On 17 Feb 2003 07:37:17 -0600 Rick Taylor <ricktaylor(a)speakeasy.net> wrote: Is there any way to pluck out declickers and depops from ReZound and GNOME Wave Cleaner to LADSPA and make a Sound Restoration Farm? :-) -- Alexandre Prokoudine ALT Linux Documentation Team JID: avp(a)altlinux.org

On 17 Feb 2003 10:22:25 -0600 Rick Taylor <ricktaylor(a)speakeasy.net> wrote: e.g. vinyl and old tapes recordings -- Alexandre Prokoudine ALT Linux Documentation Team JID: avp(a)altlinux.org

On 17 Feb 2003 11:07:03 -0600 Rick Taylor <ricktaylor(a)speakeasy.net> wrote: See, I'm working for a Linux company :-) I have no fun using proprietary stuff at all. Yes, I like this engine. It could be a DartPro killer in fact, if it was more actively developed. I dont' know much about Ceres, but I will :-) Sure :) Once I was thinking about writing some scripts in Python or Ruby for handling sound restoration, but I'm not that good at programming. -- Alexandre Prokoudine ALT Linux Documentation Team JID: avp(a)altlinux.org

Greetings: Regarding denoising and vinyl/tape restoration: http://gwc.sourceforge.net/ http://panic.et.tudelft.nl/~costar/gramofile/ http://home.snafu.de/wahlm/dl8hbs/declick.html http://www.sci.fi/~mjkoskin/ http://www.tappin.me.uk/Linux/audio.html Csound also includes denoising software. Snd can probably be used for the job, particularly with its excellent frequency-domain displays, but for the fine-detail work you might want to use Ceres. Kjetil's latest versions include zooming capabilities along with Ceres's other excellent display and editing options Best regards, == Dave Phillips The Book Of Linux Music & Sound at http://www.nostarch.com/lms.htm The Linux Soundapps Site at http://linux-sound.org Rick Taylor wrote: --

I have a huge {read huge} number of samples... mostly noise, mostly generated in graphic synthesizers like coagula and svelte or those bizarre little synths that you find in the back rooms of the most obscure web pages that I've taken and either beaten into submission or inflamed with passion or lust or anger or something. I'm thinking a lot of folk in here probably do. My problem with these is that seeing as I'm a computer junkie and am constantly riding the edge of that "too much information" brain fry... I, basically... have no memory {short term} What I'm thinking might fix this is to literally turn ones file system into a sampler. {I'd do it myself but, seeing as I'm really slow at coding stuff and someone else might like the idea and be able to do it faster and better and I'd much rather use it than build it...} What if you were to take something like Nautilus with its adjustable display parameters, notes, etc, etc... and set up an interface to a sequencing engine? This way folk could open their loops folder, highlight specific samples and have them play according to a specific system tempo. You could do the same with the drum samples folder so as to build drum loops and maybe even get a couple of folders all going at the same time so as to build entire songs. You could add the ability to dump stuff to higher level folders, run synths... quite literally turn ones computer into a musical system... Maybe you could even toss in little flashing soft-leds that might work similarly to the emblems already existant in nautilus so that you could actually see what's playing at any given time. Some sort of quickie preview system would be nice... plugin folders, display folders, etc... What if you were to interface a scripting language with this, add the ability to perform system functions like run specific programs at specific points in ones sequence, save patterns, etc, yadda... The entire linux community could participate by just adding seqence scripts to the community sequence script pile... Just a thought... It might go a ways towards producing that killer linux app. {and get me halfway organized in the process...} -- Rick Taylor <ricktaylor(a)speakeasy.net> The Dispossessed

On Mon, Feb 17, 2003 at 12:50:58PM +0000, Daniel James wrote: Compression by itself might make the pops worse by reducing the peak levels of proper vocals, unless the pops peak louder than the vocals. I'd suggest trying either or both of: (a) a steep cutoff high pass filter, set as high as you can without strangling the vocal (b) separating the low frequencies from the rest of the spectrum and compressing/limiting the LF severely, with a threshold just high enough not to affect the vocal, and recombining. A multiband compressr such as used for mastering could be set to do this, with compression only on the LF end of the spectrum. You'd probably want to go through the filter before compressing. If there's distortion, that's about all you can do :-/ -- Anahata anahata(a)treewind.co.uk Tel: 01638 720444 http://www.treewind.co.uk Mob: 07976 263827

