ndiamone
600 Club - QQ All-Star
As everybody knows by now, I have had in storage over 25 years maybe 10K half-inch studio production stem tapes of hundreds or maybe even thousands of groups that haven't seen the light of day since they were recorded in the 60s.
ArmyofQuad and a couple other guys were out here several years ago to troll through the quarter-inch 4-track stems and remixed-by-the-company-for-quad tapes to transfer and pass around before I had my studio up.
I'm getting a little bit of help w parts for the half inch (two Ampex 350-AGs and a MCI J-110) so that maybe by the spring or summer I'll be able to be up and running with transferring off all these half inch stems.
I also inherited a boatload of NOS yet-to-be-assembled Q8 cartridges and Quad/data cassettes with the notch in the back and the buttons over the reel holes that were leftover in a duplicator's basement in Michigan when their building got torn down over the summer. (Pave paradise and put up a parkin' lot). Some of the cassettes look like real computer data cassettes from the 70s - others look like they are from a Child Guidance/Worlds of Wonder Electronic Talk N Play.
I have two questions. Apart from transferring to hi res discrete digital and putting them onto DVD-A/BR-A/4K-A...
1A. Do you think guys would get a charge out of it if I dubbed the half-inch straight across onto either high-bias loop-tape that came with it (some version of UDXL-II I think) off the J110 (runs 30 IPS onto my 15 IPS 8-channel quarter-inch Fostex and make Q8s out of it that turn out to be 7-1/2 instead of 3-3/4?
Lots of NORMAL Q8 releases were done this way - struck 1:1 with no remixing straight off the 4-track production stems.
1B. The same thing with the single-direction quadraphonic cassette version (recorded in equidistant track configuration like a portastudio onto the data cassettes reloaded with these cases of BASF chrome cassette pancakes) and record it at either 15/16 or 3-3/4 since most portastudios are 3 speed?
2. Should I sell em online as ``art'' with or without disclaimers about what it is and where it came from?
I had my entertainment lawyer buddy that works at Universal Music get his staff to pore over copyright regulations - and found out that as long as ``no reasonable person in the modern world could play it on conventionally available CONSUMER gear'' - you can sell whatever you want wherever you want and nobody will care.
Examples:
A) The recent 78 RPM Beach Boys Record Store Day releases could have been released by anybody under that same stipulation because no commercially-available CONSUMER turntable had a 78 RPM speed in 2015 when the records were released (Some consumer versions do now so it wouldn't apply anymore).
B) Same thing for the recent 16 RPM Beatles discs that came out. And the five-inch Squeeze anniversary single (it wouldn't play all the way thru bec it went too far into the center).
Same thing for the counterclockwise cuts (plays backwards on a normal turntable - like the back side of They're Coming to Take Me Away 45) by Gravel, Glass & Asphalt
Same thing for the recent releases that use the Seeburg 2-inch center hole on a 13-inch disc (no commercially available 2-inch spiders (you can special order them though) and most turntables can't handle a 13 inch disc.
Same thing for Jack White's 3 RPM LP (actually 4-1/6) or his three-inch records for the Inchophon (no commercially available players for it
Same thing for the people that make Gold Moulded Edison Cylinders of e.g. Kelly Clarkson or Alicia Keys ( nobody makes cylinder players anymore) and on and on and on.
The only thing is - for the Q8s and 3-3/4 IPS portastudio format QCs
A) a normal-length album would now be 2 tapes and a double album would now be 4 tapes due to being 7-1/2 instead of 3-3/4 - would anybody pay the cost of the extra materials in the modern age?
B-1) in the case of the Q8s - playback would be restricted to Q8 decks that had a Fast Forward button on them - for which the MUTE circuts attached thereto would then have to be disconnected in order to hear it -would anybody want to go thru all that or not just to hear material that was never released on the format?
B-2) in the case of the half-speed portastudio format QCs - with the availability of higher fidelity and better signal on metal tape - could I get away with recording at 15/16 to have the whole album on one tape and double album on 2 tapes like the normal Q8s?
