Η «ομάδα της Θεσσαλονίκης», αν αναφέρεται στο Πανεπιστήμιο Μακεδονίας, χρησιμοποίησε το μηχάνημα της ΕΡΤ, ένα από τα καλύτερα μηχανήματα, και η μεταφορά είναι ιδανική. Τώρα, για το τελικό αποτέλεσμα, δυστυχώς έγινε έντονη επεξεργασία στον ήχο ώστε να έχουν κοπεί κάμποσες συχνότητες της φωνής κατά τη γνώμη μου. Για την ψηφιοποίηση μπορεί να έχει άποψη μόνο όποιος έχει ακούσει τις ανεπεξέργαστες μεταφορές. Ξεκαθαρίζω ότι δεν ανήκω στην ομάδα, όμως θα εμπιστευόμουν άνετα εκεί τη μεταφορά αν είχα το δίσκο. Καλύτερα να προσέχουμε τι λέμε αν δεν έχουμε γνώση των μεθόδων που χρησιμοποιήθηκαν.
Την ομαδαν ειχε επισκεφθη η Ανδριανη Ατλαντη και ειχε ειδει εκ πρωτης χειρος την επεξεργασιαν, και ειχε ομιλησει περι τουτου με τον ΓΚΜ.
Η γνωμη της ητο οτι καπως αλλοιως θα εγινοντουσαν εις την Γαλλιαν == εδουλευε τοτε εις το IRCAM
http://www.ircam.fr/
Η γνωμη του ΓΚΜ,
ο οποιος ομιλησε, επισης, και με αλλον επαγγελματιαν ο οποιος, σχεδον συνταξιουχος πλεον το 2000, ειχε περασει ΠΟΛΛΑ βινυλια κτλ εις CD
δια μεγαλην, διεθνην εταιριαν εις την Γαλλιαν
ειναι η εξης
Αλλον εστιν ινστιτουτο εξοπλισμενο με συγχρονον τεχνολογιαν ΚΑΙ μεθοδολογιαν
και αλλο ινστιτουτο το οποιον να ερευνει με μηχανηματα ραδιοφωνικων σταθμων.
Η δια κηριου η χημικης ΑΠΟΣΚΟΝΗΣΙΣ
συν αντιστροφου παιγνιας
συν ΣΩΣΤΗΣ Βελωνας
συν σωστης ψηφοποιησεως
συν σωστης εκλογης παραμετρων εκτυπωσεως
συν
συν
συν κτλ
ισουται με ΙΚΑΝΟΠΟΙΗΤΙΚΟΝ αποτελεσμα
το οποιον, ΟΙΟΣΔΗΠΟΤΕ και να ειναι ο λογος,
ΔΕΝ ειναι ικανοποιητικον εις τα εν λογω CD,
τη στιγμη οπου εχωμεν ΚΑΘΑΡΟΤΕΡEΣ ηχογραφησεις ΙΔΙΩΝ δισκων δια μεσου ΑΠΛΟΥ ΓΡΑΜΜΟΦΩΝΟΥ και ΚΑΛΗΣ βελωνα.
Ιδου καποια ενδιαφεροντα αρθρα
περι
restoring old records
restoring old records by playing backwards
Analogue Sound Restoration Techniques
http://en.wikipedia.org/wiki/Enrico_Caruso
In the 1970s, Thomas G. Stockham of the University of Utah utilised an early digital reprocessing technique called "Soundstream" to remaster Caruso's Victor recordings for RCA. These early digitised efforts were issued in part on LP, beginning in 1976 and then they were issued complete by RCA on compact disc (in 1990 and again in 2004). Other complete sets of Caruso's recordings in newer digital restorations were issued on CD on the Pearl label and in 2000–2004 by Naxos. The 12-disc Naxos set was remastered by the noted American audio-restoration engineer Ward Marston. Pearl also released in 1993 a CD set devoted to RCA's electrically over-dubbed versions of Caruso's original acoustic discs. RCA has similarly issued three CD sets of Caruso material with modern, digitally recorded orchestral accompaniments added. Caruso's records are now available, on the internet as digital downloads.
Λεγει ο Ward Marston = Henry Ward Marston IV
http://www.nytimes.com/2005/08/27/arts/music/27mars.html?pagewanted=all&_r=0
Restoring an old record, Mr. Marston said, begins very simply - with a bath. Solutions are used to clean years of dirt and grime that have collected in the record groves. After that, the bulk of the rehabilitation is relegated to a computer. "Once the recording has been digitalized," he said, most of the work can be done from the keyboard, using sophisticated software.
His own studio is filled with electronic gear, turntables and speakers. He uses some 15 custom-ground styluses - phonograph needles to most of us. And he invented and built a device that safely plays his old and extremely delicate wax cylinder recordings. "But I'm no one-man band," he said. "I can't do it all. I'm a musician and a historian, and I do have perfect pitch, but I'm always learning from the engineers. For instance, there's a guy out in California who can remove pitch flutter from a recording. He's amazing."
