Travis In Austin

William, I sent you an email on these through audiogon, if you did not get it you can contact m by email through here.

Travis, I think Dr. Who is talking about all the recording engineers who have taught him everything he knows, that they are deaf. I guess that is why they are teaching. However, this did cause me to recall the post in the pro-recording forum about the guy who mixed a tune without any speakers. It of course ignores the question about deaf engineers. The famous ones that come to mind, RVG, Martin, Wilson, Parsons, Hoffman, etc., etc. all could hear fine. Still, I think the point of the original post is the hearing is precious, hearing damage is permanent, and you should protect it especaily if you are in an industry where hearing is essential. Here is the quote about the speakerless mix. Notice it was the mixing guy, not the engineer, that did it sans sound. About five years ago, I was mixing an album here at Compass Point for Capitol Records. I was in our Studio B, on an SSL 4048. The group's material was totally unknown to me, and I would only hear each song for the first time just as we started to mix each one. The producer (and engineer) of the material was an acquaintance whom I had known for some time; he was also an excellent studio musician, and an actual member of this group. Because he was an engineer and producer as well as I, with his own 24 track studio, we would often discuss various aspects of tracking, mixing and production; one day while we were talking about mixing, I made certain comments about the way I approached a mix, which my friend found to be slightly off base relative to the way he approached that task. One thing led to another, and before long, for whatever reason, I had made several statements which he believed to be exaggerations. So I went even a bit further, and stated to him that I was so well practiced in mixing, having done so many for so long, that I didn't even need to hear the song to get a decent mix. When he snorted that this was ridiculous, how could this be possible, I said I could tell what to do by just looking at the meters, and that I could do it in a mere fifteen minutes! (Of course I was exaggerating by this time, to try to push him a bit over the edge.) But he took it to heart, and was outraged at the thought that I, or anyone, could properly mix without hearing what one was doing. Well, having gone this far into the absurd conversation, I couldn't back down. He insisted that I take back what I had said, or prove it; he made a bet with me that it was impossible. So I had no choice but to follow through. I told him to pick any song he wanted to, of the ones still left to mix. He knew full well that I had not heard these songs in any form before. We disconnected all monitor speakers and had them removed from the room. All track charts were likewise taken away. I promised that I would perform a decent mix, with levels and panning properly placed, and equalisation, compression, and reverb alloted where needed to the correct instruments or vocals in a reasonable manner; I was to record this mix to a Dat tape for playback. I did insist that he leave the room so as not to distract me; TOTAL CONCENTRATION was going to be required! So our technician and assistant engineer, Osie Bowe, was stationed in the room to police the situation, to make sure that I did not cheat in any way (such as by using headphones). Since everyone trusts Osie, this was totally acceptable to him. Of course, by now word had spread, and the whole band was anxiously awaiting the outcome. The clock was started, and off I went. (It was only later that I found out that he had purposely chosen a song which he felt was different than any other on the album, and on which the tracking [what sound was on what track] was different than any I had previously mixed for them. Using the meters only, I deduced what instruments or vocals were what, and placed levels and panning according to what I thought they might be. I added reverb to certain things, as well as a bit of EQ and compression. I did level changes based on what the meters told me, and what section of the song I thought we were in. I was ready to "go to tape" in just under 12 minutes, which was a good thing, as the song was just over 3 minutes long. The final chord went to tape exactly at the fifteen minute mark, as I carefully lowered the master fader for a smooth ending (I hoped!) Oh, I also had made a total recall save. Everyone filed in to hear the results. The Genelec monitors were returned, and the tape replay chosen on the monitor matrix. Then for the first time, I heard the actual song I had just mixed! Fortunately, so did everyone else. Because after one listen, we made about two tiny changes, and printed it to 1/2' so we could go on to the next song.

Dr., I think we are getting into that shocked vs. electrocuted thing again. Deaf means you can't hear. Name one great recording engineer who is or was deaf. Do you mean hearing impaired? Someone how can hear with hearing aids is not deaf. Travis

There is a set of Cornwall III's for sale an hour south of me in San Antonio. Here is the link to the audiogon ad. http://cls.audiogon.com/cgi-bin/cls.pl?spkrfull&1177018752 I have sent the seller some questions about them and I think I am going to pull the trigger on these but was wondering who on the forum has CWIII's and what you thought about them? I would really like to know if anyone that has them had the II or the 1's? Thanks , Travis

