[Tom Jancauskas]

Hey all,

I have an interesting question. I hope someone can help. Is there a hard
ware software product out there that can help with recognizing the proper
speed/pitch of a voice?

I am working on a record transfer project for a client of mine. All spoken
word sermons given by the same person. They have been recorded over a period
of about 15 years from 1951 on.

The problem is this;
They are saying that the recorded speed of the original master that the
record was cut from isn't quite the right pitch. Some are slower & some are
faster depending on the gear used at the time.

I have set up the turntable with a strobe disc to ensure correct playback
speed stated on the record for transfer, but they want Her to have the same
sound/pitch of her voice across all titles. Is there something I can use to
detect the "correct" speed?

They have given me a reference to follow, but I'm not able to tell for sure
by ear what it should be. There seems to be minute differences that they are
detecting.

BTW there are over 900 titles to be done.

Thanks to all
- Tom
--
Tom Jancauskas
Imedia

[Scott Dorsey]

Tom Jancauskas wrote:

I have an interesting question. I hope someone can help. Is there a hard
ware software product out there that can help with recognizing the proper
speed/pitch of a voice?

Not really.

The problem is this;
They are saying that the recorded speed of the original master that the
record was cut from isn't quite the right pitch. Some are slower & some are
faster depending on the gear used at the time.

Yes, this happens. And some of them may start out sharp and wind up
flat by the end of the disc.

I have set up the turntable with a strobe disc to ensure correct playback
speed stated on the record for transfer, but they want Her to have the same
sound/pitch of her voice across all titles. Is there something I can use to
detect the "correct" speed?

Not really.

They have given me a reference to follow, but I'm not able to tell for sure
by ear what it should be. There seems to be minute differences that they are
detecting.

Who are "they" and do they have perfect pitch and are they willing to help
out?

BTW there are over 900 titles to be done.

If they are all on the same media recorded on the same equipment you may be
able to save some time. You give them the choice of the rough unattended
transfer or the carefully attended transfer.... needless to say there is an
order of magnitude or two difference in price between them.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Arny Krueger]

"Tom Jancauskas" wrote in message
...
Hey all,

I have an interesting question. I hope someone can help. Is there a hard
ware software product out there that can help with recognizing the proper
speed/pitch of a voice?

I am working on a record transfer project for a client of mine. All spoken
word sermons given by the same person. They have been recorded over a
period
of about 15 years from 1951 on.

The problem is this;
They are saying that the recorded speed of the original master that the
record was cut from isn't quite the right pitch. Some are slower & some
are
faster depending on the gear used at the time.

I have set up the turntable with a strobe disc to ensure correct playback
speed stated on the record for transfer, but they want Her to have the
same
sound/pitch of her voice across all titles. Is there something I can use
to
detect the "correct" speed?

They have given me a reference to follow, but I'm not able to tell for
sure
by ear what it should be. There seems to be minute differences that they
are
detecting.

People who transcribe historical recordings do this all the time by
measuring the frequency of a known note in the recording, using FFT spectrum
analysis features built into most modern audio editing software.

[Tom Jancauskas]

in article , Scott Dorsey at
wrote on 4/19/07 12:52 PM:

Tom Jancauskas wrote:

I have an interesting question. I hope someone can help. Is there a hard
ware software product out there that can help with recognizing the proper
speed/pitch of a voice?

Not really.

The problem is this;
They are saying that the recorded speed of the original master that the
record was cut from isn't quite the right pitch. Some are slower & some are
faster depending on the gear used at the time.

Yes, this happens. And some of them may start out sharp and wind up
flat by the end of the disc.

I have set up the turntable with a strobe disc to ensure correct playback
speed stated on the record for transfer, but they want Her to have the same
sound/pitch of her voice across all titles. Is there something I can use to
detect the "correct" speed?

Not really.


I figured as much. I wanted to make sure there wasn't something I missed. I
don't have any problem with the speed variation, as it sounds like the
person that I have heard all along. This subject has just come up after
transferring 400 of the titles. Apparently it was a "known issue" that was
never brought up until now.


They have given me a reference to follow, but I'm not able to tell for sure
by ear what it should be. There seems to be minute differences that they are
detecting.

Who are "they" and do they have perfect pitch and are they willing to help
out?


"they" are the the contact person from this church who is in charge of the
archive, and a board of directors that doesn't quite know anything audio,
but one particular person on the board HAS to be involved even though they
shouldn't be.

