Hi All,
Just wanted to let all my fellow trolls know that the AES Disk Anthologies are back in print. If you don't already have one, you should! It is the most complete work on the subject available. A few months ago I loaned my copy to a fellow troll and he decided he wanted to get one. It was out of print, and had been for some time. Nobody is interested in phonograph records anymore, don't you know?
After several emails and phone calls to the AES I reached Donna Vivero there. Bless her heart, she said she would see what she could do. About a week ago she e-mailed me excitedly and said "OK I's available, spread the word!" I told her if she made them available again, I would, so that's what I'm doing here...
They run $30 for members and $40 for non. Believe me it is money well spent. There are 2 volumes. Vol 2 is good too, but Vol 1 is the "must have".
Here's the link: http://www.aes.org/publications/anthologies/ If you aren't sold by my description you can scan the contents section of the books there.
Get 'em while you can. Once they're gone it could be quite a while before they are available again. (If ever)
Best,
Kev
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blacknwhite
- Posts: 483
- Joined: Thu Apr 24, 2008 2:57 am
- Location: US
Great to hear it's in print (& thanks for making that call Kevin). Totally agree with your assesment of both volumes (ended up going back later & getting volume 2 also).
2008 review from when I bought the Volume 1 book, w/ excerpts & pics:
https://lathetrolls.com/viewtopic.php?t=796.html
- Bob
2008 review from when I bought the Volume 1 book, w/ excerpts & pics:
https://lathetrolls.com/viewtopic.php?t=796.html
- Bob
Maybe in audio engineering school / university , with a quick google search , found a list of sound engineering schools in the Penn state.do you think they have this at a public library? I really need to read this book..
http://www.aes.org/education/directory/region.cfm?GeoID=1
United States - Pennsylvania
Lebanon Valley College of Pennsylvania
Pennsylvania Academy of Recording Arts and Sciences
Art Institute of Philadelphia
Drexel University
Future Media Concepts - Philadelphia
Penn State University Graduate Program in Acoustics
if some of these are public... , why not ? , but guess are the type of book that you can't take to home , but if the book is in a public university library sure you can go to read it at the same library.
If have the megazilion luck of have one near home.
Good Luck.
Very Busy days , some cutting works at least , soon online again
We must promote the use and abuse of vinyl records.
We must promote the use and abuse of vinyl records.
Wish me luck!
LOL, don't stress. It will become more clear after a few re-reads.
And, in the meantime, ask questions!
And, in the meantime, ask questions!
Cutting, Inventing & Innovating
Groove Graphics, VMS Halfnuts, MIDI Automation, Professional Stereo Feedback Cutterheads, and Pesto 1-D Cutterhead Clones
Cutterhead Repair: Recoiling, Cleaning, Cloning of Screws, Dampers & More
http://mantra.audio
Groove Graphics, VMS Halfnuts, MIDI Automation, Professional Stereo Feedback Cutterheads, and Pesto 1-D Cutterhead Clones
Cutterhead Repair: Recoiling, Cleaning, Cloning of Screws, Dampers & More
http://mantra.audio
Hilarious picture, KeeLeh21. Just started into both Anthologies, here.
I recommend that you focus on the chapters that interest you the most, first. Even study the pictures and subtext for a while. No need to get bogged down in the maths - that's what the AES Fellows are for. There won't be a test. (: Just test cuts, right?
There appears to be a fair amount of calculus and the always-interesting appearance of the irrational numbers, pi and the square root of 2. The latter appearing in the relationship between the effective radius of the recorded wavelength and the peak-to-peak groove displacement. r/√2 and √2/r !
Why is the irrational interesting? Because it is a never-ending value. This is why analog rules, iuam. It still uses the line (in the form of a spiral) and, therefore, describes infinity with analogous perfection, whilst digital always falls short, due to the imprecision of numbers. How can this fail to be telegraphed to the listener? (rhetorically posed, only)
I say just enjoy the information and glean the basics of the presentations. That's all I'm-a-do.
