[78-L] Soundstream Caruso sources.

[David Lennick]

Trying a few different styli and comparing the sound from each side of the 
groove are also part of the process.

dl

On 2/28/2013 3:36 PM, Ryan Wolfe wrote:
> 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