Steinberg's Wavelab has this capability too. It offers very
sophisticated pitch correction with fully customizable correction curves
that I have used for quite a few years now. The only downside -
processing is somewhat slow. From what I am told by technical support,
this is in exchange for excellent quality/accuracy.
John Schroth
MTS
On 1/22/2018 7:40 PM, Richard L. Hess wrote:
> There are three good approaches to this type of correction that I have.
>
> iZotope and Samplitude allow you to create a stepwise approximation of
> the pitch changes, and then flow from one to the other. iZotope adds
> the feature that you can "smooth" the curve.
>
> The older Diamond Cut software had an interesting spline curve system
> to make non-linear changes. I'm not certain where that came from, but
> it is a different approach and the software is not terribly expensive.
> I think they're still around.
>
> Cheers,
>
> Richard
>
>
>
>
> On 2018-01-22 6:38 PM, Tim Gillett wrote:
>> Then there's the problem of rotational speed changing between outer
>> to inner grooves. It's harder for the disc cutter to maintain a
>> constant rotational speed when cutting the outer grooves than the
>> inner. It requires more torque cutting the outer groves. So typically
>> the playback will start at one pitch and appear to lower in pitch
>> (slow down) towards the inner grooves. I dont know how common this
>> problem was in disc cutting in that era but I've observed it
>> ocasionally repairing an old wind up acoustic gramophone. Of course
>> it's harder to correct for such an error but I'd imagine today a
>> product like Celemony Capstan or the equivalent Cedar product would
>> make it a lot easier, though strictly they appear to be designed to
>> correct wow and flutter. Others with experience with these tools will
>> know more.
>>
>> Tim
>>
>>
>>
>> ----- Original Message ----- From: "John Haley" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Tuesday, January 23, 2018 6:21 AM
>> Subject: Re: [ARSCLIST] Recording Process in 1920s
>>
>>
>>> The easiest way I have ever found to determine the pitch of a
>>> recording and
>>> adjust it correctly is this. Just play along with the recording on an
>>> electronic keyboard such as the Yamaha one I use, which has absolutely
>>> perfect pitch--it reads "top dead center" on a Korg tuner. This will
>>> tell
>>> you instantly if the recording if at the same pitch, or higher or
>>> lower,
>>> and you can easily hear very, very small pitch errors this way--they
>>> become
>>> quite apparent--way easier than trying to remember a pitch mentally.
>>> Obviously I am just playing tunes and sometimes harmonies, not the
>>> whole
>>> thing, and I am not making any effort to play anything well. This takes
>>> hardly any keyboard skill, and it is far easier for me to hear what is
>>> going on this way than using a Korg guitar tuner (which is itself way
>>> better than nothing). Getting pitch right used to be such a
>>> headache--now
>>> it's a snap. I can do it in seconds. Such an electronic keyboard
>>> costs
>>> something like $100.
>>>
>>> Plus, the keyboard is easily adjustable to other pitches--for instance,
>>> where we know that an orchestra tunes to A = 442 or some other A
>>> besides
>>> 440.
>>>
>>> Best,
>>> John
>>>
>>>
>>> On Mon, Jan 22, 2018 at 4:28 PM, George Brock-Nannestad
>>> <[log in to unmask]>
>>> wrote:
>>>
>>>> From: Patent Tactics, George Brock-Nannestad
>>>>
>>>>
>>>> Hello, Terri and all,
>>>>
>>>> the question, as I read it, is not entirely clear to me. What is
>>>> meant by
>>>> "recordings in the 1920s were transferred to disc"? Would that
>>>> indicate
>>>> that
>>>> recordings on cylinders -- a standard format in ethnomusicology
>>>> until about
>>>> 1940 -- would have been transferred to disc in the 1920s, OR that
>>>> recordings
>>>> from the 1920s (still on cylinders) have been transferred to LP
>>>> (from the
>>>> 1950s) or CD (from about 1985)? This involves two stages of
>>>> recording: 1st
>>>> on
>>>> cylinder, and 2nd onto the next medium, playing the cylinder. There
>>>> may
>>>> certainly be problems in the transfer from cylinder to next medium.
