- #4111 [JTA], 24-04-21 21:14
- #4110 [JTA], 24-03-22 20:15
Wilson Maxx3. Cello Audio Suite&Miv
- #4109 [JTA], 24-02-19 17:27P101 ^.^
-
- #4108 [JTA], 24-01-14 10:22剛剛嘆完杯咖啡又繼續享受音樂。我經常把我喜愛的東西放在一起,例如 Cello 同咖啡。
Happy Sunday !
^.^ - #4107 [JTA], 24-01-14 10:21剛剛嘆完杯咖啡又繼續享受音樂。我經常把我喜愛的東西放在一起,例如 Cello 同咖啡。
Happy Sunday !
^.^
最後修改時間: 2024-01-14 10:21:59 - #4106 [JTA], 24-01-14 09:24Georgios 師兄,
You are very welcome! - #4105 [georgios], 24-01-14 07:20Thank you JTA for sharing that:)
最後修改時間: 2024-01-14 07:27:34 - #4104 [JTA], 24-01-09 22:09Georgios 師兄,
Hello! 我手上只有 Fischer to RCA adaptor.
在 Fischer plug 的 pin 1 和 pin 3 是接 RCA plug 的 -ve,
Fischer plug 的 pin 2 是接 RCA plug +ve.
Fischer plug 上的 shield 是沒有和 RCA plug 連接的。
^.^ - #4103 [georgios], 24-01-03 18:19Hey guys,
I’m wondering if I want to connect fisher output with RCA input, what sort of wiring configuration should I use? Connect positive and shield together? - #4102 [JTA], 23-11-24 17:31Burwen Technology, Inc.
12 Holmes Road Lexington, MA 02420-1917 Tel: 781-861-0242
www.burwenaudio.com
www.burwenbobcat.com
April 25, 2012
INITIAL DESIGN OF THE CELLO AUDIO PALETTE
Richard S. Burwen, March 3, 1984
The accompanying schematic, description, and tentative specifications and features were submitted to Mark Levinson's Cello Ltd. and became the basis of the Cello Audio Palette tone control system. This design used a large number of integrated circuit op amps. Cello wanted to achieve the best possible performance and avoid any possible criticism of its op amps. They replaced the important signal processing op amps with their own proprietary discrete component op amps, greatly increasing the manufacturing cost. The final production circuit, aside from the op amp design, was simplified somewhat in order to use fewer op amps. Cello's Audio Palette was a remarkable success and manufactured for many years.
https://www.burwenaudio.com/images/CELLO_AUDIO_PALETTE.pdf - #4101 [JTA], 23-10-21 10:31
햇빛촌, 유리창엔 비, Full cello audio system
- #4100 [JTA], 23-10-03 11:37TAS Legacy: Cello Palette Equalizer-Preamplifier
BLOG by Alan Taffel Mar 21st, 2018
https://www.theabsolutesound.com/articles/tas-legacy-cello-palette-equalizer-preamplifier/
The Mark Levinson LNP-2 preamplifier (1973) set new standards for construction quality and performance specifications, while the ML-2 monoblock (1977) forever revised notions of what was sonically possible from a solid-state power amp. But perhaps the most iconic product in Mark Levinson’s storied career is the Cello Palette analog equalizer/preamplifier.
By 1992, when the Palette was introduced, the high-end industry had firmly eschewed built-in tone controls and external equalizers on the grounds that both corrupted signal purity. But the Cello Palette made a radical counter-argument. The ability to alter frequency balance, it attested, is not only beneficial but necessary. After all, every recording has already been EQ’d for at least two specific systems—the ones on which it was monitored and mastered. To the extent that your system differs from those, you aren’t hearing what the artists intended. Further, many recordings have an obviously-skewed frequency balance. Proper playback EQ is the only way to compensate for these realities.
Thus, the problem with “tone controls,” Cello declared, is found not in concept but rather in execution. Bass and treble controls, with their broad, non-overlapping ranges, were inherently crude devices. Equalizers of the day, hardly transparent, were guaranteed to compromise sonics. The Palette addressed both issues. Its six EQ knobs altered carefully chosen, mildly overlapping frequency spans (centered at 20Hz, 120Hz, 500Hz, 2kHz, 5kHz, and 20kHz) designed to allow judicious, musical results. As for sonic quality, the design featured Litz grounding wire, a solid-copper/nickel-plated ground plate, and an unusually high (1 mega-ohm) input impedance that enabled lower distortion and more consistent performance from differing source components.
The proof of the Palette’s philosophy and execution can be found in its enduring success. Despite a price tag of $6500 (plus $2000 for a phonostage)—a hefty sum in 1992—the unit met with rave reviews and robust sales. Today, good samples, if you can find them, run several times that amount. The reason is simple: Before the Palette, there was never a product like it—and there hasn’t been one since. - #4099 [329], 23-09-17 21:18??Thx
- #4098 [JTA], 23-09-17 20:01329 師兄,
請在R33 二手市場碰運氣。
^.^
最後修改時間: 2023-09-17 20:05:15 - #4097 [329], 23-09-17 17:25請問眾師兄
Almor 電源線 可以在那裏找到? - #4096 [JTA], 23-09-12 22:40
- #4095 [JTA], 23-09-08 16:46#4093
正! - #4094 [Palette], 23-09-08 16:14Mr. Richard S. Burwen, the creator of the famous Cello Audio Palette.
- #4093 [reimyo], 23-09-08 15:57Black rain
- #4092 [JTA], 23-09-08 11:31
Cello Audio Palette
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Post date:2023/10/09
Listening to 2 sets of cello Encore 1MΩ.
One has been overhauled and the other is a limited edition model of 50 units worldwide | Cello Encore Preamplifier
https://audiodripper.jp/cello-encore-1m%cf%89-2set-listenview