Interviews

Jamie Howarth bonus: Behind the Gear with Plangent Processes

A while back I was working on a restoration process for an album that was long out of print. The only materials I had to work from were a ridiculously scratched vinyl LP and some 7-inch reference reels from the original session. When I played back the reels, I was horrified by the obvious pitch fluctuations on the tapes — it was enough to make me queasy. I recalled that I'd met Jamie Howarth, of Plangent Processes, some time before; given a basic understanding of his revolutionary technique, I assumed he could fix my problem. It worked. The process basically uses recovery of the bias tone off analog recordings to "realign" the audio to the state it was in while being tracked or mixed. Jamie's Plangent Process has helped restore recordings of Woody Guthrie, the Grateful Dead, and Neil Young, as well as solving many film audio problems. I had to learn more about this, and wanted others to know that this service is available, so I tracked down Jamie and picked his brain.

Jamie Howarth
Plangent Process Diagram

Plangent Processes:

I guess everybody by now probably knows how our process works — it's a wide-band head, wide-band preamp, custom-made stuff that we're more than happy to sell, which tracks the bias on the tape, which is 150,000 cycles per second. Usually it was recorded with an oscillator that is way more stable than the transport was. When you get into the quartz oscillators that you see in the MCI, Studer, and later decks, it's pretty awesome how stable they are and how much worse the transport is. I don't think that people realized how much residual wow we were sensitive to. You go back and listen to these things, and it's actually pretty remarkable when one of them has been de-wowed/de-fluttered how much was actually there that we were willing to accept, and how much that we thought was inaudible. The history of audio is filled with things that were thought to be inaudible.

Early Digital Audio: