In article , Java Jive
scribeth thus
On Wed, 18 Jul 2012 08:05:07 -0500, MiNe 109
wrote:

In article ,
"Arny Krueger" wrote:

Here's an interesting data point - the SACD DSOTM seems to have less
dynamic
range than the previous CD version:

http://www.stereophile.com/news/11649/

Comparing the waveform pics there with my own CD 0777 7 46001 2 5,
recently backed up to HD, it's comforting to find that the trace of
Money is near identical in overall shape to the SACD layer rather than
the CD layer.

I don't see what you mean: this article compares the DSD and redbook
layers of the 30th Anniversary edition SACD of DSOTM (the latter is
dynamically compressed compared to the former).

Exactly, so this new redbook layer has less dynamic range than the
previous CD version that I have above.

Further proof, if it were needed, that no modern CD can be taken at
face value. The only way you can be sure that what you're getting is
pukka music that has not been f*cked up is to buy it, analyse it, and
then take it back to the shop and complain if it has been adulterated.

I haven't heard this SACD, or indeed any, but I suspect that if you
did a listening test between my CD and this new SACD, no-one over the
age of twenty, and only those under that age with exceptionally good
equipment and exceptionally well-trained ears, would be able to tell
the difference.


After all, a relatively small number of cymbal high frequency peaks
were all that were captured by SACD that couldn't be captured by CD,
because they are above CD's upper frequency limit.

Anyone know what the original recording was done on?..
--
Tony Sayer

In article ,
tony sayer wrote:

DSOTM

Anyone know what the original recording was done on?..

http://www.philsbook.com/abbey-road-...f-the-moon.htm

The Equipment used.

EMI TG Mark IV Consoles.

16-track Studer A80s . The initial tracks were recorded at 15ips onto 2"
tape, non-Dolby. To make more tracks available, tracks were bounced down
onto a second Studer 16 track, this time with Dolby A.

Bass - Although a Hi-watt amp was set up in the studio area for Roger
Waters, and screened off to help with the spill, a mic wasn't actually
used. Instead the bass was DI'd and compressed through a Fairchild
Limiter. The Fairchild was also used for vocals and sometimes on the mix.

Dave Gilmour used a Hi-Watt DR103 100 watt head through WEM Super
Starfinder 200 cabinets with 4?12 Fane Crescendo speakers. The set up
was mostly closed miced. Other gear included : A Bison Echorec II,
silicon transistor version of the Dallas Arbiter Fuzz Face, a Colorsound
Powerboost and a Univox Uni-Vibe.


All addition recorded delays on the album were done with tape machines

On 18/07/2012 20:47, MiNe 109 wrote:
In ,
tony wrote:

DSOTM

Anyone know what the original recording was done on?..

http://www.philsbook.com/abbey-road-...f-the-moon.htm

The Equipment used.

EMI TG Mark IV Consoles.

16-track Studer A80s . The initial tracks were recorded at 15ips onto 2"
tape, non-Dolby. To make more tracks available, tracks were bounced down
onto a second Studer 16 track, this time with Dolby A.

Bass - Although a Hi-watt amp was set up in the studio area for Roger
Waters, and screened off to help with the spill, a mic wasn't actually
used. Instead the bass was DI'd and compressed through a Fairchild
Limiter. The Fairchild was also used for vocals and sometimes on the mix.

Dave Gilmour used a Hi-Watt DR103 100 watt head through WEM Super
Starfinder 200 cabinets with 4?12 Fane Crescendo speakers. The set up
was mostly closed miced. Other gear included : A Bison Echorec II,
silicon transistor version of the Dallas Arbiter Fuzz Face, a Colorsound
Powerboost and a Univox Uni-Vibe.


All addition recorded delays on the album were done with tape machines

Don't forget the inadequately erased Beatles song on the master tapes.

--
Eiron.

In article , MiNe
109 scribeth thus
In article ,
tony sayer wrote:

DSOTM

Anyone know what the original recording was done on?..

http://www.philsbook.com/abbey-road-...f-the-moon.htm

The Equipment used.

EMI TG Mark IV Consoles.

16-track Studer A80s . The initial tracks were recorded at 15ips onto 2"
tape, non-Dolby. To make more tracks available, tracks were bounced down
onto a second Studer 16 track, this time with Dolby A.

Bass - Although a Hi-watt amp was set up in the studio area for Roger
Waters, and screened off to help with the spill, a mic wasn't actually
used. Instead the bass was DI'd and compressed through a Fairchild
Limiter. The Fairchild was also used for vocals and sometimes on the mix.

Dave Gilmour used a Hi-Watt DR103 100 watt head through WEM Super
Starfinder 200 cabinets with 4?12 Fane Crescendo speakers. The set up
was mostly closed miced. Other gear included : A Bison Echorec II,
silicon transistor version of the Dallas Arbiter Fuzz Face, a Colorsound
Powerboost and a Univox Uni-Vibe.


All addition recorded delays on the album were done with tape machines

Interesting site that..

Impressive to think that something recorded 40 years ago can be used to
demonstrate differences on modern storage methods..

Mind you I have some 15 IPS tapes here I occasionally replay on a Studer
B67 to visitors of a fairground organ recorded in the open air they just
cannot believe how old it is and how it was done!.

And the fact it isn't digital!..

--
Tony Sayer