298:, which varied the tonal quality of the recording according to the loudness of the sound. Loud passages were reproduced with little tonal change, but softer passages had boosted lows and highs. Harry Olson, RCA's chief engineer, advocated the use of dynamic equalization for two reasons: the process would help keep softer musical passages above the noise floor of the LP disc; and music processed through the dynamic equalizer would, in theory, tend to have a tonal balance closer to what the listener would hear in a live performance. This latter characteristic was based on Olson's work comparing consumer playback of recorded music to live musical performance. Olson found that most people listened to records at sound levels about 20
291:, which could not track the record groove accurately in the high frequencies, especially in the inner grooves of an LP. The process worked well with playback via a conical stylus, typical of most phonograph cartridges prior to about 1964. However, if one played a Dynagroove record with an elliptical-shaped stylus, this pre-distortion became audible. As the decade of the 1960s progressed, high quality playback cartridges increasingly used elliptical styli. This development made tracing compensation obsolete by about 1970, and RCA quietly stopped using the technique.
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lower than actual live performances. Human hearing is not linear with level change, but tends to perceive softer sounds as having less bass content. The dynamic equalizer was an attempt to compensate for the reduction in bass that would be perceived by listening to records at typical levels. As noted
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magazine, who in
December 1964 wrote a highly unfavourable article entitled "Down with Dynagroove!" Holt, a noted audio engineer and writer of the 1960s and 1970s, slammed Dynagroove as introducing "pre-distortion" into the mastering process, making the records sound worse if they were played on
252:. Hans H. Fantel (who wrote liner notes on the first Dynagroove releases) summed it up with, " adds up to what is, in my opinion, a remarkable degree of musical realism. The technique is ingenious and sophisticated, but its validation is simple: the ear confirms it!"
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then in use. With boosted bass, tracing demands could be reduced in part by reduced recording levels, sometimes supplemented by peak compression. This added top-end margin permitted selective
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The process was not received well by some industry commentators, with many audio engineers of the time referring to
Dynagroove as "Grindagroove". Dynagroove was also sharply criticized by
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above, critical reaction to this technique was mixed. RCA stopped using dynamic equalization about the same time they stopped using tracing compensation in 1970.
229:, the program material itself changed the response of the Dynagroove electronics that processed it. But, because the changes were multiple (bass,
328:
Beethoven: Piano
Concerto no. 4 in G major, op 58. 1963 original RCA, Made in Germany shortly after under LSC-2680-B (stereo) and LM-2680-C (mono)
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RCA claimed that
Dynagroove had the effect of adding brilliance and clarity, realistic presence, full-bodied tone and virtually eliminated
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on quiet passages, and reduce the high-frequency tracing burdens (distortion) for the less-compliant, "ball" or spherical-tipped
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of some passages for greater perceived (psychological) brilliance of the recording as a whole. As with any
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914:, the theory behind it, and Harry Olson's audio engineering research in general, can be found in his book,
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that states a
Knowledge editor's personal feelings or presents an original argument about a topic.
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and inner groove distortion. In addition, Dynagroove recordings were mastered on RCA
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Erich
Leinsdorf/Boston Symphony – "Scherzo from Symphony No. 1 in D (Mahler)"
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curves), RCA justifiably referred to the analog device as a computer.
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Holt was technically correct, as the
Dynagroove process used
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Leontyne Price – "Un Bel Di from Madama
Butterfly (Puccini)"
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Charles Münch/Boston
Symphony – "Pavan for a Dead Princess (
563:– "(There'll Be Blue Birds Over) The White Cliffs of Dover"
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personal reflection, personal essay, or argumentative essay
23:, RCA's trademark for their light, thin vinyl LP records.
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474:
Hugo & Luigi Chorus – "I'll See You In My Dreams"
678:
Erich
Leinsdorf/Boston Symphony – "Firebird Suite (
668:Arthur Fielder/Boston Pops – "Grand Canyon Suite (
661:Robert Brereton/Paramount Theatre Organ – "Gayne (
607:Sid Ramin – "I'm Looking Over A Four Leaf Clover"
294:The other technique used with Dynagroove was a
197:is a recording process introduced in 1963 by
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892:Morton Gould and his symphonic orchestra –
60:. Unsourced material may be challenged and
626:Marty Gold – "Theme from 'A Summer Place'"
613:& Orchestra – "In The Blue Of Evening"
307:Dynagroove promotional and regular records
405:Arthur Fiedler/Boston Pops – "La Sorella"
182:Learn how and when to remove this message
124:Learn how and when to remove this message
675:Arthur Fielder/Boston Pops – "Tenderly"
486:Arthur Fiedler/Boston Pops – "Jalousie"
596:– Rozsa conducts Rozsa (1965) LSC-2802
578:– "Nobody Knows The Trouble I've Seen"
721:Dick Schory – "From Russia With Love"
477:Dick Schory – "Stompin' At The Savoy"
7:
58:adding citations to reliable sources
700:Fly Me To The Moon (In Other Words)
205:to modify the audio signal used to
919:(2nd ed.). Dover Press. 1964.
