Audio Before and After
This area contains samples of audio before and after processing with Diamond Cut Tools. It will show you some of what can be done with the Diamond Cut programs.. This will contain both user submitted samples and Diamond Cut generated samples. If you have a sample that you would like included here, please Email us.
||Button Up Your Overcoat
Stereo Edison Recording
Contributed by Marc HildebrantThe idea behind the stereo sound is the belief that during some later electric recordings, Edison used both a Hill and Dale and Lateral recording process. Each recording used a separate microphone and amplifier to drive each cutting for the master record. Thus, if the lateral recording was used for one channel and the hill and dale for the other, a true stereo effect may be possible.
I found a recording I had of “Button Up Your Overcoat” by the Golden Gate Orchestra on a Diamond Disc record. I had also purchased a recording of the same song on the Diamond Cut Lateral CD by the California Ramblers.
The posting about the potential stereo effect and the knowledge that the Golden Gate Orchestra was another name for the California Ramblers opened up a possibility for me to create a Stereo Recording of the Song. I used many Diamond Cut software tools to align the two recordings in time and to clean up my recording so that the two versions could be converted from separate monaural songs into a Stereo Version.
While more research is needed into validation of the historical recording activities at the Edison Studio’s, the resultant song I produced sounds quite interesting.
Take a listen.
|Title: My Sin
By The California Ramblers
It was recorded by the Edison Company in New York City on April 5th, 1929 and listed under Matrix Number N-869G. It was mastered using the Electrical Lateral Cut process (Needle-Type) and it was transferred to the digital PCM format by Rick Carlson and Craig Maier in the early 1990’s. It was released in its entirity in 1994 on the Diamond Cut Label on a CD entitled “The California Ramblers – – – Edison Laterals 2” (DCP-301D).
This version was restored using Diamond Cut Productions DC8 Audio Restoration Software.
|1908 Edison Wax Amberol Cylinder
Title: A Hunting Scene
Artist: Edison Military Band
In 1908, Edison extended his wax cylinder process to produce 4 minutes of playing time, a doubling of the previous 2 minute limit. These cylinders were made of a black wax-like material and were called “Wax Amberols”. However, they suffered a design defect which often resulted in cracking. This problem was later remedied in 1912 with the introduction of the celluloid based “Blue Amberol” cylinder.
Here is a “before” and “after” Edison Wax Amberol cylinder having a crack halfway through the longitudinal playing surface. The sound defect was repaired using Diamond Cut Software. The title of this song is “A Hunting Scene” played by The Edison Military Band and was recorded in 1908.
|Happy Otto – Smiles
This one is from Craig Maier
I had a German 78 RPM record that I dropped. As a result, it broke into two pieces, the smaller one being sort of crescent shaped.
I took that piece and scotch taped it together with the groove aligned as best as possible (using tape on the opposite side to be played – – – then removing the tape and repeating the process for the flip side of the record).
Well, it sounded terrible as you can imagine. But, I used the new long interpolator in DC8 to restore it.
Wow – it worked and you can hear the before and after of this disaster. The recording is a late 1940s German 78 recorded by Deutsche Gramophon.
|The Mega-Tick Vinyl LP; Before and After
Here is a sample submitted to us by Donald J Bohn.Equipment used:
- Yamaha PX-2 Linear Track Turntable
- Ortofon Super OM-20 Moving Magnet Cartridge
- PSAudio Phono Link Preamplifier
- Hoontech DSP24 Value Sound Card
- Diamond Cut DC-6
DC-6 Tools used:
- File Split / Recombine
- Expert Impulse Filter
- EZ Impulse Filter
- Stereo LP – Up, Up And Away – 5th Dimension – Go Where You Wanna Go
- Recording + Processing done at 24 bit 96 kHz
- No Continuous Noise or any other filter enhancments were used.
- “Left + Right Channels were processed independently.”
- Files converted to 16 bit / 44.1 kHz using Master Quality Triangular High Pass
- “After” file was not Gain Normalized for a better before and after comparison
- Your procedures may be different – there is an infinate number of ways to the end result..
Right Channel Processing Steps Used:
- Expert Impulse Filter – Threshold 179 – Size 38 – Tracking 40 – Type HQ – Clicks Removed 46
- Reversed File – Same Settings – Clicks Removed 18
- Expert Impulse Filter – Threshold 1 – Size 28 – Tracking 20 – Type HQ – Clicks Removed 364
- Reversed File (Forward) – Same Settings – Clicks Removed 197
- Expert Impulse Filter – Vinyl 3rd Pass Preset – Clicks Removed 5
- EZ Impulse Filter – Scratch 0 – Crackle 58.5 – Clicks Removed 28
Left Channel Processing Steps Used:
- Expert Impulse Filter – Threshold 179 – Size 38 – Tracking 40 – Type HQ – Clicks Removed 182
- Reversed File – Same Settings – Clicks Removed 67
- Expert Impulse Filter – Threshold 1 – Size 28 – Tracking 20 – Type HQ – Clicks Removed 1232
- Reversed File (Forward) – Same Settings – Clicks Removed 754
- Expert Impulse Filter – Vinyl 3rd Pass Preset – Clicks Removed 40
- EZ Impulse Filter – Scratch 99.9 – Crackle 75 – Clicks Removed 1021
Note: Left Channel was much noisier than the Right Channel. Rather than come up with better Expert Impulse Settings, I chose instead to be more aggressive with the EZ Impulse Filter to get the file done.
