Source Info
SBD (shnID = 89085)
SBD Dat(2) stored on Ampex 467 DAT Tape
Transfer: DAT from the collection of Todd Evans
DAT(?) > TASCAM DA-20 (spdif out) -> Apogee Wide Eye spdif
innterconnect ->Lynx Two Soundcard (spdif in) -> Wavelab 6.0
Transferred 12/09/07
Editing: All editing and mastering by Jamie Waddell
A **GEMS** Production www.shnflac.net
AUD (shnID = 96422)
Recorded By: James Young and Clay Brennecke - clayb@fobdfc.com
Lineage: Master DAT > B&K 4011 110 degrees ORTF > Neumann BS 48i-2 >
Modified Sony TCD D-10 Pro
Transfer: 16 bit 48kHz DAT Master > TASCAM DA-20 (SPDIF out) ->
LynxTWO-B Audio Reference Interface (SPDIF in) ->
Wavelab 6.0 by Todd Evans (todd@bluedakota.com) October 30, 2008
Editing: Jamie Waddell (shnflac@gmail.com) on the GEMS Edit Station.
Weiss Saracon for 16 BIT 44.1kHz SRC and POWR-3 Dither
Encoding by Dazed64. Tracked in CDwave, FLACd Flac Frontend level 8
Tag & Rename for FLAC Meta-Tagging.
A **GEMS** Production www.shnflac.net
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Special Thanks
Many thanks to James Young and Clay Brennecke for their wonderful
recording. And HUGE thanks to both Jamie Waddell and Todd Evens for
making this project possible with their amazing work on their pristine
transfers and excellent editing/mastering. I am simply a cog in the
wheel and lucky has hell to work with such incredible source material.
It is the guys listed above that deserve the bulk of the credit. So
a big THANK YOU!
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Notes on the Source Material
SBD
This is another strange 1991 SBD. Let me explain. Quite
a few digital SBD's for the 1991 year are in circulation.
I am sure some of you have noticed a sorta strange sound
quality to them. What makes them sound they way they do
is unknown to me. I'd call them too digital. They tip-
toe along the edge of blurry. If I had to guess I would
think a portable DAT deck was being fed an analog signal
into the line in. And although the levels were set
appropriately the deck was overloaded by 'too hot' a feed
from the SBD.
AUD
Nice and well balanced FOB. This upfront FOB grabs quite a bit
of the sound but not as much atmosphere as you'd like for making
a matrix mix. However, this does help the sterile, straight SBD
out quite a bit. While it doesn't completely fix the strange
"digitally" sound of the SBD it does help quite a bit.
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Tech Notes
Jamie Waddell sent me the 16/48 waves files as one long track
for both the SBD and the AUD. CEP2.0 was used to align & synch
both sources (time compress and expand). CEP2.0 was used to
perform the multitrack mixdown at 24/48. Wave L3 was used for
minor limiting (-0.7 threshold), and no EQ was used on the two
primary sources. This is a 60% SBD, 40% AUD mix.
- Mixed by dan@am-dig.com
- FLAC conversion 18-MAR-2000
- Artwork by dan@am-dig.com 300dpi - For best results
print at the highest resolution onto glossy photo paper.
Design for use with a clear, slim 7mm double DVD case.
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Multitrack Mixdown Settings
Stereo Matrix
SET ONE
SBD -2
AUD -2
SET TWO
SBD -2
AUD -2.5
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Notes
d1t06 "High Time" - 2 small digi snits have been fixed
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About the 24/48
This represents the 24 bit files that are the result of all the
editing, mastering, digital sound processing and the multitrack
mixdown preserved in 24 bit. It is unclear exactly what we have
in the way of high resolution. However what we have here
would not be represented accurately in 16/44. What you are getting
is the full result of the matrix mix process. How much different
does this sound? is this better? A little and yes. This is more
accurate and has more dynamic range. 24/48 resolution versus a
16/44 of the same material will usually result in very subtle but
important differences. Most of it relying on the quality of
the DVD-A player and the D to A conversion. With that in mind,
this 24 bit copy is no different. Small but important gains over
the same material in 16/44. This is just one man's take. Take
it or leave it.