I'm a Bulgarian, I've worked at a small recording studio and have a passion for vinyl. This video touched me in many ways. Superb work by Jessica Thompson. Thank you!
much respect for you you work on them manually and you have so many tools software AND hardware in order to do a proper job from start to finish..some people in comments say they clean the recording automatically by software , i see them as either lazy or simply amateurs. i was impressed you're so qualified for any digital mastering company.. and people in comments im not talking about your little hobby you do inside your house, im talking of a real job done with patience and responsibility towards music records
I really don’t see the need to mess about with the eq and compression. The whole idea of making a quality transfer is to maintain the original sound as much as possible while removing only artefacts introduced by the record itself or the transfer process.
6 років тому+3
FLAT .. she has no fucking clue what's she's doing. She's been gifted a 'buisness front' probably a tax shelter buisness.
@Jon Vincent No, you do need to juice these things up a bit. If it's going to bring the music out of those grooves and make it come alive then that is to her credit. She's not adding reverb or anything like that but certainly Equalization and some Compression is perfectly normal and even desirable for something like this.
She's an enormously gifted, talented, and knowledgeable audio restoration specialist with a long resume of accomplishments. She also has written some really fantastic longform essays on the subject. But yeah, you, a random angry Libertarian SubGenius dude online are the final arbiter on this matter.
@Quincy Breed Some of these recordings were not done in optimal circumstances. You want to bring out the quiet parts and smooth out the loud ones, but not by too much like the way they do with today's Pop records. The right amount makes it sound better.
Yes this is standard professional procedure *for capture*, or should be. The goal is 100% fidelity to the source signal on the carrier. IASA TC-04 standards manual outlines this well. It's an objective goal. The problem with "juicing it up" and what makes it sound "better" can be very subjective. Better to whom? To whose preferences and tastes?
So many egocentric comments and such a load of pretentious outrage. The explanation she is giving is for people who perhaps don't have a deep understanding of record technology and judging by the comments of some of the more outraged amongst you, neither do you. Her explanations are clear and informative and she has added more to the world than than some hurt, puffed up (so called)"audiophile". I would now like to apologise for my uncharacteristic rant... Sorry...
Well said. In a YT Working Class Audio interview Jessica says she doesn't claim to be the great expert on all things audio preservation, transfer, remastering and has much respect for the people who have been doing this work all their lives, have deep knowledge in the field, and tries to learn as much as possible from them.
TheNorliss "A cobbler's children have no shoes." I swear it's a trademark for audio related videos to have shitty sound. Not only this video, but most videos, hahaha.
Is it possible to recommend me a topology to perform domestic digitization? phono preamplifier, sound card, etc. my turntable is sansui xr q7 from 1981 and i love it Regards and thank's
This is the kind of thing I do as a hobby. Would love to do it professionally one day! Unfortunately, because I don't have great gear, I sometimes have to rely on what's available online. Sometimes you'll fine fantastic transfer done by people who have audiophile-level gear, and other times, they'll have gear worse than you. But I use the same software, Izotope RX for repairing the digital file, and then export into Adobe Audition for any fine tuning, compression, EQ, etc.
The turntable in the video is a cost-effective one, and you can do most of this very well just in Audacity, which is free software - automatically remove clicks or zoom in and get them yourself, sample noise (surface, motor, electrical) to remove it across the record, normalize, and similar. Doing this professionally technically just means you get paid for it and bother to do a good job of it if you're able.
i've been working on my own digital audio restoration projects since about 1990, back then if one didn't have sonic solutions NONOISE, one's only other high-end choice was CEDAR, or on the low end, Wave for Windows [and a stout PC of the day with abundant high-speed RAM], cutting out little microsecond slivers of audio at a time, in a project that might take a hard day's night's worth of work on just one 3 minute soundfile. then came DartPro and at about the same time from the Edison Laboratories, Dcart which was the first real-time declicker/noise suppressor combo. but i have found no real substitute for CEDAR, nothing else i have tried is as transparent with clicks and crackle IF IT IS ADJUSTED CORRECTLY, and each soundfile is different in this respect.
@Robert Wayne If they exist at all they're probably rotting in a bunker somewhere. Who knows if they will even play? I think you would be surprised, even shocked at how many CD titles used a vinyl record as the source. Some recordings are so old they preceded tape, which only came into prominent use in the late 30s - early 40s.
