twiiii
Lunatic Member
Every n ow and then something comes along that allows you to learn something from an unplanned adventure.
Back in 1968 while working at a Radio Station and helping a local sound company make remote recordings I came across a demo disc featuring the Texas Tech Wind Symphony band playing Claude T Smith Symphonic Wind Band pieces. I had played a few my self so was anxious to get a copy of the disc. So the boss said why not as long as I kept it to myself.
Well I dubbed it with a TD 121 with SME arm and Ortofon SPU GTE cartridge, using a Ampex 351-2 as I remember. A few years later the school wanted some more LP's made so they sent the master tape, and we made more LP discs. This time I dubbed one of the new discs, with a TD 125 MK II and a Ortofon Sl 15 MK II using a Ampex 300-2. I also dubbed the master tape using Ampex Grand Master tape. Well you know what happened to that copy. The oxide lubricant failed and you couldn't pull the copy through the guides or across the heads. Well when we got out of the on site remote recording business in the early 8o's I was given a copy of the disc which I put away for safe keeping, but not before dubbing with a Stanton 981 Hzl. This time on Maxell UD. Still using the 300-2.
Well I still have the album. And I listened to it a month or so ago, with a Dynavector 20X2 HO and my Mcintosh MP 100 pre-amp and said to my self I don't remember it sounding that great. I mean what do expect from a recording made on an old Ampex 351-2 using 631 tape with a MX 35 tube mixer and 3 Neumann U-67. A very mellow recording.
Well it was nothing but mellow, the Highs and percussion were nicely balanced and the bass was deep with just a nice blend of warmth. The center channel mix was to strong, but thats the way my boss mixed things for our customers.
So I was digging through my CD dubs of various recordings of wind band and guess what appeared , CD's of Claude T Smith with the TEXAS TECH Wind Symphonic band. First let me mention on side 3 the inner groves are hard to track. Sure enough the Ortofon dubs were to warm and the left channel really broke up with the inner grove distortion. The Copy dubbed with the Stanton was almost perfect except with hint of break-up here there. The mid bass was more in balance, the highs were sweet with just being a bit forward from 1000, to 4000 hz putting a little glare on the brass and hardening the sound the reeds. But the accent made for a more life like experience. Then I cleaned the disc again with my 17 VPI machine and loaded it back on old TD 125 with the Rabco SL 8E that I had used with the 981and SL 15 MK II, but this time with the Dynavector. Oh my what a difference. The forwardness was gone and the top octave was more revealing. The bass below 50 hz that was missing with the previous cartridges was there, too. There was only two brief little clicks where mistracking had taken place before. Wow what a revelation. The ambience of the room came forward without the glare. The reeds had definition I had never hear before The snare drum almost sounded right, but was to distant.
The first dub wwas made with a C-28, there rest with a C-29 feeding either a 300-2 or 351-2 using identical electronics, then the tapes being dubbed to a Professional CD recorder. , the listening experience today was with the CD's being played on a MVP 891 using the balanced output feeding a MX 151. The LP's were played with the Dynavector feed ing the MP 100 phono pre-preamp feed ing the Mx 151 via a Coaxial input. I realize that the analog copy could account for deterioration of the highs. But the bass and the forward midrange, nope that was the Stanton, and the muddiness of the mid bass and warmth, with recessed lower highs were all characteristics of the Ortofon. The tracking issues were partly do to the Sme arm versus the linear arm with the stanton and Dynavector. Its a shame the copy from the master tape failed. But who knew at the time it was going to be an issue or I would have used Maxell UD as I did on most of my dubs. We were an Ampex professional dealer and the owner insisted we use Ampex tape for the master used in making Century LP albums. Tapes I made as boot legs or as tape masters for cassette or R2R 1/4 trk copies in house were always Maxell UD.
Any way I'm so glad I kept all the dubs of the original LP . I am making another dub with the dynavector directly to CD as we converse. The original first Dub is in the trash and I may or may not keep the Sl 15MK II Dub. When I made the Stanton dub I chose the Stanton over a V-15 V as I thought it rendered the recording in a better way. I could have as easily used a the V-15, but chose the Stanton. On side note, the LP was floated when dubbed by the Ortofons and Stanton, to reduce surface noise and afford better tracking. The Dynavector sails through the performances with out any sign of stress or strain, excepting those two minor brief break ups with the disc being dry.
So if you are fortunate and have a disc collection and want the best sound, use a linear tracking tone arm, and a cartridge with a more advanced stylus profile. Clean your records thoroughly. You'll be way ahead. If you chose a Dynavector I hope you enjoy as much as I do. And don't be satisfied with electronics from the past, you'll find more info hidden in those lovely grooves if you use todays more advanced top of the line electronics. .I guess you could use tube components and be very happy, but in this case the lean MP100 mated with the slight warmth of the Dynavector made for my ultimate listening experience.
