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Re: [ARSCLIST] Two other N.Y. Times article on a different type of digitizing


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.


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?)

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:

CU Libraries

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