Post by CountryCrock on Dec 25, 2023 20:21:24 GMT
Because...
"Upsampling" a tape copy of the source, from 15ips to 30ips, does *not* somehow "add" more resolution to the copy; besides, the fact that: due-to the 15ips equalization of the original being (essentially) "engrained into" the frequency reproduction of the source recording itself, doubling/upsampling the speed WILL ALTER (in terms of...30ips, for the sake of discussion, NAB equalization specifications having had different bias-point compensation settings in their day as the then-other analog tape speeds of 1 7/8ips/ 3 3/4ips/ 7 1/2ips/ 15ips all had) dynamics of the signal. 30ips has the electrical characteristic of making the treble sound exaggerated while, oppositely, rendering the bass "thin".
See: it's the same practice as-to why no less than the Capitols, of all things, sounded so compromised from the beginning (EMI would send a "dumbed-down" 7 1/2ips submaster tape copy to Capitol of EMI's 15ips master, but then -for the ease of editing Capitol's rearranged tracklists as well as to prevent further tape generation loss- Capitol would dub that 7 1/2ips copy from the U.K. onto a Scotch 140 Tartan Series 1/4-inch blank 2400ft reel at 15ips to create their "own master" to apply all the Dexterized post-production; however, the "upsampling" of the speed from copy-to-copy is what largely thinned out the bass of the Capitols and brought out the hiss level more). Another flagrant example to demonstrate this (in reverse --- though same principle), would be: if you've ever collected any Classical music recorded in the '60s on the (American) London label, is; how, (American) London took all the 30ips U.K. Decca masters and made consumer product from 15ips subcopies back then which would all wind-up sounding tinny.
So(?): as "the Apple/UMe powers-that-be" recognize that THAT already differentiates the "Audio 5" source from the fidelity provenance of *thee* master and, that, the upsampling of the recorded copy's speed was deliberately chosen to create half-speed mastered vinyl from (where, during the lathe cutting: the lathe would run at 16rpm and the tape signal feeding it would run at 15ips; meaning: playing back the end result record at 33 would sound like the "normal speed" again) --- I'm sure they know the Internet fanboy trolls wetting themselves over the notion of (somehow) "mastertapes being sold to the public": 1. (obviously) do not have access to either an Ampex ATR-102 or (preferably) a Levinson-modified Studer A820 to play the thing on in the first place!; and, 2. said fanboy trolls would complain about the sound of it because, the EQ mismatch would first have to be aligned on the machine to restore the bass and treble boost more in accordance with 15ips equalization specs (60Hz/400Hz/3280Hz/8200Hz).
"Upsampling" a tape copy of the source, from 15ips to 30ips, does *not* somehow "add" more resolution to the copy; besides, the fact that: due-to the 15ips equalization of the original being (essentially) "engrained into" the frequency reproduction of the source recording itself, doubling/upsampling the speed WILL ALTER (in terms of...30ips, for the sake of discussion, NAB equalization specifications having had different bias-point compensation settings in their day as the then-other analog tape speeds of 1 7/8ips/ 3 3/4ips/ 7 1/2ips/ 15ips all had) dynamics of the signal. 30ips has the electrical characteristic of making the treble sound exaggerated while, oppositely, rendering the bass "thin".
See: it's the same practice as-to why no less than the Capitols, of all things, sounded so compromised from the beginning (EMI would send a "dumbed-down" 7 1/2ips submaster tape copy to Capitol of EMI's 15ips master, but then -for the ease of editing Capitol's rearranged tracklists as well as to prevent further tape generation loss- Capitol would dub that 7 1/2ips copy from the U.K. onto a Scotch 140 Tartan Series 1/4-inch blank 2400ft reel at 15ips to create their "own master" to apply all the Dexterized post-production; however, the "upsampling" of the speed from copy-to-copy is what largely thinned out the bass of the Capitols and brought out the hiss level more). Another flagrant example to demonstrate this (in reverse --- though same principle), would be: if you've ever collected any Classical music recorded in the '60s on the (American) London label, is; how, (American) London took all the 30ips U.K. Decca masters and made consumer product from 15ips subcopies back then which would all wind-up sounding tinny.
So(?): as "the Apple/UMe powers-that-be" recognize that THAT already differentiates the "Audio 5" source from the fidelity provenance of *thee* master and, that, the upsampling of the recorded copy's speed was deliberately chosen to create half-speed mastered vinyl from (where, during the lathe cutting: the lathe would run at 16rpm and the tape signal feeding it would run at 15ips; meaning: playing back the end result record at 33 would sound like the "normal speed" again) --- I'm sure they know the Internet fanboy trolls wetting themselves over the notion of (somehow) "mastertapes being sold to the public": 1. (obviously) do not have access to either an Ampex ATR-102 or (preferably) a Levinson-modified Studer A820 to play the thing on in the first place!; and, 2. said fanboy trolls would complain about the sound of it because, the EQ mismatch would first have to be aligned on the machine to restore the bass and treble boost more in accordance with 15ips equalization specs (60Hz/400Hz/3280Hz/8200Hz).