I have found thar the impulse filter in Millenniun is very agressive. I have returned to DCART32. Trombones and muted trumpets have one helluva time getting through that filter without having an edge on the recording or destruction of that part of the file. You have back way off. I'm talking about 17/80.
I always record in stereo especially the mono records. If you have to zoom the file you can pick out the transients very easily.
When the above occurs I will convert the file to mono L+R in that only one track is usually effected it clears up the problem with the blend. This is mono recorded stereo only.
When this occurs in a true stereo recording I would like to be able convert that portion of the file to mono L+R and cut and paste it back to the original stereo file. The sound will be clean but the only difference is that portion of the file will be monobut it would be so short in duration, it wouldn't be noticed.
I also have gome back to DCART32 for the continuous noise filter. Millennium seems to introduce a whirling, swishing, echo artifact and this is mild filtration. DCART32 just cleans it up just fine with the same settings as were on Millennium.
Don't get me wrong, I love the program.
In 1950 or so I purchased a 2 record LP of the Benny Goodman 1938 Carnegie Hall Concert.
I later purchased same on a 2 CD set. I was a little disappointed that they hadn't cleaned it up all that much. Something about the historical nature of the recording and they were sure, Sony/Columbia that I would also enjoy hearing the surface noise along with the pops and clicks.
Last year they Sony/Colunbia released a new edition of the above concert. Stating that they had additional material, newly found recordings and the wrapped box containng the CD's indicated/suggested that the sound was superior to anything in the past.
Not so. Sounds worse than the previous CD set. It would appear the Sony/Columbia and somebody named Phil Schaap seemed to think that preserving the recordings was more important than preserving the performance.
If any audio restoration was performed it would ruin the subtle nuances of the performance. I'm sure that if the audience had to listen to all of that noise along with the performance, they would have walked out. We are talking about 1938 technology here. If the noise covers the performance, wouldn't it cover the subtle nuances as well. It all sounds like a lot of Bull Schaap to me.
Jim
I always record in stereo especially the mono records. If you have to zoom the file you can pick out the transients very easily.
When the above occurs I will convert the file to mono L+R in that only one track is usually effected it clears up the problem with the blend. This is mono recorded stereo only.
When this occurs in a true stereo recording I would like to be able convert that portion of the file to mono L+R and cut and paste it back to the original stereo file. The sound will be clean but the only difference is that portion of the file will be monobut it would be so short in duration, it wouldn't be noticed.
I also have gome back to DCART32 for the continuous noise filter. Millennium seems to introduce a whirling, swishing, echo artifact and this is mild filtration. DCART32 just cleans it up just fine with the same settings as were on Millennium.
Don't get me wrong, I love the program.
In 1950 or so I purchased a 2 record LP of the Benny Goodman 1938 Carnegie Hall Concert.
I later purchased same on a 2 CD set. I was a little disappointed that they hadn't cleaned it up all that much. Something about the historical nature of the recording and they were sure, Sony/Columbia that I would also enjoy hearing the surface noise along with the pops and clicks.
Last year they Sony/Colunbia released a new edition of the above concert. Stating that they had additional material, newly found recordings and the wrapped box containng the CD's indicated/suggested that the sound was superior to anything in the past.
Not so. Sounds worse than the previous CD set. It would appear the Sony/Columbia and somebody named Phil Schaap seemed to think that preserving the recordings was more important than preserving the performance.
If any audio restoration was performed it would ruin the subtle nuances of the performance. I'm sure that if the audience had to listen to all of that noise along with the performance, they would have walked out. We are talking about 1938 technology here. If the noise covers the performance, wouldn't it cover the subtle nuances as well. It all sounds like a lot of Bull Schaap to me.
Jim
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