Another cassete copying-on-autopilot problem.
Levels are often all over the place. Typically, I pull out or reduce the volume on mike clicks,
kids yelling, etc., then normalize to something closer to maximum available level before making
the cd. This is hand-eye-ear work, not automatable (ible?) I've had to do this hundreds of
times.
Steve Smolian
----- Original Message -----
From: "Lou Judson" <loujudson@xxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxx>
Sent: Monday, February 20, 2006 10:08 PM
Subject: Re: [ARSCLIST] Cassette obsolescence - digitizing standards
Interesting perspective. When I transfer cassettes for clients, I use
16 bit, and if they want it processed in any way, I import it to 24 bit
Protools sessions for the added range... Best of both worlds, I like to
think.
<L>
Lou Judson • Intuitive Audio
415-883-2689
On Feb 20, 2006, at 10:00 AM, Mike Richter wrote:
Lou Judson wrote:
What about using 24 bit at 44.1 so that any noise reduction or processing done later is higher
definition?
Given that the best dynamic range on standard cassettes - assuming Dolby B in proper calibration
which is highly questionable - is unlikely to exceed 60 db, one might suspect that 16 bits is
sufficient. Of course, processing could consume several bits and one only has half a dozen to
spare (~30 db).
For that potential, infinitesimal advantage, one is likely to spend four to ten times as much to
make the transfers counting both equipment and time. Given infinite resources, a case can be
made; with a budget less than that of a typical multinational corporation, such overkill is hard
to justify even on theoretical grounds.
Mike
--
mrichter@xxxxxxx
http://www.mrichter.com/
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