As far as perfect pitch - I don't know. The "rules of the game" have changed
many times for this project. Between wanting many different output formats,
changing their minds about which ones, first asking for a straight transfer,
then changing to wanting ALL the noise removed, then wanting the pitch
corrected.... It just goes on& on. I am getting paid - but to have to go
back & redo the entire catalog each time a "decision" is made....

They want it done quickly (of course) and if this guy was involved more - it
would take FOREVER! They don't even want to spend the time/money on a proper
record cleaning! Good money after bad I guess.

Anyway, I thought I'd just have to do it by ear. Which is fine.

BTW there are over 900 titles to be done.

If they are all on the same media recorded on the same equipment you may be
able to save some time. You give them the choice of the rough unattended
transfer or the carefully attended transfer.... needless to say there is an
order of magnitude or two difference in price between them.
--scott


Thanks Scott. I am well aware of this at this point. Great advice as always.

--
Tom Jancauskas
Imedia

[Tom Jancauskas]

in article , Arny Krueger at
wrote on 4/19/07 12:58 PM:

Is there something I can use
to
detect the "correct" speed?

They have given me a reference to follow, but I'm not able to tell for
sure
by ear what it should be. There seems to be minute differences that they
are
detecting.

People who transcribe historical recordings do this all the time by
measuring the frequency of a known note in the recording, using FFT spectrum
analysis features built into most modern audio editing software.


I'll have to try that. I have FFT in the program I use.

Thanks

--
Tom Jancauskas
Imedia

[Scott Dorsey]

Tom Jancauskas wrote:
I figured as much. I wanted to make sure there wasn't something I missed. I
don't have any problem with the speed variation, as it sounds like the
person that I have heard all along. This subject has just come up after
transferring 400 of the titles. Apparently it was a "known issue" that was
never brought up until now.

Think of this as a way to bill more money.

They have given me a reference to follow, but I'm not able to tell for sure
by ear what it should be. There seems to be minute differences that they are
detecting.

Who are "they" and do they have perfect pitch and are they willing to help
out?

"they" are the the contact person from this church who is in charge of the
archive, and a board of directors that doesn't quite know anything audio,
but one particular person on the board HAS to be involved even though they
shouldn't be.

Well, if they want to go back and redo the existing transfers and they have
a few tens of thousands of dollars to go back and do it carefully and
individually for hundreds of discs, give them that option.

As far as perfect pitch - I don't know. The "rules of the game" have changed
many times for this project. Between wanting many different output formats,
changing their minds about which ones, first asking for a straight transfer,
then changing to wanting ALL the noise removed, then wanting the pitch
corrected.... It just goes on& on. I am getting paid - but to have to go
back & redo the entire catalog each time a "decision" is made....

That's fine. Bill by the hour and this sort of customer can be your
biggest friend. Pennywise and pound foolish.

They want it done quickly (of course) and if this guy was involved more - it
would take FOREVER! They don't even want to spend the time/money on a proper
record cleaning! Good money after bad I guess.

If they want a noisy transfer from a dirty record, that's fine. They'll want
to go back and do it again later at $250/crack. As long as you can bill
the time, do whatever they want.

Anyway, I thought I'd just have to do it by ear. Which is fine.

The one good thing you can do is look for 60 Hz hum on the original and
lock to that. That can sometimes be a real timesaver.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[jakdedert]

Tom Jancauskas wrote:
in article , Arny Krueger at
wrote on 4/19/07 12:58 PM:

Is there something I can use
to
detect the "correct" speed?

They have given me a reference to follow, but I'm not able to tell for
sure
by ear what it should be. There seems to be minute differences that they
are
detecting.
People who transcribe historical recordings do this all the time by
measuring the frequency of a known note in the recording, using FFT spectrum
analysis features built into most modern audio editing software.


I'll have to try that. I have FFT in the program I use.

Thanks

You might get 'lucky' and have some 60Hz (or 50Hz, depending on the part
of the world you're in) hum in the recordings. That would give you a
pretty air-tight reference.

jak

[jakdedert]

Scott Dorsey wrote:
snip

The one good thing you can do is look for 60 Hz hum on the original and
lock to that. That can sometimes be a real timesaver.
--scott
Oops...should have read to the end of the thread before I gave the same
advice.....

jak

[Tom Jancauskas]

in article , Scott Dorsey at
wrote on 4/19/07 1:19 PM:

Anyway, I thought I'd just have to do it by ear. Which is fine.