566:Peter Nero – "Are My Dreams Real?"
14:
786:Charles Münch (conductor) – From
695:Sid Ramin – "Strike Up The Band"
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492:– "Battle Hymn of the Republic"
237:) and algorithmic (thresholds,
201:that, for the first time, used
917:Music, Physics and Engineering
900:* Stereo first regular records
748:– "A Wonderful Day Like Today"
531:– "Back Home Again In Indiana"
464:Peter Nero – "Londonderry Air"
1:
776:Questo è il Dynagroove !
733:Love Your Spell Is Everywhere
718:Chet Atkins – "Armen's Theme"
888:Non dimenticar le mie parole
510:(1963) SP-33-223/SPS-33-223*
480:Sid Ramin – "Spring Is Here"
459:(1963) SP-33-204/SPS-33-204*
280:high-quality phono systems.
910:More information about the
534:Hugo & Luigi Chorus – "
213:. The intent was to boost
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508:The New Sound of the Stars
402:: Symphony No. 1 (Finale)"
326:Chicago Symphony Orchestra
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544:– "The Streets of Laredo"
413:Boston Symphony Orchestra
879:Preghiera a Sant'Antonio
762:Love Letters In The Sand
740:I Had The Craziest Dream
600:Dimensions In Dynagroove
19:Not to be confused with
453:The Sound Of Tomorrow (
370:Hugo & Luigi Chorus
259:of the competing label
594:RCA Italiana Orchestra
447:: Findlandia (Finale)"
162:by rewriting it in an
931:Down with Dynagroove!
842:La Damnation de Faust
572:– "Drill Ye Tarriers"
862:Ferruccio Tagliavini
857:Quando quando quando
754:– "Steel Guitar Rag"
555:Don't Worry 'Bout Me
525:– "The Songs I Love"
517:The Syncopated Clock
285:tracing compensation
207:produce master discs
54:improve this article
848:I'll remember April
715:– "Watusi Trumpets"
642:Norman Luboff Choir
584:– "Man With A Horn"
490:Robert Shaw Chorale
419:: Nocturnes, Fêtes"
354:I'll Remember April
332:This Is Dynagroove!
219:playback cartridges
832:Erich Leinsdorf –
611:Melachrino Strings
364:Take the "A" Train
266:The Absolute Sound
164:encyclopedic style
151:is written like a
912:dynamic equalizer
819:Arthur Rubinstein
806:La donna è mobile
770:– "Bye Bye Blues"
688:Sounds Fantastic!
656:The Peanut Vendor
638:– "Candy's Theme"
437:Act 1: Love Duet"
296:dynamic equalizer
289:phonograph stylus
273:, the founder of
257:Goddard Lieberson
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905:Further reading
884:Miranda Martino
853:Ennio Morricone
778:(1966) DDD 33*
746:Frankie Randall
690:(1966) PRS-210*
665:): Sabre Dance"
646:Never on Sunday
636:Hugo Montenegro
621:Twist and Shout
602:(1965) PRS-180*
396:Boston Symphony
392:Erich Leinsdorf
334:(1963) PRS-140*
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590:Miklos Rosza
548:Floyd Cramer
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457:Highlighter)
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441:Morton Gould
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322:Fritz Reiner
312:Partial list
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223:pre-emphasis
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172:January 2014
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73:"Dynagroove"
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52:Please help
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951:RCA Records
894:Espana cani
866:Leoncavallo
788:Tchaikovsky
738:Al Hirt – "
542:Eddy Arnold
529:Chet Atkins
386:Boston Pops
378:– "Granada"
360:Dick Schory
318:Van Cliburn
276:Stereophile
940:Categories
796:Pathétique
682:): Finale"
680:Stravinsky
617:Si Zentner
561:Jim Reeves
523:Perry Como
469:Shangri-La
376:Peter Nero
350:Marty Gold
199:RCA Victor
195:Dynagroove
84:newspapers
870:Mattinata
827:Polonaise
814:Rigoletto
576:Sam Cooke
340:Sid Ramin
227:compander
114:June 2012
41:does not
768:Esquivel
445:Sibelius
300:decibels
21:Dynaflex
838:Berlioz
582:Al Hirt
431:Puccini
417:Debussy
158:Please
98:scholar
62:removed
47:sources
823:Chopin
425:&
400:Mahler
344:Swanee
231:treble
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829:No. 6
810:Verdi
808:from
780:Italy
707:Smile
670:Grofé
497:Ravel
455:Buick
105:JSTOR
91:books
239:gain
215:bass
209:for
77:news
45:any
43:cite
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211:LPs
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