- Left Channel Clicks Removed – 658
- Right Channel Clicks Removed – 3296
- Total Clicks Removed for this 9.5 second Stereo file – 3954
- Rounded to 10 seconds, number of approximate Clicks for 1 minute – 23,724
If LP is 45 minutes, number of approximate Clicks removed would be – 1,067,587
- This file has had over 1 million clicks fixed.
|Brigadoon — This sample was submitted by Craig Maier of Diamond Cut Productions This recording was made in 1967 of my High Schools Class play, Brigadoon. I was responsible for the light and sound aspects of the project The sound responsibilities included the PA system and also the Recording of the play. The sound system consisted of two mics hanging from risers above the stage and two mics located above the orchestra pit. They all fed into a Mixer which drove a Pre-Amp and then a Power Amplifier for the sound reinforcement system. Another set of outputs fed my Magnecord 1028 1/2 track, 15 ips tape deck. All of the audio equipment was electron tube based including the tape recorder – – – tubes were still the state of the art in audio at that time. All of the tube based equipment except for the Magnecord tape deck was designed and constructed by myself in the two years prior to this particular event. (The speaker system used JBL drivers, but was DIY)
The problem observed here as heard in the “before” was probably the result of a bad shielded cable between one of the mixer outputs and one of the tape deck inputs. It appears that I noticed the problem (one VU meter was probably not dancing correctly) and I started by adjusting one of the channel gain controls on the tape deck. Ultimately, it appears that I started moving cables around until a signal became steady into the tape deck, but as you can see and hear, it took a while to find the problem and fix it at that time.
This “after” example shows how the Diamond Cut Editing capabilities can fix this type of problem.
Wherever there was a drop-out of the signal on the offending channel, I carefully marked them with the Diamond Cut Markers (the “M” key) (zooming in to be sure that they were exactly in the correct place). I highlighted each section and clicked on the good track (R or L on the toolbar). Then I copied that to the clipboard and pasted it to the opposite track without moving the markers. I noticed that there were still some large transients on both tracks which I interpolated out with the “I” key. Sometimes, very tiny transients occurred where I pasted into the bad track which I interpolated out with the “I” key after highlighting the problem.
Then, I was left with wildly varying gain settings on each channel and in some cases, both channels. The goal was to “feather” the gain compensations in so that they would be the inverse of the way in which the tape deck controls had been moved in real time, I used the “curve” setting of the Gain Control feature. By adjusting the curvature using the spline inflection points, I was able to reverse the gain vs. time problems that I had injected onto the recording back in ’67.
To smooth out the changes in stereo image (albeit not perfectly), I applied a slight amount of reverb to the sections of the file that had been copied from one channel to the other, with some overlap past the edit marker boundaries.
Lastly, I gain normalized the system to -2 or -3 dB.
|Abba Daba Honeymoon(754 kB)
||Here is a user submitted sample from Doug MacMillan. It is one file that has been crossfaded between the unprocessed noisy audio and audio that has been processed with the continuous noise filter. The song is Abba Dabba Honeymoon performed by Collins and Harlan , on a Victor record 17620-AHere is a quote from Doug: I’ve been using DC-Art for more than a year now. I’ve been very impressed with both the ease of use and the results I’m getting. I especially like the ability to fine tune the settings on practically every filter or effect and then save my custom settings for future use. I recommend DC-Art to anyone interested in a powerful audio restoration tool – Doug MacMillan
||Here is another sample from Doug MacMillan.
The song is Baby Won’t You Please Come Home Blues by Bessie Smith with Clarence Williams on the piano. It was released in 1923
- The beginning is the raw file, processed for impulse noise, converted to mono and then processed to remove the RIAA curve using the preset on the paragraphic equalizer.
- The second part has been filtered with the decrackler setting in the median filter. Also, a low pass filter has been applied, as well as a little accentuation around 250 hz using the graphic equalizer. This file fades in around the end of the first piano phrase.
- The third part is the first part with the continuous noise filter applied. It starts to fade in around the end of the first sung line and is very apparent.
- The sample for the continuous noise filter was taken from the run in area of the record. I also adjusted the threshold fairly aggressive