General Asylum

General audio topics that don't fit into specific categories.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

A real surprise

Posted by M3 lover on January 6, 2017 at 10:13:42:
This story is from several years ago but still after the decline of the cassette and still includes a lesson.

One of my audio buddies became so frustrated with recording quality back in the '80s that he became a producer for local jazz shows just so he could make his own recordings. I don't recall which machine but he used a direct feed to a 15 ips R2R deck. I heard a few of those tapes played back at his home and they were outstanding, very realistic, including great dynamics.

So I was surprised some time after that when he played a couple of small group jazz recordings for me that he found on cassette at a thrift store. They were amazingly good. We theorized because they were on very small, if not obscure labels, they were recorded in real time rather than on high speed dupe machines like the major labels. I know from my own experience I could make better tapes at home than the commercial offerings.