![]() We aimed at producing the lowest distortion and background noise and at the same time extracting the liveliest signal. Furthermore we employed around 20 different mono cartridges, mainly of the moving coil type, always trying to get the best match for each record individually. We used a studio record player and a purely analogue laser record player optimised for archival and restoration work. This included using both electro-magnetic and opto-electric playback of the record and trying out which method produced the best sounding result. Most of the noise was prevented before the signal entered the digital process. Once the milk is in the coffee it’s difficult to get it out again, noise and signal are linked in the same manner. ![]() It also enabled us to not apply any digital denoising which reduces the musical information. This severe selection process made it possible to use records with very low distortion, silent background noise and reduced damages. We needed around four, sometimes up to six records, per title in order to get a satisfying signal quality, discarding a lot of noisy records. We wanted exclusively to use the best condition shellac records available, preferably first issues. The present restoration project makes available as very high resolution downloads all 230 recordings of Juan D’Arienzo and his orchestra made at the RCA Victor Studios in Buenos Aires between 19.
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