orpheus10
If we define high fidelity as truthfulness to the original, then we know that a dub of an LP made to tape can’t be superior to the original. At best, it can only be the equal of the source, because tape can only add distortion, no matter how little it might be. It can’t possibly retrieve resolution or dynamics that were not present in the original. (I’m assuming we’re not using any signal processing here, such as EQ or dynamic range expansion.)
It is not at all far fetched to think that the subtle distortion added by tape might make the result preferable to the original.
To be clear, I’m into tape, and have a half-track Crown 822 and a quarter-track Tandberg TD-20A. But tape has a dirty little secret that some of its advocates overlook, and that’s the difficulty of recording HF at high levels, which is mostly a consequence of tape’s bias current. If you look at tape deck specs or test results, you’ll see that FR is typically spec’d at -10dB for reel and -20dB for cassette. The closer you get to 0 VU, the harder it is to preserve HF. And that may explain why tape dubs remove some nasties, whether from LP or digital.
At 15 IPS, my tape deck defies logic; yes, the copy is better than the source ...That doesn’t defy logic at all if you define "better" as a preference, and not a statement of technical superiority.
If we define high fidelity as truthfulness to the original, then we know that a dub of an LP made to tape can’t be superior to the original. At best, it can only be the equal of the source, because tape can only add distortion, no matter how little it might be. It can’t possibly retrieve resolution or dynamics that were not present in the original. (I’m assuming we’re not using any signal processing here, such as EQ or dynamic range expansion.)
It is not at all far fetched to think that the subtle distortion added by tape might make the result preferable to the original.
To be clear, I’m into tape, and have a half-track Crown 822 and a quarter-track Tandberg TD-20A. But tape has a dirty little secret that some of its advocates overlook, and that’s the difficulty of recording HF at high levels, which is mostly a consequence of tape’s bias current. If you look at tape deck specs or test results, you’ll see that FR is typically spec’d at -10dB for reel and -20dB for cassette. The closer you get to 0 VU, the harder it is to preserve HF. And that may explain why tape dubs remove some nasties, whether from LP or digital.