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|Before I grab this, does anyone know if the cass master was dolby decoded?
|all of these were transferred without dolby decoding.
No the decode was not used and it was an encoded tape... Chris can talk more about the process of managing it.
|does anyone know if a soundboard recording exists of this show??
|I'm listening to Scarlet right now, through headphones. Nice work, gentlemen.
|Haven't heard this one in years. Can't wait.
I wonder (and hope) this is the aud source where you can hear a guy scream "yeah! Jack and Jill!" during Ramble On Rose.
Thank you for this.
|Bah! That was on 3/9/81. I lose.
|if i remember correctly that sound was weir's amp blowing up and him kicking the crap out of it.
|"No the decode was not used and it was an encoded tape."
Um - why?
|>"No the decode was not used and it was an encoded tape."
>Um - why?
because dolby B decoding using the onboard unit on a consumer tape deck is lossy. that is, the decoding process is removing the hiss and also musical frequencies. in order to get accurate decoding you need to use a proaudio encoder/decoder and also to calibrate your deck and to be honest, there is very little noise reduction going on when your peak levels are only varying between -20 and 0 dB, as is the case on an audience recording. much better sounding results can be achieved using post-transfer digital techniques, not just an on or off switch for a low pass filter invented before there were pc's, or even man had stepped foot on the moon.
We had a really long back and forth on the MOTB forums amongst the members... There were people on both sides of the to decode or not to decode argument. It got hot and everyone had great points. I think we got to 100% consensus. I really don't want to re hash it out here ;-)
... After talking to people at Dolby, Mastering Professionals, Deck manufacturers and technicians and using our collective ears we came to the realization that:
Transferring without Dolby decode on cassettes with no calibration was the way to go. We manage the Dolby effect in mastering.
We all agreed that the Dolby less transfers suffer from being brittle but they will always be able to be processed post transfer. If we transferred with it on we couldn't un do it... So the archival aspect of the process was to archive the raw files as they exist on the tape.. A real picture of the master.
Now since we are mastering these and then releasing them we have the opportunity to do the 'Dolby' process in SW and we think the end results speak for themselves. Having the raw files with the encode will give us the chance to come back to them when the plug ins get even better and we have the trough Dolby decode in SW... We think we are just about there in what we have blue printed..
This is just our policy we advocate it... If you are going to forgo the mastering there would be a different thought from the team on that. ;-) As well the reels we receive that are calibrated with Dolby are being decoded with Dolby 360 series gear
I would invite you to join the forums and help us make these types of decisions in the future. So PM me after you join and I will help you find the discussions I have referenced..
All the best
One of the 'biggest' sounding auds I have ever heard. Thanks so much for this treat!
|scarlet (d2t02) from from 10:30 when jerry kicks in the autofilter/wah and starts layin' down the fat chops til the end of the track gives me a little head rush every ;) time :) i :) play :) it :)
|Charlie, stop being a little bitch and shut the hell up if you dont like it. I dont care how much you post, I cant stand listening to little bitches whine about a post.
|Nicely put, Adam