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Re: [ARSCLIST] Cedar
Dismuke wrote:
I present vintage recordings on my
Internet radio station and elsewhere on the Internet
so I have a need to be able to get them to sound as
good as I can. And many of my records are in very
much less than E condition.
<snip>
I simply do not
have the free time to lavish large amounts of
attention in order to make a single given recording
sound its absolute possible best. For me, the trade
off between quality and quantity is a big factor.
My understanding is the Duo operates in "real time."
Does that mean I could actually use it in a "live"
setting and use it to spin 78 rpms on a radio
broadcast and get decent results?
In one word, Yes! It operates in real time, as do most of CEDAR's processes
excepting a few that need an editing platform to function, such as the de-thump
and retouch processes, which use the SADIE Editor.
With DUO you basically have a box where you put dirty audio in the front and
get clean audio out the back... subject to a few front panel settings.
You could establish a working average group of settings that would work well in
most instances. The down side would be that you would allow more noise through
on poor condition discs, but for the overall clean-up accomplished, this would
be a small price to pay for something you could set and forget.
What sort of
learning curve is there for an intelligent novice to
be able to get merely satisfactory or better results?
With the DUO boxes, fairly small, but Cambridge has much more flexibility and
thus a more steep learning curve.
If the same novice had Cambridge, could he get decent
results - or does its expanded capabilities actually
work to his disadvantage? My guess is Cambridge would
not be able to be used for live broadcasts - is that
correct?
Cambridge operates in real time also, and there is no reason why you couldn't
establish a good starting point similar to the DUO boxes. I actually have done
this with my Cambridge system and find it serves me very well. It is easy to
make minor changes to this kind of template as you find you need them, and then
save them on a project by project basis to be recalled as needed. This is one
feature that Cambridge incorporates that I find invaluable... a sort of
snapshot of all operating processes.
Finally, I would be very interested if someone who had
knowledge with CEDAR and who has a spare moment to do
so could listen to the following 128 kpbs mp3s of
records in various conditions processed using my
current equipment and let me know to what degree I
could get better results from CEDAR so I have an idea
whether or not it would be worth such a large
investment.
Your samples are only output, and to properly compare, I would need to see the
input also. Be aware that one of the most annoying and almost impossible
noises remove is scrape noise, where grooves are deeply scored by playing with
damaged styli or simply excess wear.
CEDAR is expensive... no question of that, but for your purposes, the DUO boxes
would move you an order of magnitude ahead of where you are now with processing
ability... the most important is the real time ability.
Keep in mind that audio restoration is not as simplistic as some people would
like you to think... there is no panacea or universal remedy... often you need
a variety of processes and external equipment to accomplish the best possible
results. Many times the results don't justify the effort expended to get that
last little improvement.
... Graham Newton
--
Audio Restoration by Graham Newton, http://www.audio-restoration.com
World class professional services applied to tape or phonograph records for
consumers and re-releases, featuring CEDAR's CAMBRIDGE processes.