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Re: [ARSCLIST] Aren't recordings original sources?
I was totally unimpressed with the demo CD that ELP provided for the laser turntable. It was of LPs
and was mostly distorted and scratchy-sounding. If they were trying to demonstrate that their
machine could play a damaged or poorly-made LP just as ugly as a regular turntable, they succeeded.
If they were trying to demonstrate something else, no dice. I also made some inquiries and found out
they did not have permission to use those copyrighted LP segments. Their demo CD had no 78 snippets
that I recall.
That said, the concept seems very promising for good-condition grooved media. It is also good that
mint-condition or fragile-condition grooved disks can be played without a tiny hard stone riding in
-- Tom Fine
----- Original Message -----
From: "George Brock-Nannestad" <pattac@xxxxxxxx>
Sent: Tuesday, October 21, 2008 6:55 PM
Subject: Re: [ARSCLIST] Aren't recordings original sources?
From: Patent Tactics, George Brock-Nannestad
just a snippet from Clark Johnsen's comment to elaborate on:
Respectfully beg to differ about 78rpm reproduction. It's advanced
considerably. But you won't hear that on any commercially available LP or
CD, so the case is difficult for me to prove.
----- yes, but not due to anybody sitting down with the requirements of the
78 rpm linear velocity and groove dimensions (and vertical tracking angles)
and specify a system. It is mere coincidence that e.g. an MC pickup is
sufficiently linear to accept a large excursion. Ortofon a few years back
took up again the manufacture of their 1948 design of the so-called C-head -
a mono pickup with a vertical moving coil and a leaf spring for vertical
compliance. However, they are using the old design and have not re-designed
on the basis of e.g. new magnetic materials. Still, it is the best mono
pickup around for mono records. And it is hideously - rightfully so -
expensive and so ought to appeal to the $1000 crowd.
As to the optical playback of 78 rpm grooves: it is clear that all the
present designers are floundering - they simply do not know how to apply this
extremely versatile tool.
David Williams and myself assisted Chiba Sanju in March, 2001 at the Boston
Audio Society demonstration of the ELP Laser Turntable. It was supported by
the best equipment and Magneplanar speakers. The sound of both a vinyl
pressing of a 1936 cello and piano recording and a shellac pressing of the
same were both astounding. The graininess of the shellac disappeared into the
slightest haze (distributed in space, whereas the musicians were fairly
centered and with an acoustic surrounding them) and the vinyl was simply
incredible. There are some grooves and surfaces that work wonderfully with
this simple (1980s) optical playback. And again here, we have equipment that
ought to appeal to the $1000 crowd. If only they knew how to use it.