How to Store Your LP for Daily Playing

[Bryan Sutherland]

Yes. That's an interesting thing. When I play (or listen to) Gary Moore or similar melodic songs, He falls asleep so peacefully, even in front of the amp. But hates techno from radio or metal.

 

That made me curios. I made an experiment with my father's boxer. She reacts the same. Maybe, there is a frequency range that makes the dogs relaxed?

 

(Sorry for the off-topic posts).

 

Cheers... Bence

No need to apologize for the off-topic posts, Bence!! It happens!!

[Kaiser Bill]

I keep a few guitars (2 acoustics & 3 electrics) hanging on the walls of my work room along with a pair of ukes. Either a Strat or a Tele in an "A" frame stand, and the rest in their cases in a closet. Since the fiasco with the fireplace, the J200 stays in the case with a humidifier.

I don't need another problem with a bowed neck. The Les Pauls (3) all stay in the closet next to the Midtown.

[Anthony Buckeridge]

Quote: "They remastered some old recordings for the worst."

 

 

 

I Agree.

 

 

 

Quote: "I fear they won't redo all of the nice music ruined with hypercompression and hyperlimiting. I didn't buy CDs since years just because of that."

 

 

 

Again, I Completely Agree.

 

For anyone here who doesn't understand what our friend is writing about, this will explain.

 

The Link...

 

http://www.cdmasteringservices.com/dynamicdeath.htm

 

 

 

 

 

 

 

 

Quote: "The new standards are close to those of the Red Book released by Sony and Philips in 1982."

 

 

 

 

There's a whole bunch of us that care very much about Recorded Audio Quality.

 

We have been working hard to Educate both Record Company Executives and Consumers.

 

Fighting Hard to Reverse the many Audio Problems, Ignorance and Abuse of New Technology have Introduced.

 

In this regard, we have also sought and developed with Manufacturers, Higher Standards of Digital Archiving for Historic Masters.

 

There are a whole slew of people that along with myself, have worked very hard to achieve the most Satisfactory Result Possible, that will ensure High Quality as Mature, Sophisticated and Higher Resolution Audio Systems replace Existing Technologies.

 

Some of those involved have been routinely Recording and Mixing at Far Higher Resolution than present norms require, and Recording and Mixing for Multi-Channel Surround Systems so that should High Resolution Systems and Multi-Channel Systems become the Norm and the Archived Material need to be Re-Mastered for those Formats, we already have the Perfect Masters Secreted away, and can deliver them on a Plate, so to speak, with little to no further work necessary.

 

 

 

Toto Producer Al Scmitt, has been doing this for many, many years, indeed, and indeed Won a Grammy for his Recording of Toto.

 

Another Grammy Award Winning Toto Producer George Massenburg, has also been Heavily Involved in all these matters too. I've had a relationship to these guys for years, and have to tell you they don't put "distortions" in their Records.

 

In fact, you might be interested to know that out of interest, George made a Test Recording of Toto Drummer, the late Jeff Porcaro, in order to ascertain just how good his sense of timing was. The Test Recording showed a deviation in timing across the entire track, of no more than 1 millisecond.

 

Bearing in mind that it takes about 6-7 milliseconds for sound to go around your forehead for Inter-Aural Location Differential, this accuracy of timing is quite remarkable indeed. It really doesn't get any better than that, quite the opposite. So these guys are all right at the top of their game, and frankly I don't know anyone anywhere that is better.

 

 

 

 

Quote: "Bob Ludwig left bad distortions on through poor mastering."

 

 

 

 

With respect.

 

It seems unlikely.

 

Bob Ludwig is another Class Act.

 

At the Same Level as the guys mentioned above.

 

His Mastering Monitors are actually sat on Bedrock Granite, on the Underlying Ground Structure, his Building is Built Into.

 

Bob was originally a Musician, a Brass Player, and had fought against High Level Full Scale Digital Mastering for Years. If you want to listen to a Playback at Higher Levels at an Attended Session at his Mastering Studio, well you can do that, but Bob Ludwig would definitely leave the room entirely before you could do so.

