"The Immortal Voice" cir 1923 ~ How 78rpm Acoustic Phonograph Records Were Made!
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- Опубликовано: 14 окт 2024
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Best film I've ever seen on this process.
Amazing!
It's great that this film survives to give us an insight into the acoustic recording studio. Interesting to see those stroh violins but think some of the positioning was done for the camera. Would an artist really sing across the horn, or the clarinets be placed behind it? I'm surprised they mention a test playing of the original wax. As far as I know, even the gentlest test play would spoil the wax, so a test pressing was needed to check for flaws. Think it was more a celebration of how operatic greats of the era let a lasting legacy, rather than a demonstration of technology, for by 1923 it was well known that the microphone was due to replace the recording horn. Many thanks for posting this gem!
I have both Caruso and Alma Glück on pristine 78s. Also Paul Robeson doing 'Old Man River'. Beautiful-sounding stuff.
While the singer in the film is clearly
"Playing To The Camera"
weird man overs called
"Working The Horn"
Basso Alexander Kipness, when recording acoustically was told to turn his back to the horn at high volume, song on front of it, at mid-volume, and sinf his soft parts touching his face to the horn.
A popular male quartet that would face the audience side by side on stage were arranged with one member singing across the horn, 2 facing it normally, while the 4th fellow used a megaphone!😊
Also, there are the famous pair of Victor photos of Orchestra records. One shows añ orchestra performing as they would on a bandstand in front of microphone. The other shows an acoustic session in front of a horn. Violins and strings on top of horn, the brass trumpets at back of studio slot of the musicians on elevated platforms to bring the directly in line with horn.
Musicians like Sousa and Toscanini disliked acoustic recording because they had to make "unatural" concessions for it.
❤
Actually test playbacks of what could be termed a "practice run" could be done, but it was ruined.
Also the wax master was larger than the finished record, so for say a ten inch the blank was about 12" and a about 1/2 minute could be done as a sort of "1-2-3-testing" thing to see if setup correct.
N.Y. public radio show The OPERA FANATIC, played one of several test records Melba made around 1904 a week before making her first commercial records.
In them she runs through a 10 second routine of softly sung words, a trill, and a full voice climax, repeated about a dozen times from several distances and positions.
This services, because it was run through the process of making finished copies that guided her actual sessions a week later.
Too bad there was no sound
The video is interest8ng but the sound effects - noise is irritating!