Agreed, Christmas was a bit early now :-)
The sound on this wasn't all that though. Stereo was way off, so I think I wouldn't call it stereo. One level meter at a good position, the other very, very low. If I dared re-record it, I might be tempted to do that.
I think Vidar I prefer a good mono recording any day, I just don't think it make's that much difference as you need to be in the "zone" to get the effect, its just bull to me. If you
have music on and your headphone's then maybe, not in this situation, very hit and miss, I like to hear the sound out of both speakers clearly.
As I said a short while ago here or elsewhere. The narrow balance track (0.4mm), is just SO narrow, that for many original recordings, especially on paste, the second track, utilised as a separate channel in Stereo mode, often is, as Paul points out, something of a disappointment.
Now then, once we realize why this is,often there is a way to achieve far more from it.
Why even one film on pre striped stock can produce a good sound from the balance track and one which would appear just as capable, produce a bad one, is all down to precise head alignment used to actually record the track and the head alignment position and precision on the head used to playback the track.
Derann's balance stripes for instance, will often sound ok on one machine yet sound very faint on another, just simply because that narrow head alignment only has to be fractions of a mm off the recorded head alignment and the balance track would seem very very low and even muffled by comparison to the far wider main track (double its width).
Hardly ever, have I been anywhere near satisfied with the original distributors stereo recordings, whoever they were recorded by.
My Jungle Book feature being one of only a few exceptions that springs to mind.
The way in which you can ensure you get the absolute maximum obtainable quality from a balance stripe, even the best of them, is to playback the track from the very same machine it was recorded on.
This way you guarantee perfect alignment between head and available stripe on the balance side.
That is why home recorded tracks, where the average peak recorded level strikes 0db, sound the very best you can get from the format with almost zero hiss and hardly any loss versus the main track when the head is perfectly healthy.
Under these conditions, you get far more depth and spacial presence effect from the sound field even with the speakers close by, than you ever will, from a flat dual track mono sound field.
It is for the above reasons why, if you ever "back up" your main track on a mono recorded print by duplicating it onto the balance track by either using an editor or a projector, on that same machine 9 times out of 10, the balance track will sound strong albeit still only in mono and without that all important presence for warmth and depth in a soundtrack.
This isn't really so important for dialogue but is for music and effects.
Hi Vidar, I have a print of this and mine too isn't great with regards to being stereo, I tend to turn down one side and turn up the other on the GS to balance the sound out, even then the sound is a little muffled, brilliant christmas viewing though, I love it, Del.
I've had two now, the first I 're recorded because it was poor on even the main track, the second is much much better on both sides, so I've never bothered doing anything to it.
It was always hit and miss from Derann in this era onwards on any given day.
Recordings were always made at high speed which also doesn't help in any way to deliver the best results achievable.