Peace,
Andrew
I recommend that you focus on the chapters that interest you the most, first. Even study the pictures and subtext for a while. No need to get bogged down in the maths - that's what the AES Fellows are for. There won't be a test. (: Just test cuts, right?
There appears to be a fair amount of calculus and the always-interesting appearance of the irrational numbers, pi and the square root of 2. The latter appearing in the relationship between the effective radius of the recorded wavelength and the peak-to-peak groove displacement. r/√2 and √2/r !
Why is the irrational interesting? Because it is a never-ending value. This is why analog rules, iuam. It still uses the line (in the form of a spiral) and, therefore, describes infinity with analogous perfection, whilst digital always falls short, due to the imprecision of numbers. How can this fail to be telegraphed to the listener? (rhetorically posed, only)
I say just enjoy the information and glean the basics of the presentations. That's all I'm-a-do.
Peace,
Andrew
CPS stands for Charles P. Sheen. However, in the context you cite, it apparently is standing for "cycles per second," which is also known as "Hertz," as in 1 kilohertz, as in that Hamburgler Heinrich Rudolf Hertz' International Scientific Unit of musical relevance. *\
As for the RIAA (are eye double-Ayy), it is a sound disk equalization emphasis standard that you have been using, most likely, even without realizing it(?). Lurking unheralded within the bowels of your receiver's phono inputs is a network that de-emphasizes the pre-emphasized signal from the disk so that it can be amplified with the master tape's flat response. It is how the microgroove records you play are properly re-equalized, since they have the bass cut out of the program, and the highs emphasized, during cutting of the lacquer disk (so this inverse eq has to take place on playback or else the pre-emphasized record will screech and not be what the mix sounded like).
Why even do this? Because a cutterhead is a velocity transducer, it can't help but give lower cycles-per-second greater groove displacement than it gives in response to higher c's per s, in spite of the input voltages being identical for each frequency (flat input doesn't cut flat). We don't want bass notes to have a very big groove and highs to have a very little one, since we want all these signals to be comingling and also want maximum program duration potential and, also, of course, want to minimize surface noise. So, without the pre-emphasis ("pre-emphasis" sounds redundant, eh?), 8k would have a groove wiggle that is twice as small as that of 4k... which would, in turn, be twice as small as that of 2k... etc... Skewing the balance of the complex input waveform to the treble end of the spectrum evens out the sizes of the cut wiggles of the different frequencies on disk to some degree. However, it would take too much make-up gain to impose a 6 dB/octave boost from 20 - 20k cps. So, having a plateau in the midrange is the compromise. Everyone loves a three-way, right? (;
The three cycle times "cornered" by this standard, are 3,180, 318.0, and 75 microseconds, which is the same as 50.5, 500.5, and 2123.1 cycles per second. Get ready for a slice of irrational pi:
F =
___1___
2*pi*T.
For reference, light takes about one second to travel from the Moon to the Earth. One micro-second is one millionth, or, if you prefer, one milliardth, of a second. (;
...Now for the "B" side:
From Volume 2 of the AES Disk Recording Anthology, "...it is obvious that, the greater the pre-emphasis used in cutting a record, the greater will be the maximum slope of the recorded groove and the more difficult it will be for a pickup stylus to track. Further, the frequency response beyond the audio range has been shown to have an effect proportional to the pre-emphasis used on the maximum slope of the groove shape. This is particularly serious when one considers that the recording characteristics published as standards do not extend beyond the audio range. This deficiency in the standards (RIAA is but one) makes the use of pre-emphasis highly questionable. (!)"
"...The basic reason for using pre-emphasis is to improve the signal-to-noise ratio. With the advent of hot stylus recording and variable pitch or margin control, it hardly seems necessary to increase the signal-to-noise ratio (!). In fact, tape hiss has already become a limitation to further improvement."
Speaking of tape, you should be well aware that analog tape recording also relies on pre-emphasis and de-emphasis. NAB, AES, CCIR, and Ampex Master Equalization, are among the popular.
