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The sampler reel I have blows away all the digital recordings of the same releases. They are entirely different mixes and free of grungy/loudness compression/remastering or whatever it is they have done for CD releases.
The sampler reel I have blows away all the digital recordings of the same releases. They are entirely different mixes and free of grungy/loudness compression/remastering or whatever it is they have done for CD releases.
How do you "level match" those?
It is incredibly annoying how the medium with the widest dynamic range is being deliberately squandered in order to make it suitable for portable use, on pop music at least.The sampler reel I have blows away all the digital recordings of the same releases. They are entirely different mixes and free of grungy/loudness compression/remastering or whatever it is they have done for CD releases.
GET A ROPE!!!It is incredibly annoying how the medium with the widest dynamic range is being deliberately squandered in order to make it suitable for portable use, on pop music at least.
It really is arse-backwards to have either reel-to-reel or LP recordings of the same piece of music being distributed with a wider dynamic range than CD nowadays.
Grrrrr.
AFAIC, the kicker here, is in order to preserve these expensive tapes (and the music within) from degrading over time, which they certainly will, you'd have to archive 'em to digital (the sooner the better).
I'd love to have that in Osbourne's Crazy Train.Here is the back of Coltrane's Blue Train you can see they placed a sticker on the back of the tape box saying it was archived to digital
This is a "tape album" of an Arthur Fiedler/Boston Pops recording from 1971, called "SUPERSTAR". Aside from how kitschy the notion of a then-76 y.o. guy plugging Flower Power might have seemed (based on the cover art alone!): I would, seriously, put this (particular) 7 1/2ips quarter-track Ampex reel in the class of "demo quality". It was well-engineered by DGG (the then-parent co. of Fiedler's/B.P.'s new label Polydor; after having been with RCA since 1930) and, it was produced by one of the co-inventors of Synthesized Quad: a (then-young), future Grammy-winning Classical producer named Tom Mowrey.
The record level peaks at +2 VU on nearly every track without the slightest strain. If you heard this through an entirely vintage system (consisting of: re-capped A.R. 3a speakers, overhauled Dynaco power amp, and a rebuilt 1965 broadcast-grade Magnecord deck), YOU WOULD NOT BELIEVE ALL OF IT WAS OVER 50 Y.O.(!). It really can deliver the impact of the '80s Maxell/JBL guy in the chair!View attachment 39381View attachment 39382