Arpangel wrote:When I went on sessions with Mike we used two Sony systems, as Mike always insisted on running a back-up.
Very wise. I used to run two video recorders, but I only had the one PCM701 adapter. And I still try to have a backup recorder for anything live.
He also had the Audio & Design mixer, and the Level Modifier, which enabled him to do crude digital editing, fades etc.
I still have the little digital mixer. Useful little box, actually, even today!
Was the PCM/F1 fully 16 bit?
Designed originally as 14-bit machines (although not adequately dithered at 14 bits, actually) but switchable to 16-bits which is what everyone used. Because these were the days of questionable A-D quality, they also employed permanent pre-emphasis which boosted the high end enormously on record, and then pulled it back on replay. Consequently, it was really easy to clip recordings accidentally on things like cymbal hits and applause, because a generous headroom at mid and low frequencies really wasn't at high frequencies!
I had to make do with a Casio portable DAT machine, which TBQH, was pretty bad, you could hear digital break up on reverb tails quite clearly, as it run out of bits!
No... that's a classic sign on not being dithered properly. Dithering wasn't commonplace in recorders, A-Ds converters or digital editors/workstations until the end of the 80s and into the early 90s.