I'll second your opinion about the BTL reissues !! FANTASTIC !!
A pity that there will probably be no more from them.
About optical film sound , there was a method used by editors and projectionists alike to reduce the pops caused by scratches and splices in the film stock.
This utilised a opaque lacquer that would be applied to the desired area
in an arc pattern which would eliminate the sudden passing of harsh sudden transients as they passed the optical train in the soundhead.
It is very effective ! It was called " Blooping " the track.
No one uses this method anymore, probably considered by many to be a lost art. Most platter houses wouldn't give this method use as it can be very time consuming. And most film goers wouldn't care anyway.
Belfer Audio Archive
222 Waverly Ave .
Syracuse N.Y. 13244-2010
>>> [log in to unmask] 3/11/2006 7:05 AM >>>
Film editing is a different thing. You have to keep the sprockets distance right. There have been
editing jigs for film since the earliest days of film. With optical-sound film, you will hear pops
and ticks on edits because it's entirely possible to mate up different parts of a wave-form and it's
also very easy to scratch the emulsion, particularly with edge-only opto-sound. Really good sound
editors used to be able to go by the visible soundtrack on the film. As you probably know, the first
binaural-stereo recordings were done by Bell Labs on optical sound-film and re-released on LP in the
1970s. Stokowski and the Philly and they put some then-current many-mic/many-track records to shame
By the way, editing mag-film has the same limitations as optical in that sprocket distance must be
maintained. There isn't much time between sprockets but there sometimes is enough to make an edit
-- Tom Fine
----- Original Message -----
From: "David Lennick" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Friday, March 10, 2006 10:59 PM
Subject: Re: [ARSCLIST] Quarter-inch splicing tabs
> "Richard L. Hess" wrote:
>> In some respects, I think we can credit Jack Mullin as the earliest
>> craft editor, working with scissors to edit Bing Crosby and Burl Ives
>> shows in 1947 on his Magnetophon transports with his own electronics.
>> And yes, you can hear some of them.
> Even before then, MGM was editing on film to put together its soundtrack albums and
> cut production numbers down to three minutes..some of those edits sound as if they
> were done with an axe.
>> Were the Columbia pitch changes due to start-of-reel/end-of-reel
>> speed changes or what?
> That must have been the reason. Some glaring ones: Dinu Lipatti's Chopin Waltzes,
> very last track (side 1 I think), major pitch change right on the last note. EMI
> finally corrected that on the CD issue but we had to put up with that pitch change
> for over 30 years before that happened.
>> The worst edit I ever did was when we had the organ blower on for the
>> main take and then we did a pickup at the end and someone had turned
>> the organ blower off....
> The worst editing on a best-selling LP is on Vladimir Horowitz's so-called "live"
> recording of the Rachmaninoff 3rd Concerto on RCA. Parts are from the rehearsal,
> and the piano moves.