If the number of records is anything other than small, do one or two of them and only afterwards decide what level of care you're prepared to take. It's easily possible to spend huge mountains of time in the "twiddle" stage of the rip-twiddle-burn cycle.
E.g, say you rely on your recording software to split tracks for you by detecting x amount of silence. Are you going to check all the tracks and further split the ones that are run together (maybe there was no silence between them)?
I use CoolEdit 2000 from Syntrillium for this kind of thing an amature restoration work. It's $69 and requires Windows. It has a lot of nice features for twiddling, including noise reduction. For clicks and pops, they have their Audio Cleanup Plug-in ($49) which can remove a fair amount of crackle/clicks/pops automatically (check the forums on their web site), though don't expect perfection. The quality of the results will be proportional to the amount of hands-on time you spend with each individual piece.
By the way, you'll probably get less noise if you record throught the line in on your card, as opposed to the microphone input.
Lots of things to get confused about in the Electronic Musician article beyond the obviously wrong break-even point for the label. I'd look elsewhere for music biz education. Perhaps there's more in the print version? Off the top of my head:
Initially they refer to the "$250,000 advance" but later to the "$500,000 advance". They imply but don't state that promotion costs are also recoupable from artist royalties.
The assumed $2.25 per unit payment to the artist becomes $1.80 (down 20%) without explanation. The 3% producer's cut they mention leaves the artist around $2.18.
We seem to be talking major label here, so it's silly to ignore who bears the cost of video production.
No mention of the reduced royalties, both artist's and mechanical, for foreign sales. I hear figures like 50%.
No mention of half royalties for record club sales--zero royalties if your record is a 13-for-one-cent selection.
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E.g, say you rely on your recording software to split tracks for you by detecting x amount of silence. Are you going to check all the tracks and further split the ones that are run together (maybe there was no silence between them)?
I use CoolEdit 2000 from Syntrillium for this kind of thing an amature restoration work. It's $69 and requires Windows. It has a lot of nice features for twiddling, including noise reduction. For clicks and pops, they have their Audio Cleanup Plug-in ($49) which can remove a fair amount of crackle/clicks/pops automatically (check the forums on their web site), though don't expect perfection. The quality of the results will be proportional to the amount of hands-on time you spend with each individual piece.
By the way, you'll probably get less noise if you record throught the line in on your card, as opposed to the microphone input.
Lots of things to get confused about in the Electronic Musician article beyond the obviously wrong break-even point for the label. I'd look elsewhere for music biz education. Perhaps there's more in the print version? Off the top of my head:
Initially they refer to the "$250,000 advance" but later to the "$500,000 advance". They imply but don't state that promotion costs are also recoupable from artist royalties.
The assumed $2.25 per unit payment to the artist becomes $1.80 (down 20%) without explanation. The 3% producer's cut they mention leaves the artist around $2.18.
We seem to be talking major label here, so it's silly to ignore who bears the cost of video production.
No mention of the reduced royalties, both artist's and mechanical, for foreign sales. I hear figures like 50%.
No mention of half royalties for record club sales--zero royalties if your record is a 13-for-one-cent selection.