Not merely because of the slang expressions employed, your speculation is
actually more descriptive of what happens when the correct stylus is chosen
or when correct playback EQ suddenly focuses the audio in a
quasi-photographic way. Determining the correct pitch is related more to
one's knowledge of the sound of voices and instruments, the conventions of
transposition and whether A deviates much or little from 440Hz.
On Thu, Oct 4, 2012 at 9:07 PM, Carl Pultz <[log in to unmask]> wrote:
> So, without any reliable reference for pitch, do you look for the right
> 'feel' to appear in the performance. At the right tempo it suddenly falls
> into the pocket and gets its groove?
> Layman's question; I've never done that work.
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Paul Stamler
> Sent: Thursday, October 04, 2012 3:09 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Reducing crackle from 78 rpm records the analogue
> way on 70's reissue LP's
> On 10/4/2012 9:33 AM, Carl Pultz wrote:
> > No one has mentioned the method that Andrew Rose applies: picking out the
> > or 60Hz residual hum as a way to determine correct speed. Maybe that's
> > discussed before on the list. What's the consensus, if there is one?
> I've done it, and as long as I kept the limitations of the method in
> mind (60Hz wasn't always 60Hz) it's worked for me.
> As for absolute pitch, or devices to detect variations from standard
> pitch, those only work if the original was recorded at standard pitch.
> For a jazz band -- especially one including a piano -- the odds of A-440
> are pretty good. For a hillbilly or blues record, with no fixed-pitch
> instruments (just fiddles, banjos or guitars) there's no guarantee.
> Restoring the disc to concert pitch may be wrong.
Dennis D. Rooney
303 W. 66th Street, 9HE
New York, NY 10023