From: mcmurtrie@pixelmemory.us   
      
   In article <4c539db6$0$20734$afc38c87@news.optusnet.com.au>,   
    "Mr.T"  wrote:   
      
   > "Dick Pierce"  wrote in message   
   > news:i2ugta$sgn$2@speranza.aioe.org...   
   > > Sure. Go down to your local radio shack. Buy a couple of   
   > > small signal diodes. Put 'em on the output of your player.   
   > >   
   > > Or, unglue the surrounds of your speakers, misalign them and   
   > > reglue them.   
   > >   
   > > Or, write a simple little program that simply resamples at   
   > > a higher rate with no filtering at all. It's real simple   
   > > to do. Or just take every sample and square it or take   
   > > its square root, or some other non-linear function.   
   > >   
   > > All three methods will generate predictable high frequencies   
   > > where there were none before. All three are absolutely   
   > > garaunteed to do a half-ass job of it. Thus, all three   
   > > would meet what seems to be one of your most important   
   > > requirements.   
   >   
   >   
   > For once I disagree with you Dick. Good spectral synthesis will sound a lot   
   > better than simple harmonic distortion. Whether it sounds any better than   
   > the original (B/W limited version) is definitely another matter and purely   
   > *subjective* of course. But let's not forget how popular the Aphex Aural   
   > Exciter once was, and it's a lot easier to do a far better job these days   
   > with digital techniques. (and yes I know it uses phase shifting etc. as well   
   > as spectral synthesis, but the point remains I think that what *some* people   
   > consider an "improvement" can be achieved, if that's all he is after)   
   >   
   > MrT.   
      
   Tonal sound processors are about matching levels between frequency   
   spectrums in a way that sounds pleasing.  They can also inject a   
   synthesized sound or distortion that tracks a selected component of the   
   input.  One processor is tuned specifically for one source of the music   
   - one for lead vocals, one or more for backing vocals, one for bass, one   
   for drums, etc.  These processors can't do anything that sounds good on   
   a final mix.   
      
   As far as half-assed solutions go, over-enhancement plus modulated high   
   frequency random noise does a good job at tricking humans.  It works on   
   photos, videos, voice, and music.   
      
   I forgot where I saw it, but there was a software research project that   
   would attempt to recognize musical components and repair damage using a   
   library of samples.  I suspect it needed tedious amounts of human input   
   and still produced flaws where the human misjudged art for damage.   
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