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Tinytim

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  1. That answer will always be in the eyes of the beholder. I have not heard every version ever done. But I do know what the master sounds like. I think the original Island records issue of this album on CD back in the mid 80s as about as defintive as I know.
  2. Just confirms my earlier statement. The tapes are stored in the UK and were shipped to US for this conversion. Still I do not expect Ted Jensen to know the history or technical details of Dolby "A" . Does not make it superior to make by magic something that is not there. The only thing that concerns me is that if he used an Ampex ATR 100 series, did he have US 2 track heads or European stereo 2 track head which cover a larger track width per channel? US 2 track as in most consumer as well as pro is 1.8 mm wide per channel compared to 2.5 mm totaling 5 out of 6.35 mm width. 1 dB better noise floor.
  3. Yes, Late but I just wanted to de-mystify the BS that surrounds all these re-issues. My other point is the deception of up or down sampling PCM to DSD conversion and so on with zero audit trail. The public are being taken for a ride by the record companies and the poor standards of mastering by many houses because they want the loudest and badest thinking that is what we want.
  4. Yes, but with the proviso that their tape machine does not have the extended bass response of the machine at Mobile Fidelity. Or for that matter the machine used at Island records back then. Therefore DSD or PCM makes no difference to total content. Just what flavour do you like.
  5. I have just posted on an older thread of analysis of the HD tracks and pointed out that I handled this master tape at Island records back in 1985 when some transfers were being done. The master is a quarter inch stereo at 15 ips recorded with "A" Dolby encoding, the 16 track multi was also "A" Dolby on all tracks so that is 4 lots at minimum of in and out through "A" Dolby units with their 36 dB / octave HF filters that are flat to 20 KHz but start at around 24KHz later units not used back when this was recorder had modified 30 KHz point. However this means there is nothing above 20 KHz apart from the inherent noise floor of amplifiers of say 80 dB. So there is no magic just that the tape was very good in both dynamics and production studio standards. Just don't waste time trying to find something that is not there. This applies to many masters from 1970 to the early eighties. Tinytim.
  6. I stumbled upon these comments whist look at Hi Res stuff. Now I wanted to add my pennies worth to the bandwidth debate. It does not matter whether it is transferred to 192 or 96K as you will not extract anything above 20 KHz from the master tape. I handled this tape at Island back in 1985 when they were doing some re-issues. It was two reels and all the recording dates and other information was noted inside. Now the big point is that this was / is a quarter inch 15 ips stereo tape that has been recorded with "A" Dolby encoding so was the 16 track multi track lay down also had "A" Dolby on all tracks then mixed to the stereo quarter inch tape. Now the problem is the Dolby units of that period had 36 dB / octave filters to avoid bias and these are in both record and playback so it accumulates. these are set in the early units to be dead flat to 20K and roll off from 24 K so the master has had at least 4 steps on the way so there is nothing above 20 KHz period. Like clutching at straws. The tape is indeed very good for other reasons and well mixed tidily but there are very large dynamics and many so called mastering places do not any longer care to be accurate about peak levels. Later "A" Dolby units were supplied modified to 30 KHz before roll off. Hopefully this will be noted and many other recordings are of the same process. I find the amount of pontificating slightly amusing. Tinytim.
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