[QuadList] Smith splicer, etc.

[David C. Crosthwait]

Bill,

There was the VR 1000 modulator spec. (attached) for LBM that I've  
seen, with variable levels in between. Just think about this: You had  
to get the modulator frequency and the deviation right. Yes, the  
"low-sync high-video" issue is a challenge. This settled down around  
1963 or so, in my experiences. Also note that Allen mod/demod. had a  
variable emphasis for "experimental purposes".

At one time, I had some TR 60's with a mod for variable head switch
placement. But this has nothing to do with your issue.

The AVR-2 color low-band factory modules are rare. I've never seen a
modified one that worked right for mono or color. I've also seen some  
people xfer LBM on an AVR-3 with poor results.  The AVR-1 is the only  
machine that has the right selection of filtering, EQ matching, and a  
tolerance in the TBC (buffer) to get past these issues, in my opinion.  
And this includes noise, bent sync, sloped sync/video, hum, and other  
unusual artifacts that shouldn't allow a tape to play at all. Add to  
this are our customized modules to deal with the even more unusual  
(RCA labs color etc).

Can't help you with the TR 600 (itself) problem except to say that  
filtering has
a lot to do with these type issues and this was not RCA's strength, at
least in that model. I at one time had two 600A's.

In regard to the 7.5 IPS issue and LBM, here is my experience: The
three networks never used 7.5 I.P.S for anything. CBS for example, was
on LBM for the Sullivan shows right up till Sept. 65, when color
started and at that time, the switch to HBC. Another example was ABC.
The Welk series did not go to color till '65, and then HBC. All
previous recordings in black & white were LBM. NBC seemed to stay on
LBC past '65 on the Deans and Andy Williams. The '63 Bing Crosby
recordings (made for CBS) were actually done in a color studio at NBC
but in black & white, LBM. All of these examples were at 15 I.P.S. The
six VR-2000's at NBC Burbank were ordered up only because production
producers demanded HBC (the TR 70's were not being delivered yet), and
as it was a competitive thing with the other facilities i.e. TV City.
But the NBC Burbank studio recordings named above seemed to have
stayed on LBC, even when transistorized modulators (I suspect the
TR70's or 2K's) were evident (the LBC moire almost totally disappeared
then).

David Crosthwait
DC Video
Archived Media Transfer and Re-mastering Services
177 West Magnolia Blvd.
Burbank, CA. 91502
818-563-1073
818-563-1177 (fax)
818-285-9942 (cell)
DCFWTX at AOL.COM
DAVID at DCVIDEO.COM
WWW.DCVIDEO.COM









Quoting bill.spencer at northstarstudios.tv:

> All,
>
>
>
> I am working on a recovery project and have had a splice part on me.  If
> anyone knows of a Smith splicer or a 2" audio straight cut splicer in or
> near Nashville that I could borrow for a few days please let me know.
>
>
>
> Also, some of these tapes were recorded with improper deviation in LBM
> and the sync is low.  I can turn the demod level up so that the sync
> locks and then run the video through a proc amp to bring it back to
> normal, but it is still causing the MTBC in my TR-600 to have an
> excessive amount of jitter.  Does anyone know of some old tricks to make
> a TR-600 play LBM better?  Was there ever a LBM demod for the AVR-2 or
> has anyone successfully modified one?  I have two extras so I have
> something to experiment with.
>
>
>
> Tapping the well of all wisdom for all things quad, I thank you in
> advance.
>
>
>
> Bill Spencer
>
> RF Engineering Supervisor
>
> NorthStar Studios, Inc.
>
> 3201 Dickerson Pike
>
> Nashville, TN 37207
>
>
>
> Phone 615.650.6000 ext. 6610
>
> Cell 615.445.5616
>
> Fax 615.650.6027
>
> email bill.spencer at northstarstudios.tv
> <mailto:bill.spencer at northstarstudios.tv>
>
>
>
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>





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