Chris,

As some of you know, I cut lots of masters every day for Vinyl Records (the large 12" black plastic music sources that can't be downloaded). Everyone wants theirs to be as loud as possible & I always try to make 'em as HOT as can be!

That's the story!
All The Best,
Don

Don, I do restoration a bit. Have you ever fixed cracked or bad really bad scratches? I've wondered if I person could take a magnifying glass and glue of some kind and repaired them. Is it possible?

Chris,

I suppose gluing a broken record back together is possible. I have never done such a thing, but I'd give it a try.

After that, I'd use some serious noise elimination device such as CEDAR to try to remove the (no doubt) loud click created at the joint. I have done some amaizing work with CEDAR, repairing masters from acetates (Frank Sinatra's first ever recording-1930's) & record stampers (Charles Mingus from the early 1940's) that seemed to be unplayable.

It all depends on how much time the client wanted to spend retrieving the program. In both the above cases, no other master existed & historical significance warrented the time involved.

Thanks Don, Wow, you've fixed some serious history! cool

I get a fair amount of metal plastic plated records too. Some are sooooOO bad parts ot the plastic are lifting and the odd one has sometimes i.e. an 1 inch crack. I avoid that area but have always wondered if it was at all possible to fix breaks etc. It's something I would like to get into. Do you know anyone at cedar?
Have you compared the new waves restoration plugins with cedar?

Thanks!
:c:

I had a schellac 78 of "mamie" circa 1920's Irving Berlin era...that was in excellent condition but cracked. First, I put it under a X100 Microscope and gently with the sharpened and honed tip of an exacto knife, worked in "ambroid" as a filler. (I cleaned all dust from the record first actually) As this filler dried, both sides, then I used the exacto to re-carve the grooves to make the break inaudible. It was good for a few plays actually.

I have worked with 32 bit dart pro and found unique settings and with EQ came up with stealler results. It helps to know the 78RPM RIAA curves as well. I recorded it from a true victrola with wooden horn using two B&K mics, then I also had another RE 20 separated across the room and delayed the B&K's a tad to compensate. During mastering using the 78 RPM RIAA, I had to use some boost in the 60hZ range and the 4K to get things lively. You would never know this 20's recording could sound so good!

DON!!!!

Congrads on the fine web site and banner!!!!!