@@horowizard Also, some things were cut directly to acetate. Like the Lomax's had a cutter in the trunk of their car when they traveled around the US recording whatever they found.
This is a great documentary that was on the History Channel (when it was still a great channel) about why/how they archive sounds. ua-cam.com/video/ZcsTwJ7jRt8/v-deo.html
I think she said needles instead of stylus so everyone knows what she is talking about. Leveling the turntable by a degree or two won't make any difference but if you have to be perfect so be it. I think she should mention anti-skating is just as important as stylus pressure which in turn more important than tracking force. How do you measure dynamic stylus pressure? No easy, need to know the both stylus, record groove cross section geometries and throw in some vector math. Something for the mechanical and structural engineers to do the dynamic analysis. She mention better equipment were used for the actual transfer. I think what was shown is plenty good. That direct drive turntable with phase lock loop circuit is "dead on balls accurate", certified by Marisa Tomei. A $60,000 turntable won't do any better, not that you could hear or measure. Nothing wrong with that cheap scale either, planty accurate too. Clicks and pops are the bane of vinyl, no way to get it all out mechanically or keep it absolutely clean. Class 100 clean room with laminar airflow anyone? @ 3:44 looks like couple of specks left. Good job in that restoration.
kimchee94112 idk man there’s a whole legion of mansplainin’ tech bros in here who make a pretty compelling case that she has no clue and should just, like, stop
Yes...great video. BUT MY GOD>>>LOSE THE BACKGROUND MUSIC!!! I see SO MANY informational videos destroyed because the producer thinks it's a great idea to run annoying background music while the instructor is trying to convey their knowledge.
Play the disc @ 16-2/3 RPM (half speed), using a low-output moving-coil cartridge connected to the low-impedance (1Kohm) microphone input of a pro interface, at (minimum) 96KHz. Correct (double) the pitch. Then use digital RIAA.
if that's an Audio Technica lp 120 you're using subpar unit. Preamp is garbage in that. Try a Rega or Technics. I do restorations as well, and that preamp hinders audio.
That's why some professional transfer sounds so bad.. i have a cheap turntable with a good stylus + Audacity (original sound direct from vinyl , only big pops removed) = great sound. But anyway , the endinding sound on credits sounds good
I'm surprised to see such a pedestrian level turntable used for archival purposes. I can't imagine the thing specs out or has isolation that is anywhere near audiophile standards, but then again, these are on the level of field recordings and maybe you don't even need something that great. I know I've used worse..
I digitize to simply eliminate annoying pop's. Rather than isolate each pop, I apply filter to entire recording, since it is quick and easy and appears to yield results indistinguishable from isolation technique.
That really depends on the music you are digitizing. I digitize a lot of electronic music and running a filter across the whole record will reduce the punchiness of the kick drums. In my workflow, I run a filter across a copy of the track, then invert it and create a delta by combining with the unfiltered track. Invert the delta, mute it and listen to the original track. When I hear a click or pop, I can bring that portion from the delta into a new track that isnt muted and can ignore any incorrectly identified beats. As the new track is inverted, it has the effect of cancelling out the click / pop in the original track.
Hey guys and audiophiles, at first I also thought, with the choice of turntable and cartridge she is using here, how on earth the end products would sound good! However, if we step into the shoes of the industry, many of the good old radio stations have to switch over to the digital world of streaming music through the internet. What the listeners hear would be the compressed mp3 format of music. Therefore, it’s self explanatory why the class of equipment shown here are all that is necessary. If high res is what you want then use an Airforce One turntable and combo with Airtight ultra. But then you wouldn’t be converting analog to digital at all if you’re a true audiophile, you would be basking in the music straight off the needle, oh no ! Should be the stylus, ha ha!
Its a good sign when a sound restoration video chooses the most annoying music. And am I seeing this right, you EQ and compress the sound after transfer? Whats even the point anymore.
