[ARSCLIST] stereo records

[phillip holmes <insuranceman@xxxxxxxxxx>]

I asked for another opinion.  Here it is with his permission.

From: Stan Ricker 



In my experience, no Original masters  were LF-summed to mono unless by track assignment during 
mixdown; [Pop-Rock-typeMusic]..........Classical/Orchestral/Organ&Choir, Never........
But, if it was a difficult project for a mastering engineer of the George Piros/Doug Sax/Bob Ludwig
level of skill, or it neede 2 or more engineers to make it happen,there were Dolby-A tape master-copies made at the time of cutting that incorporated ALL the moves;EQ,Level,Channel Reverse,Echo-Reverb,and yes, Low-Frequency Crossover, etc,etc,etc....additional Copies could be made from the first copy....
In Neuman-Console parlance, the LF crossover thing/circuit is called "Elliptical Equalizer", and usually
has 2 choices--------150 or 300 CPS-sorry, Hertz......If you have an XY o'scope in your system, you'll
understand immediately the name "Elliptical"..........

There were lots of these "Cutting Masters" made so that anyone with a stereo mastering rig could cut
replacement parts for any pressing plant just by aligning their system to the recorded alignment tones 
on the copy tape, and cutting "FLAT"--------no nothing added or taken away.........

In my system, I have 10  choices of crossover frequencies, with 10 choices of "how much"
blending at the chosen freq..........also, 10 steps of full-bandwidth Mono summing---;
done thru calibrated resistor-sets.........;The Mono-summing can be used in any degree necessary
with or without the LF crossover......or vice-versa...........lots of choices................

All or any of this circuitry affects the sound of the music---almost always, adversely.

Strangely, recordings have gotten better and I hardly ever have to use this stuff any more.

Cheers,
Stan