LVMAN777

IT’S A BEAUTIFUL DAY White Bird

YES Roundabout

Emerson Lake And Palmer From The Beginning

MARVIN GAYE WHAT’S GOIN ON

THE ASSOCIATION Along Comes Mary

APACHE Jorgen Ingmann And His Guitar 1961

Hot Rod Lincoln

WABC 60’S AUDIO CHAIN

WABC 60’S AUDIO CHAIN

Analog Audio Processing by ”WABC”

TEMPTATIONS.... Papa Was A Rolling Stone It was the third of September That day I'll always remember, yes I will 'Cause that was the day that my daddy died I never got a chance to see him Never heard nothin' but bad things about him Momma I'm depending on you to tell me the truth Momma just hung her head and said, son Papa was a rolling stone Wherever he laid his hat was his home And when he died, all he left us was alone Papa was a rolling stone (my son, yeah) Wherever he laid his hat was his home And when he died, all he left us was alone Hey Momma! Is it true what they say that Papa never worked a day in his life And Momma, some bad talk goin' round town sayin' that Papa had three outside children And another wife, and that ain't right...

History of multitrack recording Multitrack recording of sound is the process in which sound and other electro-acoustic signals are captured on a recording medium such as magnetic tape, which is divided into two or more audio tracks that run parallel with each other... The first system for creating stereophonic sound (using telephone technology) was demonstrated by Clément Ader in Paris in 1881.. The next major development in multitrack recording came in 1953, when musician Les Paul devised the concept of 8-track recording; this was commercially developed by the Ampex corporation, which launched its first "Sel-Sync" (Selective Synchronous) recording system in 1955,.. Large format analog multitrack machines can have up to 24 tracks on a tape two inches wide which is the widest analog tape that is generally available. Prototype machines, by MCI in 1978, using 3" tape for 32 tracks never went into production, though Otari made a 32 track 2" MX-80. A few studios still operate large format analog recorders..." https://en.wikipedia.org/wiki/History_of_multitrack_recording

"... What’s an analog album? ...It is music recorded on reel-to-reel tape machines... ... musicians want their albums to sound like those made by Led Zeppelin, Sam Cooke, and Bruce Springsteen—not Justin Bieber..." http://www.newyorker.com/business/currency/what-lady-gaga-finds-appealing-in-reel-to-reel

The Return of the Analog Recording Studio G.W. Childs IV on Oct 05, 2013 in Recording & Production Software plug-ins & DAWs have taken over most music studios. However, analog is making a comeback. Now more than ever, musicians & producers are turning to hardware. But why? GW Childs investigates. "... it’s absolutely important to understand that analog recording works very different from digital. There is no cutting and pasting anything in. With this in mind, it is encouraged that you practice, practice, practice before you go into record. Many people think that the studio is where you piece the song together. Actually, this is a practice that began to take place in the 80s when signed bands had something known as a ‘budget’. But, in the days of the Elvis, and the Beatles, you wanted the song to be finished, and tight before you even stepped in the studio. This is because the recording tended to take place in one take. Granted, with 24 tracks to work with, it’s common to record a few members with a click track and then add in fills, licks and more later. Nevertheless, the tighter you are, the less you spend. And, the better the recorded performance." https://ask.audio/articles/the-return-of-the-analog-recording-studio

Classic Neve 8068 For Power Station New England Vintage King Revives Classic Neve 8068 For Power Station New England posted on July 16, 2017 by Eric Allen Power Station New England, founded in 1995 and located in picturesque Waterford, Connecticut, has taken delivery of a historic Neve 8068 MkII recording console as part of an extensive studio expansion. At the center of the 2017 upgrade is the legendary main recording space with signature 35-foot dome, plus four isolation spaces and the historic control room, which now features the vintage Neve 8068. "We put Vintage King through the ringer during its restoration and at the end of the day they knocked it out of the park," explained Power Station NE manager Mike DiBiase. "There is something about this console that's just magic." The Vintage King Tech Shop and console legend Ed Evans restored the Neve 8068 console to its original 1978 glory. The console was originally installed at Electric Lady Studio in NYC in 1979, and was later located at Record Plant in NYC and most recently at Pachyderm Studios in Minnesota. The console played a role in historic recordings by such artists as John Lennon, AC/DC, Van Halen, and Nirvana. "Mike has been a long time client of Vintage King. He came here to work at Power Station, I want to say two or three years ago. We started talking about his vision for the company and what they wanted to do with this room," says Vintage King Audio Consultant Jeff Leibovich, who worked with DiBiase on the studio expansion. “It's been over a two-year process. It wasn't just 'Here's my gear list, I need the best prices.' It was a partnership. We worked together to get this room to where it's at.” Power Station NE recreates the exact design and acoustics of the original Power Station in New York City, which was designed and built in 1976. Power Station was one of the most awarded recording studios in history, thanks to an acoustical design that contributed to hundreds of Gold and Platinum records. ttps://vintageking.com/blog/2017/07/neve-8068-power-station/?utm_source=bronto&utm_medium=email&utm_term=Power+Station+New+England+Neve+8068+Install&utm_content=Watch+Our+Restoration+of+a+Neve+Console+For+Power+Station+New+England&utm_campaign=7/16+-+Power+Station+Install+Story+(Blog)+//+Resto+Pieces+//+V%26U:+Consoles&_bta_tid=13776524635476390521163312718310280026235731855845332900050929614610680120996375680648873702749352294969