The one good thing you can do is look for 60 Hz hum on the original and
lock to that. That can sometimes be a real timesaver.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."


Yep - they are getting billed by the hour regardless of the changes &
re-transferres they do. I have mentioned to them about the proper way to do
it, but they want to plow on regardless. This whole project will be a good
chunk of income this year!

I know to bill 'em (and can) for all of the time I am putting in , but I
can't help to think they could be saving so much money to do it right the
first time...

My conscience is getting in the way again.... Back to the project! Keep
those hours pilling up!

Brilliant idea on the 60hz hum. There is some on the master. I'll have to
check that. Thanks!

- Tom
--
Tom Jancauskas
Imedia

[Tom Jancauskas]

in article , jakdedert at
wrote on 4/19/07 2:39 PM:

Scott Dorsey wrote:
snip

The one good thing you can do is look for 60 Hz hum on the original and
lock to that. That can sometimes be a real timesaver.
--scott
Oops...should have read to the end of the thread before I gave the same
advice.....

jak
Yeah - Scott beat you to it!

I'll try it & see what happens.
--
Tom Jancauskas
Imedia

[Scott Dorsey]

Tom Jancauskas wrote:

I know to bill 'em (and can) for all of the time I am putting in , but I
can't help to think they could be saving so much money to do it right the
first time...

All you can do is tell them that.

My philosophy is to set my rates higher than any of the competition and
then to make sure the customer gets what he's paying for. It sure sounds
like he is getting more than they paid for in this case.

Brilliant idea on the 60hz hum. There is some on the master. I'll have to
check that. Thanks!

There is a process from Plangent Technologies that can find all sorts of
parasitic noises and lock to them to reduce wow and flutter. It is very
expensive but is pretty amazing. Barring that there is always a frequency
counter and a parametric eq.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Arny Krueger]

"Scott Dorsey" wrote in message
...
Tom Jancauskas wrote:

I know to bill 'em (and can) for all of the time I am putting in , but I
can't help to think they could be saving so much money to do it right the
first time...

All you can do is tell them that.

My philosophy is to set my rates higher than any of the competition and
then to make sure the customer gets what he's paying for. It sure sounds
like he is getting more than they paid for in this case.

Brilliant idea on the 60hz hum. There is some on the master. I'll have to
check that. Thanks!

There is a process from Plangent Technologies that can find all sorts of
parasitic noises and lock to them to reduce wow and flutter.

That only makes sense if the speed error is varying.

A steady-state speed errror such as the OP seems to be describing is not.

It is very expensive but is pretty amazing. Barring that there is always
a frequency
counter and a parametric eq.

That gets rid of the hum, but not the speed error.

Here's how to correct a speed error in the digital domain:

Using a program that allows you to adjust the sample rate in the header of a
file without resampling it, change the sample rate by the desired amount.

Then resample the file back to its original sample rate.

I know that Audition/CEP will do this, and I believe that Audacity will do
it as well. With other software, YMMV.

For example if you take a file that is sampled at 44,100 Hz and adjust the
sample rate in its header to 88,200 Hz, and then resample it back to 44,100
Hz, a 1.00 KHz tone in the file will now have a frequency of 2.00 KHz.

This process generally runs as fast and produces as few artifacts as any.
Some programs encapsulate it in a function that changes pitch and tempo
together.

[Paul Stamler]

"Tom Jancauskas" wrote in message
...

I am working on a record transfer project for a client of mine. All spoken
word sermons given by the same person. They have been recorded over a
period
of about 15 years from 1951 on.

The problem is this;
They are saying that the recorded speed of the original master that the
record was cut from isn't quite the right pitch. Some are slower & some
are
faster depending on the gear used at the time.

I have set up the turntable with a strobe disc to ensure correct playback
speed stated on the record for transfer, but they want Her to have the
same
sound/pitch of her voice across all titles. Is there something I can use
to
detect the "correct" speed?

Do you have Adobe Audition or something similar? If so, do a frequency
analysis of a quiet spot and look for 60Hz hum. If it's not 60Hz correct the
speed until it is.

That's not a perfect method by any means (it depends on where the hum came
from and on the constancy of the 60Hz signal from the power company) but it
might give you a starting point.

