That Radio Sound - Compression & Limiting

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"Ricky W. Hunt" wrote:

> > Very rudimentary shock absorption. What they had mainly was a stylus
> > force that would carve its way through the disc in about ten plays. I
> > think maybe they had a swarf collection tray at the bottom that you
> > emptied when you did the ash trays.
>
> Wow.

I heard of it via an article on John Lennon's famous Psychedelic Roll's.
John was speaking about listening to records on the way into Abbey Road.
At the time I attributed it to acid mis-speak or his mistakenly saying
records but actually meaning cassette's (which the Beatles were given by
Philips in 1966 for test marketing purposes).


--
Nathan

"Imagine if there were no Hypothetical Situations"

 

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Kurt Albershardt wrote:

> the solution I'd like to see would feature compression metatags embedded in the stream, so that the end user (or end-user's equipment) could decide how to best manage the dynamic range to suit the playback conditions.

Don't you mean *could be best mis-managed*?<g>


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"Kurt Albershardt" <kurt@nv.net> wrote in message
news:2spdrbF1nrtbcU7@uni-berlin.de...
> Ricky W. Hunt wrote:
>>
>> I was stunned to learn that some cars actually had record players. Where
>> there any standard production cars that had this? I assume they had some
>> kind of shock-absorber?
>
> Available on late '50's and early '60s Imperials for sure, even a (rare)
> changer option.
> <http/imperialclub.com/Repair/Accessories/HiWay/SpottersGuide.htm>
> <http/imperialclub.com/Repair/Accessories/HiWay/60Spotter.htm>

Hmmm. Never seen a 16 2/3 RPM record. Was this a standard?

 

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"Nathan West" <natewest@nc.rr.com> wrote in message
news:4167CED3.E353D83@nc.rr.com...
>
> I heard of it via an article on John Lennon's famous Psychedelic Roll's.
> John was speaking about listening to records on the way into Abbey Road.
> At the time I attributed it to acid mis-speak or his mistakenly saying
> records but actually meaning cassette's (which the Beatles were given by
> Philips in 1966 for test marketing purposes).
>

What actually triggered me thinking about this again was I watched the
"Making of SMILE" a few nights ago and some guy said he and Paul McCartney
listened to a LP copy of SMILE (before it was released) in a car. The guy
also said he had two buttons, one for "regular" listening and one marked
"acid" for when they were high. But he said they never had to used the acid
button with SMILE because it was trip all it's own.

 

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On Sat, 09 Oct 2004 07:18:24 -0400, Ty Ford wrote:


>> As we transition to digital media delivery, the solution I'd like to see
>> would feature compression metatags embedded in the stream, so that the end
>> user (or end-user's equipment) could decide how to best manage the dynamic
>> range to suit the playback conditions.
>>
>
> I'd pay a dollar for that!

We have that in the UK for DAB radio. It's called DRC. One of the reasons
for it's invention is that hyper-compression at source makes it much
harder for perceptual encoders to do their job properly.
Unfortunately, it's only single band compression, and does not destroy the
signal enough to be popular amoung broadcasters.

http/etvcookbook.org/audio/drc.html
http/www.digitalradiotech.co.uk/audio_processing.htm

>
> Ty Ford
>
>
> -- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
> stuff are at www.tyford.com

 

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"Ricky W. Hunt" wrote:

> What actually triggered me thinking about this again was I watched the
> "Making of SMILE" a few nights ago and some guy said he and Paul McCartney
> listened to a LP copy of SMILE (before it was released) in a car.

Two comments about the SMILE program. 1. Brian Wilson freaks me out. 2. I'm
not sure what the big deal about SMILE is. At least I don't get it as the
genius they say it is, more like somebody slipping out mentally and writing all
about the confusion.
BTW did you see the shot where Van a lovely person Parks was nodding out during the
concert?

> The guy
> also said he had two buttons, one for "regular" listening and one marked
> "acid" for when they were high. But he said they never had to used the acid
> button with SMILE because it was trip all it's own.

AFAIK the *ACID* button was a loudness control...and was just labeled as such
by mischievous installers because the music used to *jump* out of the speakers
at you when it was pressed.


