1. From Alex Case: Just a quick note to let you
know that my book, "Sound FX - Unlocking the Creative Potential of
Recording Studio Effects", has just been released. You should be
able to find it wherever you shop for books. For more info: www.fermata.biz/FX.html
provides the full table of contents, and a link to Amazon for easy acquisition.
2. So you think the classical recording business
is dead in the water? Think again. The recent reissue of 55 out-of-print Chicago
Symphony Orchestra titles by the online classical music store ArkivMusic points
up how Web-based options are helping to fill the void created by the shuttering
of Tower Records and other retail shops that once devoted extensive shelf space
to classical music. ArkivCDs are deleted or otherwise hard-to-find recordings
that ArkivMusic makes available to its customers as "production on demand"
compact discs. The company has a database of nearly 3,000 such recordings. Potential
customers navigate to the www.ArkivMusic.com
Web site, search the available titles and place their order. Recordings are packaged
in standard jewel boxes with the original cover art and are shipped by mail. ArkivMusic
charges its customers between $14.99 and $16.99 per disc, a few dollars more than
one would ordinarily pay for a new top-line CD through other online stores. But
the sound quality of the custom Arkiv discs I've heard is excellent - fully comparable
to that of the original CDs - and many titles come with reproductions of the original
booklets. (Customer complaints have prompted ArkivMusic to add liner notes and
texts to some earlier reissues that did not include them). John von Rhein, Chicago
Tribune 11 July 2007
3. Recently I transferred a 48 kHz DAT to the
computer. There is a right way and a wrong way--I decided to investigate. My soundcard
(M Audio) and editing program (Fast Edit) each have settings for 44.1 and 48 kHz.
With record and playback that's 16 possibilities. After trying all, I found that
the soundcard setting made no difference on record--the editor set the sampling
rate. Once it was in the computer it was labeled as 44 or 48, regardless of the
original sampling frequency. When I played back, there was a warning if it tried
to play it at the wrong sampling rate. A 48 recording loaded in as 44 played slow.
A Boston recording engineer accidently set the switch on his A to D convertor
to 48, then processed it as usual. He edited it and sent a CD copy to the conductor
and the conductor said "there is something strange about this." It was
playing 10% slow. A clue during editing would have been that all the timings were
off--10% longer. After loading the file as 48, I changed the sampling frequency
to 44 using DC Six which has a "Master" quality converter with 32 bit
interpolation. That's one part per billion.
President, Boston Audio Society
email me HERE