Thoughts?
ArmyofQuad and a couple other guys were out here several years ago to troll through the quarter-inch 4-track stems and remixed-by-the-company-for-quad tapes to transfer and pass around before I had my studio up.
I'm getting a little bit of help w parts for the half inch (two Ampex 350-AGs and a MCI J-110) so that maybe by the spring or summer I'll be able to be up and running with transferring off all these half inch stems.
I also inherited a boatload of NOS yet-to-be-assembled Q8 cartridges and Quad/data cassettes with the notch in the back and the buttons over the reel holes that were leftover in a duplicator's basement in Michigan when their building got torn down over the summer. (Pave paradise and put up a parkin' lot). Some of the cassettes look like real computer data cassettes from the 70s - others look like they are from a Child Guidance/Worlds of Wonder Electronic Talk N Play.
I have two questions. Apart from transferring to hi res discrete digital and putting them onto DVD-A/BR-A/4K-A...
1A. Do you think guys would get a charge out of it if I dubbed the half-inch straight across onto either high-bias loop-tape that came with it (some version of UDXL-II I think) off the J110 (runs 30 IPS onto my 15 IPS 8-channel quarter-inch Fostex and make Q8s out of it that turn out to be 7-1/2 instead of 3-3/4?
Lots of NORMAL Q8 releases were done this way - struck 1:1 with no remixing straight off the 4-track production stems.
1B. The same thing with the single-direction quadraphonic cassette version (recorded in equidistant track configuration like a portastudio onto the data cassettes reloaded with these cases of BASF chrome cassette pancakes) and record it at either 15/16 or 3-3/4 since most portastudios are 3 speed?
2. Should I sell em online as ``art'' with or without disclaimers about what it is and where it came from?
I had my entertainment lawyer buddy that works at Universal Music get his staff to pore over copyright regulations - and found out that as long as ``no reasonable person in the modern world could play it on conventionally available CONSUMER gear'' - you can sell whatever you want wherever you want and nobody will care.
Examples:
A) The recent 78 RPM Beach Boys Record Store Day releases could have been released by anybody under that same stipulation because no commercially-available CONSUMER turntable had a 78 RPM speed in 2015 when the records were released (Some consumer versions do now so it wouldn't apply anymore).
B) Same thing for the recent 16 RPM Beatles discs that came out. And the five-inch Squeeze anniversary single (it wouldn't play all the way thru bec it went too far into the center).
Same thing for the counterclockwise cuts (plays backwards on a normal turntable - like the back side of They're Coming to Take Me Away 45) by Gravel, Glass & Asphalt
Same thing for the recent releases that use the Seeburg 2-inch center hole on a 13-inch disc (no commercially available 2-inch spiders (you can special order them though) and most turntables can't handle a 13 inch disc.
Same thing for Jack White's 3 RPM LP (actually 4-1/6) or his three-inch records for the Inchophon (no commercially available players for it
Same thing for the people that make Gold Moulded Edison Cylinders of e.g. Kelly Clarkson or Alicia Keys ( nobody makes cylinder players anymore) and on and on and on.
The only thing is - for the Q8s and 3-3/4 IPS portastudio format QCs
A) a normal-length album would now be 2 tapes and a double album would now be 4 tapes due to being 7-1/2 instead of 3-3/4 - would anybody pay the cost of the extra materials in the modern age?
B-1) in the case of the Q8s - playback would be restricted to Q8 decks that had a Fast Forward button on them - for which the MUTE circuts attached thereto would then have to be disconnected in order to hear it -would anybody want to go thru all that or not just to hear material that was never released on the format?
B-2) in the case of the half-speed portastudio format QCs - with the availability of higher fidelity and better signal on metal tape - could I get away with recording at 15/16 to have the whole album on one tape and double album on 2 tapes like the normal Q8s?
Thoughts?