>>>> The
>>>> early
>>>> ethnomusicologists (from the time the field was called "comparative
>>>> musicology") knew this, and this is why they frequently sounded a
>>>> pitch
>>>> pipe
>>>> before each take. If this pitch is reproduced correctly in the next
>>>> medium, the
>>>> whole recording is correct as concerns pitch.
>>>>
>>>> Most commenters have talked about disc recording, but these did not
>>>> become
>>>> really important for ethnomusicological sound collection before the
>>>> 1930s
>>>> (John
>>>> Lomax and Laura Boulton were typical representatives). The Library of
>>>> Congress
>>>> started transferring their Densmore cylinders to 78 rpm vinyl discs
>>>> in the
>>>> 1940s.
>>>>
>>>> I am worried about the 1938 Presto lathe that apparently cuts 7%
>>>> slow with
>>>> the
>>>> cutter on the virgin disc. This how I interpret that the playback
>>>> of the
>>>> record
>>>> just cut is 7% sharp, all provided that the Presto turntable is
>>>> used with a
>>>> pickup-arm for reproducing the disc just cut. And this would
>>>> indicate an
>>>> underpowered motor. Otherwise the reason could be that the speed of
>>>> the
>>>> reproducing turntable is too fast.
>>>>
>>>> Concerning discs I agree completely with John Haley at Mon, 22 Jan
>>>> 2018
>>>> 11:57:30. And I have used the approach recommended by Steve Smolian
>>>> since
>>>> 1981,
>>>> and I am on my 4th Korg right now, although it is called a
>>>> Chromatic Tuner
>>>> with
>>>> no string preferences. If you would like to know more about my
>>>> version of
>>>> this
>>>> approach, Google will show the way.
>>>>
>>>> If someone is interested in digging deeper into acoustic recording as
>>>> performed
>>>> at the Victor Talking Machine Company and the Gramophone Company up to
>>>> 1925, I
>>>> would recommend my AES Conference Preprint from 1997:
>>>> "The Objective Basis for the Production of High Quality Transfers from
>>>> Pre-1925
>>>> Sound Recordings", AES Preprint No. 4610, 103nd Convention 1997
>>>> September
>>>> 26-29, New York. This is free in electronic form to members of the
>>>> Audio
>>>> Engineering Society. I have noticed that it is being cited quite
>>>> frequently in
>>>> later years.
>>>>
>>>> I would be happy to provide greater detail, but in that case
>>>> perhaps an
>>>> off-list exchange would offend the fewest people.
>>>>
>>>> Kind regards,
>>>>
>>>>
>>>> George
>>>>
>>>>
>>>>
>>>> -------------------------------------
>>>> From: Terri Brinegar <[log in to unmask]>
>>>> To: [log in to unmask]
>>>> Subject: [ARSCLIST] Recording Process in 1920s
>>>> Date sent: Mon, 22 Jan 2018 11:09:06 -0500
>>>>
>>>>
>>>> > Hello All,
>>>> >
>>>> > Can anyone tell me if recordings in the 1920s were transferred to
>>>> disc > at
>>>> > exactly the same speed as they were recorded? In other words, if
>>>> > someone
>>>> is
>>>> > singing an "F" pitch on the recording, is that the actual pitch
>>>> sung or
>>>> > could the engineer possibly speed it up somehow, thus raising the
>>>> > pitch?
>>>> Not
>>>> > sure if that was possible back then.
>>>> >
>>>> > Thank you!
>>>> >
>>>> > Terri Brinegar
>>>> > PhD Candidate in Ethnomusicology
>>>> > University of Florida
>>>> > [log in to unmask]
>>>> > [log in to unmask]
>>>>
>>
>>
>> ---
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