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Hello Jan

It's quite simple, really - Parker travelled the world seeking the very best 
and quietest laminate pressings, vinyl tests, metal parts, whatever else he 
could get his hands on, made excellent transfers and then processed them 
through his rack. With much less to do than usual, the equipment could be 
driven less hard and sounded better as a result. The reverberation and 
stereo spread helped to disguise any remaining noise, and ther you are. The 
Dolby 430 came a bit later, I think,, as did CEDAR declick and decrackle, 
vocl as he was in derision of both at one time...


----- Original Message ----- 
From: "Jan Myren" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, May 21, 2009 9:48 PM
Subject: [ARSCLIST] SV: [ARSCLIST] PACKBURN 323A


> HI TED and others!
>
> Since you know about the late Robert Parker and his techniques of 
> restoring
> jazz recordings the analogue way in the early 80's; does anybody know how 
> he
> was able to reduce so much of the "crackle" sound on his recordings?
> May it be the Dolby 430? Guess the Packburn alone couldn't do all de-noise
> and de-crackle alone...??
>
> I have got me a Parker LP called "Chicago vol. 2" on BBC Records and is
> really impressed about the overall quality and how little audible loss 
> there
> is left, compared with many other LP re-releases from the late 70's/early
> 80's - before the digital techniques took over....
>
> Regards
> Jan
>
>
>
>> Dolby 430, Orban spreader, Japanese reverb, Packburn 303 - sometimes a
>> heavily modified 103, with Dolby B decoding. Eventually, he also
>> had CEDAR
>> declick, decracle and dehiss.
>>
>> Ted Kendall
>>
>>
>>
>