JV on tape!
- Thread starter Bruce B
- Start date
Interesting on several layers. First, no mention of Magico and ARC. Second, his comments on the SQ of Sgt. Pepper vinyl are out to lunch compared to my experience and I have to wonder what versions he has listened to. Bottom line, I'm glad he is gaga over the sound of tape. The more people hear it and love it, hopefully more players will jump in with software.
Mark,
It seems JV had heard various tapes and had done the tape machine review before. But the impact wasn't there. What had pushed him over this time was the tapes from Puget Sound Studios. Bruce's work is getting mainstream exposure for certain!
It seems JV had heard various tapes and had done the tape machine review before. But the impact wasn't there. What had pushed him over this time was the tapes from Puget Sound Studios. Bruce's work is getting mainstream exposure for certain!
Really? Not to take anything away from Bruce's work, but JV pretty specifically states it was the better deck which made the difference to him.
I think I posted a few months ago in the RAMF topic about JV telling Nick Doshi that LP playback sounded more realistic to him than tape. My respect for JV continues to fall (and it didn't start out very high).
LP playback didn't sound more realistic than tape at RMAF 2012 in Nick Doshi's room. Or at least I didn't think so. And saying that, I thought LP playback sounded damn good in Nick's room.
I have the latest UHA deck under review. My review will affirm JV's prelim report. It's another level of performance in the world of audio. We replayed Sgt.Pepper last night and heard things in the mix never before experienced. It's not that there is another level of detail, it's that there is another level of information, instruments you've never heard before (on vinyl/digital) pop out at you and take your breath away, why? Because you've never heard them before. Ever. You have to experience it for yourself.
Mep,
I'll video a couple examples and point to the position in the stage where you hear, say a tom-tom, or ambient splice. It's frankly startling, and it comes across as so natural, like you think wow, I've never heard that, ever before, it sounds so naturally "right."
I'll video a couple examples and point to the position in the stage where you hear, say a tom-tom, or ambient splice. It's frankly startling, and it comes across as so natural, like you think wow, I've never heard that, ever before, it sounds so naturally "right."
People are referring to the Sgt. Pepper’s Lonely Hearts Club Band master tape as if was something banal. Can someone (perhaps Bruce 
) enlighten us about the details of this master tape? Has it been used for any edition of the Sgt. Pepper's recording?
) enlighten us about the details of this master tape? Has it been used for any edition of the Sgt. Pepper's recording?People are referring to the Sgt. Pepper’s Lonely Hearts Club Band master tape as if was something banal. Can someone (perhaps Bruce
I was kind of wondering the same thing with regards to the provenance of the tape. My guess is that it is a Capitol tape, but of course I could be wrong. I don't know how often EMI Parlaphone let their master tapes of Beatles' albums go outside of the EU. I wonder if the tapes that Capitol had came from safety copies made from the master tapes in Britain.
MFSL had some really cool pics of what where supposed to be the master tapes in their MFSL Beatles collection box set.
You can bet the master tapes of groups like The Beatles and Pink Floyd are let out once in a blue moon. In fact, when talking to several people at CES this year, it's getting increasingly difficult for those doing remasters to get the original 3 track master tape. And as Allen Sides told me, and who's to disagree with him, the two tracks pale in comparison to the original three track tapes.
When I get these tapes, I get one chance to to make a decent copy and usually can only have the tapes for 48-72hr. I could easily capture these in digital and master them in the digital domain, but instead, I listen to them and when I make the dub, they go through an analog console where I can tailor the sound to the way I like it. These copies usually end up at shows where vendors such as Greg and Jonathan use the best source possible to showcase their equipment. This means when UMG, Concord or wherever, what goes on the dubs is sometimes far from what you will hear on production LP's or CD's, which most have been crushed to death. These tapes don't have to be loud to match other cuts because they know how to use a volume knob!
It's the tape Peter. You don't need to have this UHA deck to hear it. You need the tape and a good playback deck. Any techincs 1500 with a head wired out to an external pre will reveal that information that is seemingly lost on all the LP's and CD's made of said music in the past. Ever hear LZ2 on master tape ? The end of Whole lotta Love, there is faint drumming at the end in the right channel that I don't ever remember hearing on the LP or CD. It is clear as day on the RTR.
I am curious what exactly they do to the internal playback(repro) electronics of the UHA...though. If it's top notch and comparable to a top end external pre set up, I'm interested in one of these decks save for the Celtic bling they put on their decks....
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