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Post by snarfdude on Sept 13, 2013 17:38:01 GMT -5
AT 40 RETURNS TO HALIFAX ON CHNS THIS WEEKEND! specifically 89.9 The Wave.... check the times on their website: (all times atlantic-eastern+1 hour) www.899thewave.fm/a very nice block on sunday night with both 70s and 80s shows back to back...and 2 runs of each show each weekend. they stream...quality isn't great right now, but i've heard they are working on it! snarfdude quoted this on AT40 - 70s Stations List: "Don't count out Halifax yet. In a brilliant move by a competing broadcaster, the old HAL FM 89.9 FM, calls are CHNS (which I used to work with many years ago) flipped in less then a week to a format comparable to CKUL, called "the wave" A lot of former listeners are making the switch and asking for AT 40. I'm told on good authority that it WILL be back...not sure when though. The station runs a 32kbps stream, so quality isn't too great. Website is: 899thewave.fm/" Should also apply to the 80s as well. I'll know (and everyone else) when this station will carry AT40.
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Post by snarfdude on Sept 7, 2013 14:12:15 GMT -5
Don't count out Halifax yet. In a brilliant move by a competing broadcaster, the old HAL FM 89.9 FM, calls are CHNS (which I used to work with many years ago) flipped in less then a week to a format comparable to CKUL, called "the wave" A lot of former listeners are making the switch and asking for AT 40. I'm told on good authority that it WILL be back...not sure when though. The station runs a 32kbps stream, so quality isn't too great. Website is: 899thewave.fm/
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Post by snarfdude on Aug 30, 2013 21:31:27 GMT -5
As of today, CHNS in Halifax formerly HAL FM, has now been rebranded "The Wave" and has picked up The Greatest Hits format dropped by CKUL. This is a competing company in the market. It's been a crazy week with facebook groups in protest of the format flip by CKUL. This group is also pushing to get AT 40 back with The Wave, so it's possible it may return. They were running Flashback and House Of Hair in their previous format, so syndication isn't foreign to MBS (owners of CHNS)
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Post by snarfdude on Aug 23, 2013 21:53:03 GMT -5
Just a heads up to those recording off CKUL. Rumors in the market in Halifax this evening that the station is changing format on monday, maybe towards a CHR/current top 40 format, leaning towards a younger demo. This is likely the last weekend for the AT 40 70s/80s on CKUL.
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Post by snarfdude on Aug 23, 2013 21:49:44 GMT -5
Just a heads up to those recording off CKUL. Rumors in the market in Halifax this evening that the station is changing format on monday, maybe towards a CHR/current top 40 format, leaning towards a younger demo. This is likely the last weekend for the AT 40 70s/80s on CKUL.
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Post by snarfdude on Jul 15, 2013 8:32:08 GMT -5
I think it is fairly common knowledge that Casey actually had very little interest in the music he played. Based on interviews and first hand accounts, I sense he read the script, listened to the incues and outcues of the music, and that was that. I feel this was especially the case in the second half of his countdown career in the 90s and 00s no doubt. It was all voice tracked, he never sat through a full show playing the songs after dick clark explained the wonderful world of voice tracking your lines, and having an engineer piece the show together. Thanks to computer automation, even local radio stations do that now.
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Post by snarfdude on Jul 12, 2013 18:41:06 GMT -5
cool, thanks for the info.
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Post by snarfdude on Jul 12, 2013 14:59:28 GMT -5
The first generation Hollywood masters for every show are on reel to reel. These were used for developing the stampers for pressing the vinyl. As such, anything direct from the reels is lossless and is so much fuller and alive. It's like sitting in the studio listening to the tapes. That explains why the shows I've ordered from you all sound so darned good! what's the tape speed? what are you using for a reel machine?
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Post by snarfdude on Jul 12, 2013 14:55:27 GMT -5
I wouldn't touch windows 8 if it was free, but you may have little option with a laptop compared to a custom built windows 7 desktop. That's why I always research potential compatibility issues before choosing a system.
Audacity is free, and is really the only great advantage. It's way to save files is non standard, compared to the standards of adobe audition and sound forge and almost every other wav/audio editor I have used in the last 15 years. It's not my first choice. and usually only as a last resort.
for any stream recording, I always use total recorder. smaller, minimal resource hog and the timer is great! I've yet to find anything comparable that's free, but certainly open to anything that is if you know about it.