 

The Album mention was Mixed by Bob Clearmountain, who very early in the Curve had Superb Clocking, Digital Systems and Monitoring. I have known many guys that worked at Master Disk and with the greatest respect, I would believe it far more likely that either Record Executives seeking and insisting upon "Competitive Levels" or Issues at the Pressing Plant, particularly if through budget cuts the Glass Master wasn't Checked Thoroughly.

 

Many Record Companies see their Archived Material as a Cash Cow, but want them Re-Mastered without paying for a Proper Job to be Done. With respect, I think the real culprit for any perceived problem, lies elsewhere.

 

Also, many Consumer Quality Convertors in Good Hi-Fi Systems are none the less heavily compromised designs, most especially in the Analog Circuitry and Digital Filters, and because of this, emit problems that in fact.

 

Do not exist in the Original Mastered Recording. Much of it's really a matter of Headroom in the Design, Cost and the Sonic Limitations of Full Scale Digital.

 

 

 

 

If you make Recordings yourself.

 

And Track at -6 dBFS or above it is almost a Mathematical Certainty that your Recording will suffer from Inter-Sampling Peaks, even if your Sequencer does not show any Red Warnings.

 

The Sound Wave Screen Visualisation is not an Accurate Transcript of your Recording. Your Computer would never be able to keep up with the Complexity of the Sampling. It is merely a Visual Representation of what is in fact purely a series of Sampling Dots on your Hard Drive.

 

It is only on Playback that the Dots are Converted into the Full Sonic Wave, where the problems may lie undetected, as ALL SOUND is ANALOG in Nature, and what your Hearing Detects in that moment will depend entirely upon the quality of your Monitoring Chain, especially the Digital Convertors, the Rooms Acoustical Signature, and critically, How Experienced your Ear is at Detecting Audio Faults.

 

Bob Ludwig has one of the best sets on Ears in the Business. But at the end of the day, he works for the Executives at the Record Company, like everybody else in the Business.

 

If they insist upon Loud, then that's what you get. Leave Good Headroom when you Track Your Recordings

 

 

 

 

 

Quote: "When I play (or listen to) Gary Moore or similar melodic songs, He falls asleep so peacefully, even in front of the amp. But hates techno from radio or metal."

 

- Snipped for Shortness -

 

Quote: " Maybe, there is a frequency range that makes the dogs relaxed?"

 

 

 

 

 

One of the people that immensely helped the little Group that I used to Play Lead Guitar for, was a man named Rupert Neve.

 

http://rupertneve.com/company/honors/

 

 

 

Rupert has visited Scientists in Japan that have conducted experiments on the effect of Digital Audio upon Brain Patterns and Subsequent Human Behavior.

 

He has quite a lot to say about that, if you are genuinely interested. Scroll through the Pdf Files.

 

http://www.grammy.com/news/rupert-neve-is-still-making-sound-waves

 

http://www.utdallas.edu/~tres/neuroII/price.pdf

 

http://www.icad.org/websiteV2.0/Conferences/ICAD2002/proceedings/Oohashi.pdf

 

 

 

 

I attended a Forum at Oxford University conducted by one the World's Leading Brain Research Scientists.

 

It's fair to say that Rupert's reservations in regard to Digital Audio are largely related to the Cutting Off of Certain Frequencies that he feels the Brain Requires.

 

Subsequently it has been admitted to me by the World's Leading Digital Designers that Filtering of High Frequency Sound is where Cost Cutting Measures have been made by most Digital Convertor Manufacturers, who often buy "Off The Shelf" Filters from Third Party Suppliers, but Not Optimised for their Equipment Design. This is why a Particular Sampling Rate may Sound Better. Its Filter is the Most Optimal for the Given Equipment Design. Its not necessarily that Higher Sample Rates are Simply Better.

 

That a Dog might be Highly Sensitive to this Effect is very Interesting. We know that even if the person, cannot Consciously Detect this Effect , The Human Brain Does and Registers that fact on an MRI Scanner!

 

 

 

 

Quote: "So which is best, what do you guys do and what kind of stand or do you just put it back in the case?"

 

 

 

 

My First Experience of the Dangers of Guitar Stands was Very Dramatic.

 

I was Touring with Pat Boone, and had gone to the Mixing Console, in the Centre of the First Balcony, of a Large Concert Hall.

 

I was with the Mix Engineer, leaning on the Balcony, looking at the Line of Fine Instruments stood on the Beautiful, Highly Polished, Wooden Beams, of the Stage Floor.

 

Suddenly, without warning, an Acoustic Guitar, leaped off its Stand, Bounced Spritely off the Hard Floor and the Slid Yard after Yard after Yard, right across the Polished Stage, before jumping again slightly, at the very edge and Falling Deep into a Pit, Six or Seven Feet Below.

 

Not a Single Person had been stood on the Stage anywhere near the Instruments, and I can only think that a Solitary Plank of the Stage Floor, Flexed somehow from a Great Distance and caused the Dramatic Reaction. I could never have believed it, had I not seen it, with my own two eyes.

 

I was of course, in the best, most perfect, vantage point, possible.

 

The Entire Back of the Instrument detached in one piece.

 

And we had a whip round for the Poor Guitarist.

 

 

 

 

I once Repaired a Very Old, and Rare in this Country, Left Handed Martin D-28 for a friend of Mine who was the Director of a Large Corporation.

 

He was Delighted with the Result, and took it home and placed it upon a Stand in his Living Room.

 

The Next day, his Cleaning Lady was Vacuuming the Carpet and Knocked it Off.

 

It Landed Heavily, Breaking and Cracking the Instrument.

 

 

 

 

A Hard Case, left Safely, is the Best Option.

 

Some Working Musicians, especially some with "Producer Studios" prefer to hang their "Constantly Used" Instruments Safely, on an Inside Wall. Never on an Outside Wall.

 

If you must use a Stand. The best way is to buy a Solidly Constructed Multi-Guitar Stand for Stage Use. One Designed for rather more Guitars than you ever intend placing on it.

 

Then you have to check and ensure that the Material the Guitar rests upon, will not Damage your Guitars Finish. Probably you will need to Add Known Safe Material to be entirely sure.

 

Unless you are On Stage or Working in a Busy Studio, and need to Change Instrument Quickly and Often.

 

The Guitar Case is always the Best, Safest Option to Protect your Instrument.

[rct]

Quote: "They remastered some old recordings for the worst."

 

 

 

I Agree.

 

 

 

Quote: "I fear they won't redo all of the nice music ruined with hypercompression and hyperlimiting. I didn't buy CDs since years just because of that."

 

 

 

Again, I Completely Agree.

 

For anyone here who doesn't understand what our friend is writing about, this will explain.

 

The Link...

 

http://www.cdmasteringservices.com/dynamicdeath.htm

 

 

 

 

 

 

 

 

Quote: "The new standards are close to those of the Red Book released by Sony and Philips in 1982."

 

 

 

 

There's a whole bunch of us that care very much about Recorded Audio Quality.

 

We have been working hard to Educate both Record Company Executives and Consumers.

 

Fighting Hard to Reverse the many Audio Problems, Ignorance and Abuse of New Technology have Introduced.

 

In this regard, we have also sought and developed with Manufacturers, Higher Standards of Digital Archiving for Historic Masters.

 

There are a whole slew of people that along with myself, have worked very hard to achieve the most Satisfactory Result Possible, that will ensure High Quality as Mature, Sophisticated and Higher Resolution Audio Systems replace Existing Technologies.

 

Some of those involved have been routinely Recording and Mixing at Far Higher Resolution than present norms require, and Recording and Mixing for Multi-Channel Surround Systems so that should High Resolution Systems and Multi-Channel Systems beco

 

TOO MANY WORDS

[BobF_]

My LPs and other guitars are always out hanging from wall hangers or on stands or laying with their backs on cloth covered bar stools.

 

The are dusty and covered in finger prints most of the time, getting a good wipe down and cleaning when I change strings to restart the clean-to-dirty cycle.

[capmaster]

...

With respect.

It seems unlikely.

Bob Ludwig is another Class Act.

