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Scott[_6_] Scott[_6_] is offline
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Default How pure is the signal when it reaches our ears?

On Saturday, February 1, 2014 3:11:13 PM UTC-8, ScottW wrote:
"Scott" wrote in message=20
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...
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So you found one mastering facility out of how many that actually does=

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"generally" roll the highs and lows. Still no mention of folding the bas=

s to=20
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mono.

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This reference was specifically to show that high frequency limiters are =

std in=20
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the Neumann racks driving their cutters.


Which still does not support any of your assertions on how the vast majorit=
y of LPs were actually cut.

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But if you actually read the site you'd have also found
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"5)Always center your bass frequencies. Drums, bass guitar and low synth=

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to be in the center of the stereo image to ensure proper groove geometry.=

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Not sure I see any point in reading the webpage of some mastering facility =
that opened in 2009 and has no track record for producing high quality mast=
ering for vinyl. Especially in light of the fact that I personally own lite=
rally hundreds of LPs that were cut without any rolling of the highs and lo=
ws or folding of the bass to mono. Citing online forums where any yahoo can=
say anything they want and citing one new mastering facility with no track=
record in the industry will not change that simple fact. Frankly I have no=
interest in your scavenger hunt to find what little support there actually=
is for your beliefs about how lacquers are actually cut. I have given you =
all the contacts you need for the top mastering facilities. You are free to=
do what I did and actually talk tot he real experts and get the best infor=
mation possible on the subject.=20


Here is another.
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http://www.audiomasterclass.com/acce...ential-part-o=

f-the-vinyl-experience
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Control of acceleration is provided by an acceleration limiter, invented =

by=20
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Neumann, in the cutting lathe, which obviously affects the audio signal. =

The=20
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audible effect of the acceleration limiter is similar to that of a de-ess=

er,=20
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though where the de-esser would be fine-tuned to vocal sibilance, the=20
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acceleration limiter is more of a brute force tool. The purpose of the=20
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acceleration limiter is to protect your stylus and your vinyl, and if a l=

ittle=20
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hi-fi is lost in the process so be it.


Once again an utterly irrelevant point. Unless you think I have been assert=
ing that limiters actually *don't exist* in this world.=20


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1. Who is Gottagroove records? 2. So what? You found one facility that=

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"generally" two out of the three things you were asserting is done to th=

e vast=20
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majority of records. The RTI webpage that you cited as a reference sure=

didn't=20
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support any of your assertions.

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What does this support?
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http://www.recordtech.com/prodsounds.htm
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"Watch excessive treble boost in the 8 to 16 kHz range in mixing, you won=

't get=20
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it back on your record. You can't break the laws of physics, sorry. A goo=

d idea=20
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is to check your mix against a record you like with lots of cymbals. If y=

ou hear=20
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a lot more sizzle on your tape, chances are it won't make it to the recor=

d.=20
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Particularly watch those 'S's. Use a de'esser on vocals. I don't do=20
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endorsements, but dbx makes a great one. This will give you more overall =

treble=20
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because in cutting your record, the treble limiter won't be chomping on y=

our=20
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cymbals too."
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In short it supports the notion that there are certain qualities in vinyl p=
layback that exceed those of CD playback subjectively speaking (unless you =
think CD playback is "esoteric") What it does not support is your assertion=
s that the vast majority of LPs were cut with the highs and lows rolled and=
the bass folded to mono. But we have already been over this.=20
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Nothing at Bernie Grundman's webpage to support them.=20

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http://www.berniegrundmanmastering.c.../disc_cut.html

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Not this version which lacks any technial detail...but in an earlier vers=

ion of=20
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his website I found copied on the classical group offered more detail on =

their=20
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board.
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https://groups.google.com/forum/#!to...recordings/iy=

w7BC4CmjE
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he bragged of "Central to the mastering systems are our all-discrete, A/B=

analog=20
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consoles. The equalizers, limiters and line-amps are proprietary integrat=

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elements"
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Keyword....limiters.



I suppose it would be a key word were it on topic. Again I am not disputing=
the existence of limiters. And I am done with any further discussions abou=
t the existence of limiters since I never disputed their existence.

Now if you have any meaningful evidence to support your assertions about th=
e vast majority of LPs having been rolled on the top and bottom and with ba=
ss folded to mono please let's talk about that. I am really not interested =
in this irrelevant discussion on the existence of limiters.=20