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

[George Brock-Nannestad <pattac@xxxxxxxx>]

From: Patent Tactics, George Brock-Nannestad

Philip Holmes wrote:

> George,
> Does this mean that you should use a .7 mil spherical tip to counter 
> the  radius compensation?  It seems that everyone uses various 
> elliptical styli (truncated and not) to play back 78s. 

----- yes, Philip, definitely, the geometry is everything. The same goes for 
RCA Dynagroove, which was deliberately pre-distorted to give correct waveform 
with a spherical stylus. And for Victors that have been subjected to the S/8 
treatment. That is actually a reason why earlier pressings of red label SS 
Victors are better than later ones. And the masters they used for the 
Heritage series (transparent red vinyl 78 re-issues) are apparently all from 
metals that were predistorted to give durable grooves. If somebody knows 
otherwise, I would like to hear about it.

 Is this a case 
> where original playback practices (spherical tip, tube electronics, old 
> fashioned treble controls) can be superior to state of the art?

----- it is really only an interface question. Spherical tip, yes, when 
called for. Tube electronics - if you prefer the sound. I do not believe that 
an old-fashioned preamp had a hum as low as what you can get in modern 
equipment


> Thanks,
> phillip
> 
> George Brock-Nannestad wrote:
> >
> > pression:
> >
> > 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 was issued, and it was quickly withdrawn.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
> >
> >
> >
> >