[78-L] Soundstream Caruso sources.

[Ryan Wolfe]

I know, good copies can solve a lot of that.   But what I describe is still present even on Ward Marston's Caruso transfers, and I assume he used the best copies..   There's a little degradation near the end of the side.

Which isn't to belabor it, it's just something I noticed comparing the Soundstream vs. more conventional listening.   


________________________________
 From: Michael Biel <mbiel at mbiel.com>
To: 78-L Mail List <78-l at klickitat.78online.com> 
Sent: Thursday, February 28, 2013 12:24 PM
Subject: Re: [78-L] Soundstream Caruso sources.
 
From: Ryan Wolfe <nextset4 at yahoo.com>
> If they used commercial pressings, I'd like to know how they
> did such a good job mitigating the end of side shrillness 
> / inner groove distortion that some of those records seem to
> always have, like the long (with recitative) Celeste Aida,
> or when Caruso ends on a big note.   The side ends sound
> virtually as clean as the opening grooves, which is
> something I appreciate.

Find a better copy. :-)  When I was a kid I started with my father's
collection which included some very worn Caruso records, including
Celeste Aida.  In fact, I have NEVER found copies of these same Caruso
records quite as worn as his copies!!!!  It was quite a revelation when
I found good copies! 

Tim Fabrizio plays Celeste Aida as a demo of his restored Auxeotophone
to show one of the unknown features of the machine -- it cannot be
overloaded, it can only get louder.  

Mike Biel  mbiel at mbiel.com  
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