dwilawyer

Heritage Members
  • Content count

    5935
  • Joined

  • Last visited

Everything posted by dwilawyer

  1. To fellow reel to reel owners: I was surprised to see a fair number of reel to reel owners on the forum in Wardsweb's post on his Teac 1000R "Old School" thread. A couple of folks even said they were gonig to pull their units out of the attic/basement and start playing with them again. Wardweb was up last Sat. to bring me a great birthday surprise, a superfine rackmount power distrabution strip for a rack I am setting up, and I gave him some new 456 to play with on his restored Teac. I told him we should each record a 10 and 1/2 reel with some music on it at 7.5 ips and exchange it back and forth. Then I remembered that there were some others on here that has r2r units that may want to do the same thing. So if anyone is interested in exchanging some music, listening to recordings from different machnes, please post on here and we will include you in the circle. The object is to hear some different music, and learn somethig about home recording. The idea is that your tape would be returned to you after it was passed along to everyone else for a listen and then we could decide from there whether to record another tape and pass it along again. Each person would record a tape and then would note what make and model of deck it was recorded on, what the source was, brand and type of tape if not indicated, and what settings, eq, NR, etc., were used. These tapes would preferably be done at 7.5 ips since everyone should have that speed, and on a 10 and 1/2 reel. I assume everyone has 1/4 track machines, but if someone has 1/2 track we can try and figure out something on that as well. If your deck only takes 7" reels that is fine, you can still join in. If it is of any interest great, let me know and I will get it rolling, if not, that's fine too. Travis
  2. I think this is going to be largely a matter of personal taste in the classical and opera realm, at least from what I have seen from the sites and people who review classical and opera recordings for hi-fI esthetics along with the quality of the performance. There seems to be a lot of variability. Some audiophile classical music lovers prefer the older recordings like Shaded Dog and older Mercury, some prefer the sound of multi-Miking and othersee seem to have a strong preference for L-C-R making. I like her as well, I have seen her live in SF and NY. Was the studio recording on DG? If so that could be the issue there, they don't seem to be well regarded by classic music audiophiles. I haven't researched their recording methods, and the industry people I know are all here and don't run in those circles. She mat be listed as the producer on that CD, I don't know. Her producer may have been given 3 choices from their in-house mixing and mastering people and he picked that one. It is usually the producer in most cases that makes the selection, or approves the master. If you are not already on Steve Hoffman forums I highly reccomend it for reccomendations on hi-fi quality classical, what to avoid, etc. There are recording industry people that speak to technical issues as to mic placement, what processing, if any, etc. Here is a representative thread where Steve chimed in, this one is on classical vinyl http://forums.stevehoffman.tv/threads/classical-vinyl-lps-what-labels-sound-the-best-rca-living-stereo-london-bluebacks-mercury.313997/ Every recording was electronically manipulated and had signal processing if it went to tape, or vinyl. A DDD recording is still going to be electronically manipulated or have signal processing by the selection of microphones brands and types which have their own eq signature. It also has to be mixed, and so that can be 2, 3, or 60 channels depending how they recorded it. How they set those levels on the mix master will determine how natural sounding it is to you. As I said before, in the classical are an from what I have seen it can vary widely as whether something is natural sounding or not. People can have widely divergent opinions on the exact same recording. Just some thoughts on what you specifically mentironed in your post.
  3. I think you hit the nail on the head. It's the music BUSINESS and the recording INDUSTRY. They record, mix and master for the mass market. Sometimes that results in a great recordings in terms of hi-first, others times not. I'm a big opera guy, we go to performances literally all over the US. Not really a classical person unless it is live, so I can't really add to much there. I have a lot of opera reel to reel tapes that are excellent recordings I consider true high-fi. There are some awful ones as well. I think opera is the most difficult to come close to because you are missing the visuals. Mike @mikebse2a3was talking about the emotion in music, having a recording bringing you back. There are some arias I just know hearing live bring me literally to tears, and I just don't get to that level listening to the music alone, regardless of the recording quality. @LarryC is one of the most knowledgeable people I know for classical recordings. He can converse both on the quality of the recording and the conductor and musicians. I have heard some greats classical recordings from the late 1950s and 60s so I know they had the tech and recording techniques to do it right, but it is just so hit or miss it tells me that it is highly dependent on the hall, microphone placement, recording engineer, mobile equipment, etc. @DrWho is an engineer for Shure and has experience in recording live ensembles in large halls and churches and can probably speak about the complexity of trying to get everything captured correctly. @Marvel has experience in laying down tracks in some reputable small studios and can tell you what they did to get the best sound from him. @Mallette is working with tapes that PWK made in connection with the Museum. These include jazz, classical and organ in all kinds of venues. The quality on these, recorded in the 50s, is pretty spectacular. He is working on a new quad microphone system to try and increase the quality of recordings in typical classical halls. I believe his impression is the the actual recording process is more than sufficient, it is the microphone placement and arrays that are the weak link and can be greatly improved upon. I would be interested to hear what your top rated opera recording are. Travis
  4. Chris Lord-Alge is a mixing engineer, not mastering. Famous for use of aggressive compression and limiting during the MIXING process. If you are manipulating his stuff (a lot of stuff, Born in the USA jumps out), you are "de-mixing" I suppose.
