Quote:
Originally Posted by B.Rupe  "In the old days, that would happen if you "had to" no one would choose it."
I still stand by response. |
Yeah, real nice, cut the bit you want out of context only to use to make yourself "look right" because you couldn't possibly be mistaken, make sure you omit the word "usually" and "if it sounds good, why not?" too, whatever, kinda egothumperesque, there's some real brainpower for ya. Twisting peoples words. too weird.
I learned from people 30 and 40 years my senior over 25 years ago, That gear wasn't even considered vintage yet,.
The only thing you are wrong about trying to put words in people's mouths and projecting intent I obviously didn't mean.
Quote:
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Originally Posted by groove9028 Running a TUBE MIC thorugh a TUBE PRE necessary?
Title says it all, |
He asked if it was necessary and it's not.
There wasn't a lot of solid state stuff in Sinatra's or the early Beatles day.
Maybe you can rewrite history,Bob, and everyone will believe you.
I don't care.
Maybe there's even someone gullible enough to believe that in this day and age one pre and mic will do everything well because Frank and the Beatles used them.
In 1958 the first stereo two-channel records were issued—by Audio Fidelity in the USA and Pye in Britain, using the Westrex "45/45" single-groove system. This system was invented by Alan Blumlein of EMI in 1931 and patented the same year. EMI cut the first stereo test discs using the system in 1933. It was not used commercially until a quarter of a century later.
In the late 1970s and 1980s, a method to improve the dynamic range of mass produced records involved highly advanced disc cutting equipment. These techniques, marketed as the CBS DisComputer and Teldec Direct Metal Mastering, were used to reduce inner-groove distortion. RCA Victor introduced another system to boost dynamic range and achieve a groove with less surface noise under the commercial name of Dynagroove.
Evidence from the early technical literature concerning electrical recording suggests that it wasn't until the 1942–1949 period that there were serious efforts to standardize recording characteristics within an industry.
Don Hassler: The frequency response was limited to probably about 18 kilohertz, which is higher than people can hear but there would be a restriction in overtones, transients wouldn't always sound as good. The dynamic range of tapes was much less than it became after the Dolby system took over. The Dolby system took over probably in maybe in the mid-60s. They started adding Dolby processors to master tapes in those days. But that wasn't all.
The mixing boards in those days were vacuum tubes, not transistors. That didn't come about until later on, probably in the 60s. The microphones weren't nearly as sensitive or as good, although they used condenser mikes and ribbon mikes mostly, for good recording in the studio. There was some standard electromagnetic mikes, but they just didn't have the crisp quality. But then the L.P.s in those days - and everything was coming out on 33-1/3 - the L.P.s didn't require that much quality because the L.P. format didn't give you that much capability compared to a CD or even a cassette. Cassette tapes were definitely a step up from L.P.s.