It is sad but true. There are numerous distorted cymbal peaks on that album. Albeit without a critical cymbal level around, the most obtrusive distortion occurs at about 0'24" playing time in the theme song "Kingdom Of Desire", probably due to a chorus effect interference causing a sequence of peaks clipped during mastering. My D/A convertors handle analog intersample peaks of +6 dB above the reference sine level for 0 dBFS without problem. To make it sure, I transferred to 24 bit and attenuated by -1 bit equivalent to -6.0206 dB, and the distortions were still there.

 

Also, many Consumer Quality Convertors in Good Hi-Fi Systems are none the less heavily compromised designs, most especially in the Analog Circuitry and Digital Filters, and because of this, emit problems that in fact.

 

Do not exist in the Original Mastered Recording. Much of it's really a matter of Headroom in the Design, Cost and the Sonic Limitations of Full Scale Digital.

The very problem is understanding Full Scale Digital. Every 360° wave has two inflexion points per period, and due to less samples per oscillation period, high slew rates will call for more analog intersample headroom. Any change of sample rate, e. g. - often overlooked - within an outboard device, forcibly will allow for a level input of at most -1 bit equivalent to -6.0206 dB, or digital clipping - also a term often misunderstood - WILL DEFINITELY occur.

 

Therefore your following statement is as true as can be:

 

If you make Recordings yourself.

 

And Track at -6 dBFS or above it is almost a Mathematical Certainty that your Recording will suffer from Inter-Sampling Peaks, even if your Sequencer does not show any Red Warnings.

 

The Sound Wave Screen Visualisation is not an Accurate Transcript of your Recording. Your Computer would never be able to keep up with the Complexity of the Sampling. It is merely a Visual Representation of what is in fact purely a series of Sampling Dots on your Hard Drive.

 

It is only on Playback that the Dots are Converted into the Full Sonic Wave, where the problems may lie undetected, as ALL SOUND is ANALOG in Nature, and what your Hearing Detects in that moment will depend entirely upon the quality of your Monitoring Chain, especially the Digital Convertors, the Rooms Acoustical Signature, and critically, How Experienced your Ear is at Detecting Audio Faults.

 

Bob Ludwig has one of the best sets on Ears in the Business. But at the end of the day, he works for the Executives at the Record Company, like everybody else in the Business.

 

If they insist upon Loud, then that's what you get. Leave Good Headroom when you Track Your Recordings

....

No digital display shows what waveform a reconstruction aka anti-aliasing or anti-imaging filter will create. No pun intended, but every sound engineer has to imagine how an anti-imaging filter works every moment of her/his work. Or as Bob Ludwig himself once said: "Never turn your back on digital." He did that after release of TOTO's "Kingdom Of Desire" album though.

 

Unless you are On Stage or Working in a Busy Studio, and need to Change Instrument Quickly and Often.

 

The Guitar Case is always the Best, Safest Option to Protect your Instrument.

Agree completely.

 

And thus we also are back to topic again.

[deeman]

I keep my LP in its case next to my 5 guitar stand in my office/den mainly due to my cat and, protecting the nitro finish, and keeping dust of the guitar.

[Marky Forrest]

Usually I put them back into their cases. For short periods, four hours at most, I put some into my K&M Guardian stands with translucent supports which are definitely nitro safe. They don't allow for leaving the cable plugged in. No problem though in my opinion - first, a cable across the floor is nothing but dangerous for the instruments and myself, and second I would have to unplug my active hybrid guitars anyway to avoid useless battery consumption.

 

I keep mine in their cases except for the one/s that I am playing and maybe just taking a short break. I cover the stand/s with a cotton cloth, and, just in case, I never leave them plugged in. I've had a couple of close calls when I tripped over the cable. When they are in their cases, I just rest easier with peace of mind.

[badbluesplayer]

Hercules stands are great. I just slammed my telecaster over into some shelves but the stand held it and it just whanged the headstock a little. It would have been lots worse with a regular stand.

[LPguitarman]

Always back in the case, unless I plan on playing again the same day.

[norton]

Hercules stands are great. I just slammed my telecaster over into some shelves but the stand held it and it just whanged the headstock a little. It would have been lots worse with a regular stand.

 

thanks for that, badbluesplayer !

 

I just ordered a Hercules stand