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Post by snarfdude on Jul 12, 2013 14:31:34 GMT -5
833-9 08/27/83. Never heard of the show, but found this 4 LP set in a local used record store for about $15. Bought it and played it over and over to the point it was worn. It started my interest in the show as a teenager. It grew from there.
Second favorite 9/22/84. This was the show I received right from ABC watermark in a ABC watermark mailer as a one time sample. It was the US version with commericals, along with a promotional brochure and a nice letter from Suzanne Barron, the international sales rep. I drove them crazy as a kid writing to them I think...but eventually wore out the welcome, which was fine, as I got some neat stuff until that point! Thanks again for them putting up with me...LOL!
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Post by snarfdude on Jul 12, 2013 14:22:15 GMT -5
Can anyone clarify exactly what an "A" show and "B" show is? Obviously premiere is giving stations some choices, but is there a reason why? Is this some weeks and not others?
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Post by snarfdude on Jan 1, 2013 13:39:43 GMT -5
If premiere is cutting material from the original 48 min program content, which gives you 12 mins of commerical inventory opportunity (assumingly 6 mins network/6 minutes local split in the US), that's kinda scary how much inventory is being run. SXM cuts the crap out of the jingles, but realistically makes sense, as if there are no breaks between segments, it sounds kinda of awkward, yet premiere leaves the jingles in, so you hear the outro of one segment and the into jingle of another back to back.
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Post by snarfdude on Dec 13, 2012 20:50:49 GMT -5
^Are you referring to Rob's book? Not to be self-promoting, but I dedicated 6-7 pages in my 80s book to just the December 13, 1980 (John Lennon) program. From AT40 documents to fan comments to transcribed portions and an overall descriptive summary of the program, I believe the story is fairly presented. Perhaps someone who has a copy can offer additional perspective. if you meant me, I was looking for maybe pdf's of the documents I can print off to include in my set.
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Post by snarfdude on Dec 11, 2012 21:56:01 GMT -5
They are noisy and more noticeable on the stereo shows up through the late 70's Yeah, but you can roll off a lot of that with eq anyway. AM radio didn't care, which is what they are built for, and for that matter, FM radio also...you wouldn't hear it on air. One can argue the same for production studios. The durability outweighed sound quality issues for a lot of broadcast tables. The issues were minor, though it could certainly imply the difference between "Broadcast Quality" and "Audiophile Quality" Most people wouldn't hear a 2% pitch variation unless you are listening for it and even if they did, they probably would figure that something isn't quite right with the song, but can't nail it down. I bought a RCA 70D Broadcast Turntable circa late 1940s vintage this year. This was a 150lb 2.5 foot high beast with a solid shaft down to the motor at the base of the cabinet. I'm surprised how well it keeps on speed. Most of the rumble doesn't pass through on the transfer. Was really surprised how quiet it is. I only wish I had the original tone arm pickup, but the gray 108s tonearm on it was rewired with a new stanton cartridge and works great! I use it mainly for 16 inch transcriptions and 78s. but LP's play well too...and has the 45 retrofit kit for playing 45's (as they came out after this turntable!) very nice antique.
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Post by snarfdude on Dec 10, 2012 22:29:26 GMT -5
That would makes sense given the era. The ole idler wheel driven Russco Cue masters or anything Russco was common in studios into the 80s. They were manufactured under many different names, RCA, BE, QRK, Harris, but basically all the same Russco design. They were often called "rumblemasters" as the idler wheel/motor capstan drive could be rather noisy, but you often went for dependability and durability over sound quality in a radio studio. That would change with the direct drive of the Technics SP 10.
Given the 2% difference, a slight adjustment with the height of the idler wheel on the motor shaft could easily account for that. I have 2 of the "Canadian Russco" as some call it, The Mccurdy CH 12. It was as common in Canadian radio stations in the 60s, 70 and 80s as the Russco. The design is pretty much the same, and can be a pain to set up the idler correctly.
In some cases though, radio stations would tweak their tables in the 60s and 70s upwards of 4% to "make the record sound better" everything from running scotch tape around the inside of the turntable, to doing the same thing to the motor shaft.
Those tables are built like tanks, be it Russco or Mccurdy and both are highly collectable.
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