like horses.)

The ELP is a fascinating device that offers unique benefits to folks with large collections of rare recordings. It will never scratch your LPs; it is relatively immune to airborne or floorborne feedback; it can, in some instances, let you play records that are unplayable on conventional turntables; and it is pleasant to listen to (unless you defeat ANB). At the same time, it’ll never set your foot tapping or your baton-arm waving the way even an inexpensive turntable/arm/cartridge will.

For all the non-mastertape-like inaccuracies that some of my colleagues descry in conventional analog playback, to my ear the Walker Proscenium Gold (and its much less pricey kin) still sounds more like the real thing than anything else around. I guess in this I’m one with Doug Sax, who, in Issue 149’s Roundtable, pointed out that there is something about a conventional record player’s mechanical nature—something about its very flaws, its resonances, its colorations, its eccentricities— that adds life (or the semblance of same) to recorded music, that makes a stereo sound more like the real thing. Amen, brother.«

SA,

MJC