It's also worth remembering, though, that voices tend to get lower pitched
as we age, so maybe they *shouldn't* all sound the same.

Peace,
Paul

[ChristopheRonald]

i myself would use native instruments traktor. its a dj program, but
the timestretching is very nice on a good computer. you can change the
tempo without changing the pitch, and you can change the pitch a
certain amount and lock it to that pitch and then slow it down and
speed it up.

there are probably other programs that have good qualities such as
this, but the only one ive used is traktor. im sure someone else will
respond soon with a cheaper program to do this

[Arny Krueger]

"ChristopheRonald" wrote in message
oups.com...
i myself would use native instruments traktor. its a dj program, but
the timestretching is very nice on a good computer. you can change the
tempo without changing the pitch, and you can change the pitch a
certain amount and lock it to that pitch and then slow it down and
speed it up.

This turns out to be exactly what is *not* necessary in this case. When a
recording is made at an odd speed, you need to change both pitch and tempo
proportionately.

[Tom Jancauskas]

in article , Arny Krueger at
wrote on 4/19/07 6:12 PM:

There is a process from Plangent Technologies that can find all sorts of
parasitic noises and lock to them to reduce wow and flutter.

That only makes sense if the speed error is varying.

A steady-state speed errror such as the OP seems to be describing is not.

It is very expensive but is pretty amazing. Barring that there is always
a frequency
counter and a parametric eq.

That gets rid of the hum, but not the speed error.

Here's how to correct a speed error in the digital domain:

Using a program that allows you to adjust the sample rate in the header of a
file without resampling it, change the sample rate by the desired amount.

Then resample the file back to its original sample rate.

I know that Audition/CEP will do this, and I believe that Audacity will do
it as well. With other software, YMMV.

For example if you take a file that is sampled at 44,100 Hz and adjust the
sample rate in its header to 88,200 Hz, and then resample it back to 44,100
Hz, a 1.00 KHz tone in the file will now have a frequency of 2.00 KHz.

This process generally runs as fast and produces as few artifacts as any.
Some programs encapsulate it in a function that changes pitch and tempo
together.


I have something to that effect in Samplitude. I just didn't have a way to
find a reference pitch. Now with the idea of looking at the 60hz noise, I
MAY have a shot at this without spending a ton of time.

I currently have a test disc for them to approve that I did to see if I am
on the right track.

We'll see what they say about it & go from there. I'll post an update when I
know more.
--
Tom Jancauskas
Imedia

[Tom Jancauskas]

in article , Paul
Stamler at wrote on 4/20/07 1:49 AM:

Do you have Adobe Audition or something similar? If so, do a frequency
analysis of a quiet spot and look for 60Hz hum. If it's not 60Hz correct the
speed until it is.


As advised by others too. I'll give it a shot.


That's not a perfect method by any means (it depends on where the hum came
from and on the constancy of the 60Hz signal from the power company) but it
might give you a starting point.

It's also worth remembering, though, that voices tend to get lower pitched
as we age, so maybe they *shouldn't* all sound the same.


I brought this point up & they know this fact & don't care. They want it to
sound the same. Interesting client.... More money than sense apparently.



--
Tom Jancauskas
Imedia

[Arny Krueger]

"Tom Jancauskas" wrote in message
...
in article , Arny Krueger at
wrote on 4/19/07 6:12 PM:

There is a process from Plangent Technologies that can find all sorts of
parasitic noises and lock to them to reduce wow and flutter.

That only makes sense if the speed error is varying.

A steady-state speed errror such as the OP seems to be describing is not.

It is very expensive but is pretty amazing. Barring that there is
always
a frequency
counter and a parametric eq.

That gets rid of the hum, but not the speed error.

Here's how to correct a speed error in the digital domain:

Using a program that allows you to adjust the sample rate in the header
of a
file without resampling it, change the sample rate by the desired amount.

Then resample the file back to its original sample rate.

I know that Audition/CEP will do this, and I believe that Audacity will
do
it as well. With other software, YMMV.

For example if you take a file that is sampled at 44,100 Hz and adjust
the
sample rate in its header to 88,200 Hz, and then resample it back to
44,100
Hz, a 1.00 KHz tone in the file will now have a frequency of 2.00 KHz.

This process generally runs as fast and produces as few artifacts as any.
Some programs encapsulate it in a function that changes pitch and tempo
together.

