Of course this is based on three assumptions - that your playback speed with a heavy Edison disc and stylus drag is running at precisely 78.26 rpm, that the original recording turntable was running at exactly 80 rpm and perhaps most unlikely, especially with pop music, that the key of the piece is known and that the group was tuned to A = 440 Hz. A lot of variables. Unless there is a mains hum and the frequency of that is precise and known.
Sent from my iPhone
> On Apr 28, 2015, at 1:57 AM, John Haley <[log in to unmask]> wrote:
> You're welcome, Ben. Taking Paul's math, which looks correct, the
> adjustment you are looking for will be to raise the pitch 2.2% (.022). To
> raise it a half step, that would be 5.6% (.056). So the adjustment you
> want to make is a little less than a quarter tone, but you definitely want
> to make it, as a 2.2% change in pitch and tempo (and yes, you want to keep
> them hooked together, as Richard said) can be very noticeable in most
> music, particularly if there is a vocal. The human voice really wants to
> be reproduced right on pitch, and small changes one way or the other can
> make a voice sound shrill or thick. But the tone of many instruments
> suffers as well. A quarter tone is a lot in this context.
> I don't know how reliable the speed is for Edisons, but for most other 78's
> you cannot count on the speed being exactly 78.26, the nominal standard.
> In fact commercial 78's ranged all over the place. That is why I said it
> would be best to pitch each record individually.
> There is an easy way to do this, which I use almost every day. I recently
> bought a Yamaha electronic keyboard (only $100 on sale), and I play on it
> all the time along with the music to compare the pitch. Even just a few
> chords will tell you instantly where the pitch needs to go to be right. By
> my Korg tuner, which I also use, the Yamaha keyboard is exactly
> top-dead-center on pitch (unlike my Steinway piano). Getting the pitch
> right becomes a snap.
> When it comes to restoration work, getting the pitch right might be the
> very most important thing. I am always astonished how many transfers of
> both tapes and records, even commercial ones, are done off pitch, sometimes
> wildly off pitch. It is just as critical an issue when working from tape
> sources, as it can seem like no two tape recorders in the old days ever
> played at exactly the same speed.
> Sometimes, where large changes are necessary, you need to get it close in
> the analog playback domain, and not just on the computer, because the
> operation of phono EQ or tape EQ is impacted. Those "built in" EQ systems
> are expecting to "see" recordings on pitch and will make the wrong
> adjustments for a recording that is way off pitch. This will be especially
> true for the bass turnover point for records.
> John Haley
>> On Mon, Apr 27, 2015 at 10:27 PM, Paul Stamler <[log in to unmask]> wrote:
>>> On 4/27/2015 6:14 PM, Richard L. Hess wrote:
>>> Of course 96 is also good for accurately reproducing the scratches to
>>> make removal easier.
>> Unless you're using the descratching algorithm in DC-EIGHT or its
>> predecessors, which for some unaccountable reason is optimized for 44.1kHz
>> to the extent that it basically doesn't work at higher sample rates.
>> I usually work at 44.1kHz, so I don't have a problem with this, but I
>> really don't like the limitation.
>> And yes, it's vital to work at 24-bit resolution; speed changes and EQ
>> work a helluva lot better on 24-bit files, and so (in my experience) does
>> This email has been checked for viruses by Avast antivirus software.