Garbage in, garbage out! You need a better record deck for a quality ADC recording. A Linn LP12, a Thorens, or other suspended chassis record deck. The playing with the EQ makes the record not sound the same, but how you want it to sound. I agree about the cleaning being, removing of clicks,
This woman has absolutely no clue what she's doing. The turntable is a super cheap USB turntable AT-LP120 and the cartridge is a £12 AT91, not too bad but certainly not good enough. She's literally just bought a load of cheap equipment and set it down on her desk and suddenly she's some sort of restoration god? Also FET compressors create disgusting amounts of distortion at larger signal levels, you can't add anything that's 'lost' just with compression.
To clarify, I didn't use that turntable or that stylus for the archival transfers, but they are in the video because we did some reshoots at a time when I had disassembled my transfer station. (I was 9 months pregnant the first time we shot). If you're interested in the specifics of the gear I use for different projects, feel free to visit my website or drop me a line.
I'm a Bulgarian, I've worked at a small recording studio and have a passion for vinyl. This video touched me in many ways. Superb work by Jessica Thompson. Thank you!
much respect for you you work on them manually and you have so many tools software AND hardware in order to do a proper job from start to finish..some people in comments say they clean the recording automatically by software , i see them as either lazy or simply amateurs. i was impressed you're so qualified for any digital mastering company.. and people in comments im not talking about your little hobby you do inside your house, im talking of a real job done with patience and responsibility towards music records
I wanted to watch it but the background music of someone butchering a live cat made me turn it off 2:00 minutes in.
I really don’t see the need to mess about with the eq and compression. The whole idea of making a quality transfer is to maintain the original sound as much as possible while removing only artefacts introduced by the record itself or the transfer process.
FLAT .. she has no fucking clue what's she's doing. She's been gifted a 'buisness front' probably a tax shelter buisness.
@Jon Vincent
No, you do need to juice these things up a bit. If it's going to bring the music out of those grooves and make it come alive then that is to her credit. She's not adding reverb or anything like that but certainly Equalization and some Compression is perfectly normal and even desirable for something like this.
She's an enormously gifted, talented, and knowledgeable audio restoration specialist with a long resume of accomplishments. She also has written some really fantastic longform essays on the subject. But yeah, you, a random angry Libertarian SubGenius dude online are the final arbiter on this matter.
@Quincy Breed Some of these recordings were not done in optimal circumstances. You want to bring out the quiet parts and smooth out the loud ones, but not by too much like the way they do with today's Pop records. The right amount makes it sound better.
Yes this is standard professional procedure *for capture*, or should be. The goal is 100% fidelity to the source signal on the carrier. IASA TC-04 standards manual outlines this well. It's an objective goal. The problem with "juicing it up" and what makes it sound "better" can be very subjective. Better to whom? To whose preferences and tastes?
So many egocentric comments and such a load of pretentious outrage. The explanation she is giving is for people who perhaps don't have a deep understanding of record technology and judging by the comments of some of the more outraged amongst you, neither do you. Her explanations are clear and informative and she has added more to the world than than some hurt, puffed up (so called)"audiophile". I would now like to apologise for my uncharacteristic rant... Sorry...
Well said. In a YT Working Class Audio interview Jessica says she doesn't claim to be the great expert on all things audio preservation, transfer, remastering and has much respect for the people who have been doing this work all their lives, have deep knowledge in the field, and tries to learn as much as possible from them.
Thanks a lot!
The irony of a video about audio with poor sound. Where is this studio? Next to a waterfall?!
TheNorliss "A cobbler's children have no shoes." I swear it's a trademark for audio related videos to have shitty sound. Not only this video, but most videos, hahaha.
Is it possible to recommend me a topology to perform domestic digitization? phono preamplifier, sound card, etc.
my turntable is sansui xr q7 from 1981 and i love it
Regards and thank's
thank you this is very good video
This is the kind of thing I do as a hobby. Would love to do it professionally one day! Unfortunately, because I don't have great gear, I sometimes have to rely on what's available online. Sometimes you'll fine fantastic transfer done by people who have audiophile-level gear, and other times, they'll have gear worse than you. But I use the same software, Izotope RX for repairing the digital file, and then export into Adobe Audition for any fine tuning, compression, EQ, etc.
The turntable in the video is a cost-effective one, and you can do most of this very well just in Audacity, which is free software - automatically remove clicks or zoom in and get them yourself, sample noise (surface, motor, electrical) to remove it across the record, normalize, and similar. Doing this professionally technically just means you get paid for it and bother to do a good job of it if you're able.
