From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #4624 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Friday, July 24 2020 Volume 14 : Number 4624 Today's Subjects: ----------------- Coated in 24K gold, New GOLD $1000 Bill! ["Trump Bill" Subject: Coated in 24K gold, New GOLD $1000 Bill! Coated in 24K gold, New GOLD $1000 Bill! http://wonders.guru/-B2DZXxna2__LETvJSvZP4wXHyV-LdjNA4z-x-N91fViUA http://wonders.guru/9MA9XT5dm4xQ9n8l2QPJGUFS11Wx4REhNZzbDsuNKhaNoA Thin, closely spaced spiral grooves that allow for increased playing time on a ?33 1?3 rpm microgroove LP lead to a tinny pre-echo warning of upcoming loud sounds. The cutting stylus unavoidably transfers some of the subsequent groove wall's impulse signal into the previous groove wall. It is discernible by some listeners throughout certain recordings, but a quiet passage followed by a loud sound will allow anyone to hear a faint pre-echo of the loud sound occurring 1.8 seconds ahead of time. This problem can also appear as "post"-echo, with a tinny ghost of the sound arriving 1.8 seconds after its main impulse. Factory problems involving incomplete flow of hot vinyl within the stamper can fail to accurately recreate a small section of one side of the groove, a problem called non-fill. It usually appears on the first item on a side if present at all. Non-fill makes itself known as a tearing, grating or ripping sound. A static electric charge can build up on the surface of the spinning record and discharge into the stylus, making a loud "pop". In very dry climates, this can happen several times per minute. Subsequent plays of the same record do not have pops in the same places in the music as the static buildup isn't tied to variations in the groove. An off-center stamping will apply a slow 0.56 Hz modulation to the playback, affecting pitch due to the modulating speed that the groove runs under the stylus. The effect becomes gradually more acute during playback as the stylus moves closer to the center of the record. It also affects tonality because the stylus is pressed alternately against one groove wall and then the other, making the frequency response change in each channel. This problem is often called "wow", though turntable and motor problems can also cause pitch-only "wow". Tracking force of the stylus is not always the same from beginning to end of the groove. Stereo balance can shift as the recording progresses. Outside electrical interference may be amplified by the magnetic cartridge. Common household wallplate SCR dimmers sharing AC lines may put noise into the playback, as can poorly shielded electronics and strong radio transmitters. Loud sounds in the environment may be transmitted mechanically from the turntable's sympathetic vibration into the stylus. Heavy footfalls can bounce the needle out of the groove. Because of a slight slope in the lead-in groove, it is possible for the stylus to skip ahead several grooves when settling into position at the start of the recording. The LP is delicate. Any accidental fumbling with the stylus or dropping of the record onto a sharp corner can scratch the record permanently, creating a series of "ticks" and "pops" heard at each subsequent playback. Heavier accidents can cause the stylus to break through the groove wall as it plays, creating a permanent skip that will cause the stylus to either skip ahead to the next groove or skip back to the previous groove. A skip going to the previous groove is called a broken record; the same section of 1.8 seconds of LP (1.3 s of 45 rpm) music will repeat over and over until the stylus is lifted off the record. It is also possible to put a slight pressure on the headshell causing the stylus to stay in the desired groove, without having a playback break. This requires some skill, but is of great use when, for instance, digitizing a recording, as no information is skipped. ------------------------------ Date: Tue, 21 Jul 2020 04:24:02 -0400 From: "Combat Flight Simulator" Subject: Designed for ultra-realism and longevity Designed for ultra-realism and longevity http://smallshop.guru/WfKtT_PjW3riPqzhyLvyi9G5s0Oq59Me_UubQI0LIkqemaYC http://smallshop.guru/c0dfyKYuLqbPAFQtyNW27Wz64LfHPgtnLjRu1qFGyWev49gq A different format, Compatible Discrete 4 (CD-4; not to be confused with Compact Disc), was introduced by RCA. This system encoded the front-rear difference information on an ultrasonic carrier. The system required a compatible cartridge to capture it on carefully calibrated pickup arm/turntable combinations. CD-4 was less successful than matrix formats. (A further problem was that no cutting heads were available that could handle the high frequency information. This was remedied by cutting at half the speed. Later, the special half-speed cutting heads and equalization techniques were employed to get wider frequency response in stereo with reduced distortion and greater headroom.) Other enhancements Under the direction of recording engineer C. Robert Fine, Mercury Records initiated a minimalist single microphone monaural recording technique in 1951. The first record, a Chicago Symphony Orchestra performance of Pictures at an Exhibition, conducted by Rafael Kubelik, was described as "being in the living presence of the orchestra" by The New York Times music critic. The series of records was then named Mercury Living Presence. In 1955, Mercury began three-channel stereo recordings, still based on the principle of the single microphone. The center (single) microphone was of paramount importance, with the two side mics adding depth and space. Record masters were cut directly from a three-track to two-track mixdown console, with all editing of the master tapes done on the original three-tracks. In 1961, Mercury enhanced this technique with three-microphone stereo recordings using 35 mm magnetic film instead of ?1?2-inch tape for recording. The greater thickness and width of 35 mm magnetic film prevented tape layer print-through and pre-echo and gained extended frequency range and transient response. The Mercury Living Presence recordings were remastered to CD in the 1990s by the original producer, Wilma Cozart Fine, using the same method of three-to-two mix directly to the master recorder. Through the 1960s, 1970s, and 1980s, various methods to improve the dynamic range of mass-produced records involved highly advanced disc cutting equipment. These techniques, marketed, to name two, as the CBS DisComputer and Teldec Direct Metal Mastering, were used to reduce inner-groove distortion. RCA Victor introduced another system to reduce dynamic range and achieve a groove with less surface noise under the commercial name of Dynagroove. Two main elements were combined: another disk material with less surface noise in the groove and dynamic compression for masking background noise. Sometimes this was called "diaphragming" the source material and not favoured by some music lovers for its unnatural side effects. Both elements were reflected in the brandname of Dynagroove, described elsewhere in more detail. It also used the earlier advanced method of forward-looking control on groove spacing with respect to volume of sound and position on the disk. Lower recorded volume used closer spacing; higher recorded volume used wider spacing, especially with lower frequencies. Also, the higher track density at lower volumes enabled disk recordings to end farther away from the disk center than usual, helping to reduce endtrack distortion even further. ------------------------------ End of alt.music.moxy-fruvous digest V14 #4624 **********************************************