db



Sorry, Tom, I didn't see where you mentioned the DAE 1100.

db



>________________________________
> From: Tom Fine <[log in to unmask]>
>To: [log in to unmask] 
>Sent: Tuesday, November 6, 2012 7:22:03 PM
>Subject: Re: [ARSCLIST] Early digital recording history -- a couple of followups
> 
>This is exactly what I said below! It was just glorified video insert-editing.
>
>-- Tom Fine
>
>----- Original Message ----- 
>From: "Dave Burnham" <[log in to unmask]>
>To: <[log in to unmask]>
>Sent: Tuesday, November 06, 2012 6:06 PM
>Subject: Re: [ARSCLIST] Early digital recording history -- a couple of followups
>
>
>I was editing digital tapes in 1980 using Sony's DAE 1100, a very expensive editor using 2 U-matic 
>machines and a controller which worked very much like a video editor.
>
>db
>
>Sent from my iPhone
>
>On 2012-11-06, at 5:11 PM, Goran Finnberg <[log in to unmask]> wrote:
>
>> Tom Fine:
>>
>>> Sony was 4th (and it was the
>>> pro-sumer PCM F-1 system at
>>> first, followed quickly by the 1600 system).
>>
>> http://www.sony.net/SonyInfo/CorporateInfo/History/SonyHistory/2-10.html
>>
>> "Following the development of the home-use PCM-1 digital audio processor in
>> 1977, the professional-use PCM-1600, which used the U-Matic machine, was
>> launched in March 1978."
>>
>> May I point out that despite having the ability to record digitally what use
>> is that if you cannot edit?
>>
>> Fact is that Sony was still telling me at the London AES in 1980 that they
>> had no digital editor but soooooon it should be available.  ;-)
>>
>> Bis, Robert von Bahr, was the first in Sweden if not in Europe? to buy the
>> Sony PCM-1, 78/79?, and used it to record in parallel with his ReVox A-77
>> from then on but he could not edit the digital tapes nor was there any
>> medium to release any digital recording in their native form.
>>
>> When CD arrived, 82/83, the pressing capacity was so low that even if you
>> did have something ready to be sent to the replicator you could be set on
>> the waiting list for a year or so.
>>
>> At the 1980 AES meeting in London I got bored and walked over to Kingsway
>> Hall to find DECCA/London producer Jimmy Walker and DECCA senior recording
>> engineer John Dunkerley recording solo piano works with Vladimir Ashkenazy
>> at the Steinway.
>>
>> Despite having a fully operational digital recorder and editing system home
>> built they were still recording on two DECCA modified Studer A80 running in
>> parallel using Dolby A because they did not have more than a few digital
>> recorders and having many recording teams out recording scheduled works
>> meant that still some of the recordings had to be made in analogue because
>> of the shortage of digital recording equipment.
>>
>>> no one was making commercial digital recordings
>>
>> So to be able to make commercial recordings you must have editing equipment
>> too and having the ability to record digitally but NO editing facility and
>> you are still dead in the water with no ability to make a ready edited
>> product for sale.
>>
>> This was the biggest reason for DECCA to make everything in house since the
>> thought of having to go to the USA, Soundstream, for editing was completely
>> out as far as DECCA was concerned. And the Soundstream editor was big and
>> clunky and VERY slow........
>>
>>
>>
>> -- 
>> Best regards,
>>
>> Goran Finnberg
>> The Mastering Room AB
>> Goteborg
>> Sweden
>>
>> E-mail: [log in to unmask]
>>
>> Learn from the mistakes of others, you can never live long enough to
>> make them all yourself.    -   John Luther
>>
>> (\__/)
>> (='.'=)
>> (")_(") Smurfen:RIP
>
>
>