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Re: [ARSCLIST] Two other N.Y. Times article on a different type of digitizing
Tom,
It looks like the first article is exactly about that. Only MIDI is too
crude a language (e.g. only sustain pedal on/off), so I think Zenph
created its own software.
As the reviewer points out, though, a performer will change his
performance with the instrument. I would add: a performer will also
change his performance to the hall (although maybe less in a studio).
I would also add that I have heard few (no?) Yamaha pianos that I like.
Marcos
Tom Fine wrote:
One thing related to this I've always wondered. For instance, an old
piano recording, a great performance but a crapola 78 recording. Why
couldn't modern MIDI software recreate all the subtle attack, decay,
rhythmic eccentricities, etc that make the performance unique and then
play it back on a good if not fantastic sounding MIDI Yamaha grand
piano, for example? Not sure if this is doable to the level of precision
I'd want, but it's an interesting thing. Perhaps one day, all
low-fidelity recordings of great musical merit can be recreated in high
fidelity. Then again, perhaps not?
-- Tom Fine
----- Original Message ----- From: "Marcos Sueiro" <mls2137@xxxxxxxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxxxxxx>
Sent: Tuesday, March 13, 2007 5:40 PM
Subject: [ARSCLIST] Two other N.Y. Times article on a different type of
digitizing
The first is about the new recordings of Zenph's "recreations" of
performances in old recordings (How are we going to note these in the
metadata?)
http://www.nytimes.com/2007/03/12/arts/music/12conn.html
This one is about preserving videogames (which, of course, include
sound). You may think it is challenging to safely point a digital file
of audio to, say, the corresponding LP cover. Imagine keeping the code
and machines necessary to "preserve" these:
http://www.nytimes.com/2007/03/12/arts/design/12vide.html
Marcos
CU Libraries