Thanks bro. I will send that track to my streaming device.
I have found that youtube audio can often have subsonic trash. Even with my steep (36 dB/octave) high pass filter it can generate trash if it's bad enough.
But I realized since I posted on this topic that it's actually Perfect Circle (another Maynard band) that gives my amp fits. Even with the high pass filter it sounds like a 747 landing with the fans running. After doing some experimentation with cascading boost filters to get speaker compensation filters to better match the performance objectives, I realized that the music was produced with 12 dB/octave boost on some tracks (like the bass) and all tracks on every cut are heavily colored to get a fat sound. This greatly increases the power requirements, which explains why my amp huffs and puffs and the fans sound like a 747 landing in the shop. Reproducing these productions full frequency at high spl takes lots of power, just like a lot of dance music tracks that pro DJs use.
dbx Pro did not require any alignment with a tape tone, like Dolby. It was, as I recall, a straight compress/expand at 2:1 ratio at all frequencies and with no preset threshold voltage, unlike Dolby A, which used four separate frequency bands and a threshold signal voltage for each band. Thus, as a theoretical matter dbx was much more tolerant of recording session vagaries.I found in re-mastering old 1/4" master /copy master tapes to DAT, that one of the biggest problems
was masters encoded with DBX & Dolby A.
The simple reference level tone was not always enough for a good transfer. The worst cases I found were Dolby A.
After obviously determining IEC / NAB EQ , there were occasions where PRE-DECODING equalization was needed
to solve 'tonal balance pumping'. This is quite different to post decoding test-tone alignment.
After DBX entered the SEMI-PRO domain, it turned out that there was a total of 3 different decoders to pick from,
you just had to find the right one
( I think after hearing different pressings of some identical albums, remastering requires a passion plus 'golden ears' )
Yes, the semi-pro and consumer dbx stuff became more complex in product lineup and theory of operation. As a typical consumer, the single-ended noise reduction units of Burwen, Carver and Phase Linear were much more appealing to me but never bought them because of $$$$.
The problem with the Katy Lied recording sessions appeared to be within the dbx electronics itself. If that happened to me, I'd be livid. Doing amateur recording, I know it is already a stressful environment. To have your equipment "silently fail" for no fault of one's own, well that would drive me bonkers.
Not really the “worst” recorded album i own but perhaps the most disappointingly mastered would be Lou Reed’s self-titled debut record. Apparently Dolby noise reduction was mistakenly during mastering when it hadn’t been used during recording. The sonic result is a lifeless and rolled-off presentation some otherwise great songs.
I have several boxed sets of LPs recorded extremely well in the UK ... BUT pressed in China for the Chinese domestic market. The vinyl is full of hard granules
and these records are unplayable other than with a ceramic pu at about 10Gms tracking force!!! These records are from the late 50s/early 60s.
and these records are unplayable other than with a ceramic pu at about 10Gms tracking force!!! These records are from the late 50s/early 60s.