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ARSCLIST  September 2014

ARSCLIST September 2014

Subject:

Re: AZIMUTH (was recording "cleanup" plugins and 192/24)

From:

Tom Fine <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Fri, 12 Sep 2014 07:54:24 -0400

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (247 lines)

Hi Carl:

Aren't you still in Rochester NY? In past times, the Eastman Theater has served as a superb 
recording venue, for very successful records.

-- Tom Fine

----- Original Message ----- 
From: "Carl Pultz" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, September 12, 2014 7:49 AM
Subject: Re: [ARSCLIST] AZIMUTH (was recording "cleanup" plugins and 192/24)


> You guys can fight over what's preservation, restoration, or falsification, but I can say that for 
> making new recordings, the Izotope stuff can be indispensable. Where I am, there isn’t a venue in 
> town that combines good acoustics with a quiet enough background to make commercially acceptable 
> recordings. Software makes it possible.
>
> But, now that I have some exposure to the effects of this stuff, I think it's obvious why so many 
> contemporary classical recordings sound so anonymous - the over-use of spectral cleaning. Who 
> needs 24 bits when the content is restricted to - what - 14 bits? The cure is worse than the 
> ailment. The beauty of the RX3 tool is how finely it can be targeted. I use it mostly to reduce 
> rumble, leaving higher frequencies alone. But, even when I have to attack higher-frequency tonal 
> noise, it is very good at telling the difference.
>
> I have to thank Lou for encouraging me to overcome my audiophile purity and try this product.
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf 
> Of John Haley
> Sent: Thursday, September 11, 2014 4:49 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] AZIMUTH (was recording "cleanup" plugins and 192/24)
>
> Tom, I have to agree with your last sentence, and also with your comments about the hype that 
> surrounded CEDAR and Sonic Solutions in the past, both highly flawed programs as initially 
> released.  Those tradenames became more like selling points than any guarantee of good sound or 
> excellent restoration work.  Also, if you are remastering great sounding analog recordings, I 
> agree that less is more in terms of "fixing" them.  But the great worth of Izotope RX3, which I 
> have been using for several months, is that it does a lot of things better for sources that are 
> NOT pristine or wonderful.  You can't make something sound wonderful that inherently doesn't, but 
> it is amazing how much better compromised sources can sound when they are well restored.  This is 
> especially true for live recordings, which almost always have serious sonic defects built in. 
> Even recordings of broadcast material almost always have problems.
>
> This all relates to your musical point of view as a listener--my own is that with a whole century 
> of great recordings available to pick from, I do not want to be limited to any particular time 
> frame or era when recordings sounded a certain way.  I don't expect 78 recordings to sound like 
> they were made in a later era, but I do want them to sound as good as their limitations will 
> allow.
>
> Best,
> John Haley
>
>
>
> On Thu, Sep 11, 2014 at 4:30 PM, Tom Fine <[log in to unmask]>
> wrote:
>
>> The hype about RX in the engineering community is somewhat worrying to me.
>> I remember this hype for CEDAR and for Sonic Solutions NoNoise. A
>> bunch of really bad-sounding reissues touted CEDAR and Sonic in their
>> liner notes. I will just about guarantee that RX will be purchased by
>> every tin-eared hack and will be misused to the point of cliche.
>>
>> We should remember that digital processing AFTER analog playback is
>> ALWAYS a crutch. In theory, a great analog recording should need no
>> processing if it's been played back correctly into a "transparent" high-resolution ADC.
>> "Fixing flaws" for all the other recordings ever made is a very
>> slippery slope and should be approached with great caution and taste.
>> Digital technology has not yet figured out how to create out of thin
>> air some sort of "good" that was never there in an analog recording
>> (or photo or 3D object). It merely gives us ways to try and make a
>> digital transfer (virtual facsimile of something once real) "less
>> bad." The track record of typical audio engineers with newfangled
>> powerful digital tools in their hands is not impressive.
>>
>> -- Tom Fine
>>
>> ----- Original Message ----- From: "Aaron Coe"
>> <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Thursday, September 11, 2014 4:04 PM
>> Subject: Re: [ARSCLIST] AZIMUTH (was recording "cleanup" plugins and
>> 192/24)
>>
>>
>>  I think your last two lines about the hum and tonal noise removal
>> just
>>> cost me $299!
>>>
>>> -Aaron
>>> _______________________
>>> The Cutting Corporation
>>> 4940 Hampden Lane, Suite 300
>>> Bethesda, MD 20814-2925
>>> P: 301.654.2887 ext.19
>>> http://cuttingarchives.com <http://cuttingarchives.com/>
>>>
>>>
>>>
>>>  On Sep 11, 2014, at 3:52 PM, Richard L. Hess
>>> <[log in to unmask]>
>>>> wrote:
>>>>
>>>> Yes, I see that the announcement is out and I love CONNECT. I was
>>>> involved in the Beta test of RX4, but I couldn't say it until it was
