Another cassete copying-on-autopilot problem.

Levels are often all over the place. Typically, I pull out or reduce the
volume on mike clicks, kids yelling, etc., then normalize to something
closer to maximum available level before making the cd. This is
hand-eye-ear work, not automatable (ible?) I've had to do this hundreds of
times.

Steve Smolian

----- Original Message -----
From: "Lou Judson" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, February 20, 2006 10:08 PM
Subject: Re: [ARSCLIST] Cassette obsolescence - digitizing standards


Interesting perspective. When I transfer cassettes for clients, I use
16 bit, and if they want it processed in any way, I import it to 24 bit
Protools sessions for the added range... Best of both worlds, I like to
think.

<L>

Lou Judson • Intuitive Audio
415-883-2689

On Feb 20, 2006, at 10:00 AM, Mike Richter wrote:

> Lou Judson wrote:
>> What about using 24 bit at 44.1 so that any noise reduction or processing
>> done later is higher definition?
>
> Given that the best dynamic range on standard cassettes - assuming Dolby
> B in proper calibration which is highly questionable - is unlikely to
> exceed 60 db, one might suspect that 16 bits is sufficient. Of course,
> processing could consume several bits and one only has half a dozen to
> spare (~30 db).
>
> For that potential, infinitesimal advantage, one is likely to spend four
> to ten times as much to make the transfers counting both equipment and
> time. Given infinite resources, a case can be made; with a budget less
> than that of a typical multinational corporation, such overkill is hard to
> justify even on theoretical grounds.
>
> Mike
> --
> [log in to unmask]
> http://www.mrichter.com/


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