what are you listening to?

J!m said:
I'd be curious of a repeat with the same stylus across the board, to remove that variable. Perhaps a spherical across the board? I'm wondering if the stylus to groove relationship is causing/altering dynamics...
Click to expand...
The only difference I can imagine would be less HF definition on the 45 and LP, but since I recorded the outer edge of the LP, the linear velocity of the groove would make the difference in stylus points moot. Even the 45 may not show much difference since that also has a higher linear velocity.

I guess the real test of this was groove modulation- the shellac had lots more room on the disc face for a small playing time (compared to the other two) and the lacquer cutter made the best use of it.

My decision to use stylus 10 over D25M (1 mil spherical) was a last- minute snap. Can’t use anything else for the fat groove on the shellac…
 
MarkWComer said:
The only difference I can imagine would be less HF definition on the 45 and LP, but since I recorded the outer edge of the LP, the linear velocity of the groove would make the difference in stylus points moot. Even the 45 may not show much difference since that also has a higher linear velocity.

I guess the real test of this was groove modulation- the shellac had lots more room on the disc face for a small playing time (compared to the other two) and the lacquer cutter made the best use of it.

My decision to use stylus 10 over D25M (1 mil spherical) was a last- minute snap. Can’t use anything else for the fat groove on the shellac…
Click to expand...
All your 78 copies well predated equalization techniques employed on 33 and 45 samples you played...
 
2019 recording. I've been buying up some Carolyn Wonderland & she plays on this. Sounds nice. Even with a warp dangit. And even though John is around 20 years older than me!
DSC_0008 (8) (Medium).JPGDSC_0008 (8) (Medium).JPG
 
A bunch of different cuts from the hard drive while setting up the Audio/Midi, Tascam mixer panel, and Sound preferences on my work Macbook which has an older OS on it so I can use the Tascam with it. About got it set up - it wasn't as transparent as the iMac so it's all sounding good again.
 
while working on my speakers...i turned up the den system...so i could enjoy outside...preamp set at 11 oclock....after 2 and 1/2 hours...i went inside only to find my speakers had rearranged themselves...those woofers are extremely heavy ..
with the tweeter and mids on top...self arranging furniture...what a concept...lol
 
Gepetto said:
All your 78 copies well predated equalization techniques employed on 33 and 45 samples you played...
Click to expand...
If anything, RIAA didn't boost the bass enough, so the LF would show an even greater modulation.

Audacity 1.3.7 (left) on my ancient MacBook Pro has a greater number of preset curves, version 3 (right) for Win/Mac only has RIAA:

Curves.jpgAud3.jpg

Victor 1947:

RCA1947.jpg

RIAA:

RIAA.jpg

Notice- these are playback curves, not the de-emphasis curves used during the disc mastering. So yes, the shellac record from 1948 should have 6db more bass, resulting in an even wider waveform. The test is flawed, I admit, but normal listening playback really isn't so horribly wrong.
 
Miles Davis Blue Note - BN 1502 Volume 2 - Japan w/OBI
Originally released in 1956
and
Gene Ammons – Sock
Prestige PRST 7400 (Original 1965)

Gene Ammons is so incredible, and the engineering on most of his albums is first class.
Sound stage, separation are always superb, this one is no exception.
Miles Davis speaks for itself! Amazing!
Gene Ammons Sock II.jpgGene Ammons Sock.jpgMiles Davis BN 1502 V2 w OBI.jpg
 
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