The Southpaw cuts were recorded using a pair of Scott Wurcer's condensers spaced about 8" apart. More info in his Linear Audio article. The Lee Barber recording was done with a Blumlein pair of crossed ribbons running into a 1512-based preamp. Both were single point, no compression or limiting, no EQ. Very purist.
I could not have said it better. Even one generation degrades SQ to a notable degree. Regards
Not possible , too many SY's and for some reason i never thought of you as being "rap" ..DVV and T maybe .. you , nah ... Link ... !!!!
Me? "Rap"?
Well, if we're down to insults, you've got big ears too.
Nah Wayne, you could almost say I'm the exact opposite. I am very much into melodic music, Irish especially (Enya is my lifeline, also Loreena McKennit), Scottish and British folk, pop and rock say 1965-1985, and I do a lot US country as well. Waylon Jennings and Johnny Cash in particular, but I am not adverse to others as well. Plus local pop and rock, of course, heck, I know half the performers personally.
I am particularly fond of the early US protest song, I was a kid when it came on, and in my case, never left. That means early Dylan, Barry McGuire, Joan Baez, Peter, Paul and Mary, The Kingston Trio, and - natch! - the Big Daddy of them all, Pete Seeger. And Shel Silverstein lately.
In fact, while all this may sound very compartmentalized, it's not really, I'll take any music that sounds good to me. Ennio Morricone included.
Not sure if i Prefer the ribbon sound, I'm erring towards it, although my preference maybe due to mike position and not the mic itself. On my desk tops , it sounds like the mike is maybe too close to the performer, I don't really hear the space, I'm going to give it a listen in the big rig later..
+10 ...
Me? "Rap"?
Well, if we're down to insults, you've got big ears too.
Nah Wayne, you could almost say I'm the exact opposite. I am very much into melodic music, Irish especially (Enya is my lifeline, also Loreena McKennit), Scottish and British folk, pop and rock say 1965-1985, and I do a lot US country as well. Waylon Jennings and Johnny Cash in particular, but I am not adverse to others as well. Plus local pop and rock, of course, heck, I know half the performers personally.
I am particularly fond of the early US protest song, I was a kid when it came on, and in my case, never left. That means early Dylan, Barry McGuire, Joan Baez, Peter, Paul and Mary, The Kingston Trio, and - natch! - the Big Daddy of them all, Pete Seeger. And Shel Silverstein lately.
In fact, while all this may sound very compartmentalized, it's not really, I'll take any music that sounds good to me. Ennio Morricone included.
My collection and taste runs the gamut, i do lean mostly to Jazz, although i have gone days just listening to classical and everything else in between...
I'm a big fan of Rudy van Gilder, try and get as much as his stuff as i can ...
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For me, the ribbon does better capturing the space and for midrange tonality. The condensers are cleaner with a more extended top. Take your choice.
The mike positions were actually pretty similar, but clearly the polar patterns are quite different.
Yes it does, but it could also be your configuration , crossed on the Ribbon and L/R on the condensers , Yes..? The ribbon does sound more neutral , but i wasn't sure if it was the mics or the positioning ...
Now that you have clarified ...
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Bing Crosby
John . I got involved in transcribing some un-played recordings of the Bing Crosby radio show of about 1941 . I oftten wondered what the quality of the first Ampex recorders was like ? I suspect they were the German magneto-phones that Apex put into production circa 1948 . Bing didn't want to do separate radio shows in the US time zones ( live ) and bough into what would become Ampex . I am told a magneto-phone was being used in Berlin during the Nazi period . For some reason the sound was much better on a tape made on one session . Supposedly AC biasing was discovered by accident that day as they were near the worlds most powerful LW transmitter of 2 M watts at circa 200 kHz . I think it is myth , however it is interesting .
My question to John is have you ever heard any early tapes and what do you remember ? I think the early machines were BASF and AEG .
Point of information . Many ribbon mics in England it is said were made from surplus radar magnets ( Reslo ) . Stanley Kelly ( Kelly ribbon tweeter Decca ) offered to do hearing tests in about 1948 when condenser microphones came in . Kelly felt he could at last do reliable tests . Findings were 80% of people had some deafness . 97% people had perfect relative pitch . That is they could reproduce a tone just played to them within 0.1% . This is said to be the facility to learn speech . That was Stanley Kelly's parting piece for Hi Fi News . My friend John has many mikes . He uses ribbons often . He says they are not accurate however very musical . He voiced Brian Ferry on his early recordings .
John . I got involved in transcribing some un-played recordings of the Bing Crosby radio show of about 1941 . I oftten wondered what the quality of the first Ampex recorders was like ? I suspect they were the German magneto-phones that Apex put into production circa 1948 . Bing didn't want to do separate radio shows in the US time zones ( live ) and bough into what would become Ampex . I am told a magneto-phone was being used in Berlin during the Nazi period . For some reason the sound was much better on a tape made on one session . Supposedly AC biasing was discovered by accident that day as they were near the worlds most powerful LW transmitter of 2 M watts at circa 200 kHz . I think it is myth , however it is interesting .
