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Re: [ARSCLIST] Dynadoodoo Re: [ARSCLIST] Exactly how many labels did RCA press records for in the 50s/60s ?
I basically lost interest with DGG,after they stopped with the tulip rimmed labels.When did Polygram,as it was known at the time,buy them out ?
Roger
Don Cox <doncox@xxxxxxxxxxxxxx> wrote: Hello phillip
On 16/03/08, phillip holmes wrote:
> I seek out UK "dynagroove" pressings since the English just mastered
> them the same as the rest of their records (IE really well). I don't
> think that RCA sent them the dynagroove processed tapes. I believe the
> tapes sent to the US RCA cutting guys were pre-distored. In other
> words, the guys doing the cutting weren't integral to the dynagroove
> process. That's my understanding. I've been told by more than once
> source that the dynagroove process occurred at HQ where different EQ
> and distortion was added to a subsequent master to be used for
> cutting. The distortion and EQ would change the further into the side
> you got.
>
> I have quite a few RCA pop and jazz records that sound good. It's
> funny that RCA decided to follow Columbia's lead in producing good
> sounding jazz/pop and bad sounding classical. By the early '70s, most
> good sounding classical was coming from England. It's a shame that
> they changed anything from the early '60s. They may have had access to
> better microphones and tape decks, but the bad production values more
> than eliminated any gains in the quality of equipment available to the
> engineers. Hell, I'd take tape hiss and saturation with a simple
> microphone setup any day (as opposed to 1,000 microphones, a team of
> guys in lab coats, and lots of monkey business).
>
Some of the worst sound in the 70s came from Deutsche Grammofon, who
went overboard on the multi-mic approach.
Regards
--
Don Cox
doncox@xxxxxxxxxxxxxx
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