Re: arsclist Re: Thoughts...

["George Brock-Nannestad" <pattac@xxxxxxxx>]

From: Patent Tactics, George Brock-Nannestad

Graham Newton wrote (only in part to save your time)

> Jon Noring wrote:
> 
> > It is entirely possible that somebody has built the tool described
> > here: a manual declicker using frequency-space for visual location
> > of clicks/glitches, and a robust removal and reconstruction
> > algorithm to rebuild the wave form at the point the glitch was
> > removed.
> 
-----
> 
> Oh.... did I say that the relatively cheaper SADIE plug-ins were
> designed by CEDAR?
> 
> > Of course, if someone has already built this tool (and not part of
> > some astronomically - priced software or hardware), let us know.
> 
> The "astronomically - priced software or hardware" you refer to is a
> system like CEDAR for Windows which is based on DSP processing
> separate to the CPU in your computer and dedicated to its tasks of
> restoration processing, one DSP processor per left/right channel and
> the computer CPU does only the housekeeping.
> 

----- it is worthwhile to look into the patents held by CEDAR. The 
first was the patent that "fingerprinted" the thump that a simple cut 
of the glitch would leave, which comes from the energy coupled 
into the stylus cantilever, PU resilience and tonearm which is 
poorly damped in many cases. This is not dependent on prior 
knowledge of the PU/arm in question. Anybody making use of such 
a process commercially without having bought it from CEDAR 
would be infringing the patent. Now, if the signal were cleaner from 
the outset, such as from the ELP Laser Turntable (which has no 
inertial parts), then there would be no need for this sophistication. 
So, it is really a question where you want to put your money: in 
hardware for the ELP or in software for the CEDAR.

I tend to agree with Graham:

> What you seem to be looking for is a free lunch, and so far, I 
haven't seen one anywhere.  Pay the piper and get the process.
> 

----- because the intellectual effort by CEDAR is an investment that 
has to pay itself back. I recommend the book "Digital Audio 
Restoration" by Simon Godsill and Peter Rayner (Springer Verlag, 
London 1998, ISBN 3-54076222-1), although I criticised its 
unawereness of certain underlying phenomena in a paper at the 
AES Budapest International Conference in 2001. 

However, why not educate the listeners that original shellac noise 
is their guarantee of authenticity, as is a cough with all its 
reverberation in the sonic environment of a real-life situation. I am 
terrified of the present processors made available for *live* sound 
transmissions, some of which made by CEDAR, which are able to 
fake a clean sound on the fly, because they remove the traces of 
"unwanted" signals that might be the clue to a real event. I detest 
an edited "reality". I have a forensic attitude.

Kind regards,


George
-
For subscription instructions, see the ARSC home page
http://www.arsc-audio.org/arsclist.html
Copyright of individual posting is owned by the author of the posting and
permission to re-transmit or publish a post must be secured
from the author of the post.