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Peter Nicholls sent me this and a followup note that I thought was
interesting:
>It was interesting to read that Scale Factor Edit is being built into Sony
>machines. An undocumented feature of the Yamaha MD8 8-track machine (which
>will work with standard minidiscs in 2-track mode) allows similar fading in
>and out of already-recorded material, as well as alterations in equalisation,
>albeit by passing the material through digital-to-analogue conversion and
>back. The great thing is that it allows you to have several attempts at the
>fade you want (using real faders), then choose the one you like best.
>
>Best wishes,
>Peter Nicholls
>
>(A classical recording engineer who has used minidisc for backup of DAT
>recording sessions, and has sometimes used bits of minidisc-originated
>material on commercially released CDs, without comment from reviewers! Also
>recorded Jazz Big Band CD entirely on MD-8.)
I asked him whether it was okay to let this tidbit about MD originated
material being used for making CDs out, and he replied:
>Eric, do pass it on. I have no qualms about revealing that there are little
>bits of ATRAC in some classical CD's - my clients were always aware that if
>necessary I would use MD originated material. This was usually to cover
>glitches/dropouts from DAT (actually very rare), and more often to cover
>material missing from DAT because MD starts faster (especially if using 6
>secs of buffer) than DAT if a session "take" started unexpectedly.
>
>One producer I worked with a lot, a former head of a major American classical
>label, had ears like a bat for high frequencies and was VERY fussy about
>sound quality, but she could never tell the difference between MD and DAT
>even on the demanding sound of classical grand piano.
>
>I still use DAT as the master medium rather than MD, but only because the
>theory is better especially when dealing with multi-generation copies, not
>(as far as I am concerned) the sound on the first generation.
>
>Best wishes,
>Peter Nicholls
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