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On 2020-02-11 3:51 p.m., Bob Shumaker via ProAudio wrote:<br>
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<blockquote style="border-left: 2px solid blue; padding-left:
3px;">II. As for Bob O's comment against the practice of
doing elevated dolby level, I agree there was a standard for
185, but as people started to use elevated levels as high as
6 dB over 185, I was seriously concerned about running out
of headroom in the Dolby gear if standard dolby level was
used, and so as a practice, I see less harm in using an
elevated dolby level than to overload the Dolby processor
with too hot audio. I always recorded dolby tone as well as
1 kHz @ VU. The Dolby 361 meters, as Richard mentioned,
were notoriously inaccurate, I would put a sharpie mark on
the real dolby level on the meter, for what it was worth.
There was a Dolby tester that could be used for accuracy of
the dolby tone or I believe a test point that could be
checked. </blockquote>
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<div> <font size="3">I agree with Bob K's concept for elevated
record levels. How does the Dolby unit know what the flux
level is. The situation was even worse for how SR was
supposed to be setup. Not many consoles would have had the
head room needed and the meters would have been pinned much
of the time.</font><br>
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And then, of course, there is the issue with trying to reproduce dbx
encoded tapes! if they have peaks on the tape 10 dB above lineup
tone, then the output of the dbx decoder gives you a peak 20 dB
above lineup tone. That certainly requires judicious adjustment of
the system gain staging.<br>
<br>
Richard<br>
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--
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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