RFP, A very timely post. Last week I was doing some tube rolling in my preamp. It had just come back from Criag and I wanted to kind of get it set up with tubes I had always like having in it. I have a 3 songs I always play in the exact same order, one minute each, for making reference tests. I was switiching tubes but unable to make out any differences in tubes I know I heard differences in not long ago. So I thought I would make a more drastic change, I had new crossovers from Dean that I was planning on switching out in my Khorns so I thought I would make those changes and see what differences I noted. NOTHING. It was very depressing to say that least, paying a lot of money for tubes that at one time made an enjoyable difference to me now sound exactly alike. New crossovers make no difference whatsoever. I knew it was my hearing so I went and got tested last week. I am over 26 db down at 3k, 40 db down at 4k and cannot hear above that. Our kitten has a toy with a small sliegh bell type thing on it, I can jingle that thing and cannot hear it. My wife hears it fine in the next room. So I am in big need of hearing aids at 46. I wish I had taken better safeguards on my hearing. Rock concerts have made their toll there is no doubt. Funny thing is when I started flying at age 16 I always used hearing protection. I don't know why I was so stupid not to take better care when going to concerts. Well it has caught up with me. SO I WOULD SAY THAT YOU ARE IN GREAT SHAPE as far as your hearing goes. I wish mine was that good! I guess, trying to look on the bright side of things, I can sell all of this expensive stuff and get an ipod and a klipsch docking system to go with it or some cool Bose speakers, and it will all sound the same. I never try to lecture anyone about anything, just about everyone I see professionally has done someting pretty stupid and does not need a lecture from me. But for those guys who brag about listening abouve 100 db, or taking it up to 120 db is what I think I read recently, you are all idiots. Take it from me, the biggest one of them all. At least I can say that I was in an enviornment that I did not have control over, I was stupid for not taking precautions. It will lead to hearing loss, there is no question. It is only a matter of how much and how soon. THen you will be like me and hearing everything through a digital amplifier (hearing aid). Oh the best part, if you want in the ear so you can't see em state of the art digital aids, they are only 4 to 6K. You will be able to add it to your other list of cool equipment. So my one word of advice for the young: Ear plugs Travis P.S. For those wondering how DeanG's crossovers sound: Don't know, couldn't tell ya. But they look real nice.

I will contact him tomorrow and let you know what I find out, Travis

Get two, I will pay you for mine and 1/2 the shipping to you, and also for the shipping out to me. Travis

Travis

Glad they made it ok, sound like you will need them to get a fire started in the fireplace. Or I suppose you could rub to twins ... er sticks together. Whatever works. Travis

great job. WOW

Allan, Did you recently pick up a pair of ECF 802 (pink lettering) from ebay? I bought a pair, and if you did also I was hoping to get your thoughts. Travis

Do you know the s/n's? If you can put them on here we can tell you what components they should be, what the finish should be, and what year they were made. Travis

Hmmm... looks like I'm using too much of the stuff. I don't use the liquid on every play (generally every 2 or 3), but it appears I am using too much when I do apply it on the brush. I also have a dry brush that came with the DL-103 that I use in between liquid applications. Thanks for the advice... I'll take it easy on the stuff. Mike Mike, That Zerodust previously mentioned is a great way to go. It will last almost forever, and what is great about it the stuff is you can see the crud that was on your stylus that gets left behind in the goo. The other good thing about it is that you are supposed to use a stylus brush after you apply the stylus cleaner. Everytime you do this you have the risk of causeing some kind of damage to the cantalever. You avoid this with the zerodust because you simply lover the stylus into it and then lift up. The other stuff I use is the RRL No. 9, has been highly touted for years. Comes with stylus brush, and like Allan said, even with a clean after every lp, it will last a long time. Travis

Sorry to hear that. I think what usually happens is that when they go real low like that the seller gets contacted and is offered 1500, 1750 or even 2000. If it was an ebay deal I would compain everyway I know how, and I would send a letter to the seller requesting specific performance. Travis

Take a look at the mapleshade website, he says brass is the way to go. I don't know if that is true or not but he has a lot of information as to why this internal vibration needs a way to escape in order to improve cd/dvd playback Travis

I, too, am looking forward to photos. I wish I could have made it myself. Travis

Glad to hear that Dtel got through the surgery o.k. As for the rest, nothing that a good pot of gumbo can't cure. God's speed Dtel, Travis

Well, I am sure hoping this is just a minor thing and Dtel pulls through quick and easy. Travis

