LISTSERV mailing list manager LISTSERV 16.0

Help for ARSCLIST Archives


ARSCLIST Archives

ARSCLIST Archives


ARSCLIST@LISTSERV.LOC.GOV


View:

Message:

[

First

|

Previous

|

Next

|

Last

]

By Topic:

[

First

|

Previous

|

Next

|

Last

]

By Author:

[

First

|

Previous

|

Next

|

Last

]

Font:

Monospaced Font

LISTSERV Archives

LISTSERV Archives

ARSCLIST Home

ARSCLIST Home

ARSCLIST  September 2008

ARSCLIST September 2008

Subject:

Re: New online publication: Manual of analogue audio restoration techniques, by Peter Copeland

From:

Michael Biel <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Mon, 15 Sep 2008 05:49:38 -0400

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (191 lines)

I agree that it is a good thing to have this published, but it is even
more unfortunate that Peter is no longer with us because there are many,
many factual and historical errors and omissions. Chapters like 4,5 and
6 where he is laying out his experience in playing recordings and giving
detail like how to identify BBC recording systems are magnificant. Look
at page 109 when he explains that a test record was recorded with the
cutting stylus slightly askew, and that this same situation happens on a
lot of regular records made with the Blumlein cutter and need to be
played with the pickup twisted at up to 30 degrees.

I am glad that he calls lacquer discs "nitrate" and he explains why on
page 51 although I wish he had a source listed for his dating Cecil
Watts as the inventor in 1934. His widow's book does not give any
dates. I am also glad on pages 88 and 89 he explains the strobe disc as
being the basis of 78.26 and 77.92 (leaving out the asinine contention
from Warren Rex Isom that gear-drive teeth ratios were the original
causal determination.) The discussion of the history of bias is good
except the use of the term "shakes up" might lead one to think that the
magnetic particles actually move, where it is only the magnetic field of
the particles that is in motion, not the particles themselves.

But elsewhere in historical chapters I think that there are certain
things that are included as place holders where for example, he states
that something is the first he has found. It seems that he was hoping
that as he went along and other items came to his attention he would
replace the section, but if nothing did it could still go as it stands.
An example is his use on page 216 of Mike Gray's discussion of a
possibility of a 1939 Toscanini broadcast being done in what the
community calls "accidental stereo" but he calls "archaeological
stereo". He has reference to a Barry Fox article which apparently
discussed Brad Kay's discovery of the Ellington Program Transcription
from 1932 that is undeniably dual-disc accidental stereo, but refuses to
acknowledge it (perhaps because of Keith Hardwick's angry denial of any
possibility of its existence.) He says the Toscanini is "the first
documented example" but the Ellington was on Lp and now is on CD and can
be examined. On the next page he hedges his bets with ways that other
recordings of this type might be found, but even though it had already
happened, he was waiting for another. On page 126 he even asks for a
date on a test disc he describes.

He has completely misunderstood how Les Paul created his overdubbing on
page 287 when he talks about a mono tape recorder with the heads in the
PER arrangement instead of the usual ERP. That machine was used for a
time delay that was of the length of the tape loop. On the next page he
misrepresents how the Beatles first LP was recorded when he says it was
"compiled" with "the instrumental backing being recorded on one track
with the vocals added on the other." By using the word "ADDED" he is
implying that they were overdubbed in a separate pass. It is obvious
when you listen to the tracks in isolation that they were recorded
simultaneously because you can hear the studio ambiance of the other
track on their opposite ones. On page 181 he assumes he knows the
reason for the phase differential on the first stereo LP of the Disney
Fantasia soundtrack, but he does not know that the magnetic master dub
had been recorded around 1954 via telephone lines because the only
multitrack mag film recorder available was about 15 miles away from the
optical players. This is probably the cause of the slight timing
shift. It is why there is a separate mono track on the video releases
-- the opticals no longer exist in a complete form to allow it to be
redone. The panning of the instruments were done live at the time of
that dubbing by one of the original road show audio operators.

But the most maddening thing is on page 221 where he repeats the drastic
error he put on page 48-49 in his British Library book "Sound
Recordings." He insists there that the 7-inch Columbia Stereo-Seven
discs were issued in 1953 and are mono despite using the dual-arrow logo
Columbia used in the late 50s, and that the record he illustrates in
colour is "Everything's Coming Up Roses" from the 1959 Broadway show
"Gypsy" and is marked on the label as coming from Columbia CS-8330 "Give
My Regards To Broadway" by Andre Previn and his Trio which was issued in
late 1960. In this work he claims the record series was even earlier,
1951-52, that they were called stereo back then to merely indicate these
single channel recordings include a "sense of space around the
performers" and then firmly says "All these items are single-channel
mono, and should be treated accordingly." Wrong Wrong Wrong Wrong
Wrong. These *are* real stereo and I told him so in 2001 when I was
there in the British Library and saw it in the little book. He bases
his whole argument about the use of the term stereo in the early 50s on
this series, and I see no basis in fact for this. He then goes on to
discuss fake stereo in the stereo era which is an entirely different
matter. He probably saw the little ads for Columbia 7-inch LPs on the
back of early 50s LPs and thought these were them. How could he think
that this song could be recorded six to nine years before the show
opened, and why they would include the title of the show six to nine
years before it opened? Shouldn't he have tried playing it in stereo?
Actually Columbia's slogan for spacious mono sound was "360 Sound" and
later when they were doing real stereo they also used the slogan "Stereo
360."

I wish he was still here to be able to make the corrections.

