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size=3 face=Calibri>That also applied to AVR-3s. You could slap just about
any tape on one of those and get a very high quality playback, until you moved
it to another machine. Our shop had an AVR3 suite, but also used VR1200s
for playout, and some of the tapes were horrifying when operators were careless
in their record setup. All of the same procedures had to be followed,
particularly guide height and tip projection, or you’d have a mess on your
hands. I saw people who never looked at demod out on AVR3s, and the
results reflected this.</FONT><BR><BR></DIV>
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<DIV>On Aug 9, 2013, at 5:26 AM, Ed Reitan wrote:</DIV><BR
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<DIV><FONT color=#000080 face=Arial>However the AVR-1 does it, it does it well
- the incredible <STRONG>lack of color banding of any kind</STRONG> (amplitude
or color phase) is one of its outstanding virtues. </FONT></DIV>
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<DIV><FONT color=#000080 face=Arial>During the Astaire restoration I
simultaneously fed embryonic video from the AVR-1 through the NEC TBC **, and
through the normal path of post- video and TBC processing in the AVR-1.
The final AVR-1 output was <U><I>superior in color fidelity and
stability</I></U> (in my humble opinion)</FONT></DIV>
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<DIV><FONT color=#000080 face=Arial></FONT> </DIV>
<DIV><FONT color=#000080 face=Arial>Ed Reitan</FONT></DIV>
<DIV><FONT color=#000080 face=Arial></FONT> </DIV></DIV></BLOCKQUOTE></DIV>
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