Announcement

Collapse
No announcement yet.

Why Are The Early Stereo Recordings from the '50s to early '70s So Magical Sounding?

Collapse
X
 
  • Filter
  • Time
  • Show
Clear All
new posts

  • Why Are The Early Stereo Recordings from the '50s to early '70s So Magical Sounding?

    Or aren't they?
    Myles B. Astor, PhD, Administrator
    Senior Editor, Positive-Feedback.com
    ________________________________________

    -Magico S5 Mk.2 speakers with SPod feet
    -Goldmund Telos 280 stereo amp
    -Goldmund Mimesis 37S Nextgen preamplifier
    -Doshi V3.0 phonostage
    -VPI Vanquish direct-drive turntable
    -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
    -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
    -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
    -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
    -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

  • #2
    Oh, they are. Especially the recordings from the late 1950s. Real talented musicians being recorded with much more purity with much greater simplification of the recording chain. Tube microphones, 2-3 track tube tape decks, all the musicians playing in real time with each other in the same space, and recording engineers who knew what they were doing. Contrast that with 48 track machines, pitch boxes, Pro Tools, parts of songs being recorded months apart, nobody in the studio together, plug-ins for simulations of what used to be real components used in the recording studios and you have the opposite of what we used to expect in sound quality.
    Micro Seiki SX-8000 table with flywheel, SME 3012R arm, SME 312S arm, Lyra Etna SL and Dynavector XV-1S cartridges, ARC Ref 3 phono stage, Otari MX-55 tape deck, Ampex 350 repros, Roon Nucleus Plus server, PS Audio DSJ DAC, ARC Ref 6 pre, ARC Ref 75 amp, JBL 4345 speakers, and Def Tech Ref subs.

    Comment


    • Rob
      Rob commented
      Editing a comment
      +1

  • #3
    An equally interesting question is if those earlier recordings were made with relatively simple/straightforward techniques, why don't we have more modern recordings that sound as transparent and lifelike, or better? In the classical realm there are some worthy recordings of smaller ensembles, eg. in the baroque genre, often by smaller labels, but not so much for large symphonic or orchestral works. I'm thinking specifically of LPs. After all, Cass Technical High School still has an auditorium.

    Comment


    • #4
      Do you really need to ask, it was the Afro !

      IMO, aside from all known evil of early solid state and transistors, mass market disposable mindset, etc., etc., etc., I think it started with the engineers, not just the recording engineers but all involved in the industry, they learnt to "fudge it". Click image for larger version

Name:	FDFUN3329-MSTR.jpg
Views:	57
Size:	630.3 KB
ID:	7474
      Last edited by david k; 03-14-2016, 12:25 PM.
      Manufacturer: American Sound Turntables and The Nothing Rack
      Distribution: NEODIO

      Special Sales: van den Hul
      Industry Representation: Lamm, Kharma OLS Speakers, Ortofon, ZYX, Keith Monks, Audio Desk, Jensen Transformer, Venta Airwasher

      Unique Items: Vintage Horn Speakers
      http://www.audionirvana.org/forum/ti...stening-room-1
      http://www.audionirvana.org/forum/ti...earfield-setup

      Comment


      • #5
        Somehow this logo was always at forefront of fudged quality of everything including the dreaded THX!

        Click image for larger version

Name:	Unknown.png
Views:	10
Size:	1.3 KB
ID:	7478

        david
        Manufacturer: American Sound Turntables and The Nothing Rack
        Distribution: NEODIO

        Special Sales: van den Hul
        Industry Representation: Lamm, Kharma OLS Speakers, Ortofon, ZYX, Keith Monks, Audio Desk, Jensen Transformer, Venta Airwasher

        Unique Items: Vintage Horn Speakers
        http://www.audionirvana.org/forum/ti...stening-room-1
        http://www.audionirvana.org/forum/ti...earfield-setup

        Comment


        • #6
          Originally posted by MylesBAstor View Post
          Or aren't they?
          They sound so good because Elvis was still young and meant it when he said Thankyou very much. Now the people we listen to are 70 and 500 a ticket to go see Last tour before I die. An extra 500 to shake a already shaking hand.

          Comment


          • #7
            Originally posted by Garth View Post

            They sound so good because Elvis was still young and meant it when he said Thankyou very much. Now the people we listen to are 70 and 500 a ticket to go see Last tour before I die. An extra 500 to shake a already shaking hand.

            That's kind of harsh. But hey, maybe there is still hope. We had three Triple Crown winners in the 1970s and none again until last year when American Pharoah pulled it off. Some were beginning to wonder if we would ever see another Triple Crown winner, but now we have.

            The world saw an abundance of musical talent in the 1950s, 1960s, 1970s and into the 1980s. People/groups that could really play instruments, write songs, and sing on key. Now you have a bunch of manufactured 'talent' that can't sing or play instruments worth a damn. Some are forced to lip sync in public because they really can't sing. Maybe just maybe we will see some real musical talent emerge out of the mess. I hope so, but I won't sit on a picket fence waiting for it to happen.
            Micro Seiki SX-8000 table with flywheel, SME 3012R arm, SME 312S arm, Lyra Etna SL and Dynavector XV-1S cartridges, ARC Ref 3 phono stage, Otari MX-55 tape deck, Ampex 350 repros, Roon Nucleus Plus server, PS Audio DSJ DAC, ARC Ref 6 pre, ARC Ref 75 amp, JBL 4345 speakers, and Def Tech Ref subs.

            Comment


            • #8
              The magic disappeared the moment the tape hiss disappeared. Ray Dolby was a genius but even if the baby is contained , bathwater sometimes contain pieces of the mothers jewellery -and a lot of her sweetness.

