Jvo Studer at work
Moderators: piaptk, tragwag, Steve E., Aussie0zborn
to answer your 22 rpm question, I would assume that is how you cut a half speed master meant to end up at 45 rpm.
making lathe cuts on a Presto 6N, HIFI stereo cuts on vinylrecorder
at Audio Geography Studios, Providence, RI USA
http://www.audiogeography.com
at Audio Geography Studios, Providence, RI USA
http://www.audiogeography.com
Well, it is actually 22.5 RPM. And, for sure he knows that... He had his amp rack modified such that he can cut half speed masters. You have to drop the RIAA EQ curve down by one octave in order to do this. There were many discussions on the board regarding half speed cutting about a year ago.
Cutting, Inventing & Innovating
Groove Graphics, VMS Halfnuts, MIDI Automation, Professional Stereo Feedback Cutterheads, and Pesto 1-D Cutterhead Clones
Cutterhead Repair: Recoiling, Cleaning, Cloning of Screws, Dampers & More
http://mantra.audio
Groove Graphics, VMS Halfnuts, MIDI Automation, Professional Stereo Feedback Cutterheads, and Pesto 1-D Cutterhead Clones
Cutterhead Repair: Recoiling, Cleaning, Cloning of Screws, Dampers & More
http://mantra.audio
The 16 is also missing its "...and 2/3" fraction on the Technics. Must be early quantization error. (L;
You also have to play the tape back at 1/2 schpeed, of course. Or the file.
I believe this requires using transformerless inputs and outputs on the console and amps so that the flat frequency response can be 10 Hz - 8 kHz +.... 1/2-speed cutting is the reason why the Sontec EQ has a Low parametric center down at 11 Hz. However, it is also interesting to use at full speed because it is helpful with phase alignment of complex mixes.
An interview on line explains that 2/3-speed and 1/2-speed was used by Stan Ricker a lot to cope with certain program that presented a lot of high end, such as trumpet with mute. In that case, the fundamental is heavily attenuated, but the harmonics are in tact, though harder to hear, so the player gives it a lot of energy.
I grasp that the slower cutting speed with slower playback speed drops the pitch of the instruments, but, on playback, the speed is restored, along with the acceleration. If a lathe can already cut a groove with a radius of curvature too small for most pickups to track, what is the advantage? I have two copies of Kansas' Point of Know Return. One is the original, George Marino master, which sounds definitive, if warm (made 35 years ago this month!). The other was remastered at 1/2-speed, three years later (1980), by Vlado Mellor, using the CBS DisComputer System. Maybe it was the early digital audio in the program? I much prefer the original. I don't need transients to be faster than full speed cuts can produce. That's what's wrong with digital audio, iuam.
- Georj Missingberg
You also have to play the tape back at 1/2 schpeed, of course. Or the file.
I believe this requires using transformerless inputs and outputs on the console and amps so that the flat frequency response can be 10 Hz - 8 kHz +.... 1/2-speed cutting is the reason why the Sontec EQ has a Low parametric center down at 11 Hz. However, it is also interesting to use at full speed because it is helpful with phase alignment of complex mixes.
An interview on line explains that 2/3-speed and 1/2-speed was used by Stan Ricker a lot to cope with certain program that presented a lot of high end, such as trumpet with mute. In that case, the fundamental is heavily attenuated, but the harmonics are in tact, though harder to hear, so the player gives it a lot of energy.
I grasp that the slower cutting speed with slower playback speed drops the pitch of the instruments, but, on playback, the speed is restored, along with the acceleration. If a lathe can already cut a groove with a radius of curvature too small for most pickups to track, what is the advantage? I have two copies of Kansas' Point of Know Return. One is the original, George Marino master, which sounds definitive, if warm (made 35 years ago this month!). The other was remastered at 1/2-speed, three years later (1980), by Vlado Mellor, using the CBS DisComputer System. Maybe it was the early digital audio in the program? I much prefer the original. I don't need transients to be faster than full speed cuts can produce. That's what's wrong with digital audio, iuam.
- Georj Missingberg