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Old 10-18-2019, 07:11 AM   #18
serr
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Join Date: Sep 2010
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Quote:
Originally Posted by mountaincabbage View Post
I tried TriLever...
Be absolutely certain that any compression you do is specifically targeted at a noise element and nothing else. The program is already going to be compressed from the tape and other non-linearity. (And in an uncontrolled non-musical way.) Adding compression to the program will mangle things.

You can split up the program into different frequency bands with a multiband compressor (the crossover EQ section) or other linear phase EQs. I like working in "layers" this way with restoration jobs like this.

Manually "decoding" dolby is the real epic PITA that comes about with some of these jobs too. Not sure if that battle is going on here but the "tinny, thin" comments might suggest it is.

Turns out that when the hardware circuit can no longer properly "decode" the dolby pre-emphasis compression because the signal attenuated/degraded too much on the tape, rolling it in with dolby off and fighting with it manually gets much better results. ie. closer to what the source would have sounded like. And even though there might be some artifacts along for the ride.

I've had some luck with parameter modulating a ReqEQ frequency to try to zero in on the sliding frequency thing the dolby compression does. It always has to be fiddled with per job. I haven't ended up with a magic dolby decoder preset.


Or you can say fuck all that and low pass the thing at 7k and then bump up the volume to average CD level with a limiter and call it a day. What you'll have will be "thumbnail" quality though. If there was actually fidelity remaining and hiding on that tape, it will be lost.
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