Steve,

This sounds like an interesting presentation.

One thing that hasn't been mentioned about iZotope RX5 Advanced Editor
is that there are both EQ Match and Ambience Match functions. I have
used RX's EQ Match and it does wonders. I think it is superior to the
version of that function built into the FFT filter of Samplitude--but
that is also impressive and it's been around for a decade or so.

I have not tried Ambience Match other than one time and I don't remember
if I liked the result or not. I think it worked, but it didn't solve the
ugliness problem I was having.

I am a beta tester for Izotope but I think that they are doing more with
DSP than almost anyone else. It's good software. You can download a
trial for 30 days and see if it helps you.

I have no idea whether it will help or not. I don't know where you are
PC wise these days, but you'll want a fairly contemporary PC. I know I
was disappointed when I first tried out iZotope--but it was the PC's
slowness that got to me. I run it on a Core i7 930 4 core / 8 thread
machine. I have 24 GB of RAM but that is more for Photoshop and
Lightroom than RX. RX routinely fills up the processor to close to 100%.

Cheers,

Richard




On 10/24/2016 17:11, Steven Smolian wrote:
> I'm working on an ARSC presentation that discusses, among other things,
> why, during the acoustic era, Victor kept recording the same selection and
> performer over again at an interval of perhaps 5 years, usually issuing the
> same catalog number even though the recording itself replaced an earlier
> one, this considerable corporate investment being made with no idea that
> electrical recording would make later listeners mostly ear-blind to what at
> the time was considered sufficient improvement to warrant these
> replacements.
>
> The ability to capture some degree of ambience in a recording is one of
> these improvements. Apparently, it's' something we can hear but cannot
> measure
>
> It's useful to remember that most of the instruments used today for
> measuring audio attributes were not available to engineers at that time.
> Rather, they seem to be a product of the need for them during the
> improvement of telephone technology and were thus available to Western
> Electric as they developed electrical recording from 1920-1921 on.
>
> Steve
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Marcos Sueiro Bal
> Sent: Monday, October 24, 2016 2:44 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Ambience
>
> iZotope's RX4 has something called "deReverb", although I have not tried it.
>
> https://rxcookbook.izotope.com/reducing-reverb-rx-de-reverb-module
>
> Marcos Sueiro Bal
> Senior Archivist, New York Public Radio
> 646 829 4063
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Steven Smolian
> Sent: Monday, October 24, 2016 2:37 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Ambience
>
> Ambience of the room.
>
> Steve
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Lou Judson
> Sent: Monday, October 24, 2016 2:21 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Ambience
>
> Are you meaning signal to noise? Or the ambience of the room it was recorded
> in?
>
> <L>
> Lou Judson
> Intuitive Audio
> 415-883-2689
>
> On Oct 24, 2016, at 10:27 AM, Steven Smolian <[log in to unmask]> wrote:
>
>> I don't know of any but want to be sure that this attribute falls into
>> audio's "unmeasurables."
>>
>> Stereo creates so many ways of blurring sonic information that a
>> channel comparative tool might be possible but unreliable- different
>> ways of isolating instruments, artificial reverb, etc. But mono? I'm
>> thinking particularly of acoustically recorded 78s.
>>
>> Steve
>
--
Richard L. Hess email: [log in to unmask]
Aurora, Ontario, Canada 647 479 2800
http://www.richardhess.com/tape/contact.htm
Quality tape transfers -- even from hard-to-play tapes.