My question to John is have you ever heard any early tapes and what do you remember ? I think the early machines were BASF and AEG .
Point of information . Many ribbon mics in England it is said were made from surplus radar magnets ( Reslo ) . Stanley Kelly ( Kelly ribbon tweeter Decca ) offered to do hearing tests in about 1948 when condenser microphones came in . Kelly felt he could at last do reliable tests . Findings were 80% of people had some deafness . 97% people had perfect relative pitch . That is they could reproduce a tone just played to them within 0.1% . This is said to be the facility to learn speech . That was Stanley Kelly's parting piece for Hi Fi News . My friend John has many mikes . He uses ribbons often . He says they are not accurate however very musical . He voiced Brian Ferry on his early recordings .
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if 1st gen analog tape masters are available then Plangent Processes can remove much of the mechanical tape motion stick/slip ect. variations that result in "FM" modulations/IMD products
http://www.plangentprocesses.com/
http://www.plangentprocesses.com/
Very very interesting! And some heavy-hitter endorsements I see
"Winterland"
I hated the result, still prefer my old EMI CD's (pre Hendrix Family LLC) hum, dropouts, and all.Very good point . The predecessor of That's chip mentioned by John went to some trouble to explain how the source device affected noise . My comments were as you say MC pick ups . I have recently been loading MC inputs with carbon composition resistors . The results are favourable and no real noise problems ( graphs to prove if needed ) . The point being the cartridge shunts the input ( Lyra Helikon 7 R ) . This came about after a friend asking me to use Tyco foil resistors which did seem to do something I hadn't expected , the sound as if a vastly more sophisticated circuit was being used ( Tyco cost $20 a piece or $8 bulk ) . I concluded inductance might have something to do with it . Whatever the truth of it is the carbon comps are not bad . There is even a hint of the 1950's about them .
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not many Greatful Dead cuts end up on audiophile demo discs as far as I can recall
the BAS Plangent Process talk/demo was interesting, some restorations were remarkable, others in the "listen for X, you heard Y was better, right?" mode were not so obvious to me
but the tech, the spectrum plots showing that these "time domain errors" exist, can be mitigated, was thoroughly convincing
the BAS Plangent Process talk/demo was interesting, some restorations were remarkable, others in the "listen for X, you heard Y was better, right?" mode were not so obvious to me
but the tech, the spectrum plots showing that these "time domain errors" exist, can be mitigated, was thoroughly convincing
Not many audiophile companies are in the position to obtain rights to include Greateful Dead cuts on their CDs, I'm affraid.
Rhino Records is now Warner owned.
Who's grateful dead ? What are they Grateful about it ..? .. Not much of an audiophile market for their music...
From Burmeister reference CD...
http://www.youtube.com/watch?v=cPxmmMpfG88&feature=related
This is when you need that 1 KW/ch DVV....... Believe me on that .. !!!!! ....
Not much of an audiophile market for their music...From Burmeister reference CD...
http://www.youtube.com/watch?v=cPxmmMpfG88&feature=related
This is when you need that 1 KW/ch DVV....... Believe me on that .. !!!!! ....
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THE WORLD IS CONTROLLED BY THE ILLUMINATI AND THEY ARE CONTROLLED BY THE OCCULT.... JUST WHAT IS THE OCCULT ANYWAY? - TheConspiracyZone - Zimbio
The Illuminati-supervised CIA helped things along. The U.S. intelligence agency put Satanist Jerry Garcia and his Grateful Dead band (Al Gore's favorite rock group, says Rolling Stone magazine) on its payroll. The CIA, according to Gerald Heard and SRI International, distributed tons of LSD to a spaced-out youth generation. This was a mind control experiment of the Illuminati elite.
EDIT - Catch that, "tons" of LSD.
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It is sort of sad that I have to listen to such slander of the Grateful Dead, Jack Bybee, and hi end, in general, just today!
In any case, the 'Live Dead' vinyl recording made in early 1970, before my time with them, is one of MY reference recordings. I can use it, because it is done as purely as it was possible to do at the time, including original 16tr recording done without any studio board, and I know the music very well, working with them on dozens of concerts playing the same stuff.
As far as LSD is concerned, it was pretty well below the table, by the time I started working for them. Are many of you afraid of LSD, because of your ignorance of it? It can be interesting, and it also can be dangerous, just like alcohol.
In any case, the 'Live Dead' vinyl recording made in early 1970, before my time with them, is one of MY reference recordings. I can use it, because it is done as purely as it was possible to do at the time, including original 16tr recording done without any studio board, and I know the music very well, working with them on dozens of concerts playing the same stuff.
As far as LSD is concerned, it was pretty well below the table, by the time I started working for them. Are many of you afraid of LSD, because of your ignorance of it? It can be interesting, and it also can be dangerous, just like alcohol.
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