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artikulation [2015/10/01 18:27] – lbennettartikulation [2015/10/02 18:06] (current) – lbennett
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 At 3:45:76 the audio received from the publisher is roughly two seconds longer than the commercial releases. Since the difference amounts to less than 1%, we assume that it is due to wow and flutter in the tape machines used in possibly two different transfers (s. also [[glissandi|Glissandi]]). At 3:45:76 the audio received from the publisher is roughly two seconds longer than the commercial releases. Since the difference amounts to less than 1%, we assume that it is due to wow and flutter in the tape machines used in possibly two different transfers (s. also [[glissandi|Glissandi]]).
  
-Audio from publisher:                   3’45.76       +Audio from publisher:                   3’45.76;        
-CD release (Wergo):                    3’43.86         +CD release (Wergo):                    3’43.86;        
-CD release (Acousmatrix):              3’43.81+CD release (Acousmatrix):              3’43.81;
 CD from Wehinger score: 3’43.81 CD from Wehinger score: 3’43.81
  
 ==Crosstalk== ==Crosstalk==
 Crosstalk, such as noticed in the audio provided by the publisher, results from neighboring tracks on a tape being magnetized over a longer period of time and/or imprecise position of the tape machine’s heads . Crosstalk, such as noticed in the audio provided by the publisher, results from neighboring tracks on a tape being magnetized over a longer period of time and/or imprecise position of the tape machine’s heads .
-==Sound restoration==+==Audio restoration==
 In the sound restoration of the four mono files, high and low pass filters, as well as the Waves z-noise plugin were used. High and low pass filters were set first, then a noise profile was established for each channel and the noise was reduced as far as possible.  In the sound restoration of the four mono files, high and low pass filters, as well as the Waves z-noise plugin were used. High and low pass filters were set first, then a noise profile was established for each channel and the noise was reduced as far as possible. 
 Sound envelopes were drawn, and the passages without wanted signal (pauses) were reduced by 6-8 db. Because of the impulses and sounds on the other channels it was possible to mask the envelopes so that no “pumping” noise is heard. The performance team felt that the restored version helps to highlight the polyphonic dialogue in space. With the noise, the four speakers seem to be continually present in the space. Sound envelopes were drawn, and the passages without wanted signal (pauses) were reduced by 6-8 db. Because of the impulses and sounds on the other channels it was possible to mask the envelopes so that no “pumping” noise is heard. The performance team felt that the restored version helps to highlight the polyphonic dialogue in space. With the noise, the four speakers seem to be continually present in the space.
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 ==Performance of January 29, 2015== ==Performance of January 29, 2015==
 For this performance, a de-noised version of the audio was used (s. above). 4 speakers were positioned to form a rhombus around the audience. This disposition was doubled above, using a total of 8 speakers. The more impulse-like sounds were generally played on the lower speakers, while in passages using more reverberation; the sound was moved to the upper speakers. In addition to this, impulse-like sounds were amplified in order to highlight the dynamics as well as the polyphony of the piece. For this performance, a de-noised version of the audio was used (s. above). 4 speakers were positioned to form a rhombus around the audience. This disposition was doubled above, using a total of 8 speakers. The more impulse-like sounds were generally played on the lower speakers, while in passages using more reverberation; the sound was moved to the upper speakers. In addition to this, impulse-like sounds were amplified in order to highlight the dynamics as well as the polyphony of the piece.
 +
 +===Outlook===
 +In order to preserve the audio in the best quality, it would be important to study all the audio sources available at WDR and/or Schott, so that the appropriate source(s) for a new analogue to digital transfer could be determined. 
  
 ===Select bibliography=== ===Select bibliography===
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 Wehinger Rainer, Ligeti, György, //Artikulation: elektronische Musik: eine Hörpartitur von Rainer Wehinger//. Mainz: Schott, 1970 [Introduction, in German] Wehinger Rainer, Ligeti, György, //Artikulation: elektronische Musik: eine Hörpartitur von Rainer Wehinger//. Mainz: Schott, 1970 [Introduction, in German]
 +
 +===Documentation===
 +The audio items and documents mentioned in this report can be consulted upon request at ICST, Zurich and/or Paul Sacher Stiftung, Basel.
 +
  
  
artikulation.1443716843.txt.gz · Last modified: 2015/10/01 18:27 by lbennett