There is no audio modification regarding pitch correction or Autotune whatsoever done on them. There are only two occasions where the audio is modified. One is if the source video has a muddy audio track, then I source the version of the audio that the video uses, whether it's the album version, the single version or sometimes a video version that contains overdubbed dialogue or sound effects that was produced exclusively for the video. The only other modification that might be done is if there are slight playback sync issues where I may have to slightly stretch or compress the length of the new audio to match the audio being replaced. IF this happens, it's in the region of milliseconds and even then, the original pitch is retained via my Fairlight console. Hope this answers your questions.

@@CrosscutFilmsSask Yes, and thank-you very much for your quick response. Your answer is music to my ears, indeed! Nowadays, the music industry standard of applying pitch correction and/or auto-tuning to natural voices regardless of how beautiful those unedited (by changing pitch) natural voices sound is sucking the life out of modern recordings and re-releases of our classic favourites. It's as if the producers and sound engineers of today aren't hearing songs anymore with their ears but rather feel the need to see music with their eyes using the available technology to put the notes "perfectly" on the lines of a 440Hz standard tuning graph, rendering a great singer's voice devoid of personality, artistic expression and emotional storytelling. Sadly, we seem to be on a trajectory spiraling downward that ends with no real music ... no natural and unique voices and all singers sounding the same. I was listening to a radio station the other day that plays the hits of today and oldies. It is striking how all the new stuff sounds emotionless. Anyway, I am so happy to know that Crosscut Films does not apply this pervasive and destructive technology and I will be very happy to spread the word about that. You might also consider making a statement on all of these videos that what listeners are hearing are the natural voices of singers, unedited by pitch correction or Autotune. Thanks again!

I would like to add that 99% of my time is spent on restoration of the video itself. Aside from a four or sometimes five step process in superscaling the picture, I will go through the entire video frame by frame, endeavouring to remove flaws that exist, most often specks of dust creating flaws in the picture. There is software that removes these automatically but sometimes it can be a little heavy handed, deleting details from the video but can also introduce weird blurring artifacts from motion. Going frame by frame allows me to manually use a tool that will remove dust specks by either cloning the same few pixels from an adjacent frame or cloning a few neighbouring pixels from the same frame. Some videos are worse than others in that aspect - Coney Hatch's "Fantasy" was an absolute nightmare to clean as were some of the Helix videos. It's too bad that some record companies and rights-holders just seem to take a standard definition video dub, upload it to KZfaq, brush their hands and say, "that's that", assuming that's good enough. No, this is an artist's musical legacy we're talking about. Look at Bon Jovi for example. The video for "Livin' on a Prayer" was originally sent out on standard definition 480i videotapes to MuchMusic, MTV, Friday Night Videos, etc and aired on our standard definition TVs and we loved it - because we didn't know any better. Sadly, some videos, the vast majority of which were actually shot on film, now only have digitized copies of the videotape. A music video originally shot on 16mm film translates in the digital world to about 2K whereas a performance shot on 35mm film works out to about 5K worth of visual information. I brought up Bon Jovi because their old music videos were digitized from the original film scans so they're already in 4K and look incredible. Sadly, a lot of film prints of videos, especially Canadian videos, weren't archived so are lost forever. I was chatting with a member of Toronto who said they shot a music video that was aired back in the day but all the original copies were either destroyed or the tapes were erased for reuse so the video is lost to history. Really, really sad. Another hurdle I face is having to work with copies of videos already on the web and have to deal with the compression from the uploader and hosting service. Sometimes I can find clean versions in weird places - I've found good copies on obscure Romanian or Russian sites but these come with dangers of downloading god knows what onto my machine. I would LOVE to get my hands on some good digitized copies to work with.

@@CrosscutFilmsSask First off, may I just say that this wonderfully non-brief explanation is precisely what these comments sections should be all about - passionate people talking about what matters! Of course, it has raised another question in my mind ... which I'll get to a bit later. Before I do, just want to say how much I appreciate your efforts at restoring these precious videos and that goes quadruple for PRiSM and Helix! :)

Gran trabajo maestra, gracias a personas como tú el rock nunca morirá, felicitaciones! ❤