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<p>How can you tell if it was tilt of the head or delay caused by
non-colinear head gaps that's causing the issue? <br>
</p>
<p><br>
</p>
<p>Bob</p>
<p><br>
</p>
<div class="moz-cite-prefix">On 2/11/20 1:00 PM, James Perrett via
ProAudio wrote:<br>
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<div dir="ltr">With regard to setting the azimuth by summing to
mono and adjusting for maximum hf - I've heard people say that
there could be a problem if the head gaps on each track are not
in line with each other. I've not experienced this myself as
I've found that setting the azimuth with a 15kHz tone using just
one channel matches the mono sum method well on the machines
that I use but I guess some manufacturers made their heads more
precisely than others. Have others experienced head gaps being
out of line with each other?</div>
<br>
<div class="gmail_quote">
<div dir="ltr" class="gmail_attr">On Tue, 11 Feb 2020 at 17:21,
Bob Katz via ProAudio <<a
href="mailto:proaudio@bach.pgm.com" moz-do-not-send="true">proaudio@bach.pgm.com</a>>
wrote:<br>
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0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">
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<p>Here are three responses to three different subjects that
have expanded from the original topic! <br>
</p>
<p>I. There are so many ways that test tones at the head of
a tape could be different from the audio on the tape. In
the old days in some studios I saw some visiting engineers
lay down test tones after the fact, on a different machine
than was used for the mixdown, as if that would help the
situation. <br>
</p>
<p>We transfer engineers have developed a spidey sense and
often check and recheck the content to ensure it has not
changed from cut to cut. On most machines, before making
the transfer for a new cut, you can put your finger on the
side of the tape to tilt it slightly, while listening in
mono to ensure the azimuth has not drifted, and then
transfer the new cut. <br>
</p>
<p>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. <br>
</p>
<p>III. Dear John: <br>
</p>
<p>So you set azimuth by looking at the bias. Are you
looking at two channels of bias? And how is this superior
to the tried and true method of mono-summing the left and
right audio channel and adjusting for maximum high
frequency response, also checking by inverting the
polarity of one and going for a minimum as a cross check?
<br>
</p>
<p><br>
</p>
<p>Best wishes,</p>
<p><br>
</p>
<p><br>
</p>
<p>Bob<br>
</p>
<div>On 2/9/20 4:32 PM, John Chester via ProAudio wrote:<br>
</div>
<blockquote type="cite">On 2/9/20 3:56 PM, Richard L. Hess
via ProAudio wrote: <br>
<br>
<blockquote type="cite">Also, a funny story, the tones at
the head of that master tape caused Alan a bit of a
challenge...the azimuth of the tone didn't match the
azimuth of the audio! <br>
</blockquote>
<br>
<br>
Been there, seen that. An assembled album master may
contain cuts that were recorded on different machines, and
sometimes even in different studios. This becomes really
obvious when I'm doing Plangent transfers. I can see when
the bias frequency and flutter profile change, and I set
azimuth on each cut by looking at the bias. I have seen a
master where the head tones were recorded on a different
machine which didn't match *any* of the music. <br>
<br>
When the album master is Dolby encoded, and several
different machines were used for mixing, I can't believe
that the Dolby setup on all of those different machines
perfectly matches the head tones. Fortunately the tape
with the head tones recorded on a completely different
machine wasn't Dolby..... <br>
<br>
-- John Chester <br>
<br>
<br>
<br>
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<div>-- <br>
<pre><font face="3D"Courier"">
If you want good sound on your album, come to
Bob Katz 407-831-0233 DIGITAL DOMAIN MASTERING STUDIO
Author: <b>Mastering Audio</b>
<a href="https://www.digido.com/" target="_blank" moz-do-not-send="true">Digital Domain Website</a>
No trees were killed in the sending of this message. However a large number
of electrons were terribly inconvenienced.</font>
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<div>**********************************************************************<br>
* James Perrett<br>
* JRP Music Services, Hampshire, U.K.<br>
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<div class="moz-signature">-- <br>
<pre><font class="3D""" face="3D"Courier"">
If you want good sound on your album, come to
Bob Katz 407-831-0233 DIGITAL DOMAIN MASTERING STUDIO
Author: <b>Mastering Audio</b>
<a href="https://www.digido.com/">Digital Domain Website</a>
No trees were killed in the sending of this message. However a large number
of electrons were terribly inconvenienced.</font>
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