Tr.1
«Maxi-Single 45t.» HANSEATIC
Produced & Arranged by Dieter Bohlen / Co-Producer: Luis Rodriguez
HANSA, 1989 / BMG ARIOLA MUNCHEN, GmbH., 1989
662 041
Tr.2
«Maxi-Single 45 RPM» Chic
Produced by M. Menichelli and Bobby to for Intersong / TELDEC Schallplatten, GmbH.
Intersong, 1986
6.20536
Tr.3
«Maxi-Single»
Produced by Dario Farina Gor Gini Musikverlag / PolyDor, GmbH.
Arranger Boris Jojic and Laszio Bencker
PolyGram, GmbH., Hamburg, 1988
871 453-1
Tr.4
«Maxi-Single 12 Inch» Produced by Baby Records
Mixed by Franco Zorzi / Executive Producers: R. Turatti & M. Chieregato
Arranged by R. Turatti, M. Chiebegato & R. Ballerini
Ariola Eurodisc, GmbH., 1987 / Baby Records, 1987
608 982
Tr.5
«45 Maxi» Produced by Dieter Bohlen of «Modern Talking» For Hansa
Vogue France, 1985
312 029
Tr.6
«Soul Survivor»
Intersong Music, Ltd. / RCA England
Produced & Arranged by Dieter Bohlen for Intersong / Co-Producer: Luis Rodriguez
BMG Records (UK) Limited are the Exclusive Licensees for the UK and Eire
HANSA., Original Sound Recordings Made by HANSA, 1987 / BMG Records (UK) Limited, 1988
PT 42174
Tr.7
«Maxi-Single 45t.» Produced and Arranged by Maurizio Bassi
Mixed at Paradise Studios, Monaco
EMI Ialiana S.p.A., 1985
1CK 060-118692 6
Tr.8
«Big Time» Copyright Control
Produced by Joe Dworniak and David Clayton
Metronome Musik, GmbH., 1989 Hamburg
889 893-1
Tr.9
«45 Maxi» Produced by Dieter Bohlen of «Modern Talking» For Hansa
Vogue France, 1985
312 029
TTP: 44:30 min.
Tr. 1 — 3 from «Mirage 45 — # 2 (one session)» code: 02496-1; date: 26.01.- 5.02.2009
Tr. 4 — 9 from «The Rest of 45 — # 3 (one session)» code: 02494-1; date: 6 — 18.01.2009
T3 Process
Three stages — one result
Why this process is compelling
It gives access to material absent from the digital domain — some vinyl records were never reissued.
The essence is not the transfer, but the sound work.
Maximum information is extracted from the groove: microdynamics are refined, time structure is stabilized, and medium and chain artifacts are reduced.
The result is a master that preserves the original character, yet is more precise and informative.
Fixation in CD-DA is a stable, controlled form.
This is not digitization — it is reconstruction and fixation of sound in its most readable state.
Who this may appeal to
— those seeking rare material absent from the digital domain
— those who perceive differences in microdynamics and timing
— those who value accuracy over format convenience
— those who believe vinyl and tape are incompatible with digital media
How it is achieved
Accuracy starts with mechanics: stable reading with minimal correction.
The key stage — Tape Treatment:
— a tape machine with correction, where timing is structured, microdynamics are formed, and signal integrity is refined.
The principle is not to «enhance», but to remove what prevents the original from being heard.
Final stage — fixation:
— clean, linear capture in CD-DA without repeated conversions
Why it is audible
Audibility comes not from addition, but from alignment.
When timing is stabilized, microdynamics are refined, and artifacts are reduced, the sound ceases to fragment and is perceived as a coherent structure.
In this state, detail, space, and natural articulation become apparent without effortful listening.
Coda:
This is perceived as ease of listening, the sound fully раскрывается (fully reveals itself), yet never becomes fatiguing, remaining coherent and whole.
© DSE/PSL Project, 2026
45 RPM — a format with higher linear velocity and more precise tracking.
Improved tracking conditions provide more stable reproduction of high frequencies and fast transients.
Within the T3 process (Transfer — Tape Treatment — Transfer), additional temporal coherence is achieved,
and the result is fixed in discrete-time form while preserving dynamic accuracy









