castleofargh
Sound Science Forum Moderator
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because we're talking about the hiss generated on playback specifically. whatever noise came into the recording will be there to stay no matter what. once it's in the signal, there is not much to do about it(maybe gating if the noise is low enough compared to music).Thanks for that explanation. I can understand that boosting the signal just before reaching that moment, and probably most relevant in the mastering domain, but how does that work with a more general pre-emphasis, eg a linear boost/cut on some early CDs or the RIAA curve on LP playback (or Dolby NR for that matter)? For example, if we boost all the higher frequencies to deal with tape hiss, why wouldn't the hiss also be boosted and remain as is when reversed?
the idea of a pre-emphasis seems to be as I explained, you get the signal at a frequency much louder than it is, so that when your playback system generates noise at those frequencies, the music will hopefully be well above it in the resulting signal. and we de-emphasize after that noise crept in, but before the output, so the sound is back to it's original signature, but the noise is XdB below what it would have been if we had done nothing.
am I making any sense at all? ^_^
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