Hi, There's after the problem fix stratagies but the real solution is to print what you want. In this case the vocal is popping. How would I prevent that? 1. I almost always sell the band on vocal and lead instrument overdubs. 2. I run seperate studio room (headphone) and monitor (control room) mixes. These are both equally important but the second one might be more interesting to us because it's a technical solution that's achievable with a software feature. If the following capability doesn't exist in a DAW, then it should. I achieve distinct mixes with an external digital mixer by sending all signals to both the monitor buss and Aux busses 1,2. The studio rooms, musicians, listen to Aux_1,2 while I listen to the monitor mix. If I've done a solid sound check; the drums sound great and their levels are safe, guitar levels are safe, bass ..., keyboards, and the vocals are extra loud in the monitor mix because they're, during the print stage, the biggest and most uncontrolable variable. On external mixing consols the monitor source is selectable so the engineer can listen to either one or the other of these mixes. And you can change the levels of one mix without affecting the other mix. If you've got to print keeper vocals during the initial tracking stage, then learn to pay very close attention to the vocals. Also, don't be afraid to use compression during the print stage. It's an oversimplified idea to claim that you shouldn't print effects--compression is an effect. If you're afraid to print compression then do it in sessions where you're going to overdub the vocal anyway. It's an opportunity for learning how to do it. If you need to use extreme compression ratios to control the singer, then teach them to "work" a microphone. For example; with one foot 12 inches in front of the other, loud parts are song off the back foot, quite parts off the forward foot. During the print stage, it's all about the musicians. I've learned to take pride in the quality of my studio mixes. If a musician doesn't hear everything the way they want, will they deliver their greatest potential performance? Probably not. If you're using multichannel headphone amps, send a click out to a channel that's distinct from the stereo mix. This way the drummer can have a much louder click track... I'm a big fan of printing what I want and not fixing problems. Of course, I'm a dumbass and invariably there's something to fix but those things should be trivial. Vocal pops aren't trivial. If I've taken the time to setup a session, I can focus on making sure the band is having its best studio experience to date rather than thinking about technical bullshit. BTW, a week ago, with all the above accounted for, I printed a keeper vocal that has pops in it. LoL ron --- Daniel James <daniel(a)mondodesigno.com> wrote: __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com

Man, don't you just love that headphone amp? And it's dirt cheap! Jan On Mon, 2003-02-17 at 09:23, Joe Hartley wrote:

OK, I just looked at the T1953. That's next on my wish list. Jan On Mon, 2003-02-17 at 10:39, Joe Hartley wrote:

So now you're depriving some poor person in what could be considered a third world country of an income in order to line the pockets of some union steward. You can't win for losing. Jan On Mon, 2003-02-17 at 11:42, Daniel James wrote:

On Mon, Feb 17, 2003 at 02:15:04PM -0500, Joe Hartley wrote: Of course there are lots of cheap audio products made in China under various brand names - all those large diaphragm mics made for 1/10 the price of a Neumann are made that way. For what it's worth, another complaint about Behringer is that they are alleged to have copied the designs of other manufacturers' more expensive products. I think that accusation applied in connection with Mackie mixers, for instance. -- Anahata anahata(a)treewind.co.uk -+- http://www.treewind.co.uk Home: 01638 720444 Mob: 07976 263827

That assumes 'where those countries are now' is somewhere where we'd want to be. Taiwan may be rich but that doesn't mean you'd neccessarily want a Taiwanese factory workers lifestyle. Or a Detroit one in the 1930's. I'm sure that makes them feel a lot better. This is the Fordist world. There are others, fortunately for me. I personally do get days off. I have a reasonable amount of control over my own life and work. USA, so I don't see why it should in China either. I'm not saying don't buy stuff from there - it's hard to avoid - but just be aware of the economics that make cheap computer/home recording equipment possible. Cheers Daniel

It's a several edged sword this one. One's relationship to the means of production & relative affluence would alter your relationship to this issue. If you're being paid a decent wage, relative to the weighting of your geographical area and the cost of the product that you're buying, then surely you're ripping people off if you expect them to work harder for their dollar. If you're relatively poor and someone offers you a decent Behringer or whatever, at a knockdown price, you take it. It's not that political conscience is a middle class luxury, it's that political conscience is a consequence of being part of the global elite. When it comes to buying hardware, we all basically have to make our own assessment. I'm not so well off relative to most computer users, rich compared to the world average. I've just cobbled my first computer together out of bits that no-one else wanted & you bet some of those bits were made in sweatshops in China and they didn't get a penny from me. However I've never owned the latest version of anything, my family were the last on the block to get a colour TV &c... My relationship to my means of production allows me to do one significant thing, which in my mind currently outweighs th opposition. I can use free software and show other people in a similar situation to me how to gain access to a world previously only occupied by (relatively affluent) graduates and businessmen. As probably one of the least affluent members of this list I like to say that if any of the rest of you got hold of a copy of one of my CDs, say at a knockdown price from a dodgy vendor, quite honestly, I'd simply be glad you were listening to it. I'm too blown away by having access to all the latest software for the best operating system I've ever seen - to really care. It's done wonders for my little f00f bug P133. Actually, I get a bit emotional about it sometimes. take care & take it often tim hall tim(a)glastonburymusic.org.uk On Tuesday 18 February 2003 12:31, Chris Cannam wrote: [...] [...]

But, unable to resist the two cents worth of email, I reckon that we might also like to consider another reason that so many chinese-manufactured goods is the abysmal level of environmental protection they have there. My take on labour is ;is 20 (or something) dollars a day no better still than 1? that would still make for a very cheap piece of equipment. And I recommend nobel-prize-winner Stiglitz's book 'globalization and its discontents' for an insiders perspective on the trickle 'down' effect, and whether it can still happen in the current international climate as it did in singapore and japan. Dan

Anahata wrote: The simple truth is that the mass market has created a dog eat dog world. You can boycott products because of politics but that person woring at the near slave labour factory in China is ten times more able to support their family than the other one who doesn't have a job because they were laid off due to no demand for the product they created. The problem is this scenario doesn't change no matter what country you are from. So if you have the cash to spend then your probably better off supporting your own countries production sector. Charity begins at home right. -- Patrick Shirkey - Boost Hardware Ltd. Http://www.boosthardware.com Http://www.djcj.org - The Linux Audio Users guide ======================================== Being on stage with the band in front of crowds shouting, "Get off! No! We want normal music!", I think that was more like acting than anything I've ever done. Goldie, 8 Nov, 2002 The Scotsman