I have something to that effect in Samplitude. I just didn't have a way to
find a reference pitch. Now with the idea of looking at the 60hz noise, I
MAY have a shot at this without spending a ton of time.

Yes, getting something that started out as the power line frequency, back to
being the power line frequency, would be good.

That was a good suggestion from the people who made it. With a narrow-band
FFT you can almost always find traces of the power line in a recording to
work with.

Acoustic recordings and recordings made on battery-powered equipment might
be exceptions.

[Scott Dorsey]

Tom Jancauskas wrote:
in article , Arny Krueger at
wrote on 4/19/07 6:12 PM:

There is a process from Plangent Technologies that can find all sorts of
parasitic noises and lock to them to reduce wow and flutter.

That only makes sense if the speed error is varying.

A steady-state speed errror such as the OP seems to be describing is not.

There is always some varying speed error, though. But yes, fixing the
wow and flutter is much more expensive than fixing a static speed change.

It is very expensive but is pretty amazing. Barring that there is always
a frequency
counter and a parametric eq.

That gets rid of the hum, but not the speed error.

No, it lets you know what the speed error is. You peak the parametric
around 60 Hz, then read the output with the counter. Then you adjust the
speed of the table until the number on the counter falls right on 60 Hz.

I have something to that effect in Samplitude. I just didn't have a way to
find a reference pitch. Now with the idea of looking at the 60hz noise, I
MAY have a shot at this without spending a ton of time.

You can do it after the transcription, but the problem is that you then
wind up having to do sample rate conversion between fairly close sample
rates, which is a difficult thing to do well. Also, of course, it's hard
to deal with error that varies from the beginning to the end of the disc.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Arny Krueger]

"Tom Jancauskas" wrote in message
...
in article , Arny Krueger at
wrote on 4/19/07 6:12 PM:

Here's how to correct a speed error in the digital domain:

Using a program that allows you to adjust the sample rate in the header
of a
file without resampling it, change the sample rate by the desired amount.

Then resample the file back to its original sample rate.

I know that Audition/CEP will do this, and I believe that Audacity will
do
it as well. With other software, YMMV.

For example if you take a file that is sampled at 44,100 Hz and adjust
the
sample rate in its header to 88,200 Hz, and then resample it back to
44,100
Hz, a 1.00 KHz tone in the file will now have a frequency of 2.00 KHz.

This process generally runs as fast and produces as few artifacts as any.
Some programs encapsulate it in a function that changes pitch and tempo
together.

I have something to that effect in Samplitude.

If you can't get it to work there, I just found out that you can do this
sort of thing in the freeware program Audacity.

I just didn't have a way to find a reference pitch.

Audacity's built-in FFT analyzer can be used to determine frequency.
However you have to set the FFT size to max (16k) and log frequency plot to
get a useful plot.

Click the audio track's property pull-down for "set rate" and use the
"other" option to set the exact new sample frequency.

When you export the file at the same sample rate as you imported it,
Audacity automagically resamples the file, and you end up with a
frequency-corrected file.

[Tom Jancauskas]

in article , Scott Dorsey at
wrote on 4/20/07 8:52 AM:

There is always some varying speed error, though. But yes, fixing the
wow and flutter is much more expensive than fixing a static speed change.

It is very expensive but is pretty amazing. Barring that there is always
a frequency
counter and a parametric eq.

That gets rid of the hum, but not the speed error.

No, it lets you know what the speed error is. You peak the parametric
around 60 Hz, then read the output with the counter. Then you adjust the
speed of the table until the number on the counter falls right on 60 Hz.


That's how I was going to go about after you initial suggestion.



I have something to that effect in Samplitude. I just didn't have a way to
find a reference pitch. Now with the idea of looking at the 60hz noise, I
MAY have a shot at this without spending a ton of time.

You can do it after the transcription, but the problem is that you then
wind up having to do sample rate conversion between fairly close sample
rates, which is a difficult thing to do well. Also, of course, it's hard
to deal with error that varies from the beginning to the end of the disc.
--scott

I have about 1/2 of the project already transferred to the computer as
unprocessed wave files so I can go back & tweak what I've already done. I
would start adjusting the turntable speed after I get caught back up with
what has been transferred already.

That's the plan anyway. They'll change their minds again I'm sure.

