ISA 428 mkI

Posted on 20130209 by Anthony P. Kuzub

Transfering Records in reverse

Posted on 20130207 by Anthony P. Kuzub

I was given a 78 to transfer. When I transfer something one of a kind I do 3 passes. The first is dry, dusted as the client delivered.

The second is wet (Ultrasonic bath if possible)

The third is in reverse. I find it cuts the pops and skips differently. EX: if you have a scratch in one direction it MAY not show up in the reversed transfer. Edit together and whadaya get… bitty bopity boo.

Here is the same scratch forward (top) and transfered in reversed and reversed in PT (Bottom)

I use a Stanton STR8-100 with a SPDIF out. It has a button that simply reverses the direction of playing, it is rock solid. It’s got the direct drive faults, but non the less sounds great.

Lav Mic Positioning

Posted on 20130206 by Anthony P. Kuzub

I was looking through the Sennheiser MKE-2 mics and found these great charts

WBS 880651 – 8 track monitor return section and overdub feature

Posted on 20130127 by Anthony P. Kuzub

2008 – Drum Set Carts

Posted on 20130121 by Anthony P. Kuzub

I was in a pinch for moving drum kits and tools in and out of a shared studio space.

we needed to so something fast so I came up with the idea of these work boxes on simple caster.

I think this was made out of 10 sheets of plywood cost less than $200 for all three.

Sound And The Story

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High Quality Recording and Reproducing of Music and Speech – 1926

Posted on 20130118 by Anthony P. Kuzub

From: http://www.charm.rhul.ac.uk/history/p20_4_1_3.html

High Quality Recording and Reproducing of Music and Speech
By J P Maxfield and H C Harrison (Bell Telephone Laboratories 1926). Introductory paragraphs by Roger Beardsley.

The age of electrical recording

In this time of incredible technical achievements in every field of scientific endeavour, it is perhaps hard to imagine the effect that Maxfield and Harrison’s work had on the recording industry. Nothing has matched it since. The change from LP to CD was marked by longer playing times and a reduction in already low ambient noise levels. Sound quality was much as before (or worse according to some). The change from 78 rpm discs to LP again brought playing time and noise benefits, but in terms of quality of reproduction, the change over to microgroove was often very marginal, and sometimes showed a loss.

However, the change from mechanical (acoustic) recording to electrical recording was very different. The new system compared to the old, really was a chalk and cheese affair. Not just a wider frequency range, and frequencies in correct and designed proportion, but for the first time, the whole ambience and feel of a performance and its surroundings was reproduced. The nearest analogy is that of hearing a performance of say an orchestra though a closed door and down a corridor, and then being brought into a box at the venue. Admittedly perhaps not at the front of the box, but the difference was astounding. Listen to the examples in “A brief history of recording” to hear what I mean.

Maxfield and Harrison came from a telephone engineering background – then the height of technology. Their work on equalisers and line transmission systems, together with additional work with high power audio amplifiers all came together by one of those happy chances. For the first time, recording (and reproduction) was subjected to a proper system of scientific research, as against the largely empirical developments of the mechanical recording system. The resulting Western Electric recording system was an elegant solution to the deficiencies of mechanical recording. And it worked, again and again.

PDF of original book

High Quality Recording and Reproducing of Music and Speech
By J P Maxfield and H C Harrison (Bell Telephone Laboratories 1926).

Two Notes Torpedo Live – now in a new home!

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Finally got it in a rack! Two Notes Torpedo amplifier load box with cabinate / microphone simulation

Jack added a speaker input on the producers desk for easy connection

I said when I first heard about it that “This piece is basically an Iso Booth in one rack space.” and in a small to mid sized studio without a booth or collection of amps it’s a huge asset!

downside: I wanted to put the line in and line out on the Patchbay in addition to the speaker in and through-put on the panel (everything hooked up all the time). When you have a jack in the “line in” it overrides the speaker “load box”

Great Snare Drum Microphone Placement comparison

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A good listen to the affects of the positioning on a snare

I also love the sound of the UFIPs

NOTHING sounds as good a centrifugaly forged casting

Modern Recording

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Shared From The Rukkus Room

This is a great illustration of where quality has gone. (and a good drawing of the actual gear helps). We the content creators, and broadcasters care about this long gone thing called fidelity and dynamic range, but we’re at the mercy of Apple right now. The compression is moot with even todays data transfer rates. If you’re releasing a record I must now suggest not making CDs and go right to HiFi uncompressed downloads, or Vinyl (or Both). CDs are just something I rip and shelf, I’d rather have LPs on my shelf and I have limited choices when it comes to portable music and it may as well be a 24bit 96k master. Not holding my breath for a 1bit portable player and 100gb/µs fiber to my door.