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Messages - U47

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61
sonics are all relative. I remember when my mentor had three decks set up- Ampex MR-70, reworked ReVox A-700 and a Nagra IV-S. The pecking order was very clear on playback- 1 MR-70 was by far the best, Nagra second and Revox a distant 3rd. I later purchased a Nagra T audio and Charlie was with me when we first played it. It was so beautiful to look at and the tape handling was spectacular. We would have cut off our left testicle to possess one of these decks, until we listened to one. Sonics were dreadful- worse than a Revox B-77. The IV-S was much nicer sounding. All one has to do is look at the schematics of these decks. The later Studer decks had great transports but left us flat. I actually prefer the B-77 or PR-99 Mark I to any of the later Studer 800 series. Way too many chips and crap in the circuit. Generally, the simpler the circuit, the better the sonics. Scully 280(germanium transistor) or Stellavox for solid scrape floats my boat. Just my 2 cents and YMMV.

the IV-S sure is a tasty bit of engineering and very sturdy and reliable to boot.

Rich Brown
Acoustic Arts
Portland Oregon

62
Reel to Reel Tape Machines / Technics 1500 decks/ tape scene in Japan
« on: April 06, 2007, 03:45:07 PM »
I'm in Japan visiting and was speaking with a former Teac/Tascam designer about the reel scene here a few days ago. He said that Technics 1500 series come up on YahooAuctions and sometimes go as low as $100. In contrast, RS-1800s can bring $4500. Seems pretty silly, considering that they will likely sound the same or very similar. Nagras and Stellavox decks bring considerably more money here than in the west.

Rich Brown
Acoustic Arts
Portland, Oregon

63
Suggestion Box / Re: Stravinsky Firebird, Rachmaninov Symphony #2
« on: April 04, 2007, 03:14:47 AM »
Two TOP recommendations on these titles. Previn was a master of this symphony and EMI did a fine job on the recording. I heard him perform it with the BSO at Tanglewood and it was one of the best concerts in memory. Firebird with Dorati is also tops. Great cover art as well. I rate it in the top 10 of all Mercury recordings.

64
Tape Tech / wild servo on technics 1500
« on: March 26, 2007, 05:37:52 PM »
Went to use my Technics 1500 yesterday and it refused to lock on speed. It apprears to be 'whining', as if the servo has gone berserk. I never noticed any strange noises like this before. I've owned about 7 of these decks over the last 15 years and this is the first instance of a servo issue I've experienced. Any ideas about where to start on this?

Rich Brown
Acoustic Arts
Portland, Oregon

65
Suggestion Box / Re: Stravinsky Pulcinella/ Outstanding Argo
« on: March 26, 2007, 05:24:22 PM »
This is one of the best Argo recordings I've heard. I have it on tape and it is sweet with a huge soundstage. The Academy of SMITF play both pieces beautifully. The LP is no slouch either.

66
I used to have hundreds of dolby a and dolby b tapes. Now, I'm down to about 6 reels total in either dolby format. I have used in the past the following: Advent 100 and 100a, Dolby Labs 334, Teac an-180 and Nakamichi NR-200B-c as well as Charlie's Dolby Labs A-301 beast. I really liked the A-301,as it was amazing for Dolby A tapes and pretty damn fine for the B tapes as well.The Dolby Labs A-360/361 pro units did not come close to the sound of the old A-301, which was the original Dolby Labs processor from 1966. Decca started using it in 1966 or 1967.  I now have a stock Advent 100, which is all discrete. I think the 100A went to ICs. I find the stock 100 to be on the warm side and the Teacs to be a bit brighter sounding.

It would be interesting to hear one of the Advents in stock versus modified forms.

Rich Brown
Acoustic Arts
Portland, Oregon

67
Prerecorded Tapes / Re: Tape Life-
« on: March 02, 2007, 12:04:28 AM »
I have found that the 50s tapes, especially scotch 121-24 and 111 have held up remarkably well, if stored under normal conditions. Most of the two track factory pre-recorded tapes(1955-59) that I have auditioned sound pretty fine and the best are scary good. I have a couple of titles that I have duplicates and triplicates of and would be willing to set up a lending tape circle. If anyone wants to try this, I could send a couple out and only request that you send it to the next party interested. All this pending Doc's approval. I have duplicates of Soundcraft: Coleman Hawkins: "Sweet sounds of jazz in stereo" , recorded in 1958, and Stravinsky: Histoire du Soldat on westminster/sonotape. This was recorded in Carnegie Hall in 1956 and has many NYC all star classical players conducted by Mandel. Both tapes are two track for inline heads with NAB eq at 7 1/2 ips.

Rich Brown
Acoustic Arts
Portland, Oregon

68
Thanks Doc.

Rich Brown
Acoustic Arts
Portland, Oregon

69
Tape Tech / Re: noisy mechanicals on fast wind on technics 1500 decks
« on: February 18, 2007, 09:33:50 PM »
Hi Doc B.
I held the roller with my hand while it was on fast wind and the cat like whining ceased. I am going to take the back off and try taking the belt off. Thanks for the advice.

Rich Brown
Acoustic Arts
Portland, Oregon

70
Tape Tech / noisy mechanicals on fast wind on technics 1500 decks
« on: February 18, 2007, 05:09:49 PM »
I use two 1500s, one with Progressive Engineering tube tape preamp. One has a nasty whining sound on fast wind. I've sourced the noise to the large roller between the record and play heads. It appears to need a special spanner wrench to get to the bearing for lubrication/inspection. Wonder if any forum members have had problems with this roller. I only hear the noise on fast wind, not on play.

Rich Brown
Acoustic Arts
Portland, Oregon

71
The Studer C-37 is one incredibly well built Swiss machine. Many great European recordings were made with both the C and J(multitrack) versions. However in stock form they are not much better for playback than a stock G-36, which is fairly mediocre. Both the C-37 and G-36 decks were fine recorders but not anywhere near the same quality on playback. MR-70 is wonderful for play and record and is considerably more advanced than the earlier Studer tube decks. Many consider the MR-70 the pinnace of analog recorders. The MR-70 was priced about twice the amount as the AG-350 pro recorders. MR stood for master recorder and AG designated Audio General.

72
Have you considered releasing some recordings from these labels. Contemporary recordings especially seem to be outstanding from the late 50s/early 60s. Some of the Columbia, Riverside and Contemporary two track factory pre-recorded tapes from this area are outstanding and can compete favourably with the best of the LP issues(Kind of Blue, Art Pepper meets the Rhythm Section, etc.). I'm sure you can better the already great two tracks with your equipment and care in execution.

Rich Brown
Acoustic Arts

73
General Discussion / Reviews of your tapes and press coverage at CES.
« on: January 23, 2007, 05:10:26 PM »
Are there any reviews of your harware/software forthcoming in the high end audio press? I've been pushing for an article on open reel tapes and the history of magnetic tape recording for years. Absolute Sound, Stereophile and HIFI+ don't seem interested. Now would be a great time for some exposure.

Rich Brown
Acoustic Arts

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