Back in 1968 while working at a Radio Station and helping a local sound company make remote recordings I came across a demo disc featuring the Texas Tech Wind Symphony band playing Claude T Smith Symphonic Wind Band pieces. I had played a few my self so was anxious to get a copy of the disc. So the boss said why not as long as I kept it to myself.
Well I dubbed it with a TD 121 with SME arm and Ortofon SPU GTE cartridge, using a Ampex 351-2 as I remember. A few years later the school wanted some more LP's made so they sent the master tape, and we made more LP discs. This time I dubbed one of the new discs, with a TD 125 MK II and a Ortofon Sl 15 MK II using a Ampex 300-2. I also dubbed the master tape using Ampex Grand Master tape. Well you know what happened to that copy. The oxide lubricant failed and you couldn't pull the copy through the guides or across the heads. Well when we got out of the on site remote recording business in the early 8o's I was given a copy of the disc which I put away for safe keeping, but not before dubbing with a Stanton 981 Hzl. This time on Maxell UD. Still using the 300-2.
Well I still have the album. And I listened to it a month or so ago, with a Dynavector 20X2 HO and my Mcintosh MP 100 pre-amp and said to my self I don't remember it sounding that great. I mean what do expect from a recording made on an old Ampex 351-2 using 631 tape with a MX 35 tube mixer and 3 Neumann U-67. A very mellow recording.
Well it was nothing but mellow, the Highs and percussion were nicely balanced and the bass was deep with just a nice blend of warmth. The center channel mix was to strong, but thats the way my boss mixed things for our customers.
So I was digging through my CD dubs of various recordings of wind band and guess what appeared , CD's of Claude T Smith with the TEXAS TECH Wind Symphonic band. First let me mention on side 3 the inner groves are hard to track. Sure enough the Ortofon dubs were to warm and the left channel really broke up with the inner grove distortion. The Copy dubbed with the Stanton was almost perfect except with hint of break-up here there. The mid bass was more in balance, the highs were sweet with just being a bit forward from 1000, to 4000 hz putting a little glare on the brass and hardening the sound the reeds. But the accent made for a more life like experience. Then I cleaned the disc again with my 17 VPI machine and loaded it back on old TD 125 with the Rabco SL 8E that I had used with the 981and SL 15 MK II, but this time with the Dynavector. Oh my what a difference. The forwardness was gone and the top octave was more revealing. The bass below 50 hz that was missing with the previous cartridges was there, too. There was only two brief little clicks where mistracking had taken place before. Wow what a revelation. The ambience of the room came forward without the glare. The reeds had definition I had never hear before The snare drum almost sounded right, but was to distant.
The first dub wwas made with a C-28, there rest with a C-29 feeding either a 300-2 or 351-2 using identical electronics, then the tapes being dubbed to a Professional CD recorder. , the listening experience today was with the CD's being played on a MVP 891 using the balanced output feeding a MX 151. The LP's were played with the Dynavector feed ing the MP 100 phono pre-preamp feed ing the Mx 151 via a Coaxial input. I realize that the analog copy could account for deterioration of the highs. But the bass and the forward midrange, nope that was the Stanton, and the muddiness of the mid bass and warmth, with recessed lower highs were all characteristics of the Ortofon. The tracking issues were partly do to the Sme arm versus the linear arm with the stanton and Dynavector. Its a shame the copy from the master tape failed. But who knew at the time it was going to be an issue or I would have used Maxell UD as I did on most of my dubs. We were an Ampex professional dealer and the owner insisted we use Ampex tape for the master used in making Century LP albums. Tapes I made as boot legs or as tape masters for cassette or R2R 1/4 trk copies in house were always Maxell UD.
Any way I'm so glad I kept all the dubs of the original LP . I am making another dub with the dynavector directly to CD as we converse. The original first Dub is in the trash and I may or may not keep the Sl 15MK II Dub. When I made the Stanton dub I chose the Stanton over a V-15 V as I thought it rendered the recording in a better way. I could have as easily used a the V-15, but chose the Stanton. On side note, the LP was floated when dubbed by the Ortofons and Stanton, to reduce surface noise and afford better tracking. The Dynavector sails through the performances with out any sign of stress or strain, excepting those two minor brief break ups with the disc being dry.
So if you are fortunate and have a disc collection and want the best sound, use a linear tracking tone arm, and a cartridge with a more advanced stylus profile. Clean your records thoroughly. You'll be way ahead. If you chose a Dynavector I hope you enjoy as much as I do. And don't be satisfied with electronics from the past, you'll find more info hidden in those lovely grooves if you use todays more advanced top of the line electronics. .I guess you could use tube components and be very happy, but in this case the lean MP100 mated with the slight warmth of the Dynavector made for my ultimate listening experience.
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