>>>> announced.
>>>>
>>>> In Samplitude, you make a cut in the timeline (leave it long enough
>>>> to do a crossfade), Open Connect as an object off-line effect and
>>>> send it to RX4. You then open RX4 to process the clip and send it
>>>> back to Samplitude where you then reopen the Connect effect and it
>>>> pops into the timeline in place of the piece you originally sent.
>>>> Caution--allow long handles if you're sending out for de-clip as you
>>>> will need to seamlessly adjust for the level differences.
>>>>
>>>> It worked wonders on a concert I recorded last Friday -- first one
>>>> with my RME BabyFace which was useful since the power was out for
>>>> the whole concert. Fortunately, candle light was part of the planned
>>>> effect, so only the PA went away. The organ was still hand-pumped.
>>>> But, I had not aligned the gain in the BabyFace to the gain in the
>>>> FireFace--it was just there in case of a power failure of more than
>>>> a few minutes (I had the FireFace on a UPS). I heard the clipping
>>>> and dropped the gain for the rest of the concert
>>>> -- back to 20 dB which was where the FF had been set. Grrrr.
>>>>
>>>> Connect works with other editors as well.
>>>>
>>>> The de-hum now has a tracking mode because the hum frequency is
>>>> never the same at the start of the tape as at the end -- not the
>>>> same enough to allow you to use very high Q notch filters --  now you can.
>>>>
>>>> The main screen allows selecting full-length very narrow frequency
>>>> bands
>>>> -- and several of them -- to treat tonal noises that are able to be
>>>> removed with this method as opposed to the noise reduction and are
>>>> above the 8 harmonics in the tracking hum filter.
>>>>
>>>> Cheers,
>>>>
>>>> Richard
>>>>
>>>>
>>>>
>>>> On 2014-09-11 12:56 PM, Aaron Coe wrote:
>>>>
>>>>> Richard,
>>>>>
>>>>> Looks like RX 4 has a new "RX Connect” that may solve your issue:
>>>>>
>>>>> "Use RX in conjunction with your video or audio editing software of
>>>>> choice without slowing down productivity. A round-trip workflow
>>>>> enables you to send audio from your host application to RX, so you
>>>>> can repair and enhance and then send the new audio back to your host."
>>>>>
>>>>> I love this app!
>>>>>
>>>>> -Aaron
>>>>> _______________________
>>>>> The Cutting Corporation
>>>>> 4940 Hampden Lane, Suite 300
>>>>> Bethesda, MD 20814-2925
>>>>> P: 301.654.2887 ext.19
>>>>> http://cuttingarchives.com <http://cuttingarchives.com/> <
>>>>> http://cuttingarchives.com/ <http://cuttingarchives.com/>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>  On Sep 10, 2014, at 10:16 PM, Richard L. Hess <
>>>>>> [log in to unmask] <mailto:[log in to unmask]> <mailto:
>>>>>> [log in to unmask] <mailto:[log in to unmask]>>> wrote:
>>>>>>
>>>>>> Hi, Aaron,
>>>>>>
>>>>>> I stopped using Insight for a while as I was using Alloy for my
>>>>>> processing and RX only had one plug-in slot. Insight has not been
>>>>>> high on my list of sub-systems to learn, but your suggestion just
>>>>>> bumped it up when I get RX4.
>>>>>>
>>>>>> Samplitude has a sound-field view, but I will check out Insight's.
>>>>>>
>>>>>> The challenge is I need it farther upstream in the workflow than
>>>>>> where I generally use iZotope RX.
>>>>>>
>>>>>> StereoTool's automatics can sometimes be a useful starting point
>>>>>> for further work on the access copy, hence my dual record.
>>>>>>
>>>>>> Cheers,
>>>>>>
>>>>>> Richard
>>>>>>
>>>>>> On 2014-09-10 8:48 PM, Aaron Coe wrote:
>>>>>>
>>>>>>> Richard,
>>>>>>>
>>>>>>> Have you checked out the Sound Field meter in Izotope’s Insight
>>>>>>> metering plugin (comes free with RX Advanced)?  I used to used
>>>>>>> StereoTools too but prefer using Insight now.
>>>>>>>
>>>>>>> -Aaron
>>>>>>> _______________________
>>>>>>> The Cutting Corporation <http://www.cuttingarchives.com/ <
>>>>>>> http://www.cuttingarchives.com/> <http://www.cuttingarchives.com/
>>>>>>> < http://www.cuttingarchives.com/>>>
>>>>>>> 4940 Hampden Lane, Suite 300
>>>>>>> Bethesda, MD 20814-2925
>>>>>>> P: 301.654.2887 ext.19
>>>>>>> [log in to unmask] <mailto:[log in to unmask]> <mailto:
>>>>>>> [log in to unmask] <mailto:[log in to unmask]>>
>>>>>>> <mailto:[log in to unmask]
>>>>>>> <mailto:[log in to unmask]>
>>>>>>> <mailto:[log in to unmask]
>>>>>>> <mailto:[log in to unmask]
>>>>>>> >>>
>>>>>>>
>>>>>>>
>>>>>>>  --
>>>>>> Richard L. Hess                   email: [log in to unmask]
>>>>>> <mailto:[log in to unmask]> <mailto:[log in to unmask]
>>>>>> <mailto:[log in to unmask]>>
>>>>>> Aurora, Ontario, Canada                             647 479 2800
>>>>>> http://www.richardhess.com/tape/contact.htm <
>>>>>> http://www.richardhess.com/tape/contact.htm> <
>>>>>> http://www.richardhess.com/tape/contact.htm <
>>>>>> http://www.richardhess.com/tape/contact.htm>>
>>>>>> Quality tape transfers -- even from hard-to-play tapes.
>>>>>>
>>>>>
>>>>>  --
>>>> Richard L. Hess                   email: [log in to unmask]
>>>> <mailto:[log in to unmask]>
>>>> Aurora, Ontario, Canada                             647 479 2800
>>>> http://www.richardhess.com/tape/contact.htm
>>>> <http://www.richardhess.com/ tape/contact.htm> Quality tape
>>>> transfers -- even from hard-to-play tapes.
>>>>
>>>
>>>
>>>
>
> 

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