From: Patent Tactics, George Brock-Nannestad
Don Cox quoted:
> On 26/05/07, David Lennick wrote:
> > George Brock-Nannestad wrote:
> >>> In other words, can we take a 19th century acoustic recording, and
> >>> infer from that what a stereo, full-fidelity recording of that sonic
> >>> event would sound like...?!
> >> ----- that is not unlikely, but the noise-reducing tools will not
> >> perform that. It would require analysis tools that could tell us
> >> something about the reverberation in the original room and then model
> >> a soundscape including a stereo perspective.
> >> Kind regards,
> >> George
> > Some of us are still reeling from the memory of those gawdawful Caruso
> > reconstructions. Don't forget..the "original room" was designed to
> > produce the maximum amount of oomph and channel it into a horn.
> > Mapleson cylinders would be about the only recordings where you might
> > have a vague hope of reconstructing an acoustic worth hearing.
> I would guess that in most cases, if not all, the original room was not
> designed at all, apart from such things as putting the piano up on a
----- Edison did indeed design it very systematically - in one version the
whole room was part of the recording horn. The Gramophone Company in their
recording rooms in Hayes (post 1912) had ceilings that could be raised or
lowered by rack and pinion according to the task.
----- Edison also performed experiments with performers placed on squares
drawn on the floor (Harvith & Harvith).