Print

Print


Thanks for your input Dave, very cool. I'm not sure what our policies were in terms of handling but haven't tried to listen to many of these tapes yet (though I don't doubt many of them are 12/32 'LP' tapes).  Can you comment on how you did the 32kHz digital transfers though, in as much detail as you can remember? I understand that the difference between remaining digital and D-A-D may be minute, but would love to be humored :) 
Aside - I'm looking at your site now, looks fascinating!
E

May 2 2017 4:29 PM, "Dave Radlauer" <[log in to unmask]> wrote:
> On topic DAT:
> 
> I've transferred 32 Khz DAT both digital and analog output. Seems little
> difference, and it's usually compromised audio to begin with.
> 
> And another dirty little secret about DATs is that at the time, most folks
> just didn't observe proper insertion and removal discipline . . . AT tape
> ends ONLY. Bits of dust, creases, moisture and fingerprints that were
> deposited on the tape surface were because this discipline was not observed
> and the source of most dropouts, IMHO.
> 
> Plus it wouldn't reproduce a low frequency square wave worth a squat I'm
> told.
> 
> I think DAT is a horrible archival medium requiring highest priority
> capture. But I've found it to be amazingly robust in practice with tapes
> that were properly handled.
> 
> It's a crying shame so many albums were mastered to DAT -- without even
> outboard converters. Lou Judson and I saw that done at a shop where we
> worked and are both guilty!
> 
> Client DATs of 180 minute duration are most vulnerable. I never recorded
> to lengths greater than 120 minutes.
> 
> Dave Radlauer
> 
> -- 
> 
> cell and text# 510-717-5240
> www.JAZZHOTBigstep.com
Eli Bildirici
(347) 837-8337