From: John Ouzts <jouzts@mc...> - 2004-03-22 16:25:11
I think we are looking at two different problems. I record Blumlein X/Y using
co-incident ribbon mics at 96 kHz/24 bits. The original recording is
extremely realistic when played back in matrix surround. My problem is
preserving that realism (especially the sense of the original acoustical
space) through the process of peak limiting the applause (when its louder
than the program), eq for the mics, normalization, crossfading splices to
maintain the hall ambience between tracks, resampling and bit depth reduction
for burning to CD. Just try doing that with 32 bit floats without
anti-aliasing and dithering. You will definitely need to increase the
'perceived realism' of the result.
I'm just looking for ways to preserve the realism of the original recording.
Virtually any processing decreases the realism, especially of the sense of
hall ambience. Pushing the rounding error as far away from the signal as
possible seems reasonable. I would be surprised, especially at my age, if I
could hear the difference between a good 96/24 recording and a good 44.1/16
recording if neither were processed in any way. It's when you start doing
that processing that realism escapes.
It's a question of whether you want perceived realism or preserved realism.
Thanks for giving me some ideas for repairing dropouts on 30 year old tapes.
I do have uses for perceived realism.
From: Marc R.J. Brevoort <mrjb@dn...> - 2004-03-22 17:53:45
On Mon, 22 Mar 2004, John Ouzts wrote:
> I think we are looking at two different problems.
> I'm just looking for ways to preserve the realism of the original recording.
> [versus introducing perceived realism]
Well yes, in that case you want as little loss as possible. Especially
repeated edits may introduce larger and larger rounding errors over time.
> It's a question of whether you want perceived realism or preserved realism.
> Thanks for giving me some ideas for repairing dropouts on 30 year old tapes.
Ah, wait, you were the man with the tapes :) Interesting stuff... and
very tricky too... Over the years those tapes must have gotten a quite bit
noisier. Reverb (or any ambient sound) is a chaotic phenomena, and as
such often can be considered "some type of noise".
In your case, the denoising gets tricky because you want to differentiate
between tape noise and ambient sound. Not an easy task, best of luck with
it! I'd love to hear (fragments of) the result!