Скачать или смотреть DIGITAL PHASE CORRECTORS / TRANSFERRING PCM-F1 DIGITAL AUDIO TAPES presented by Gary Galo

The New York Chapter of the Association for Recorded Sound Collections presents its April 2018 program:

DIGITAL PHASE CORRECTORS AND STEREOPHONIC RECORDINGS: TO PHASE CORRECT OR NOT TO PHASE CORRECT, THAT IS THE QUESTION!
Presented by Gary A. Galo

"Phase correction software is included with many digital audio editing and restoration programs. Stereo playback of monaural source material, both disc and tape, has multiple advantages, and phase correction software can be extremely useful for aligning the two channels prior to summing them to mono. Engineers who have specialized in transfer and restoration of pre-stereo material can easily misinterpret the Lissajous patterns produced by stereophonic recordings as a defect requiring correction. This paper examines the basics of stereophonic recording, the phase relationship of the two stereo channels created by common microphone techniques, and the need to exercise proper judgment before “fixing” something that may not be broken. This is a slightly expanded version of a presentation given at the ARSC national conference in San Antonio, TX in May 2017."

TRANSFERRING PCM-F1 DIGITAL AUDIO TAPES

The PCM-F1 was a portable digital audio recording system introduced by Sony in 1981. Though originally marketed as a consumer product, the PCM-F1’s excellent audio quality and affordable price made it far more popular in professional audio circles. This portable digital processor encoded digital audio onto a video carrier for storage on Beta-format video cassettes. Most users chose Sony’s matching SL-2000 Beta recorder. The PCM-F1 digital processor was not equipped with a digital audio output, making it undesirable for transferring these recordings to modern digital formats. Sony subsequently manufactured F1-compatible digital processors with S/PDIF digital outputs, including the PCM-601 ESD. This paper outlines a procedure for transferring PCM-F1 digital recordings using a PCM-601 ESD processor and a stand-alone digital recorder. Practical solutions to the four issues facing anyone transferring PCM-F1 recordings will be covered, including: the non-standard 44.056 kHz sampling rate, the 50 µSec /15 µSec preemphasis curve, the inter-channel time delay, and DC offset. The presentation explains how a stand-alone digital recorder easily solves the first two problems, and how the remaining two can be addressed with most computer-based digital editing programs. This is an expanded version of the presentation to be given at the ARSC national conference in Baltimore, MD in May 2018."

GARY GALO retired in 2014 after thirty-eight years as Audio Engineer at The Crane School of Music, SUNY Potsdam, where he also taught courses in music literature and audio technology. He has been an ARSC member since 1982, was the Sound Recording Review Editor of the ARSC Journal from 1995-2012, was co-chair of the ARSC Technical Committee from 1996-2004, has been a frequent presenter at ARSC national conferences and New York Chapter meetings, and has written numerous articles, book reviews and sound recording reviews for the ARSC Journal. Mr. Galo is a widely published author with over three hundred articles and reviews to his credit on both musical and technical subjects, in over a dozen publications. He is a Regular Contributor to audioXpress magazine, has reviewed numerous books for Notes: Quarterly Journal of the Music Library Association, is the author of the “Loudspeaker” entry in The Encyclopedia of Recorded Sound in the United States, and has also written for Linear Audio, the Newsletter of the Wilhelm Furtwängler Society of America, and Toccata: Journal of the Leopold Stokowski Society. He is also a member of the Audio Engineering Society and the Société Wilhelm Furtwängler. Email: [email protected]

THE ASSOCIATION FOR RECORDED SOUND COLLECTIONS (https://arsc-audio.org) is a nonprofit organization dedicated to the preservation and study of sound recordings, in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals—everyone with a serious interest in recorded sound.

Videographer: Joseph Patrych; www.patrych.com/index.html
Editor: James Wu; http://video.jameswu.nyc/