Plangent Processes:
I guess everybody by now probably knows how our process works — it's a wide-band head, wide-band preamp, custom-made stuff that we're more than happy to sell, which tracks the bias on the tape, which is 150,000 cycles per second. Usually it was recorded with an oscillator that is way more stable than the transport was. When you get into the quartz oscillators that you see in the MCI, Studer, and later decks, it's pretty awesome how stable they are and how much worse the transport is. I don't think that people realized how much residual wow we were sensitive to. You go back and listen to these things, and it's actually pretty remarkable when one of them has been de-wowed/de-fluttered how much was actually there that we were willing to accept, and how much that we thought was inaudible. The history of audio is filled with things that were thought to be inaudible.
Early Digital Audio:
