I thought that what was meant was that a recording was made on a, near tonally
identical, piano and compared with the original. Then, as the piano sound was
deemed to be near identical, the extra 'noise' could seen and removed. The new
piano sound can then be discarded leaving the original
You'd need to record this new reference piano in the same recording venue, with
the same furnishings (curtains, seats etc.) and a similar sized and potentially
attired audience if one was present for the original recording. Otherwise
you're making it sound like the same manufacturer's piano
Yes, I was quite shocked by that part of the program ...
My reaction was more practical, but heading in the same direction. I
thought Well a Steinway sounds different to a Fazioli, and
the same piano
sounds different when played in the RFH than in Wigmore Hall. :-)
Quite, and
I am not so forgiving. It sounded like good-old-fashioned-British arrogance
to me!
The point is that by removing clicks, rumble, etc he is merely restoring the
recording to as pristine condition as can reasonably be done given that the
original recording is damaged by such artifacts and is
In article
CA+L9Mav+WTCNAAL+d6RVJ7+cT+ndXg3V4F+=xaobvqz6gzj...@mail.gmail.com,
Kevin Lynch klyn...@gmail.com wrote:
Although this discussion is largely closed I just wanted to draw
attention to this show on R4 that investigates the whole art of
remastering
On 27/04/15 09:25, Jim web wrote:
In article
CA+L9Mav+WTCNAAL+d6RVJ7+cT+ndXg3V4F+=xaobvqz6gzj...@mail.gmail.com,
Kevin Lynch klyn...@gmail.com wrote:
Although this discussion is largely closed I just wanted to draw
attention to this show on R4 that investigates the whole art of
remastering
I finally listened to the programme earlier today. It was really
interesting. They had spoken with a three remixing engineers working
in different genres.
There appears to more latitude with are remixing early twentieth
century music, as the microphones and recording techniques at the time
were so
In article
ca+l9matp2wjhyypwshx1kvr3mufdpkyn4dljfhfjzdput-b...@mail.gmail.com,
Kevin Lynch klyn...@gmail.com wrote:
...He can see the Frequency response on his Digital Audio Workstation
and he's happy to replace the tonal characteristics as he knows what it
would have sounded like then.
I
Thanks for the link,
Very interesting.
Roger
-Original Message-
From: Kevin Lynch
Sent: Sunday, April 26, 2015 6:37 PM
Cc: get_iplayer
Subject: Re: Sampling frequency on Radio programmes - Taking it off topic
Although this discussion is largely closed I just wanted to draw
attention
Although this discussion is largely closed I just wanted to draw
attention to this show on R4 that investigates the whole art of
remastering
http://www.bbc.co.uk/programmes/b00s3h40 I have not listened to it yet
but it's in my queue
Synopsis below
Kevin
Sara Mohr-Pietsch explores digital
When people talk about music/audio quality there can be a tendency
towards group think. I just wanted to open up the discussion to the
other more subtle, subjective. parameters of quality and how they are
lost in the musician to consumer (mass market) production process .
We are all in agreement
This is drifiting OT but since the comments below were made I will respond
on this occasion and hope people are OK with that... beyond that if anyone
wants to discuss this - take it to uk.rec.audio. :-)
In article
CA+L9MatjHhgt_m=rrfjozuivedc_zp_v+efhqsnrwxjl3lg...@mail.gmail.com,
Kevin
On 20/04/15 14:16, Kevin Lynch wrote:
When people talk about music/audio quality there can be a tendency
towards group think. I just wanted to open up the discussion to the
other more subtle, subjective. parameters of quality and how they are
lost in the musician to consumer (mass market)
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