{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/z60bv7cx4v/manifest","type":"Manifest","label":{"en":["Pink Noise and Hot Jazz: Restoration Techniques, Suite and Profound"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Doug Benson (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2009-05-29 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThe 2006 release of “King Oliver, Off the Record: The Complete 1923 Jazz Band Recordings” by the newly formed label ‘Off the Record’, was the fulfillment of a dream. For many years, I had desired to own a complete reissue of these important recordings, starting with clean original transfers and finishing with consistent, thoughtful restora­tions. As a commercial studio engineer for many years, I took a serious interest in doing my own remastering work after establishing a pen-pal friendship with the late John R. T. Davies, and began my new ‘career’ in 2004 with “The Complete Hit of the Week” series on Archeophone. In 2005, jazz musician and scholar David Sager joined the cru­sade, and ‘Off The Record’ was born. The King Oliver set has received many positive reviews for its sonic quality as well as a Grammy nomination for David’s accompanying essay. Although I made a majority of the transfers myself (including Marty Alexander’s unique copy of “Zulu’s Ball” and “Workingman Blues”) other engineers graciously supplied several submissions. In order to maintain a consistent timbre between those transfers and my own, (since they were made with differing cartridges and pre-amps) I began to experiment with a little-known method involving pink noise and compensatory equalization. I had only read about the method; but upon hearing its result, I was an instant convert. In this session I explain and demonstrate the ‘Pink Noise Method’ and other applications of contemporary and affordable software that I use in my work.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eThe 2006 release of \u0026ldquo;King Oliver, Off the Record: The Complete 1923 Jazz Band Recordings\u0026rdquo; by the newly formed label \u0026lsquo;Off the Record\u0026rsquo;, was the fulfillment of a dream. For many years, I had desired to own a complete reissue of these important recordings, starting with clean original transfers and finishing with consistent, thoughtful restora\u0026shy;tions. As a commercial studio engineer for many years, I took a serious interest in doing my own remastering work after establishing a pen-pal friendship with the late John R. T. Davies, and began my new \u0026lsquo;career\u0026rsquo; in 2004 with \u0026ldquo;The Complete Hit of the Week\u0026rdquo; series on Archeophone. In 2005, jazz musician and scholar David Sager joined the cru\u0026shy;sade, and \u0026lsquo;Off The Record\u0026rsquo; was born. The King Oliver set has received many positive reviews for its sonic quality as well as a Grammy nomination for David\u0026rsquo;s accompanying essay. Although I made a majority of the transfers myself (including Marty Alexander\u0026rsquo;s unique copy of \u0026ldquo;Zulu\u0026rsquo;s Ball\u0026rdquo; and \u0026ldquo;Workingman Blues\u0026rdquo;) other engineers graciously supplied several submissions. In order to maintain a consistent timbre between those transfers and my own, (since they were made with differing cartridges and pre-amps) I began to experiment with a little-known method involving pink noise and compensatory equalization. I had only read about the method; but upon hearing its result, I was an instant convert. In this session I explain and demonstrate the \u0026lsquo;Pink Noise Method\u0026rsquo; and other applications of contemporary and affordable software that I use in my work.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128429/file/240018","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2009_Benson_audio.mp3"]},"duration":2202.10431,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128429/file/240018/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128429/file/240018/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/018/original/ARSC_conf_2009_Benson_audio.mp3?1714689964","type":"Audio","format":"audio/mpeg","duration":2202.10431,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128429/file/240018","metadata":[]}]}],"annotations":[]}]}