Does anyone know if she is using a MM or MC cartridges?
i've been working on my own digital audio restoration projects since about 1990, back then if one didn't have sonic solutions NONOISE, one's only other high-end choice was CEDAR, or on the low end, Wave for Windows [and a stout PC of the day with abundant high-speed RAM], cutting out little microsecond slivers of audio at a time, in a project that might take a hard day's night's worth of work on just one 3 minute soundfile. then came DartPro and at about the same time from the Edison Laboratories, Dcart which was the first real-time declicker/noise suppressor combo. but i have found no real substitute for CEDAR, nothing else i have tried is as transparent with clicks and crackle IF IT IS ADJUSTED CORRECTLY, and each soundfile is different in this respect.
Why transfer from vinyl? Where are the master tapes?
You're an idiot!
@Robert Wayne
If they exist at all they're probably rotting in a bunker somewhere. Who knows if they will even play? I think you would be surprised, even shocked at how many CD titles used a vinyl record as the source. Some recordings are so old they preceded tape, which only came into prominent use in the late 30s - early 40s.
@@horowizard Also, some things were cut directly to acetate. Like the Lomax's had a cutter in the trunk of their car when they traveled around the US recording whatever they found.
This is a great documentary that was on the History Channel (when it was still a great channel) about why/how they archive sounds. ua-cam.com/video/ZcsTwJ7jRt8/v-deo.html
I think she said needles instead of stylus so everyone knows what she is talking about. Leveling the turntable by a degree or two won't make any difference but if you have to be perfect so be it. I think she should mention anti-skating is just as important as stylus pressure which in turn more important than tracking force. How do you measure dynamic stylus pressure? No easy, need to know the both stylus, record groove cross section geometries and throw in some vector math. Something for the mechanical and structural engineers to do the dynamic analysis. She mention better equipment were used for the actual transfer. I think what was shown is plenty good. That direct drive turntable with phase lock loop circuit is "dead on balls accurate", certified by Marisa Tomei. A $60,000 turntable won't do any better, not that you could hear or measure. Nothing wrong with that cheap scale either, planty accurate too. Clicks and pops are the bane of vinyl, no way to get it all out mechanically or keep it absolutely clean. Class 100 clean room with laminar airflow anyone? @ 3:44 looks like couple of specks left. Good job in that restoration.
kimchee94112 idk man there’s a whole legion of mansplainin’ tech bros in here who make a pretty compelling case that she has no clue and should just, like, stop
Where do you get one of those Vinyl Vac and cleaner
www.needledoctor.com/Record-Doctor-V-Vinyl-Cleaning-Machine?_vsrefdom=adwords&gclid=CjwKCAiAnsnjBRB6EiwATkM1Xppq5fxkaamTNGcxVi91PcUE8SKGF316Us3Toie2uYUX_qggPwwhXxoCqqAQAvD_BwE
Hi, where do you buy the scale for turntable, thanks
Paul MACCA buy a digital scale online instead. Those scales are terrible.
What's the name of that record cleaning machine?
Looks like a Record Doctor.
FASCINATING!
So nice to hear a lady restorate and master a record - so much tenderness and care put in that record, like a mother cleans and dresses up her baby :)
Yes...great video. BUT MY GOD>>>LOSE THE BACKGROUND MUSIC!!! I see SO MANY informational videos destroyed because the producer thinks it's a great idea to run annoying background music while the instructor is trying to convey their knowledge.
Play the disc @ 16-2/3 RPM (half speed), using a low-output moving-coil cartridge connected to the low-impedance (1Kohm) microphone input of a pro interface, at (minimum) 96KHz.
Correct (double) the pitch.
Then use digital RIAA.
Is there any video around YT showing this tips you’ve just shared?
Problem is that almost all restoration engineers have their own way of doing things, and most are critical of others' methods!
Something tells me that you are an engineer
stanton is a DJ needles to record sound.. ?
if that's an Audio Technica lp 120 you're using subpar unit. Preamp is garbage in that. Try a Rega or Technics. I do restorations as well, and that preamp hinders audio.