  5. Was interested in hearing his thoughts on tape over-saturation but he doesn't discuss over-saturation at all in this video. His comments confirm who makes the call on this stuff, it is not the ME.
  6. Yes I did, you had posted it several years ago, or someone did, in another forum, and I recall at the time how much more could be sorted out. Which prompted me to ask, what is Hi-fi? Is that even capable of being objectively determined? Say a Flat FR from X to Y, a max IM distortion of Y, polar plots at various angles with a max db drop? i'm not technical enough to even put the criteria into words. Or is hi-fi something that is a completely subjective thing that varies from person to person. In other words, is "hi-fi" something that you know when you hear it, but can't define? Travis
  7. Actually Chris posted the video of Floyd Toole I was thinking of in this thread A lot of his studies are about consumer preferences, but they do include some self-described audiophiles. To me if you have speakers that meet Toole' s 5 design criteria, and you put all the science you possibly can, there is still going to be a large amount of subjective preference that is going to vary from person to person. At what point is it Hi--fi? There are people, both in recording arts and consumers who have strong opinions that you cannot have Hi-fi below SACD quality. I'm not talking about hearing a difference. I'm talking about you are not getting an acceptable level of reproduction from a CD, you need 96 or better. Is that a myth? Just personal preference? I don't think we could even get agreement on what Hi-fi is. @mark1101 for a time, maybe up to the present, would say that in order to get the best reproduction you need to have analog Eq and passive crossovers. There is no doubt in my mind that to for him, to get to hi-fi you have to have that. The purpose of testing, I would hope, is to try to separate myth from reality. Nut it seems like for every step forward in psychoacoustics we.take two steps backwards. Are we any further ahead of where we were a couple of years ago?
  8. Someone posted a video on here awhile back (dtel I think) of Toole talking about the studies that Harmon did on listening, consumer preferences, what golden ear audio press selected with blind testing. It all sounded very scientific to me, I will find it. His conclusion was with technology now, the best sounding stuff will be powered speakers with active processing such as the JBL M2. Often wondered what you guys thought of the listening studies they did and if they are getting closer to being able to test for hi fi sound in speakers? Or, if it is still the same ole objective v. Subjective argument with a prettier wrapper. I will find it and post it.
  9. Splicing and editing the best takes and measures has been happening as long as tape recording, and now digital has been around. Every great conductor, every great soloist. Those people are typically perfectionists and they are not afraid to get the best of multiple performances. Here is just one example of 1000s.
  10. He doesn't need to create another thread. He is on point and on topic, maybe a little abrupt at first. Please do not tell people you disagree with to go to another thread. If they are on point or responding to something they have as much right to do so as someone making a comment.
  11. That is not only a myth, it is just simply untrue.
  12. That article got a lot of response from a technical perspective in professional journals. The gist of the article is that there is no precise or standard definition of DR. Bob Katz collected a number articles in his article in his thoughts on the loudness wars, a couple are from AES presentations. https://www.digido.com/portfolio-item/loudness-war-peace-is-almost-here/ and he links to his excellent video on it.
  13. His stuff is absolutely fantastic Bruce. A driving force in the battle against loudness wars. For anyone who wants to understand the recording process, from tracking, through mixing to mastering, he is a top source to understand what is going on. Here is his article on compression, among many others including loudness wars, room acoustics, using room calibration software, etc. https://www.digido.com/portfolio-item/compression/
  14. From the patent: Inventor Tracy E. Crawford Rogelio Delgado, Jr. Michael T. Oliver
  15. That is my understanding, maybe @Chief bonehead will see this. It was patented and I believe the patent was in his name.
  16. Born 1 Aug 1905; died 28 Jan 1993 at age 87. Helen Battles Sawyer Hogg (neé Sawyer) was a Canadian astronomer who located, catalogued and measured the distances to variable stars in globular clusters (stars with cyclical changes of brightness found within huge, dense conglomerations of stars located in the outer halo of the Milky Way galaxy). Her interest in astronomy was spurred when she witnessed a total eclipse of the sun in 1925. Alongside her career work, she was also foremost in Canada in popularizing astronomy, about which she wrote a column in the Toronto Star for thirty years. She was the first woman to become president of the Royal Canadian Institute. In 1989, the observatory at the National Museum of Science and Technology in Ottawa was dedicated in her name.«
  17. I can't either. It may be a pair from the era in the late 80summer l8ke I had where the computer data was lost and there was now way you correlate the SN with production date. Becky, welcome to the forum. As mentioned, someone very knowledgeable will be along shortly who can give an accurate response. I just cut the grass.
  18. That is simply amazing that this info exists and is preserved. Also interesting that this analog "storage" is going strong but some of the digital data in the "modern era" didn't migrate and some production history is lost forever. Technology can be cruel. Something about a craftsman writing down the final product, in different pens and ink, as opposed to a hard drive sitting on a shelf.
  19. We don't get paid?
  20. Today's legal news, California makes vaccinations mandatory. It should be safe to return to Disneyland soon. California Governor Jerry Brown Signs Mandatory Vaccine Law http://flip.it/64BWa
  21. This will give you a rough idea of what weather chances are in your area. https://www.ncei.noaa.gov/news/ready-set-eclipse
  22. Chicago Heights? You are way north. Here is an interactive map that will show you how far south you need to go. http://xjubier.free.fr/en/site_pages/solar_eclipses/TSE_2017_GoogleMapFull.html
  23. I sure as he'll hope so.
  24. The only laws of matter are those which our minds must fabricate, and the only laws of mind are fabricated for it by matter. JAMES CLERK MAXWELL
  25. It will all be a function of the weather BSM.