Tom, what would be the effect of playing the AES-eq discs through RIAA
preamps? I was recently blown away by the Ginastera Variations (MF4). Maybe
the bass was a bit thin, but without later cuts to compare, I had no reason
to complain.
-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Tom Fine
Sent: Friday, September 28, 2012 7:24 AM
To: [log in to unmask]
Subject: Re: [ARSCLIST] early stereophony
Hi Eric:
I can't comment on the Columbia Record Club issues because I've never seen
any. Real-deal Mercury
issues will almost always have one or more of the following scribed or
stamped in the deadwax:
1. MONO ERA - "MF" and then a number. This signified the Miller cutterhead
and Fine Sound Inc. The
number is which Miller cutterhead was used (according to what the late Bob
Eberenz told me, it was
nearly impossible to get two Miller cutterheads to sound exactly the same;
they were zero-feedback,
mechanically-damped and the damping was adjusted with pieces of rubber, by
hand; the technician
"tuned" the system for desired frequency response and EQ curve adherence). I
have test cuts of one
side of a Dorati mid-50's record, made with various MF #'s. They all sound
different from each
other, not massively but noticeably, especially with headphones. The
Miller's use of no electronic
feedback was preferred by my father and George Piros, because they felt that
it was able to cut loud
and fast dynamics. The Fine-Fairchild Margin Control was a way to vary
groove width and depth
depending on dynamics and thus fit more time on a side and still keep it
trackable. Almost all or
all mono-era genuine Mercury issues also have an "I" somewhere in the
deadwax. This signifies that
the record was pressed by RCA in Indianapolis. This was the case from at
least 1952 onward, was not
the case pre MG50000 series.
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