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<p><font face="Arial">Hi Richard,</font></p>
<p><font face="Arial">IIRC, it was Dolby B. Could have been "C"
because, at the time, I used whatever was built into the record
deck & was compatible with my car stereo so that I could
switch the NR off.</font></p>
<p><font face="Arial">Cheers!</font></p>
<p><font face="Arial">Corey</font><br>
</p>
<pre class="moz-signature" cols="72">Corey Bailey Audio Engineering
<a class="moz-txt-link-abbreviated" href="http://www.baileyzone.net">www.baileyzone.net</a></pre>
<div class="moz-cite-prefix">On 2/9/2020 11:23 AM, Richard L. Hess
wrote:<br>
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cite="mid:cf6afb7b-12c8-335c-620e-0d3caf039ba7@richardhess.com">
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Hi, Scott, Bob, and Corey,<br>
<br>
Thank you very much for your quick and interesting replies.<br>
<br>
Scott, One of the main sources of this is CD reissues, but I'm not
certain what other sources my colleague, John, is using. Yes, you
bring up a good point about who-knows-what. So, perhaps the
question could be extended to any folklore that was circulating in
the early days of CD about how to deal with those overly bright
master tapes that had the silly yellow sticker on them that they
didn't understand.<br>
<br>
Corey, for the cassettes, did you encode in Dolby A or Dolby B? <br>
<br>
Working with John on this has pointed out to me how much damage
Dolby A coding/decoding did to a recording. Back in the day, my
purist recording friend, Don Ososke from San Francisco never used
Dolby as he hated what it did to the music. I tried some dbx and
found it horrid, but I needed some NR on the choir recordings I
was doing, so I sprung for a pair of 361s and used them, but I'm
really glad we have that behind us now.<br>
<br>
The nice thing about John's software is that it reduces some of
the intermodulation that would other wise be an artifact of the NR
decoding process.<br>
<br>
Thanks again for all your thoughts.<br>
<br>
Cheers,<br>
<br>
Richard<br>
<br>
<div class="moz-cite-prefix">On 2020-02-09 2:09 p.m., Corey Bailey
Audio Engineering via ProAudio wrote:<br>
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<p><font face="Arial">Hi Richard,</font></p>
<p><font face="Arial">Of the mastering houses that I worked with
during the 1970's (& I worked with several), I never saw
or heard of a reference document regarding noise reduction.
Both Scott Dorsey & Bob Olhsson referred to using Dolby
A as an effect. Back in the day, I generally avoided noise
reduction when recording to multitrack tape. I could hear
the difference or, at least, I thought I could. That said, I
used to routinely encode travel cassettes & then play
them un-decoded in the car because the extra HF would help
cut through the road noise.</font></p>
<p><font face="Arial">Regards,</font></p>
<p><font face="Arial">Corey</font><br>
</p>
<pre class="moz-signature" cols="72">Corey Bailey Audio Engineering
<a class="moz-txt-link-abbreviated" href="http://www.baileyzone.net" moz-do-not-send="true">www.baileyzone.net</a></pre>
<br>
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<br>
<pre class="moz-signature" cols="72">--
Richard L. Hess email: <a class="moz-txt-link-abbreviated" href="mailto:richard@richardhess.com" moz-do-not-send="true">richard@richardhess.com</a>
Aurora, Ontario, Canada <a class="moz-txt-link-freetext" href="http://www.richardhess.com/" moz-do-not-send="true">http://www.richardhess.com/</a>
<a class="moz-txt-link-freetext" href="http://www.richardhess.com/tape/contact.htm" moz-do-not-send="true">http://www.richardhess.com/tape/contact.htm</a>
Quality tape transfers -- even from hard-to-play tapes.</pre>
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