Dolby SR/A Test! Multitrack files test!!

[carlo.poddighe]

Hello everybody!
I've just purchased a Dolby MT series 24 ch SR/A and i've made a test in multitrack mode.
I've performed a little portion of an old Velvet Underground song 3 times encoding and decoding the tracks in order with: 1st: with Dolby SR, 2nd: With Dolby A and 3rd: without any NR.
the recorder used is a 24tks 2" STUDER A80 MKII aligned at 0 vu 520Nwbm IEC with RMG900.
I've uploaded the 7 tracks (Gtr, Bass, Kick, Snare etc.etc.) so you can hear how Dolby reacts with different instruments on multitrack.
Note that that's a recording made directly on tape, so you'll hear a lot of mistakes and whatever...
Let me know what you think about this.
Download the file here:
http://dl.dropbox.com/u/9865769/Cand...st%20Dolby.zip
Carlo.

Poddighe Studio
www.poddighe.com
Brescia, Italy.

[@?,*???&?]

Hello everybody!
I've just purchased a Dolby MT series 24 ch SR/A and i've made a test in multitrack mode.
I've performed a little portion of an old Velvet Underground song 3 times encoding and decoding the tracks in order with: 1st: with Dolby SR, 2nd: With Dolby A and 3rd: without any NR.
the recorder used is a 24tks 2" STUDER A80 MKII aligned at 0 vu 520Nwbm IEC with RMG900.
I've uploaded the 7 tracks (Gtr, Bass, Kick, Snare etc.etc.) so you can hear how Dolby reacts with different instruments on multitrack.
Note that that's a recording made directly on tape, so you'll hear a lot of mistakes and whatever...
Let me know what you think about this.
Download the file here:
http://dl.dropbox.com/u/9865769/Cand...st%20Dolby.zip
Carlo.

Poddighe Studio
www.poddighe.com
Brescia, Italy.

Yep, I do this all the time with a Dolby 365 with tracks I've actually recorded. I also have a dbx unit to compare with. You should get one of those, vibey and car radio friendly they are.

btw, Dolby A and SR and dbx all function VERY differently.

[Dominick Costanzo]

One thing to remember when using any noise reduction system is that any inaccuracies in your analog recording device will be magnified by the noise reduction system.
If you slam levels into tape, any HF compression from tape saturation will be exaggerated.

If you're working at 520 nW/m, keep your peak levels below 0 dB VU.

[@?,*???&?]

One thing to remember when using any noise reduction system is that any inaccuracies in your analog recording device will be magnified by the noise reduction system.
If you slam levels into tape, any HF compression from tape saturation will be exaggerated.

If you're working at 520 nW/m, keep your peak levels below 0 dB VU.

His Dolby A metering should help him make sure of that. IF he's calibrated properly, then his signal will be going in at unity gain to the noise reduction unit. The 520 nwb calibration at the tape machine merely means that the signal coming from the Dolby is recorded at that level. The Dolby metering will then require unity gain signal from Tape Machine and then he'll calibrate unity gain out of Dolby unit to console/pro tools/whatever.

[Dominick Costanzo]

His Dolby A metering should help him make sure of that. IF he's calibrated properly, then his signal will be going in at unity gain to the noise reduction unit. The 520 nwb calibration at the tape machine merely means that the signal coming from the Dolby is recorded at that level. The Dolby metering will then require unity gain signal from Tape Machine and then he'll calibrate unity gain out of Dolby unit to console/pro tools/whatever.

Even of your "Dolby level" is calibrated perfectly, if you start to slam level onto the tape, the artifacts of "tape compression" will be exaggerated by the decode process, often not in a good way.
Dolby and dBx clearly state you should be conservative with your levels to tape.
If you're making "untz untz" music, none of this matters.

[@?,*???&?]

His Dolby A metering should help him make sure of that. IF he's calibrated properly, then his signal will be going in at unity gain to the noise reduction unit. The 520 nwb calibration at the tape machine merely means that the signal coming from the Dolby is recorded at that level. The Dolby metering will then require unity gain signal from Tape Machine and then he'll calibrate unity gain out of Dolby unit to console/pro tools/whatever.

Even of your "Dolby level" is calibrated perfectly, if you start to slam level onto the tape, the artifacts of "tape compression" will be exaggerated by the decode process, often not in a good way.
Dolby and dBx clearly state you should be conservative with your levels to tape.
If you're making "untz untz" music, none of this matters.

You mean "slam level into Dolby"- if you do that, the circuitry doesn't work correctly.

Dolby and dbx do say to print moderate to low levels, +4 isn't too hot. You're nowhere near tape compression at that point.

[Dominick Costanzo]

We agree