Hi Tom,

I'm talking about places to which mere mortals have access; churches, ironically enough. Eastman venues today exist on another plane, in a different dimension, beyond reach of soiled and unaccredited transients.



-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Tom Fine
Sent: Friday, September 12, 2014 7:54 AM
To: [log in to unmask]
Subject: Re: [ARSCLIST] AZIMUTH (was recording "cleanup" plugins and 192/24)

Hi Carl:

Aren't you still in Rochester NY? In past times, the Eastman Theater has served as a superb recording venue, for very successful records.

-- Tom Fine

----- Original Message -----
From: "Carl Pultz" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, September 12, 2014 7:49 AM
Subject: Re: [ARSCLIST] AZIMUTH (was recording "cleanup" plugins and 192/24)

> You guys can fight over what's preservation, restoration, or falsification, but I can say that for 
> making new recordings, the Izotope stuff can be indispensable. Where I am, there isn’t a venue in 
> town that combines good acoustics with a quiet enough background to make commercially acceptable 
> recordings. Software makes it possible.
> But, now that I have some exposure to the effects of this stuff, I think it's obvious why so many 
> contemporary classical recordings sound so anonymous - the over-use of spectral cleaning. Who 
> needs 24 bits when the content is restricted to - what - 14 bits? The cure is worse than the 
> ailment. The beauty of the RX3 tool is how finely it can be targeted. I use it mostly to reduce 
> rumble, leaving higher frequencies alone. But, even when I have to attack higher-frequency tonal 
> noise, it is very good at telling the difference.
> I have to thank Lou for encouraging me to overcome my audiophile purity and try this product.