Mike Biel wrote:
The third section was the dynamic noise filter which
we discussed yesterday. This raised and lowered the top frequency of the
low-pass filter to allow more highs when the louder musical content would
mask the surface noise, but then reduced the top frequency when the program
content was quiet and would otherwise allow the surface noise to be heard.
I HATED this filter, but as I mentioned yesterday, Dick Burns LOVED it.
But what do you think about the dynamic noise filter in FIXED mode??
Colild this be the one to use at 9'o clock and twelve o'clock position and
maybe with som e help from a parametric eq to remove some more of the
surface noise that still is there...
Fra: Association for Recorded Sound Discussion List
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Sendt: 23. mars 2009 07:27
Til: [log in to unmask]
Emne: Re: [ARSCLIST] playing 78s
[log in to unmask] wrote:
> IIRC the PB worked best with a stereo input to better define noise and
> make the choice of switching between groove sides. Better to sum the
> channels post-PB.
The PackBurn works ONLY with a stereo input, at least for the switcher
circuit. There were three sections in it, and the first was the
switcher. It listened to the two groove walls and decided which one was
the quietest at any point in the record. If it did not have a stereo
source, how could it tell???????????? And how could it give one or the
other walls separately??? The original model gave an output of either
the left or the right. The "Centennial Model" numbered 1977 and issued
in 1977 added a feature that would give the sum of the two channels when
both walls were equally quiet.
The second section was the blanker which was a mono impulse noise
eliminator, and this is pretty much what most other noise-reduction
systems in use are. If all that was available was a mono source, this
still would work. The third section was the dynamic noise filter which
we discussed yesterday. This raised and lowered the top frequency of
the low-pass filter to allow more highs when the louder musical content
would mask the surface noise, but then reduced the top frequency when
the program content was quiet and would otherwise allow the surface
noise to be heard. I HATED this filter, but as I mentioned yesterday,
Dick Burns LOVED it.
Of course any of these three sections could be switched in or out of the
Mike Biel [log in to unmask]
> John Eberle wrote:
>> Playing 78s through an RIAA preamp basically rolls off the highs and
>> boosts the lows dramatically altering the frequency response from
>> what it should be . The RIAA pre-emphasis eq curve is applied during
>> the disc cutting stage of 45 and LP record mastering . 78 RPM
>> records were not cut with RIAA pre-emphasis ; but rather were cut
>> mostly flat with perhaps some low end roll of to control the size of
>> the bass groove excursions .
>> A simple and cheap way to playback 78 RPM records is to connect the
>> turntable or tone arm audio out to the HI-Z microphone inputs available
>> on many preamps . This will give the flat response desired for 78s
>> and a little low boost will bring the lows back in to proper
>> perspective . Also , most cartridges in current use for playing 78s
>> are actually stereo and of course 78s are mono . It is totally weird
>> to hear a 78 RPM disc being played with stereo clicks and pops . The
>> cartridge can be wired in the headshell to reproduce lateral mono
>> modulation only . This makes the record noise a lot less and less
>> need for the Packburn or any other analog or digital transient noise
>> reduction and better over all quality . If anyone would like an mp3
>> of one of my commercial 78s reproduced in this manner , just contact
>> me off list and I will email it to you .
>> John Eberle : Over 27 years disc cutting experience and over 35
>> years in Mastering !
>> AMERICANA CD MASTERING 313 EAST COLLEGE STREET SUITE 3A
>> DICKSON , TENNESSEE 37055
>> **************Feeling the pinch at the grocery store? Make dinner
>> for $10 or less.