That reminds me of the annual squirrel hunt my coon *** friends in Lafayette are always trying to get me to go on. I am glad I have that photo, because they are always telling me how big these squirrel's are, and each year they get bigger and bigger. I must say they do cook up real nice. No marinade is needed if you follow this recipie: Squirrel Sauce Piquant 3 or more squirrels cleaned and cut up Roux -- 1/2 cup 2 onions, chopped 2 garlic cloves, minced 2 celery stems, chopped 1 bell pepper, chopped One 18-3/4 oz can tomato sauce Salt and pepper Make roux with equal amounts of cooking oil and flour. Cook over low heat until color of brown paper. Add to roux: the onions, bell pepper, celery and squirrel. Saute until onions are clean. Add the tomato sauce and garlic. Cover over low heat for 15 minutes, stirring often. Add 2 cups water, cover and cook over low heat. Meat is cooked when thigh is easily pierced with a fork. Serve with biscuits. It don't get better din dat. Travis

That is a good point, but what you are talking about has mainly to do with print through where the recording on one layer of tape imparts itself on an adjacent layer of tape. Rewinding the tape (tales in) is not as uniform a wind and is much tighter which was documented in Ampex White papers as resulting in higher print through. Leaving the tapes, tales out, from a normal play leaves a very uniform wind and less tape tension. Ampex also did papers on print through as a function of time, the longer the time the more print through. 457 is the 1 mil Ampex 3600 feet, and 457 is the 1.5 mil, 2400 feet. Unfortunately, what Larry was talking about won't be cured with tails in or tails out, the prerecorded tape was recording at very high speed and was misaligned and so track 2 bleeds over a bit onto track 1 and so on, resulting in you being able to hear the other side of the tape being played in reverse during quiet passages of the side you are playing. You do bring up a great point, you should never store a tape that has been rewound or fast-forwared to the end. Regardless of what side it is on, you want a nice uniform wind for storage purposes. Air, humidity, and other harmful things have a much tougher time reaching the recorded area of a tape if it is wound in a nice even uniform manner. You can instantly spot a tape that has been fast forwarded or rewound by all of the uneven portions of tapes sticking out. There areas usually buckle and become quite brittle if left in this condition for any lenght of time. Travis

Very nice offer, I wish I did not have so much going on I would love to make a run down there to listen to it all and bring some tapes. Travis

Incredibly beautiful!!! What I want to know is how did you get multiple photos up within a single post? I aways seem to have to post one photo per post. Travis

Thanks Paul, Well the installation of the crossovers has led me to the realazation that my misspent youth has finally caught up with me. Very depressing really. I will write more later when I am sure of what the situation is. This obviously has nothing to do whatsoever with Dean's crossovers. Paul, when are you and your wife going to be in Austin? Does she still come down for school frequently? Travis

No, but I have a few at 7.5 ips, which most of them were back then (the late 50's). They go for big money now, they are of superior quality recording wise. Travis

Thanks, Travis. No, I'm talking about reverse-channel spillover that is heard throughout some but not all of my pre-recorded tapes and it's very distracting. I've recorded very little with my A-700 and I am pretty sure there's no spillover on those tapes. I wasn't aware of the shims. Pre-recordeds were recorded on high-speed duplicators and I think they could get out of alignment. The Revox has good tape guides, so I wouldn't have expected that reel thickness can throw off the tape alignment. Fine photos as usual. Yeah, it drives me nuts too Larry. If it is just on some pre-recorded tapes and not all of them, then it is in fact those terrible 3.75 Ips tapes that they made at 40 or 60 Ips. They do get way out of alignment. If you are getting reverse-channel spilover just on prerecorded then it is just crappy recording. However, on higher quality tapes, from the 60's at 7.5 Ips, especially an Ampex pre-recorded, there should be no spilover. The Revox guides are the best in the business, and I don't think shims are going to help you. What shims to is take the pressure off the tapes guides. While they will guide the tape through fine, if there is too much pressure on the side of the tape it will cause the tape to bow which lifts it off the head (either record or playback) and there is a hugh drop in the S/N ratio. On machines without as precise guides as a Revox, they can fix, to some extent, reverse-channel spilover (RCP). The long and the short of it is that I have several lower quality tapes where RCP is quite noticable, but the older high quality tapes have no RCP whatsoever. I would say there is only a problems if you have RCP on every pre-recorded tape you own, that shold not be. If you have a photo of your Revox I would love to see it. Travis