retro
он довольно скрытный мужик, особо не распостраняется.. Слышал что у него дорогая и качетвенная аппаратура 
вот нашел на форуме пример как делался один из его дисков
| QUOTE: | To all you mothers who wants to know about the technical details.
I received a very kind reply explaining how Dr. Ebbetts remove clicks and pops from vinyls.
I found the explaination excellent and after having read it several times I thought it would be a shame if I didn't share it with the rest of you as I'm sure there are more people than just me who will find it interesting.
So here goes -
"The process of removing pops and crackles from vinyl, as done by Ebbetts, is one that could be called a "cancellation" process.
I will avoid being ridiculously technical here. . .(thank goodness, eh?)
The first step is to have EXCELLENT condition vinyl. Vinyl that is in mere "good" condition just won't cut it. It must be close to new and play as quietly as possible.
This "cancellation" process is great for removing pops and surface crackles, but will not be as effective for deep groove scractches. To that end, the process (as with the vast majority of the Ebbetts material) was not only time consuming, but FUND consuming trying to track down and acquire the best source material!
Once the "Get Back" LPs were transferred onto the hard drive of the computer, the best sounding passages of the LPs (the ones that would clearly be the easiest to 'clean up') were "compiled" into one "premaster" wave file.
(Now the process begins)
(Grab a soda and a sandwich, this will be somewhat detailed)
The first step was to go back through the wave file of the premastered "Get Back" LP file that was just created and locate ALL areas of the album that did NOT contain music or conversation. In effect, all of the "in-between" stuff was collected from the "Get Back" LP file. Starting with the "run-on" groove of side one, all the way through the run-off groove of side two, all of these "noise only" sections were found, complete with stylus noise, pops, crackles, turntable motor rumble, etc.
Essentially, a noise snapshot of that particular LP was created, not unlike a fingerprint. Each LP has it's own unique sounds, feel, warmth, pops, crackles, rumbles and noise.
Anyway, these particular noise areas were copied and pasted into their own wave file and called "noise only" and saved.
Of course, the original "Get Back" premaster file was preserved as well.
Using Cool Edit Pro, the "noise only" file just created was reopened.
From the "effects" menu, the "Noise Reduction" function was employed (although no noise reduction was actually ever applied to this LP).
Using the Noise Reduction effect, a permanent noise print was created from the "noise only" file.
This algorythm was saved as "Get Back noise print."
The next step was to APPLY this "Get Back noise print" algorythm on the original "Get Back" premaster file.
Under normal circumstances, the noise print would be applied to the orginal file, and depending on the "strength" of the settings applied to that process by the user, all extra noise resembling that of the noise print would be removed from the original file.
This is the basic process of noise reduction.
Unfortunately, noise reduction often has detremental effects on the original recordings. . .
I do NOT like noise reduction as a rule.
So, what happened next in this particular case was a COMPLETE REVERSAL of the process.
Instead of removing all noise that matched that of the "Get Back noise print," all noise was LEFT BEHIND.
In other words, after applying a REVERSAL of the noise reduction process to the Get Back LP, the music was scrapped in favor of an entire file that had noise, hiss, pops, crackles, and other extemporaneous rumblings.
Of course, the original "Get Back" file wasn't really scrapped. This new noise-only file was saved as a separate waveform called " Get back KN" (keep noise).
The next step was the most time-consuming and processor-intensive of the project. Using the Cool Edit Pro effects menu, the "Pop And Crackle" function was employed. The setting used was a very "heavy" one, meaning that the algorythm was VERY sensitive to impulses that resemble those that are characteristic of vinyl pops and crackles. This process took somewhere in the neighborhood of two hours.
After this process, what was left behind was the "Get Back KN" file WITHOUT the pops and crackles. This "popless" file was saved as "Get Back DP" (de-popped).
(Here's where the cancellation things comes into play)
The "Get Back KN" file was then RE-opened - the one with all the noise AND pops - and copied.
This copy was then mix-pasted directly on top of the "Get Back DP" file - the one with all the pops removed - but INVERTED!!!!!!!!!
The process of INVERTED copying and pasting is where this "cancellation" takes place.
Both files were identical except for the fact that one still had the pops and crackles in it. The other had the pops and crackles removed.
Because one file is inverted, placing it directly on top of the other will CANCEL out all information that is identical in the other file - in this case all the noise. Therefore, after the pasting the inverted file, all that would left behind would be that information that was different - in this case the pops and crackles.
(See how it works?)
The file that was left behind was saved as "Get Back pops only."
This last file was then copied and mix-pasted on top of the original Get Back premaster file. (Remember that one?) There was no need to "invert" this "Get Back pops only" file
The result was a premaster of the Get Back LP about 98% void of all pops and vinyl crackles. Indeed, there were stubborn areas that had to be treated individually, but this is an EXCELLENT method for removing vinyl noise.
So be it."
Thanks to Jose. |
Этому посту уже около 5 лет, думаю за это время поменлся и софт и аппаратура, но пинцип мастеринга сильно наверное не изменился 
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а то каак выпустит Док свои релизы.. именно в SACD... 
