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Hi, Bob,<br>
<br>
Thanks for that. This raises an issue. The Dolby 361 manual scan
that I have (I don't recall it being from my printed copy) has three
sets of alignment instructions, starting on page 33.<br>
<a class="moz-txt-link-freetext" href="https://www.dropbox.com/s/kxsspum8jo63apy/Dolby_361.pdf?dl=0">https://www.dropbox.com/s/kxsspum8jo63apy/Dolby_361.pdf?dl=0</a><br>
<br>
I have yellow Dolby A stickers and I've seen the odd blue one, were
these meant to match the schemes in the manual? If so, I did it
wrong. For my choir/organ material at St. Thomas Church on Fifth
Avenue in NYC, I recorded at 185 nWb/m in 1975-1982 using mostly
Maxell UD-35 and NAB EQ. With the organ pedal such as it is, I
didn't want to push levels with NAB EQ. My 1982 recording was done
on Ampex 407. I was using two ReVox A77s at 15 in/s two-track (in
parallel). But Kevin Dauphinee gave me some yellow stickers and I
never knew the difference until perusing this scan a few years ago.<br>
<br>
However, even with using 185 nWb/m with UD-35 or 407 would have less
masking noise than 3M 111. I think that 3M 202 was lower noise than
3M 111, but then 3M 206 had the same noise floor as 3M 202, but
higher output levels.<br>
<br>
Cheers,<br>
<br>
Richard<br>
<br>
<div class="moz-cite-prefix">On 2020-02-09 2:51 p.m., Bob Olhsson
via ProAudio wrote:<br>
</div>
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<p class="MsoNormal">A problem was that Dolby A was designed for
185 nWb. record levels and assumed tape hiss would be present
to mask the artifacts. Elevated Dolby levels were a bad
sounding mistake. I asked someone from Dolby about this at an
AES show. He rolled his eyes and said “Yes, most Americans get
it wrong.” A huge proportion of British pop and classical
records during the late ‘60s and ‘70s used properly aligned
Dolby.</p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Bob Olhsson 615-562-4346</p>
<p class="MsoNormal"><o:p> </o:p></p>
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<p class="MsoNormal" style="border:none;padding:0in"><b>From:
</b><a href="mailto:proaudio@bach.pgm.com"
moz-do-not-send="true">Richard L. Hess via ProAudio</a><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.</p>
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<pre class="moz-signature" cols="72">--
Richard L. Hess email: <a class="moz-txt-link-abbreviated" href="mailto:richard@richardhess.com">richard@richardhess.com</a>
Aurora, Ontario, Canada <a class="moz-txt-link-freetext" href="http://www.richardhess.com/">http://www.richardhess.com/</a>
<a class="moz-txt-link-freetext" href="http://www.richardhess.com/tape/contact.htm">http://www.richardhess.com/tape/contact.htm</a>
Quality tape transfers -- even from hard-to-play tapes.</pre>
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