--
Nathan

"Imagine if there were no Hypothetical Situations"

 

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In article <ck8ku2$8n$1@panix2.panix.com> kludge@panix.com writes:

> >On Sat, 9 Oct 2004 02:07:58 -0400, Kurt Albershardt wrote
> >>
> >> As we transition to digital media delivery, the solution I'd like to see
> >> would feature compression metatags embedded in the stream, so that the end
> >> user (or end-user's equipment) could decide how to best manage the dynamic
> >> range to suit the playback conditions.

> Dolby Surround does it... I think dts does too. It works surprisingly
> well. I think on most consumer surround receivers they have a "night mode"
> that takes advantage of this.

Isn't that also sort of the concept of the DIALNORM data?

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In article <IwQ9d.209077$MQ5.139150@attbi_s52> rhunt22@hotmail.com writes:

> Hmmm. Never seen a 16 2/3 RPM record. Was this a standard?

Yes, first for talking books, then for cars.

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In article <3367f36e.0410090548.43b36866@posting.google.com> makolber@yahoo.com writes:

> Given the choice of listening to overly dynamic range compressed music
> vs data compression, I choose the data compression.

Why the choice? They're very different things. Given the choice
between listening to dyanmic range compressed opera and data
compressed hip hop, I'd still take the opera even though I hate opera.


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"Nathan West" <natewest@nc.rr.com> wrote in message
news:4167D9DE.D279007B@nc.rr.com...
>
>
>> What actually triggered me thinking about this again was I watched the
>> "Making of SMILE" a few nights ago and some guy said he and Paul
>> McCartney
>> listened to a LP copy of SMILE (before it was released) in a car.
>
> Two comments about the SMILE program. 1. Brian Wilson freaks me out. 2.
> I'm
> not sure what the big deal about SMILE is. At least I don't get it as the
> genius they say it is, more like somebody slipping out mentally and
> writing all
> about the confusion.
> BTW did you see the shot where Van a lovely person Parks was nodding out during the
> concert?
>

I've never found "Pet Sounds", etc. to be that mesmerizing either (some of
the songs are great for sure). I'm sure a lot had to do with being there
when it came out and experiencing the paradigm shift it caused. By the time
I was old enough to be concious of it lots of stuff like that had been done.
So I "appreciate it", especially from a technological standpoint, but it's
not something I would just throw on and listen to over and over. "Sgt.
Pepper's" isn't my favorite Beatles album either, BTW. I much prefer the
"white album".


>> The guy
>> also said he had two buttons, one for "regular" listening and one marked
>> "acid" for when they were high. But he said they never had to used the
>> acid
>> button with SMILE because it was trip all it's own.
>
> AFAIK the *ACID* button was a loudness control...and was just labeled as
> such
> by mischievous installers because the music used to *jump* out of the
> speakers
> at you when it was pressed.
>

Did he say that in the documentary? I got the impression it was something he
had installed custom (and from the way he talked I assume it "warped" the
sound somehow).

 

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"Ricky W. Hunt" wrote:

> I've never found "Pet Sounds", etc. to be that mesmerizing either (some of
> the songs are great for sure). I'm sure a lot had to do with being there
> when it came out and experiencing the paradigm shift it caused.

I suppose so.

> "Sgt.Pepper's" isn't my favorite Beatles album either, BTW. I much prefer the
>
> "white album".

My order of preference is ( English Albums BTW) Revolver/Rubber Soul(Tie) -
Abbey Road-Magical Mystery Tour -and then Sgt Pep/White Album. MMT though...I
experienced something of a contact high when listening to the wierder tunes like
* I am the Walrus* and *Strawberry Fields*.<g>

> Did he say that in the documentary? I got the impression it was something he
> had installed custom (and from the way he talked I assume it "warped" the
> sound somehow).

Nothing was said in the Documentary. I think I read that in Ray Coleman's book
*Lennon*. I can't remember if Lennon got the idea from Brian or vice versa to
get that button *installed*. Either way it is very indicative of the 60's era
of naive thinking isn't it? Button's that do *mysterious* things indeed!

--
Nathan

"Imagine if there were no Hypothetical Situations"

 

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On 09 Oct 2004, Nathan West <natewest@nc.rr.com> wrote in
news:4167D9DE.D279007B@nc.rr.com:

> BTW did you see the shot where Van a lovely person Parks was nodding out
> during the concert?

It looked more to me like Parks was listening with his eyes closed, and
seemed to be emotionally overcome.