I (barely) recall an interview with Robert von Bahr where he talked about
using a Harmonia Mundi device that corrected a delay caused by the sharing
the F-1's single A-D processor between the two channels. It may have done
other magic, too, like an AES output? It was a rack case with different
vertical modules, if memory serves. Ring any bells?
Met a guy at a concert in Dallas around 1989 who was recording the Wind
Symphony on a very highly hacked 701. I remarked that we used a stock model
at WXXI and he said, "Oh, I'm sorry." It was our pride and joy.
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Ted Kendall
Sent: Tuesday, January 24, 2012 6:29 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] From the obscure digital audio files ...
On 24/01/2012 22:19, Steven Smolian wrote:
> I can't lay hands on mine at the moment, but recall it didn't do 16 bits.
> It was also a nightmare at getting what was recorded through one of them
> play back on another iteration of the identical model. I once did a job
> my 701 in DC and sent it the tape to California via the producer for
> mastering. The producer had to fly back to DC, borrow mine and fly back
> CA with it. The resulting LPs were done through Capitol's chain since
> of the tape originals from which I worked were EMI- that was the deal with
> third party users in those days. Angel's US mastering engineer horrified
> much of my careful work. The cassettes were produced elsewhere. They
> better than the LPs.
> Steve Smolian
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Mark Donahue
> Sent: Tuesday, January 24, 2012 4:52 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] From the obscure digital audio files ...
> It was probably an Audio and Design modified PCM-701. I think they called
> those things CTC or something like that. I have a pair of them that were
> modified for field alternation to give 4 channel recording on a single
> video transport (Similar to the "Colossus" that Telarc used for a hot
> minute.). If you have to ask what they cost new....Seems to me that the 2
> channel CTC went for $4k or so and the 4 channel prototype cost an
> additional $14k. I think we made a total of
> 5 recordings on it before we relegated it to use as a pair of regular
> F1 interfaces. The CTC's were nice because they gave you the option of
> correcting the stream via the digital IO so the channels were in sync.
> also had an accessory port that allowed for SDIF-2 or AES IO to be added.
> made an F1 into a real professional recorder.
> All the best,
> On Tue, Jan 24, 2012 at 2:07 PM, Shai Drori<[log in to unmask]>
>> There is one F1 in Israel that I used to work with that had a digital
>> out but the company name was different. It's not mine so I can't look at
> it now.
>> Also had balanced I\O.
>> On 24/01/12 03:02, Tom Fine wrote:
>>> Google research indicates that there was a company called Whistlewood
>>> Audio in the UK, about 10 years ago and earlier, that made add-on
>>> boards to the Sony PCM-F1, 501 and 701 EIAJ digital recorder
>>> adapters. These boards grabbed the PCM stream and fed it to a cable,
>>> which then interfaced with a SPDIF transmitter box that was external
>>> to the Sony device. The 75-ohm SPDIF stream could then be converted
>>> for playback, dubbed to DAT or captred to DAW.
>>> More Google time revealted a Paul Phippen was the brains behind this
>>> Whistlewood operation, but I can't find any sign of him or his
>>> products today.
>>> Do any UK Listmembers know anything about this? Does anyone else make
>>> a SPDIF adapter for the PCM-F1 or 501 boxes?
>>> -- Tom Fine
Best solution, if you can find one, is the PCM 601, which has
bi-directional SPDIF interfacing. CTC was a minefield - some of the A&D
things put the delay in the wrong leg - the stuff of which a few
nightmares were made in the 80s...