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Osvaldo Fresedo — Firulete (1922)
One of the noisiest tracks in our collection — a 1922 acoustic-era recording with severe surface noise. Compare the original, the AI-restored version, and several postprocessing combinations to hear what each option adds.
All postprocessed versions start from the same AI-restored base. The AI noise removal is identical in every version — only the postprocessing differs. Listen and pick your favorite.
Source
Unprocessed acoustic recording with heavy shellac surface noise, limited bandwidth, and no bass below ~200 Hz.
AI Restored
ML noise removal (Mol2 + Demucs). Mono output, normalized to -16 LUFS. This is what the AI produces before any postprocessing.
Postprocessing Options
Haas stereo widening (100%). Creates spatial depth from the mono source — instruments feel more spread out.
Adds gentle 1.5:1 dynamic compression. Evens out volume differences — better for dancing in a milonga.
Adds a harmonic exciter (1.0). Generates subtle high-frequency overtones that bring sparkle and presence to the treble range.
Pitch-tracked harmonic restoration (medium). Detects fundamental frequencies and synthesizes missing overtones for richer instrument timbre.
Stereo (120%) + compression (1.5:1) + exciter (1.0) + harmonics (medium). A balanced combination of all enhancements.
Wide stereo (150%) + firm compression (1.8:1) + subtle exciter (0.5) + louder (-14 LUFS). Tuned for PA systems at milongas.