Εγκολπιον επανακαταστησεως παλαιων δισκων σελις 68
http://www.british-library.uk/reshelp/findhelprestype/sound/anaudio/analoguesoundrestoration.pdf
4.13 Playing records backwards
I shall now continue with a couple of “hybrid” topics. They combine mechanical techniques with electronic techniques. After that, the remaining sections will deal with purely electronic signal-processing. It has often been suggested that playing a record backwards and then reversing the transfer has some advantages. Among those cited are:
1. The opposite side of any steep wavefront is played, so wear has less effect.
2. Resonances and other effects which smear the signal in time are neutralised.
3. It is easier to extract the first milliseconds of modulation if the cutter has been lowered with sound on it.
4. It is easier to distinguish between clicks and music for electronic treatment.
5. If you are using fibre needles, the problems which would be caused by the needle being most-worn at the middle of the disc are ameliorated.
6. Needle-digs and other sources of repeating or jumping grooves are more easily dealt with.
Unfortunately the author simply does not agree with the first two reasons, although he has tried the idea several times. Worn records still sound worn (if the needle is tracing the groove correctly, of course). The theory of neutralising resonances is wrong. Even if electronic anti-resonance circuitry is proposed, the original waveform can only be recreated if the sound passes through the anti-resonant circuit forwards.
However, the other four arguments for playing a record backwards do have slightly more validity, but not much. In the case of argument (3), the writer finds that (on coarsegroove records, anyway) it is quicker to lower the pickup onto the correct place, repeating the exercise until it’s done correctly! For argument (4), analogue click detectors work more efficiently because the circuitry is less confused by naturally-occurring transients, such as the starts of piano notes. But since all current analogue click detectors remove the click without replacing the original sound, they are not suited to archival uses. Computer-based declicking systems do not care whether the record is playing backwards or not; in effect, they shuttle the sound to and fro in RAM anyway. The writer has no experience of argument (5), because there is not yet a satisfactory electrical pickup using fibre needles, so you cannot reverse an electronic transfer anyway.
This leaves only the groove-jumping argument. For some records the reverse process can be very helpful. It will, of course, be necessary to use a reverse-running turntable, with a pivoted arm with a negative offset angle or a parallel-tracking system. Seth Winner, of the Rogers and Hammerstein Archives of Recorded Sound, has a conventional headshell with the cartridge facing backwards. He made this for playing disc-stamper negatives rather than records liable to groove-jumping. If his cartridge were to be used for groove-jumping, one would have to risk the cantilever being bent, because it will be compressed when it was designed to work under tension.
Also there are distinct disadvantages to the reverse-playing process. To start with, we need another turntable, or one which can be modified. A practical difficulty is that if the operator cannot understand the music, he may well miss other faults, such as wow, or lack of radius compensation (section 4.19). When some defects of equipment (such as tone-arm resonances) are reproduced backwards, the result is particularly distracting, because backward resonances cannot occur in nature.
To get the recording the right way round again, an analogue tape copy has to be reversed. For stereo, the left and right have to be swapped when the tape is recorded, so they will come out correctly on replay. Although I’d count it a luxury, if you were thinking of buying a digital audio editor, I’d advise getting one with the additional feature of being able to play a digital recording backwards while you were at it.
Since I haven’t said much about groove-jumping, I shall now devote a paragraph to the subject, although I hesitate because any operator worth his salt should be able to invent ways round the difficulties much more quickly than I can advise him. The obvious way, adjusting the bias on the pickup-arm, causes the whole disc to be affected; so ideally you need a short-term aid. My method (which can also be applied to a parallel-tracking arm) is to apply some side-pressure through a small camel-hair paintbrush. With grossly-damaged records this isn’t enough, so you may simply have to grab the cartridge lifting-handle between finger and thumb and push. This latter idea works best when you are copying at half-speed, which is the topic of the next section. You can’t always get a transfer of archival quality under these conditions; so you may have to use your digital editor for its intended purpose, editing the results! For some notes on playing broken records, please see Appendix 1.
I shall now share an idea which I have not tried personally. We have seen that tracing distortions occur because a cutting-stylus does not have the same shape as a replay stylus. Obviously, if we play a groove with a cutting stylus, we shall cut into it. But this wouldn’t happen with a cutting stylus running backwards, and this could eliminate many kinds of tracing distortion. Extremely accurate matching between the shape and dimensions of the two styli would be needed, plus considerable reduction in the effective mass of the replay one to avoid groove deformation.
64
κτλ
Αλλα ενδιαφεροντα
http://www.thoseoldrecords.com/index.html
http://www.rfwilmut.clara.net/repro78/repro.html
http://www.tangible-technology.com/tape/baking1.html
http://www.std.org/russ/GrayAudograph.html
http://www.osxfacile.com/vinyle.html