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Well, if it's published piece of music, I try to find it via the web, and see what the original key it was written in.  Of course, that doesn't always work if the performers take liberties to fit their particular needs.

--- On Thu, 10/4/12, Carl Pultz <[log in to unmask]> wrote:

From: Carl Pultz <[log in to unmask]>
Subject: Re: [ARSCLIST] Reducing crackle from 78 rpm records the analogue way on 70's reissue LP's
To: [log in to unmask]
Date: Thursday, October 4, 2012, 6:07 PM

So, without any reliable reference for pitch, do you look for the right
'feel' to appear in the performance. At the right tempo it suddenly falls
into the pocket and gets its groove?

Layman's question; I've never done that work.

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Paul Stamler
Sent: Thursday, October 04, 2012 3:09 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Reducing crackle from 78 rpm records the analogue
way on 70's reissue LP's

On 10/4/2012 9:33 AM, Carl Pultz wrote:
> No one has mentioned the method that Andrew Rose applies: picking out the
50
> or 60Hz residual hum as a way to determine correct speed. Maybe that's
been
> discussed before on the list. What's the consensus, if there is one?

I've done it, and as long as I kept the limitations of the method in 
mind (60Hz wasn't always 60Hz) it's worked for me.

As for absolute pitch, or devices to detect variations from standard 
pitch, those only work if the original was recorded at standard pitch. 
For a jazz band -- especially one including a piano -- the odds of A-440 
are pretty good. For a hillbilly or blues record, with no fixed-pitch 
instruments (just fiddles, banjos or guitars) there's no guarantee. 
Restoring the disc to concert pitch may be wrong.

Peace,
Paul