--
Tom Jancauskas
Imedia

[[email protected]]

On Thu, 19 Apr 2007 17:41:14 GMT, Tom Jancauskas
wrote:

Hey all,

I have an interesting question. I hope someone can help. Is there a hard
ware software product out there that can help with recognizing the proper
speed/pitch of a voice?

I am working on a record transfer project for a client of mine. All spoken
word sermons given by the same person. They have been recorded over a period
of about 15 years from 1951 on.

The problem is this;
They are saying that the recorded speed of the original master that the
record was cut from isn't quite the right pitch. Some are slower & some are
faster depending on the gear used at the time.

I have set up the turntable with a strobe disc to ensure correct playback
speed stated on the record for transfer, but they want Her to have the same
sound/pitch of her voice across all titles. Is there something I can use to
detect the "correct" speed?

They have given me a reference to follow, but I'm not able to tell for sure
by ear what it should be. There seems to be minute differences that they are
detecting.

BTW there are over 900 titles to be done.

Thanks to all
- Tom

After reading the whole thread, I applaud you on your patience. My
wife is a minister and I know how church committees can be.
I understand that this is a big chunk of change, but if it were me I'd
be tempted to tell them that there is only one sermon here they need
to hear, and it is on one of the Buddha's noble truths Impermanence.

The recording devices have change constantly as well as the the medium
degrading undoubtedly the minister voice has altered with the years
and clearly the committee keeps changing their minds.

All things are constantly changing!

I think I'd get the person complaining to pick one recording that
sound in pitch and get a sense of the proper pitch, then tune them by
ear to as close to the mark as possible. If the pitch is altered then
it is undoubtedly because the speed is off so adjusting it should put
it all right. Then you can clean up the noise.
But That's just me I figure if it's clearly audible and sounds like
the right person, it should be enough to get the important thing which
is the sermon.

[Tom Jancauskas]

in article , at
wrote on 4/20/07 2:15 PM:

After reading the whole thread, I applaud you on your patience. My
wife is a minister and I know how church committees can be.
I understand that this is a big chunk of change, but if it were me I'd
be tempted to tell them that there is only one sermon here they need
to hear, and it is on one of the Buddha's noble truths Impermanence.

The recording devices have change constantly as well as the the medium
degrading undoubtedly the minister voice has altered with the years
and clearly the committee keeps changing their minds.

All things are constantly changing!

I was actually pretty impressed with what the recordings sounded like,
especially for the time they were recorded.

I forgot to mention that these recordings were done all over the country in
all different churches. So there is another variable.

The gear seems to be consistent over the years though, with about 3
variations in gear as far as I can tell.


I think I'd get the person complaining to pick one recording that
sound in pitch and get a sense of the proper pitch, then tune them by
ear to as close to the mark as possible. If the pitch is altered then
it is undoubtedly because the speed is off so adjusting it should put
it all right.


This is what they are currently asking for. They have already given me a ref
of what they want her to sound like EQ level & pitch wise, but the ref
sounds atrocious & doesn't have all of the "fire & brimstone" of some of her
sermons so the voice changes timber on the others & is interesting to try &
match the ref.


Then you can clean up the noise.
But That's just me I figure if it's clearly audible and sounds like
the right person, it should be enough to get the important thing which
is the sermon.


The records vary in quality from pretty good to " I think someone played
this on a close & play & used a toenail as a stylus!"

So there are lots o' factors in play.

Thanks for your input.

--
Tom Jancauskas
Imedia

[Scott Dorsey]

Tom Jancauskas wrote:
The gear seems to be consistent over the years though, with about 3
variations in gear as far as I can tell.

This is what they are currently asking for. They have already given me a ref
of what they want her to sound like EQ level & pitch wise, but the ref
sounds atrocious & doesn't have all of the "fire & brimstone" of some of her
sermons so the voice changes timber on the others & is interesting to try &
match the ref.

Aimee Semple MacPherson?
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Tom Jancauskas]

in article , Scott Dorsey at
wrote on 4/21/07 8:11 AM:

The gear seems to be consistent over the years though, with about 3
variations in gear as far as I can tell.

This is what they are currently asking for. They have already given me a ref
of what they want her to sound like EQ level & pitch wise, but the ref
sounds atrocious & doesn't have all of the "fire & brimstone" of some of her
sermons so the voice changes timber on the others & is interesting to try &
match the ref.

Aimee Semple MacPherson?
--scott

Nope. Mrs. G.W. Ballard.

--
Tom Jancauskas
Imedia