Sheffield Labs recordings were direct to disc as opposed to the tape transfers used by MoFi.
For those of us who were active audiophiles in the late 70's and early 80's, the name Sheffield Lab conjures up something special. Doug Sax and Lincoln Mayorga were pioneers of the Direct-to-Disc LP process, introducing the first modern "D-2-D" LP in 1968. Yes, at prior times in the history of recording, all discs were recorded direct-to-disc (e.g., 78's), since there was no tape. But the process was not used in the LP era until Doug and Lincoln made their first experimental recording in 1959, and brought out their first commercial product in 1968. For more details, see the interview with Doug and Lincoln by Raymond Chowkwanyun and myself in Positive Feedback Vol. 5 No. 4 (1995).****
However back up tapes were made of the original process, for reasons of security.
Later on in 1978 Telarc Records were to expand this process to Digital to Direct using the Soundstream Digital Recorder. The first LP released with this process was Frederick Fennel conducting the Cleveland Symphonic Winds,Telarc number 5038. No compression or editing was possible. The musicians had to be straight on from the onset of recording. These discs have a very large dynamic range and one has to be careful in setting volume levels on playback. Get stupid with one of these discs and you can kiss your speakers or amp goodbye. These were recorded in real time, what you hear is the actual performance, as if you were sitting there during the recording!!
TECHNICAL INFORMATION: This recording was made using three Schoepps/Studer transformerless omni microphones, Model SKM-52U.
Their signal was fed through a Studer Model 169 mixing console directly to the Soundstream Digital Recorder. Mastering was accomplished by sending the digital playback signal directly into the electronics of a Neumann VMS-70, SAL-74 cutting system equipped with an SX-74 cutter head.
[This Neumann system, which belongs to the JVC Cutting Center in Los Angeles, is completely transformerless and especially designed for half-speed mastering.] Mastering was done half-speed using Pyral lacquers and Adamant cutting styli. Absolutely no limiting, filtering, compression, equalization or low frequency crossover was used at any point in either the recording or mastering process. Monitoring was done using ADS Model BC-8 Broadcast Monitor loudspeakers.
SPECIFICATIONS FOR THE SOUNDSTREAM DIGITAL RECORDING SYSTEM
Frequency Response: Flat from 0 to 21 kHz (-3db at 22kHz)
Total Harmonic Distortion: At "0" VU, less than .004%
At peak levels: less than .03%
Signal to Noise: 90db RMS, Unweighted
Dynamic Range: 90db RMS, Unweighted
Sampling Rate: 50,000 samples per second
Digital Format: 16 bits linear encoding/decoding
Wow and Flutter: Unmeasurable