That's why some professional transfer sounds so bad.. i have a cheap turntable with a good stylus + Audacity (original sound direct from vinyl , only big pops removed) = great sound. But anyway , the endinding sound on credits sounds good
Wanna digitize some vinyl records for the first time. This is the wrong video to start out haha. But it's still very interesting!
I'm surprised to see such a pedestrian level turntable used for archival purposes.
I can't imagine the thing specs out or has isolation that is anywhere near audiophile standards,
but then again, these are on the level of field recordings and maybe you don't even need something that great. I know I've used worse..
I digitize to simply eliminate annoying pop's. Rather than isolate each pop, I apply filter to entire recording, since it is quick and easy and appears to yield results indistinguishable from isolation technique.
That really depends on the music you are digitizing. I digitize a lot of electronic music and running a filter across the whole record will reduce the punchiness of the kick drums.
In my workflow, I run a filter across a copy of the track, then invert it and create a delta by combining with the unfiltered track. Invert the delta, mute it and listen to the original track. When I hear a click or pop, I can bring that portion from the delta into a new track that isnt muted and can ignore any incorrectly identified beats. As the new track is inverted, it has the effect of cancelling out the click / pop in the original track.
Vinyl is easy. Try an 85 year old 78rpm Shellac those are a challenge I've been able to get at times remarkable results depending on the source
Hey guys and audiophiles, at first I also thought, with the choice of turntable and cartridge she is using here, how on earth the end products would sound good! However, if we step into the shoes of the industry, many of the good old radio stations have to switch over to the digital world of streaming music through the internet. What the listeners hear would be the compressed mp3 format of music. Therefore, it’s self explanatory why the class of equipment shown here are all that is necessary. If high res is what you want then use an Airforce One turntable and combo with Airtight ultra. But then you wouldn’t be converting analog to digital at all if you’re a true audiophile, you would be basking in the music straight off the needle, oh no ! Should be the stylus, ha ha!
She knows what she's doing, but doesn't get that with certain types of music, one should not be using a compressor.
and one should choose a cart that reproduces the music, as is found on the disc. FLAT. Every cart she has is a broadcast / DJ cart. Terrible.
IT IS A STYLUS NOT A NEEDLE!
Its a good sign when a sound restoration video chooses the most annoying music.
And am I seeing this right, you EQ and compress the sound after transfer? Whats even the point anymore.
Garbage in, garbage out! You need a better record deck for a quality ADC recording. A Linn LP12, a Thorens, or other suspended chassis record deck. The playing with the EQ makes the record not sound the same, but how you want it to sound.
I agree about the cleaning being, removing of clicks,
Are you serious with this obnoxious background music?
This video makes me sad on so many levels.
This entire video is an embarrassment. Nothing about this was professionally done in the slightest.
To add to my earlier comment, she is using a cheap record cleaning machine. I can do better transfers!
What's the name of that cleaning machine?
@@1S0E1A9N It's a Nitty Gritty and far from cheap.
Buy a real turntable!
See how compressed everything is. Damn shame. Do mess with it
Real people don't care about a pop/ click They care when you destroy the sound stage
Babe.
This woman has absolutely no clue what she's doing. The turntable is a super cheap USB turntable AT-LP120 and the cartridge is a £12 AT91, not too bad but certainly not good enough. She's literally just bought a load of cheap equipment and set it down on her desk and suddenly she's some sort of restoration god? Also FET compressors create disgusting amounts of distortion at larger signal levels, you can't add anything that's 'lost' just with compression.
To clarify, I didn't use that turntable or that stylus for the archival transfers, but they are in the video because we did some reshoots at a time when I had disassembled my transfer station. (I was 9 months pregnant the first time we shot). If you're interested in the specifics of the gear I use for different projects, feel free to visit my website or drop me a line.
Magic Monty The turntable is good....
Not the one in the video. Magic Monty is right. And she did not state what she uses so the is worrisome.
You just can't handle women in the workplace, Magic Monty
Jessica Thompson what was that machine you used to clean and vaccum the grooves how much is ir
This is goddamn amateur hour. How is this person in business? Jew connections I gather. Or a tax shelter.
Low end turntable and crappy vacuum cleaner! Get better gear! I just dropped 5k on an ultra sonic cleaner and 2k on the turntable. Do it right!
Who cares what you do
@@MARTIN201199 who cares about you?