Whatever happened to the turntable which was able to correct for off-centre
holes in discs? I vaguely recall reading about it a *long* time ago...
Salutations, David Lewiston
----- Original Message -----
From: "Richard L. Hess" <[log in to unmask]>
To: <[log in to unmask]>
Sent: July 23, 2005 6:04 AM
Subject: Re: [ARSCLIST] Speed correction
> One other thought on speed/pitch correction as applied to especially
> quality music.
> A little story first: A few years ago on "A Capitol Fourth" on PBS, a
> well-known singer from the early 1970s was the first act. There was a
> furor the next day on rec.audio.pro about the obvious addition of an
> Antares-like (if not the Antares) pitch corrector in the vocal chain.
> I no longer read rec.audio.pro but the arguments were something like
> "This singer never needed pitch correction, it sounded wooden after
> it was switched in..."
> A few months later, I was having dinner with the person who mixed the
> show and he said, "Yes the singer did require the pitch correction,
> her producer was anxious for me to add it." I spoke with a singer
> friend of mine who reminded me of her motto, "more me in the
> monitors." We all agreed there probably wasn't enough of the singer
> in the monitors, dictated in part by the staging. This show typically
> is sparse on monitors.
> So even singers who normally don't need pitch correction may need it
> under difficult performance conditions.
> My caution here is that pitch correction corrects intentional
> "bending" of notes and makes the pitch exact. There is a "bending"
> tool in Samp8's Elastic Audio, but I think if you don't apply that to
> a given note and you use some of the auto pitch correction, each
> note, for its duration, will end up right on pitch....exactly.
> So, I'm still confused how to apply automatic pitch correction to
> chamber music. At least with the current tools.
> I think the Plangent Processes might be useful (I hear it's $100/min,
> but that's third hand) for some of these situations.
> http://www.plangentprocesses.com/ This does not lock into program
> material, but rather looks for other information in recordings to
> which it can apparently phase lock. In tapes, it can use bias, but it
> can also use hum and other information.
> Jamie credits a lot of people on his Web site, but the original
> concept credit, I believe, at least for use of bias
> recovery, belongs to Dr. Michael Gerzon of Oxford.
> Richard L. Hess email: [log in to unmask]
> Media web: http://www.richardhess.com/tape/
> Aurora, Ontario, Canada (905) 713 6733 1-877-TAPE-FIX
> Detailed contact information: http://www.richardhess.com/tape/contact.htm
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