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Hello Jan

It's quite simple, really - Parker travelled the world seeking the very best and quietest laminate pressings, vinyl tests, metal parts, whatever else he could get his hands on, made excellent transfers and then processed them through his rack. With much less to do than usual, the equipment could be driven less hard and sounded better as a result. The reverberation and stereo spread helped to disguise any remaining noise, and ther you are. The Dolby 430 came a bit later, I think,, as did CEDAR declick and decrackle, vocl as he was in derision of both at one time...

----- Original Message ----- From: "Jan Myren" <jamy@xxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxxxxxx>
Sent: Thursday, May 21, 2009 9:48 PM

HI TED and others!

Since you know about the late Robert Parker and his techniques of restoring
jazz recordings the analogue way in the early 80's; does anybody know how he
was able to reduce so much of the "crackle" sound on his recordings?
May it be the Dolby 430? Guess the Packburn alone couldn't do all de-noise
and de-crackle alone...??

I have got me a Parker LP called "Chicago vol. 2" on BBC Records and is
really impressed about the overall quality and how little audible loss there
is left, compared with many other LP re-releases from the late 70's/early
80's - before the digital techniques took over....


Dolby 430, Orban spreader, Japanese reverb, Packburn 303 - sometimes a
heavily modified 103, with Dolby B decoding. Eventually, he also
declick, decracle and dehiss.

Ted Kendall

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