Several classical and jazz titles were cut in the 70s but of course all on lacquer and all cut at 45 for 45 playback the same with the DMM titles in the 80s.
My own research as well as his says that a lot of it was on EMI Angel with a handful on DGG/Polygram and UK Decca and a few others.
There's so few 45-for-45 DMM cuts around #1 examples are hard to find and #2 hard to research production for the individual 45 release because all the prod and mast info is all for the normal 33 for 33 playback.
Huh? Overlay the 2 files in the computer? I would think one would have to have one file for Side A and one file for Side B as we did and only one file could be loaded at a time. At least that's how he did it.
Well as he cut one of his on a normal Westrex and cut the other one on a Miller with a Grampian (Haeco) head (SC-1) with the same home-built RIAA transposition, then IF we would have cut at 45 for 45 playback - then presumably both the analog and the digital lacquer cuts would have been in the UK's previously native 45.45 RPM.
BUT remember we are not CUTTING at ANY type of 45 - we are - as the title of the thread states - cutting at 33 FOR 45 playback and transposing the RIAA and NAB curves down to 75% to match. We were worried that the percentage difference would be too high and people would be able to tell upon auditioning - especially comparing to the DVD-Audio (hi res) file we sent all the reviewers on a disc.
But everybody says even playing them side by side - apart from one drifting slowly out of sync with the other - you can't tell if you only play one at a time the same reason U.S.audiences couldn't tell 45.45 (45-for-45 playback) U.K. cuts from 45.00 for 45.00 U.S. cuts - meaning even if we are cutting on the Westrex or Miller and doing 33 mastering for 45 playback - 45-mastering-for-45 playback is irrelevant in the mastering - only the playback since 33.33 mastering is the same regardless of U.S. or U.K. technical parameters.
So if our experiemnts are any guide - you really CAN do this properly in all-analog on a Westrex or a Miller because the difference percentages are so small - but if you wanted to correct for these ~ 0.1% disc playback errors - you could
1 ignore it and do the same as the 45.45 mastering for 45.45 playback people in the U.K. do for U.S. pressings and vice versa and let people tolerate it like they used to do
2 print a 45.00 or 45.45 playback strobe around the rim of the label
3 cut from the digital file and correct for the disc PLAYBACK error in the mastering computer prior to cutting
If you didn't want to do #1 or #2 - for #3 - whether it was cut to lacquer or cut to DMM - since the original cut would have to have been 33.75 RPM instead of 33.33 - even tho the RIAA curve would not matter between 75% and 74.074% or 73.340% - the playback parameters of the digital file being fed to the mastering console WOULD have to be adjusted if you wanted it to be exact.
Before going into all the trouble of correcting the digital file playback parameters for the 33.33 to 33.75 cutting error - he just cut this straight with a 1) 75% NAB curve and a 2) 75% RIAA curve for the analog, and flat from the file with the 75% RIAA curve for the digital AND NOBODY COULD TELL - we're inclined to ditch #3 and either ignore it like they used to do or print a strobe on the label for the perfectionists.
Which probably saved us months and months of work.
Stay Tuned.