PekkaJohansson skrev:16 bitar - analog mixning - 16 bitar, verkar det. Från
http://www.analogplanet.com/content/brothers-arms%C2%A0%C2%A0-45rpm-mobile-fidelity#2J8J5V04mh2dwOdO.97:
"Since first posting this review I contacted co-producer Neil Dorfsman and got some interesting information, beginning with the fact that contrary to the SPARS code, this was not at "DDD" production! The original digital multitrack recording was done at 48K/16 bit but because it was mixed via an analog SSL (Solid State Logic) mixing board, the digital tracks first had to be converted to analog and then mixed to two-track DAT at 44.1K/16 bit resolution."
Motsvarande information finns på en rad andra sajter men det här är första gången jag ser uppgiften att Sonys digitala 24-spårsmaskin arbetade i 16/48.
Med vänlig hälsning
Pekka
Det står om just denna inspelning samt recorder på Wiki.
Wiki skrev:Recording Brothers in Arms
Brothers in Arms was recorded from November 1984 to March 1985 at AIR Studios on the island of Montserrat, a British overseas territory in the Caribbean. The album was produced by Mark Knopfler and Neil Dorfsman.
Brothers in Arms was one of the first albums to be recorded on a Sony 24-track digital tape machine. The decision to move to digital recording came from Knopfler's constant striving for better sound quality. "One of the things that I totally respected about him," Dorfsman observed, "was his interest in technology as a means of improving his music. He was always willing to spend on high-quality equipment.
Before arriving at Montserrat, Knopfler had written all the songs and rehearsed them with the band.
The studio itself was small, with a 20 x 25-foot recording space that offered virtually no isolation. "It was a good-sounding studio," Dorfsman later recalled, "but the main room itself was nothing to write home about. The sound of that studio was the desk," referring to the Neve 8078 board.
During the recording of "Money for Nothing", the signature sound of Knopfler's guitar may have been enhanced by a "happy accident" of microphone placement. Knopfler was using his Gibson Les Paul going through a Laney amplifier. While setting up the guitar amplifier microphones in an effort to get the "ZZ Top sound" that Knopfler was after, guitar tech Ron Eve, who was in the control room, heard the "amazing" sound before Dorfsman was finished arranging the mics. "One mic was pointing down at the floor," Dorfsman remembered, "another was not quite on the speaker, another was somewhere else, and it wasn't how I would want to set things up—it was probably just left from the night before, when I'd been preparing things for the next day and had not really finished the setup." What they heard was exactly what ended up on the record; no additional processing or effects were used during the mix.
Wiki skrev: SONY Digital Audio Stationary Head
The Digital Audio Stationary Head or DASH standard is a reel-to-reel, digital audio tape format introduced by Sony in early 1982 for high-quality multitrack studio recording and mastering, as an alternative to analog recording methods. DASH is capable of recording two channels of audio on a quarter-inch tape, and 24 or 48 tracks on 1⁄2-inch-wide (13 mm) tape on open reels of up to 14 inches.
The data is recorded on the tape linearly, with a stationary recording head, as opposed to the DAT format, where data is recorded helically with a rotating head, in the same manner as a VCR.
The audio data is encoded as linear PCM and boasts strong cyclic redundancy check (CRC) error correction, allowing the tape to be physically edited with a razor blade as analog tape would, e.g. by cutting and splicing, and played back with no loss of signal.
In a two-track DASH recorder, the digital data is recorded onto the tape across nine data tracks: eight for the digital audio data and one for the CRC data; there is also provision for two linear analog cue tracks and one additional linear analog track dedicated to recording time code.
The main advantage of any digital recording medium is that of consistent reproduction, which is why some of the first uses of digital recording were for instrumentation data and classical music.
DASH recorders included a specialized circuit called "Emphasis" which was intended to help overcome the noise of analog to digital and digital to analog converters of the time by boosting high frequencies on the front end. This circuit required de-emphasis on playback after the DAC as well for accurate reproduction. While emphasis was almost a necessity in earlier units, the circuit, of course, had a sound of its own and was used less and less as converter design improved.
There were three families of DASH recorders produced by Sony and Studer, with few differences among them:
2 track: PCM-3402, PCM-3202
24 track: PCM-3324, PCM-3324A, PCM-3324S
48 track: PCM-3348, PCM-3348HR
With the exception of the Sony PCM-3348HR, all of the SONY DASH recorders have 16-bit resolution with a 44.1 kHz or 48 kHz sampling rate, although it is possible to use an outboard analog-to-digital converter of up to 20-bit resolution. The PCM-3348HR is capable of 24-bit 48 kHz operation at 45 ips, and are the only machines that still find significant use today, often in only the highest-end studios for music and film production.
All DASH recorders primarily use the SDIF-2 (Sony Digital Interface Format-2) as a digital interface, which is slightly different than the S/PDIF / AES-EBU that nearly all other digital audio recorders use, but is technically superior because SDIF-2's word clock is not multiplexed into the bitstream.
Because SDIF-2 is often only found on the expensive DASH recorders, it is also often only found on the highest-end mixing consoles, such as those made by Solid State Logic.
Det som man kan undra lite över är emphasis - deemphasis. Det verkar som emphasis är konstant på precis som på SONY F1. Då bör detta framgå i CD:n och i så fall bör den spelas av med deemphasis. Har de däremot D/A-omvandlat med deemphasis och därefter mixat och därefter A/D-omvandlat utan emphasis så är resultatet på CD utan emphasis.
Med vänlig hälsning
Peter
VD Bremen Production AB + Ortho-Reality AB; Grundare av Ljudbutiken AB; Fd import av hifi; Konstruktör av LICENCE No1 D/A, Bremen No1 D/A, Forsell D/A, SMS FrameSound, Bremen 3D8 m.fl.