-Stylus Wigglesworth
As for the RIAA (are eye double-Ayy), it is a sound disk equalization emphasis standard that you have been using, most likely, even without realizing it(?). Lurking unheralded within the bowels of your receiver's phono inputs is a network that de-emphasizes the pre-emphasized signal from the disk so that it can be amplified with the master tape's flat response. It is how the microgroove records you play are properly re-equalized, since they have the bass cut out of the program, and the highs emphasized, during cutting of the lacquer disk (so this inverse eq has to take place on playback or else the pre-emphasized record will screech and not be what the mix sounded like).
Why even do this? Because a cutterhead is a velocity transducer, it can't help but give lower cycles-per-second greater groove displacement than it gives in response to higher c's per s, in spite of the input voltages being identical for each frequency (flat input doesn't cut flat). We don't want bass notes to have a very big groove and highs to have a very little one, since we want all these signals to be comingling and also want maximum program duration potential and, also, of course, want to minimize surface noise. So, without the pre-emphasis ("pre-emphasis" sounds redundant, eh?), 8k would have a groove wiggle that is twice as small as that of 4k... which would, in turn, be twice as small as that of 2k... etc... Skewing the balance of the complex input waveform to the treble end of the spectrum evens out the sizes of the cut wiggles of the different frequencies on disk to some degree. However, it would take too much make-up gain to impose a 6 dB/octave boost from 20 - 20k cps. So, having a plateau in the midrange is the compromise. Everyone loves a three-way, right? (;
The three cycle times "cornered" by this standard, are 3,180, 318.0, and 75 microseconds, which is the same as 50.5, 500.5, and 2123.1 cycles per second. Get ready for a slice of irrational pi:
F =
___1___
2*pi*T.
For reference, light takes about one second to travel from the Moon to the Earth. One micro-second is one millionth, or, if you prefer, one milliardth, of a second. (;
...Now for the "B" side:
From Volume 2 of the AES Disk Recording Anthology, "...it is obvious that, the greater the pre-emphasis used in cutting a record, the greater will be the maximum slope of the recorded groove and the more difficult it will be for a pickup stylus to track. Further, the frequency response beyond the audio range has been shown to have an effect proportional to the pre-emphasis used on the maximum slope of the groove shape. This is particularly serious when one considers that the recording characteristics published as standards do not extend beyond the audio range. This deficiency in the standards (RIAA is but one) makes the use of pre-emphasis highly questionable. (!)"
"...The basic reason for using pre-emphasis is to improve the signal-to-noise ratio. With the advent of hot stylus recording and variable pitch or margin control, it hardly seems necessary to increase the signal-to-noise ratio (!). In fact, tape hiss has already become a limitation to further improvement."
Speaking of tape, you should be well aware that analog tape recording also relies on pre-emphasis and de-emphasis. NAB, AES, CCIR, and Ampex Master Equalization, are among the popular.
-Stylus Wigglesworth
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ArchaicRecords
- Posts: 56
- Joined: Fri Mar 03, 2006 10:36 pm
- Location: USA: Lexington, KY
Found one on Amazon.com in case someone wants it 
http://www.amazon.com/gp/offer-listing/B0056A2E0I/ref=dp_olp_used?ie=UTF8&qid=1309919319&sr=8-33&condition=used
http://www.amazon.com/gp/offer-listing/B0056A2E0I/ref=dp_olp_used?ie=UTF8&qid=1309919319&sr=8-33&condition=used
Do you have an email addy for her you could pm me? Had no luck getting even a response from the normal contact form.....cohearent wrote:I suggest you contact Donna Vivero at AES. Tell her you are a Lathe Troll and that you heard about it from Kevin Gray who posted it on the LT forum. (As I promised) Maybe we will get a little clout and respect here!
Would be very much appreciated
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monkey1553
- Posts: 42
- Joined: Tue Mar 09, 2010 11:46 pm
- Location: Mile High City USA!