IMHO, the swish you have been describing is nearly impossible to remove,
with any software. It can be done but it will take days by someone who
is /very/ experienced at the task. I once witnessed an operator remove
an airplane fly by from a scene and I thought it was almost magic.
Basically, he was dealing with Doppler effect but it took this person
two days to remove that unwanted fly by form a movie scene using Sonic
I usually get the most swish effect when I'm playing the disk at or near
the bottom of the groove. Sometimes, particularly with instantaneous
disks, the bottom of the groove is the only place you can capture whats
on the disk. That said, is there any way you can work more toward the
top of the groove? There's (obviously) more noise at the top of the
groove(scratches, scuffs, etc.) but it's the kind of noise that's easier
for software to deal with.
Work in small increments when it comes to noise reduction processing.
Make several passes at reduced settings. Think of peeling an onion, one
layer at a time. The process is much more time consuming but the end
result is worth it. If you do use this method in RX5, you will have to
have the software learn the noise curve each time.
Sound forge 11 (and several previous versions) will record 32 Bit Float.
This should be your default setting for digitizing regardless of the
chosen sample rate. Particularly if you plan to do any post processing.
Call me old fashioned, but I will not sample rate convert unless it is
in even mathematical numbers (88.2K to 44.1K, 96K to 48K, etc.). On my
website, I state that I digitize to 2 files simultaneously because I'm
not a fan of sample rate conversion. Yes, I know that algorithms have
improved over the years and those of you that maintain that you can't
hear any difference will not change my opinion on this.
Corey Bailey Audio Engineering
On 3/4/2018 4:33 PM, Steven Smolian wrote:
> Final result.
> I can keep the sound as I go from 32 to 24 to 16, with a slight less overall
> air around the sound at 16. If I normalize, I get the crackles.
> Son the record which I used for test today, Coates 1927 recording of the
> Prelude to the 3d act of Meistersinger, I began with a max level of -12 and
> ended up max at -6.
> It does sound amazing at 32. You can hear the resonance of the open bass
> strings at the start. And the massed upper strings are subdued- these were
> orchestras whose players had just heard of Auer and not yet of Suzuki.
> Steve Smolian