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waltzingbear

Platinum Blonde

Posts: 1,238 Member Since:16/07/2012

#61 [url]

Jul 25 15 11:46 PM

Nah, you don't need that, too much extra stuff, besides you really don't have any room left anyway. Since Adam is getting his computer you might as well send it out here. lots of room for such things in Oregon.

:-)

Cheers
Alan

Alan Garren
Waltzing Bear Audio

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gold

Platinum Blonde

Posts: 1,505 Member Since:27/01/2011

#62 [url]

Jul 25 15 11:54 PM

I'd say between 40 and 45 y.o. That Neumann case style was introduced in 1970. It can't be older than that. I'm not sure when the M15A came out. I think 1974 or so. One of the reasons it may have seen little use is that it only does 7.5ips and 15ips. Changing isn't really possible unlike the M15A which can be. That was when 30ips was becoming more common for masters. It was setup for remote start from the lathe. All the control functions were interupted for the automated start. No one could even shuttle tape with it until all those connections were restored. I think it spent most of its life in storage.

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gold

Platinum Blonde

Posts: 1,505 Member Since:27/01/2011

#64 [url]

Jul 27 15 4:24 PM

I called Bob Shuster yesterday to discuss modifying it for less gain in replay. By coincedence he was going to be in Brooklyn today. He stopped by and we went over the schematic. We tried a couple of different things and settled on what we thought was the best solution. The excess gain turned out to be on the line out card. There were a pair of 10k series resistors at the input to the card. We changed them to 50k and that brought the range of adjustment right in line with the variety of tapes I see. I've just had a chance to briefly check out an elevated level tape i know well. This machine sounds fantastic. The topend is really smooth. Smoother than the Studer 1/4".

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gold

Platinum Blonde

Posts: 1,505 Member Since:27/01/2011

#65 [url]

May 31 16 4:20 PM

A client of mine made this video about the analog vinyl mastering of his album. It's done more as an instructional video about the process than as a band promotion so I thought it appropriate to post.

[url]

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gold

Platinum Blonde

Posts: 1,505 Member Since:27/01/2011

#66 [url]

May 31 16 4:22 PM

Hmm, I guess I've never linked to a youtube video. I guess cut and paste doesn't work. I tred putting it in the URL pop up and that didn't work either.

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maarvold

Aqua Marine

Posts: 3,093 Member Since:23/01/2011

#70 [url]

Jun 1 16 11:59 AM

dcollins wrote:
It works and was great to watch!

 
I second that.  Interesting point about 'industry standard' being that a digital stage is routinely being inserted into the chain (but not necessary in Paul's type of setup).  

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gold

Platinum Blonde

Posts: 1,505 Member Since:27/01/2011

#72 [url]

Aug 11 16 10:59 AM

Hi Andrew,

I would love to check out your setup one day. I've never seen an LS76 in person. I'm glad you like the EE. I use mine every day. No sweat on swapping opamps. I wouldn't even mind if you ditched the home brew face plate. You picked a hard road with the Scully/Ortofon setup. There is much less suport available as you have noted. It takes a lot of perseverance to see it through. It's nice to know some of that history.
 

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chance

Aqua Marine

Posts: 2,662 Member Since:30/01/2011

#73 [url]

Oct 9 16 7:36 PM

Just curious after you do your work on the lathe, where is a reliable stamping facility that can make real replicas "using the metal plating process? I have had some vinyl made from digi files, but their work is not consistent from copy to copy

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gold

Platinum Blonde

Posts: 1,505 Member Since:27/01/2011

#74 [url]

Oct 10 16 11:52 AM

chance wrote:
Just curious after you do your work on the lathe, where is a reliable stamping facility that can make real replicas "using the metal plating process? I have had some vinyl made from digi files, but their work is not consistent from copy to copy

If you are seeing variations from copy to copy it is the pressing not the plating. A defect that is in the same place every time would likely be the metalwork.

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AHM

Tin Man

Posts: 29 Member Since:10/08/2016

#75 [url]

May 9 17 2:58 AM

{re-posted,  following recent vendor's license and forum avatar rebranding...}


Hi FALMFT List 2016,

I recently consolidated my two studio businesses (Serif Sound and Dingbat Lacquer Sound Disk) into one:  AHM - for Andrew Hamilton Mastering, located in Cincinnati, Ohio.    The old email addresses and websites, now, redirect.

For stero groove cutting, I'm using L. J. Scully LS-76 #656 (originally used at Criteria).  For all-analog mastering, I use an MCI JH-110/M advance-repro tape deck.  The cutting head and amps are by Ortofon.   The amp cards have recently been calibrated at etec, in Copenhagen, by former Fonofilm Industri / Ortofon technical engineer, Torben Rønne, who made and / or checked each of these cards, originally, in 1978.  

I've cut sides, here, that have been approved by Bootsy Collins, Rob Fetters, QCA, and GGR, among many others. 

Here's a 45 rpm / 10" master, being cut (on a 12" Transco) at AHM, from a 1/2"/ 30 ips, open reel tape:  
image

(The stepped attenuator sitting upright towards the front of the lathe's card cage is a Tech Labs 600-Ohm T-pad - a gift from DC, many years ago.   It's being used as an offset attenuator for the Variable Depth audio signals.    The attenuator behind it is a Shallco 2k5-Ohm T-pad, being used as an offset attenuator for the Variable Pitch audio signals.)


The LS-76 turntable has a rumble-free, seamless Mylar* belt drive, using a crystal-locked capstan motor, by Torque Systems.   THE LATHE (as the LS-76 is also known) can cut at 16+2/3, 22+1/2, 33+1/3, or 45 rpm, but can't do "78." 

The LS-76 pitch and depth automation is largely based on the last disk computer by Capps.    It stores 25 peak measurements per turntable revolution and acts on the stored values up to 5 times per turntable revolution, wherever expansions are required.   Otherwise, it nestles grooves, even letting compatible wiggles "spoon."   

If the production master tape already sounds good, I usually only apply gramophone pickup-compatability eq, using one of Paul Gold's 4-channel elliptical equalizers, a couple of Dangerous Music Bax eq's, and an Ortofon STL-732 (stereo treble limiter), using the cutting amps' drive-coil-sensing control signals for the side chain inputs.

For tonal balance and aesthetic processing with parametric eq, tube compression, or custom de-essing, I go down the hall, to the LEDE, Golden Rectangle dubbing room, with 13.5-foot ceilings.   I either master high density .wav files or go to a 1/2" EQ master tape on the ATR-102.  

I have a second LS-76, which I acquired from Switzerland-based lathe guru, Flo.   It was originally used by Eva-Tone for mastering Soundsheets.   I use #660 for QCing 14" nickel stamper "mothers," on the 16" lathe platter, using an expendable, but decent-sounding, DJ cart by Shure.  


servus,
     Andrew


http://www.andrewhamiltonmastering.com




* seamless Mylar belts are ultrasonically welded at BPB

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