R/E/P > Brad Blackwood

What's with all the fuss about M/S?

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masterhse:
dcollins wrote on Tue, 04 May 2010 18:13

Yes, but do 99 out of 100 tracks benefit?
DC


Dave, I'm not sure if that was rhetorical but I'll answer anyway with another question.

Can you make a sweeping assumption about 100 tracks?

Best,
Tom

dcollins:
masterhse wrote on Tue, 04 May 2010 17:15
dcollins wrote on Tue, 04 May 2010 18:13

Yes, but do 99 out of 100 tracks benefit?
DC


Dave, I'm not sure if that was rhetorical but I'll answer anyway with another question.

Can you make a sweeping assumption about 100 tracks?

Best,
Tom



I was just surprised that Brad runs M/S 99% of the time.  The only thing I do that often is hit record.


DC

bblackwood:
dcollins wrote on Tue, 04 May 2010 19:48
I was just surprised that Brad runs M/S 99% of the time.

Yah, I'm sure you're surprised...
Quote:
The only thing I do that often is hit record.

I'm betting you EQ 99% of the projects that come through your door.

Andrew Hamilton:
TotalSonic wrote on Tue, 04 May 2010 18:17
Andrew Hamilton wrote on Tue, 04 May 2010 10:05


Aren't there trafos on most lathe inputs?  I heard about a trafo-less lathe, but was told it was a late development.  




When was the transformerless SAL74B introduced?  About 1978?  Lots of folks did the conversion of their 74's to 74B's after that time.

Best regards,
Steve Berson



Since this was just two years before CD was introduced, that was a late development, indeed...  

And the first discs they sneaked on us in large amounts (with DVD-A and SACD, too) were the remastered classics, which were coming from fluttery tape with plenty of iron.  Also, the L2 had not yet been invented.  (;


But every record, from Enrico Caruso's 78's ("...indistinguishable from live performance." [sic]) to all the Van Gelder classics, to all the Beatles (ALL THE BEATLES) lps, to most of Disco, Led Zeppelin, DSOTM (_D_S_O_T_M_!), every His Masters Voice RCA Victor, every Ray Charles hit, etc... managed to have this much staying power in spite of lathe trafos.  

Perhaps, with no trafos in the lacquer/U-Matic channels, we sensed that they had to be put back in the console gear.  But when they were in the lathe electronics, having them also in the eq and comp was probably already adequate "veil" and, since Aspen was the answer,* once the technology permitted, we abandoned as many trafos as we could.  



Andrew




* just checking if you're reading this far into the post

grantis:
Hate to be a pest, but I'm cornfused.

I've done a bunch of reading on the 'net about the 111c, and i'm considering picking up a couple (I'm a mix guy, pardon my barging in on a mastering thread ).  

I've come across several wiring diagrams (in schematic form) which i have no idea how to interpret.  I've also come across several pictures of different wiring setups in/out of these bad boys....  

If I understand it correctly, I would want to wire them 1:1 (or 600ohm:600ohm in this case) for greatest headroom correct?  Has anybody configured their 111c's this way?  I'm thinking of inserting these last in my 'chain'.  I'm looking for a straight-forward explanation as to what-terminals-go-where and what's-hot-what's-ground-what's-cold.  Everything I've found on the 'net that looks to be useful is in Japanese....and google translate wasn't much help...haha.

Also, does anybody know if it's important to 'match' these for stereo operation?

thanks for any help!

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