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[Level]

Yes, extremely high level indeed. 33cm/second was the highest level (at 1khz) that I had on vinyl until Telarc cut that one #80041 1812/Overture Cincinnati. This is way up there.


This particular version of PF WYWH is a 2 record set, Welcome to the machine takes up an entire side. Very wide Lands. I have yet to find another copy of this album on 200g and twin records (4 sides)

I guess they cut it for non consumer purposes. The M95ED will track it. (Shure)

[James Craft]

Bob Olhsson wrote on Sat, 24 July 2004 01:48

The reason for low frequencies in the center is entirely a matter of cutting level. Many LPs are long enough that there's no advantage at all. This is why it isn't a good idea to try and second-guess a cutting engineer. On the other hand if you want the hottest possible level, it's a good idea to keep the low-end dead center. Elliptical equalizers were always something we avoided but sometimes there was no choice.

I agree Bob, but if you're talking about Motown, you guys had a lot of QC that started on the original tracking dates and I imagine everyone was on the same page from the word go. We did a lot of "Custom Label" work where somebody sent in a tape to a pressing plant and ordered 500/1000 pieces. I think we got $30/side for 45's, $55/side for LP's and if you blew a blank you ate it, seldom did you cut refs on this product. We also did a lot of work for A. Boladian at Westbound/Nine in Detroit and that stuff was better product (noted exception is some of the live stuff that came out on Nine) where you could get away with not using the elliptical EQ. Also the Hi stuff we did was pretty straight forward. W. Mitchell wanted as little as possible in the way of EQ/compression, but wanted it as hot as you could get it with a 4 mil groove. My Dad and I where talking earlier this week he said Willie never wanted to hear the ref played back on the main system in the mastering room, he always listened on a little fold-up $99 stereo record player we had.

[Gold]

Quote:

Why the big push to mono bass on vinyl when we know that it has been done time and time again in the past?

I have succumbed to peer pressure. The other day I mastered an album that is very stereo. It's weird noisy rock. Sometimes the band is on one side and there is just a voice on the other. There are other parts where the bass is on one side and drums on the other. I just cut a dub plate with no elliptical EQ. It really gave the automatic depth system a work out. I've never seen it work that hard. I'll wait to get feedback from the label. I hope they don't have any problems. I played it without any problems. If it's approved I'll post what it is and when it will be available.

[Bob Olhsson]

Hey, I'm one of the kings of ridiculously extreme levels! We used to use a skip test sequence that had been developed by RCA Victor. We calibrated several players using this and a proposed master had to not skip on any of them.

It's a good thing extreme levels aren't as necessary as they were back in the vinyl era.

[Gold]

Quote:

We used to use a skip test sequence that had been developed by RCA Victor. We calibrated several players using this and a proposed master had to not skip on any of them.

Could you give some details of this sequence. I have been trying to develop torture tests. Sometimes no matter how out of whack I make the pick up I can't get a skip when others do. I have a cartridge that is mounted cock eyed. I'll take almost all the weight off with no problems. I'll seriously over weight it with no problems. I need to find the worst possible playback system. Or better yet a way to simulate different types of worst playback systems.

Quote:

It's a good thing extreme levels aren't as necessary as they were back in the vinyl era.

For DJ records I think levels exceede hot 45's of the past. For a 12" single at 45rpm if the track is done well I'll pin the meters and make sure they don't move. I go for sound first but producers who know what they are doing often give me tracks where that can be done without compromise.

[Bob Olhsson]

It was a series of 7" 45 test records. I haven't got a clue where you'd find them. In 1965 RCA was pressing more of our records than theirs and they weren't even doing the reorders!

There's a lot narrower range of pickups around today so it wouldn't be that hard to have the most common DJ models on hand.

[Gold]

Quote:

There's a lot narrower range of pickups around today so it wouldn't be that hard to have the most common DJ models on hand.

I do have a little collection but I think a lot of it has to do with poor turntable setup. I keep a Stanton 681EEE on the lathe. I have a Stanton 500, Shure V15 type V, Shure M44-7. I should probably get a couple more. I hate those Ortophon concorde style ones that are popular. I can't belive anyone uses them. I guess they look cool. Since they are one piece, any variation an manufacturing tolerence will cause problems. I really don't want one around here but I have a feeling I'll have to get one sooner or later.