              A thousand apologies. As usual david k acted before I even started thinking. That is why he has the 927 and the Bionors and I only have drool.
              Last edited by JDZA; 03-14-2016, 12:25 PM.

              Comment


              • #9
                Originally posted by JDZA View Post
                The magic disappeared the moment the tape hiss disappeared. Ray Dolby was a genius but even if the baby is contained , bathwater sometimes contain pieces of the mothers jewellery -and a lot of her sweetness.

                A thousand apologies. As usual david k acted before I even started thinking. That is why he has the 927 and the Bionors and I only have drool.
                Great minds think alike!
                Manufacturer: American Sound Turntables and The Nothing Rack
                Distribution: NEODIO

                Special Sales: van den Hul
                Industry Representation: Lamm, Kharma OLS Speakers, Ortofon, ZYX, Keith Monks, Audio Desk, Jensen Transformer, Venta Airwasher

                Unique Items: Vintage Horn Speakers
                http://www.audionirvana.org/forum/ti...stening-room-1
                http://www.audionirvana.org/forum/ti...earfield-setup

                Comment


                • #10
                  Conglomeration of the music industry, leaving faceless tasteless talentless executives issuing directives for yet another hit bereft of any soul or depth from yet another flavor of the day ignorant talentless manufactured celebrity. The musical equivalent of a Kardashian event.

                  Comment


                  • #11
                    Originally posted by Rust View Post
                    Conglomeration of the music industry, leaving faceless tasteless talentless executives issuing directives for yet another hit bereft of any soul or depth from yet another flavor of the day ignorant talentless manufactured celebrity. The musical equivalent of a Kardashian event.
                    You're talking about Adele, right?

                    Comment


                    • david k
                      david k commented
                      Editing a comment
                      She's just one of many, all she does is scream and close her eyes on every crappy song. Most are pathetic and seem to be written for awkward teenagers by same group. She ain't no Piaff or Billy!

                  • #12
                    Adele is OK, but in a desert a half full glass of warm water is pretty attractive.

                    Comment


                    • #13
                      I think everyone hit on a lot of major things. The following factors also contributed to the decline in recording quality:

                      1) In the early days, producers and record engineers were also musicians; that in contrast to the present day knob twiddlers who feel they have to justify their jobs by imparting their touch to every recording. Or to paraphrase RVG, just let the tape roll.

                      2) The loss of great recording halls and studios. So many great recordings were made in RCA's Studio A in New York as well as Columbia's jazz studios. Or Kingsway or Watford Town Hall. Or Chicago Symphony Hall here. As one engineer once told me, the hall is 80% of the equation. Now I know there are producers and recording engineers fighting the tide, say like Al Schmitt, Michael Bishop, KOJ, Bob Attiyeh or Michael Ross, but it seems to be a losing battle.

                      3) The cost of recording. I certainly have nothing against musicians unions since musicians were treated horribly and taken advantage of by the record companies for
                      decades. (just as with MLB.) But the truth is making a recording is so costly, the record labels imperative is just get it down on tape or hard disc and fix it later.Even to the point of now having digital ambience added to recordings.

                      4) Labels settled on one recording space and knew how to set up the mikes up for the recordings.

                      5) Everything has to be perfect eg. no mistakes are allowed. So in classical, so many recordings are done bar by bar. No continuousness to the music. Reiner, whose CSO would play a movement through must be turning over in his grave.
                      Myles B. Astor, PhD, Administrator
                      Senior Editor, Positive-Feedback.com
                      ________________________________________

                      -Magico S5 Mk.2 speakers with SPod feet
                      -Goldmund Telos 280 stereo amp
                      -Goldmund Mimesis 37S Nextgen preamplifier
                      -Doshi V3.0 phonostage
                      -VPI Vanquish direct-drive turntable
                      -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
                      -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
                      -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
                      -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
                      -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

                      Comment


                      • #14
                        I think the popularity of the prerecorded cassette tape with its severely limited bandwidth was a major cause of the voicing of recordings for release. I also single it out for causing the inclusion of graphic equalizers and the horrid flying Vs one found everywhere from boom boxes, to homes to car stereos.

                        Comment


                        • #15
                          Originally posted by JDZA View Post
                          The magic disappeared the moment the tape hiss disappeared. Ray Dolby was a genius but even if the baby is contained , bathwater sometimes contain pieces of the mothers jewellery -and a lot of her sweetness.

                          A thousand apologies. As usual david k acted before I even started thinking. That is why he has the 927 and the Bionors and I only have drool.
                          OK JDZA and David. So you got me thinking. The only of the big four, Mercury, RCA, EMI and Decca that was an early adopter of Dolby noise reduction appears to the be the latter. So now have to go back and look at the sound of these albums chronologically.

                          "The first sale of the “Dolby A” equipment was to Decca Records in London. The company released their debut recording which had been mastered on to tape using the new system, a session of Vladimir Ashkenazy playing Mozart piano concertos, in 1966. Paul Moseley, Managing Director of Decca Classics, told The Independent “Decca is proud to have played a part in helping Ray Dolby develop his pioneering noise-reduction systems. Decca engineers helped test and refine the prototype of the now-legendary ‘Dolby A’ professional noise reduction in the mid-1960s. This can truly be said to have revolutionised the recording industry across all types of music and film and transform perceptions of high fidelity throughout the world.”
                          Myles B. Astor, PhD, Administrator
                          Senior Editor, Positive-Feedback.com
                          ________________________________________

                          -Magico S5 Mk.2 speakers with SPod feet
                          -Goldmund Telos 280 stereo amp
                          -Goldmund Mimesis 37S Nextgen preamplifier
                          -Doshi V3.0 phonostage
                          -VPI Vanquish direct-drive turntable
                          -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
                          -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
                          -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
                          -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
                          -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

                          Comment

                          Working...
                          X