Re: [ARSCLIST] Audio compression on radio, was Re: [ARSCLIST] Libraries disposing of records

[George Brock-Nannestad <pattac@xxxxxxxx>]

From: Patent Tactics, George Brock-Nannestad

Hello,

Bob Olhsson wrote:

> David Lennick wrote:
> >...I encountered a few instances where the single release ran 
> >faster than the LP track (pitch, not just a different take or different 
> >edit).
> 
> Seven inch 45 RPM cutting levels drop like a rock beginning at around three
> minutes. This is a lot of why fades were popular.
> 

----- now, that is a fascinating insight, thank you very much! This is an 
important example of technology forming musical taste

----- I would like to report two instances that are related to this and 
compression:

1) Presto cutting systems, for instance those used by BBC, had radius 
compensation. We are talking 78s and 1940s. This meant that the treble was 
cranked up automatically as you got closer to the center. The reason was that 
the tracing loss from a spherical stylus would not reproduce the higher 
frequencies very well. It did not matter that the distortion became 
unbearable, because that was outside the reproduced range. So, apparently, 
the recorded range was kept reasonably constant over the whole record side.

2) even those who will only listen to "classical" or sub-category "vocal" may 
experience what compression really means. My best example for this is the 
Bryan Crimp EMI transfer of all Adelina Patti's recordings - an LP set. Her 
last recording - la Calasera - has a recorded level of ca. 50 cm/s in a few 
places, which was very far from being reproducible more than 3 times when it 
was issued, and it was quickly withdrawn. On the LP, the whole song is 
beautifully transferred (and it is her most liberated performance, a gem), 
but the few places the compression sets in and the 10-15 dB overload is 
tamed. I feel physically strangled when I hear it. The record was reissued in 
the white V.B. series when pickups could cope, but it still gets worn

2½) I had a Source Engineering preamp in practical use for ca. 10 years, and 
instead of replacing the ganged pots I changed to Elberg instead. However the 
Source Engineering has an expander - an anti-compressor - that works very 
well and will reduce as well as increase. I have used that on the Bestiary of 
Flanders and Swann, "the Ostrich" (refrain: "Peek-a-boo, I can't see you 
......."). At the end (I won't spoil the fun for those who don't yet know it) 
it is very worthwhile to use the Source Engineering feature if you have good 
bass speakers. 

Kind regards,


George