Hi David,
"Vectoring" assumes that you have the means of conveniently flipping the
phase of one of the two channels.
This should be done AFTER the phono signal's been preamplified, not before.
Meaning: as a signal is being fed to an analog or digital recorder, or
merely being played. IF transferring first to analog tape then azimuth
alignment signals MUST be applied (for all applications, not only
vectorying). The following simple procedures are thus equally applicable to
playback from tapes and digital files.
For 'lateral' cut grooves, set one of the channels OUT OF PHASE ("180 out").
Then mix the two channels together, interactively adjusting the levels to
achieve maximum noise. Then flip the phase to 0 degrees (nominally
lateral).
For 'vertical' cut grooves, set both channels IN PHASE (0 degrees). Then mix
the two channels together, interactively adjusting the levels to achieve
maximum noise. Then flip the phase to 180 degrees (nominally vertical).
For 'compatible' grooves try both above methods OR use only either unmixed
output: one of the four conditions will achieve the best results for a given
disk.
'Vector settings' are so critical that they can be affected by even slight
gradations of the dimensions of the styli playing the grooves. Assume that
you have a panoply of stylus sizes & shapes available and have narrowed down
your choices to two 'best' selections. The same 'vector setting' might not
be applicable for both styli, so the tweaking process should be tried for
both final candidate styli.
In my studio, I achieve this two ways: coming out of the phono preamp and
working from analog or digital playback. In the case of my preamp (a highly
modified and customized Stanton 210B). I've added a switch array that
chooses amongst stereo, mono, 0 phase and 180 phase. So, ANY disk can be
played, provided that an appropriate stereo cartridge, equipped with an
appropriate stylus is being used.
'Vectoring' is equally valuable for working with cylinders.
I first published this in an article in Audio Magazine circa 1976, and later
in 1983 versions of my Kinetophone articles in the Journal of the SMPTE and
American Cinematographer.
Best,
Shiffy