Does vinyl really sound better? An engineer explains "... vinyl has both strengths and weaknesses compared to digital files, just as movie buffs have argued over the pros and cons of 35mm film against 4K digital. To break down what vinyl can really do, I spoke with Adam Gonsalves of Portland's Telegraph Mastering. Gonsalves has worked with artists ranging from Sufjan Stevens to Steve Aoki and proudly owns a '60s Scully lathe, the ruby-tipped device that cuts lacquer discs for plating and vinyl reproduction. Before weighing vinyl's, ahem, good and bad sides, it helps to know how records are made. In brief, an engineer such as Gonsalves receives mixed recordings from the studio (or even a band's laptop) to master and cut to a lacquer, which is mailed off to be impressed upon the sets of metal stampers which will press hundreds or thousands of PVC pellets into vinyl LPs. Not every mastering engineering cuts lacquers — lathes haven't been made in decades and are in short supply, which keeps owners like Gonsalves busy — and Gonsalves is often sent digital files to work from rather than the all-analog tape one might expect. The good "Vinyl is the only consumer playback format we have that's fully analog and fully lossless," Gonsalves said. "You just need a decent turntable with a decent needle on it and you're going to enjoy a full-fidelity listening experience. It's a little bit more idiot-proof and a little bit less technical." The analog format allows for artists to transport their music from magnetic tape to LP to your speakers or headphones without the complications of digital conversion. This, ideally, is the closest one can get to what the artist intended — if the artist recorded on tape and sent the reels over to an engineer like Gonsalves to cut a lacquer master from. But whether its origins are digital or analog (more on this later), a vinyl disc should have more musical information than an MP3 file — so it should be an improvement on streaming sites such as YouTube or SoundCloud, especially on a good system.... The bad "All-analog" doesn't always happen: Many modern vinyl records are produced from digital masters, either recordings made natively in software such as Pro Tools or converted from tape before being sent along for mass production. When I visited Gonsalves, he was working on My Brightest Diamond's new album — from his computer. But analog-to-digital conversion (and vice versa) has come along quite a bit since the birth of the CD, and Gonsalves says he asks for high-definition, 24-bit files to master from if digital’s the option. Still, as artists and labels hop on the vinyl trend, some new vinyl releases may be mastered from CD-quality audio, not the high-resolution formats audiophiles and folks like Neil Young adore. Is a CD-quality album going to sound more accurate on vinyl than a CD? Nope. But it will sound more vinyl-y, if that's your preference. "There's basically nothing you can do to make an hour-long album on one record sound good," Gonsalves said. Vinyl's capable of a lot, but only if the grooves are wide enough for the needle to track them properly. A longer album means skinnier grooves, a quieter sound and more noise. Likewise, the ear-rattling sounds of dubstep weren't really meant for your turntable. "If you had taken Skrillex into Motown Studios, they would've said, ‘It's uncuttable!’" Gonsalves said, thanks to the strain the high-energy music would put on the needle’s journey. Vinyl can struggle with highs and lows: High-pitched frequencies (drum cymbals, hi-hats) and sibilance (think “s” sounds) can cause the ugly crackle of distortion, while deep bass panned between the left and right channels can knock around the needle. “It should basically be in mono," Gonsalves said. Otherwise, "that's a hard path for a needle to trace." The beginning of an album side sounds better than the end: As the album's circumference shrinks toward the middle, the needle speed changes and it can’t follow every millimeter of the groove. If the song that closes side A or B is a complicated one — say, one with a busy harmonica solo — it may well sound less than hi-fi. That's why those double-LPs are worth the extra flipping. Surface noise: "The warm sound of the vinyl, that's a form of noise that you get from dealing with the lacquer material and having it go through this manufacturing process," Gonsalves said. The vinyl format can generate other issues: crackles and pops, records that skip and the whine of a needle against the LP, all problems that the CD advertised itself on solving decades ago. But for many, these sounds are just part of the vinyl experience, adding to the charm of a format that takes some extra effort — and often rewards it. http://www.oregonlive.com/music/index.ssf/2014/11/does_vinyl_really_sound_better.html

THE WHOLE POINT IS IF YOU BUY "LP'S" BECAUSE THEY ARE ANALOG AUDIO AND SUPERIOR TO DIGITAL....THEN IF THE LP WAS MADE FROM A LOW BIT RATE DIGITAL MASTER TAPE YOU ARE SPENDING AN EXTRA $20 "FOR NOTHING"

If the audio is already digitized and then pressed into an LP you might as well just buy the CD...cheaper too.

FOR $30 I WANT AN ANALOG MASTER /NOT A CD MASTER