At 05:18 PM 7/22/2005, Steven Smolian wrote:

>Has anyone experience using such programs to correct speed drift on
>78s, speed correction for chamber music recordings, say solo fiddle
>to string quartets, orchestral recordings, and on spoken word
>recordings- four distinct areas.

As you know I don't do records, but my nightmare is called "rim
drive" tape recorders.

Take a look at and in the
middle of this long page, you'll find a picture (click for bigger) of
a recent rim-drive restoration project. It was a telephone conversation.

This is the new "Elastic Audio" feature of Samplitude (8.2) and it
works pretty well, though I stretched it to the limit. Next time,
I'll break it into several segments and process each segment as a
completely independent file and stitch them back together.

DC6 provides a ballistic/curve based correction with Samp8 you
actually can draw the curve and hear the results in real time.
Unfortunately, they didn't render exactly the same in some instances
as they were trying to process conflicting constraints (I had it as
an object in a larger file initially and it was trying not to
over-run its time segment--or so it seemed. Hence my earlier comment
about a different mode of working.

I'm not clear what you want to do. When you say speed drift on 78s,
is that linear or? If it's linear DC6 or Samp could handle it. If
it's random, then Samp's appears the better way.

For chamber music recordings, is this a pitch thing? Samp has another
mode that is anteres-like but it really only works for mono voices
(and I guess instruments) that is to correct performance problems.
What are you trying to do in the chamber music area?

Samp sounds best to me in the resample mode and there it's like
running the varispeed of a tape recorder (or turntable). The
algorithms that adjust pitch and not time and time and not pitch
sound artificial to me outside of very small ranges.

I generally sample at 88.2/24 when I'm going to do this to make sure
I don't run out of samples <smile>.

I think either DC6 or Samp8 will work well as a post-production
version of the playback pitch control, but as they say YMMV.



Richard L. Hess                           email: [log in to unmask]
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