BTW, I should add a third key rule about ticks and pops -- do everything possible to eliminate the
static charge on the record surface. I have always liked the ZeroStat ion gun, which has been back
in production for several years now. My old Discwasher version still works well, but they do wear
out eventually. In general, LP playback in a very dry environment is fraught with static issues. My
best playbacks occur when it's not indoor-heating season.
With my Denon high-output moving-coil cartridge, static discharge can completely short out the
signal, the waveform looks like the needle is jumping the groove but I don't think that's what's
happening. I think the coils are completely saturated by the static charge and take a few
milliseconds to recover as the charge passes through the cable. Not positive that's exactly what's
happening, but there can be complete loss of signal after the pop, with very fast rise time on the
pop, almost instant fall-off, then a short "blank" period, the resumption of signal. In that case,
the best one can do is remove the annoying pop, but there's no underlying audio content to recover
so it can appear to the ear as a small dropout (small enough that it must be listened carefully to
hear, but still undesireable). So I work hard to avoid static charge on the record.
Sometimes you can discharge a lot of "popcorn" static by using the cue lever to hover the needle
just a tiny bit over the record. Static then jumps to ground via the needle or cantelever and it
should then not appear as a loud pop later. As I said, though, a warm heated room the winter is a
pretty challenging environment for LP playback. My rule of thumb is, the appropriate environment for
acetate and early mylar tapes is also appropriate for LP playback. The bone-dry environment
recommend for sticky-era tapes is not.
-- Tom Fine
----- Original Message -----
From: "Tom Fine" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, April 10, 2012 7:49 AM
Subject: Re: [ARSCLIST] Recording_78rpm_records
> Hi Richard:
> I'm very much on the "purist" end of the scale with ticks and pops, so I rarely use automated
> software for removing them. However, I have found that the built-in software in Soundforge 9 can
> handle small areas of intense ticks, like for instance a "pimple" in an LP. As a "pimple" is
> tracked, there can be no loss of content if the groove was pressed deep enough into the "pimple"
> so that the needle stays in the groove. So then it's a matter of removing the ticks when the
> needle encounters the "pimple." My experience is that Soundforge does as good a job as manually
> removing them, and in that case it's a great time-saver. In general, however, the best strategies
> against ticks and pops are two-fold: 1) obtain a good-condition copy of the record (sometimes
> easier said than done), and 2) clean the record properly and thoroughly (it's really shocking how
> much this can help, even simple sponge-and-Ivory Soap cleaning in a sink (dry with a very soft
> shammy cloth). Something like a VPI machine really does the job.
> For the random and inevitable ticks and pops, I still very much prefer manually re-drawing the
> waveform to remove them. This even works for static pops if they aren't a complete shortout of the
> -- Tom Fine
> ----- Original Message -----
> From: "Richard L. Hess" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Tuesday, April 10, 2012 7:34 AM
> Subject: Re: [ARSCLIST] Recording_78rpm_records
>> Hi, Tom,
>> Thanks for this--very interesting.
>> I've found myself with several LPs to do (I completely stay away from 78s at this time) as part
>> of a tape-disc transfer package. I have also turned a few of my Broadway albums into CDs when the
>> commercial CD was miserable (yes, I know there is a "remastered" CD now out of Man of La Mancha,
>> but Robert (my son) and I decided it wasn't worth $20 to improve the quality over what my
>> restoration provided--he's more of a musician than an audiophile).
>> Anyway, for several projects, my tool of choice has been Brian Davies's Click Repair and the
>> denoise LF has worked very well for hum removal. Click Repair seems to do less audible damage
>> than the de-click/de-crackle in the Samplitude restoration suite and it's the best-yet iteration
>> of that line.
>> I do transfer at 96/24.
>> I notice that Click Repair was mentioned in the Audacity article. I also noticed that GoldWave
>> was also mentioned which is odd, as that is my preferred low-cost audio editor when people ask.
>> Although Magix's Audio Cleaning Lab is also a good contender for under $100.
>> On 2012-04-10 7:22 AM, Tom Fine wrote:
>>> This is a very convoluted method to recover audio from non-RIAA records. Gary Galo has written a
>>> very good article about the science of grooved-media recording and playback curves here:
>>> Gary has also written for ARSC Journal advocating analog playback and EQ of grooved media,
>>> rather than "flat playback" and software EQ, and has specified the technical reasons why analog
>>> EQ works differently from DSP EQ.
>> Richard L. Hess email: [log in to unmask]
>> Aurora, Ontario, Canada (905) 713 6733 1-877-TAPE-FIX
>> Quality tape transfers -- even from hard-to-play tapes.