Hello Tom and Alls,

In our case the disks the sound is easily audible, especially the instrumental parts (wind quintette, sax horn, clarinettes, tuba and a guitar) but the surface noise remains.

The third disc have a noise like "white noise" and very difficult to remove or attenuate without

The goal is a re-edition of the original shellac with a decent restoration with another CD with actual reinterpretations of the same songs ("jotas de ronda"). The reedition was decided fro the special historical and musicological interest of these recordings.

The actual jotas of Navarra are "school" jotas fashoned during the franquist period.

Regards.

-- 
R. Parejo-Coudert

Ethnomusicologue / Ethnomusicologist / Etnomusicólogo

Anthropologie visuelle et sonore
Visual and Sound Anthropology
Antropología visual y sonora

Archives sonores - Archivos sonoros - Sound Archives
Restauration audio - Restauración audio - Audio Restoration


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Le/El/On: Wed, 10 Oct 2012 06:36:41 -0400, <prénom de l'utilisateur> Tom Fine [log in to unmask] m'a écrit | me ha escrito | wrote:




>Hi Rafael:
>
>Some things were recorded so poorly, or the disk is in such poor
>condition, that they cannot be 
>saved. No matter what "treatment" is done, I find some cylinders
>inaudible just because the 
>recording has such poor fidelity to the source. Same with some
>acoustically-recorded records. I 
>don't have the inaudibility problem with most electric records, but if a
>disk is in terrible 
>condition, it can be unplayable and thus inaudible. "Unplayable" can
>mean that it will physically 
>play but not enough source sound will emerge as to present an audible product.
>
>Bottom line, some records are so poorly made or so worn out, the audio
>can't be retrieved to a 
>degree that the average listener will find it to be sensible or audible.
>
>I wonder if the day will come where something like this Zenph
>http://www.zenph.com/company
>will be made sophisticated enough as to "find" the right impulses hidden
>in a sea of surface noise 
>or hidden behind a terrible recording and re-create just those sounds. I
>do think the world is 
>moving in that direction and that it will revolutionize the ideas of
>sound restoration and audio 
>forensics. However, given my skepticism about computers and machinery in
>general, I don't think that 
>day will arrive any time soon. The hype always marches way ahead of the
>army of results.
>
>-- Tom Fine
>
>----- Original Message ----- 
>From: "Raphaël PAREJO" <[log in to unmask]>
>To: <[log in to unmask]>
>Sent: Wednesday, October 10, 2012 5:30 AM
>Subject: Re: [ARSCLIST] What's the best way to remove surface noise on
>Columbia Shellac (1930)?
>
>
>> <[log in to unmask]>
>>            <6E65917F35184BF7AB40B8E6C6898160@mickey8ea77e68>
>>            <[log in to unmask]>
>>
>> <[log in to unmask]>
>> <[log in to unmask]>
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>>
>> Hello Paul, Hello Alls,
>>
>> Some more precisions. The shellacs was digitized with a stereo cartridge, =
>> et nominal speed. A precision: we have no option to select the better =
>> shellac, we have only relocated the three we have digitized.
>>
>> The digitized signal was processed as follows:
>>
>> - Reduction to mono selecting the best canal, not mixing the two canals.
>> - Manual declicking (with pencil) for the stronger events.
>>
>> The I have a copy semi-declicked to work with.
>>
>> The tests I've made for whole declicking process is good. The one for =
>> decrackling is  just standard on two of the three shellacs.
>>
>> The tests for surface noises and rumble are the worst. The tests was made =
>> with the manual hard events declicking made.
>>
>> I refresh our memory reminding that tests have been made with a CEDAR 3000 =
>> system without significative results...
>>
>> Regards.
>>
>> -- 
>> R. Parejo-Coudert
>>
>> Ethnomusicologue / Ethnomusicologist / Etnomusic=F3logo
>>
>> Anthropologie visuelle et sonore
>> Visual and Sound Anthropology
>> Antropolog=EDa visual y sonora
>>
>> Archives sonores - Archivos sonoros - Sound Archives
>> Restauration audio - Restauraci=F3n audio - Audio Restoration
>>
>>
>> =B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=
>> =B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=
>> =B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0=B0
>>
>>
>>
>>
>>
>> Le/El/On: Tue, 9 Oct 2012 14:53:15 -0500, <pr=E9nom de l'utilisateur> Paul =
>> Stamler [log in to unmask] m'a =E9crit | me ha escrito | wrote:
>>
>>
>>
>>
>>>On 10/9/2012 12:36 PM, James Roth wrote:
>>>> PLEASE TELL ME
>>>> How does one cancel the vertical portion of the signal=3F
>>>
>>>Combine the left and right dhannels of a stereo cartridge.
>>>
>>>There are several ways to do that. If your preamp has a stereo/mono
>>>switch, and you can take your recording feed from downstream of the
>>>switch, just turn the switch to mono. If that's not available, record in
>>>stereo, then mix the two tracks in equal proportions in your digital
>>>editing program. You can also use a couple of Y-connectors between
>>>cartridge and preamp:
>>>
>>>2 RCA-F > 1 RCA-M
>>>1 RCA-F > 2 RCA-M
>>>
>>>Connect the first one to the leads from the turntable, then connect the
>>>second one to the first one and to the preamp inputs.
>>>
>>>Or use a mono cartridge; Grado's most recent 78 cartridges have tiny
>>>wires on them that do the same job as the cascaded Y-connectors.
>>>
>>>Peace,
>>>Paul
>>