Mike Biel [log in to unmask]



Richard L. Hess wrote:
> Dear Will,
>
> I am so glad that the team at the British Library did this. As I was
> beginning my transition from broadcast systems engineering to analogue
> sound restoration, I was fortunate to make the acquaintance of Peter
> Copeland through this and other lists.
>
> In 2002 I was asked by a publisher to review a proposal from Peter for
> a book (I was honoured that Peter had suggested me as a possible
> reviewer). When I heard of his passing and didn't see a book, I was
> afraid that much of his storehouse of knowledge would be lost.
>
> This is absolutely WONDERFUL news that much of his knowledge and
> perspective has been captured. I am so pleased with this. I will
> shortly create a link to this on my website.
>
> Again, many thanks to the British Library for making this possible.
> This is the best possible memorial for Peter that I could think of.
>
> Cheers,
>
> Richard
>
> At 06:14 PM 2008-09-14, Prentice, Will wrote:
>> Dear ARSClisters
>>
>> I'm very pleased to finally be posting a link to Peter Copeland's
>> manual. As will be clear from the blurb below and the preface to the
>> manual, this is not a straightforward guide to best practice, but a
>> rich collection of history, detailed research, opinion, speculation
>> etc put together by its author over a period of years. There's plenty
>> to think about, and plenty to discuss. Enjoy!
>>
>> Will
>>
>> ***
>>
>> Manual of analogue audio restoration techniques
>>
>> Peter Copeland, Conservation Manager at the British Library Sound
>> Archive from 1986 until his retirement in 2002, worked for many years
>> on a manual of analogue audio restoration techniques, designed as an
>> aid to audio engineers and audio archivists. Peter died in 2006 after
>> a lifetime dedicated to understanding the history and complexity of
>> analogue audio technology, and his manual was left incomplete.
>>
>> The British Library is making the work freely available as it stands,
>> as a service to professional audiovisual engineers and archivists,
>> and as a testament to a life dedicated to the care of audiovisual
>> heritage. As a snapshot of Peter's viewpoint at a certain time, some
>> parts have inevitably dated. The core of the work however, is
>> unlikely to date. Focussing in unparalleled depth on the correct
>> playback of analogue sound recordings, the result of detailed
>> research into the history of audio technology, it will be an
>> essential guide for audio historians and for technicians working in
>> digitisation programmes.
>>
>> The manual is freely downloadable as a 2.25MB pdf here:
>> http://www.bl.uk/collections/sound-archive/manual.html
>>
>> **************************************************************************
>>
>>
>> Experience the British Library online at www.bl.uk
>>
>> The British Library's new interactive Annual Report and Accounts
>> 2007/08 : www.bl.uk/knowledge
>>
>> Help the British Library conserve the world's knowledge. Adopt a
>> Book. www.bl.uk/adoptabook
>>
>> The Library's St Pancras site is WiFi - enabled
>>
>> *************************************************************************
>>
>>
>> The information contained in this e-mail is confidential and may be
>> legally privileged. It is intended for the addressee(s) only. If you
>> are not the intended recipient, please delete this e-mail and notify
>> the [log in to unmask] : The contents of this e-mail must not be
>> disclosed or copied without the sender's consent.
>>
>> The statements and opinions expressed in this message are those of
>> the author and do not necessarily reflect those of the British
>> Library. The British Library does not take any responsibility for the
>> views of the author.
>>
>> *************************************************************************
>>
>
> Richard L. Hess email: [log in to unmask]
> Aurora, Ontario, Canada (905) 713 6733 1-877-TAPE-FIX
> Detailed contact information: http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.
>

Top of Message | Previous Page | Permalink

Advanced Options


Options

Log In

Log In

Get Password

Get Password


Search Archives

Search Archives


Subscribe or Unsubscribe

Subscribe or Unsubscribe


Archives

September 2020
August 2020
July 2020
June 2020
May 2020
April 2020
March 2020
February 2020
January 2020
December 2019
November 2019
October 2019
September 2019
August 2019
July 2019
June 2019
May 2019
April 2019
March 2019
February 2019
January 2019
December 2018
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
September 2016
August 2016
July 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
August 2015
July 2015
June 2015
May 2015
April 2015
March 2015
February 2015
January 2015
December 2014
November 2014
October 2014
September 2014
August 2014
July 2014
June 2014
May 2014
April 2014
March 2014
February 2014
January 2014
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
October 2011
September 2011
August 2011
July 2011
June 2011
May 2011
April 2011
March 2011
February 2011
January 2011
December 2010
November 2010
October 2010
September 2010
August 2010
July 2010
June 2010
May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
August 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
August 2008
July 2008
June 2008
May 2008
April 2008
March 2008
February 2008
January 2008
December 2007
November 2007
October 2007
September 2007
August 2007
July 2007
June 2007
May 2007
April 2007
March 2007
February 2007
January 2007
December 2006
November 2006
October 2006
September 2006
August 2006
July 2006
June 2006
May 2006
April 2006
March 2006
February 2006
January 2006
December 2005
November 2005
October 2005
September 2005
August 2005
July 2005
June 2005
May 2005
April 2005
March 2005
February 2005
January 2005
December 2004
November 2004
October 2004
September 2004
August 2004
July 2004
June 2004
May 2004
April 2004
March 2004
February 2004
January 2004
December 2003
November 2003
October 2003
September 2003
August 2003
July 2003
June 2003
May 2003
April 2003
March 2003
February 2003
January 2003

ATOM RSS1 RSS2



LISTSERV.LOC.GOV

CataList Email List Search Powered by the LISTSERV Email List Manager