The Glenn Miller recordings were one of those I was thinking of.Used to own that 20th Century Fox LP. Tell me more about these Tri-Ergon film recordings.I only know a little about the label. Roger
> Date: Wed, 6 Mar 2013 12:59:01 -0500
> From: [log in to unmask]
> Subject: Re: [ARSCLIST] possibly the first audio compressor aka limiter
> To: [log in to unmask]
>
> The earliest commercial recordings I know of that originated from optical
> film were done in the 20s by Tri-Ergon in Germany.
>
> Re earlier on SFSO/Monteux Victors:A hearing of* La Valse*, D'Indy's *Symphonie
> cévenole*, or Lalo's *Le Roi d'Ys* Overture strongly suggests telco loops,
> not optical film, which was introduced later.
>
> DDR
>
> On Tue, Mar 5, 2013 at 5:34 PM, Milan Milovanovic <
> [log in to unmask]> wrote:
>
> > Did they use multi track optical film sound recordings (6 channels?) as
> > early as beginning 1940s? I think that those movies with Glenn Miller ("Sun
> > Valley Serenade", "Orchestra Wives") were recorded as instrumental track
> > recorded first, than vocal track on the top of that sound?
> >
> > Milan
> >
> > ----- Original Message ----- From: "Roger Kulp" <
> > [log in to unmask]>
> > To: <[log in to unmask]>
> > Sent: Tuesday, March 05, 2013 3:37 PM
> > Subject: Re: [ARSCLIST] possibly the first audio compressor aka limiter
> >
> >
> > Isn't it also true,that the 35mm record craze of the late 50s/early
> > 60s,was not the first attempt to use movie film as a sound recording
> > medium? Wasn't this also done,as an experiment,in the late 30s or 40s ?
> > Roger > Date: Tue, 5 Mar 2013 08:46:11 -0500> From: [log in to unmask]>
> > Subject: Re: [ARSCLIST] possibly the first audio compressor aka limiter>
> > To: [log in to unmask]> > The innovations of the 50s high-fi era
> > were really more 3rd and 4th> generation. There was a period beginning in
> > the mid-30s running> through the War years when work was done in the
> > broadcasting and film> industry to greatly improve quality. In radio,
> > networks and stations> began using lacquers for direct to disc recording of
> > delayed and> archived broadcasts and different EQ curves - primarily NAB
> > and> Orthophonic were developed. Vinyl became the primary medium for>
> > pressing transcription discs for syndication, overcoming the issues> with
> > noisy pressings. I'm not as familiar with film sound production,> but
> > there was a big leap in sound quality there, especially in the> late 30s
> > and early War years.> > In the fifties, the refinements were centered
> > around the introduction> of magnetic sound recording and multitrack and
> > many of the lessons> learned in the 30s and 40s informed the cutting and
> > production of> discs for the consumer market.> > Randy> > On Tue, Mar 5,
> > 2013 at 8:25 AM, Tom Fine <[log in to unmask]> wrote:> > I can't
> > say for sure, but my bet is that the Western Electric was first,> > then
> > followed by RCA, then others. The reason: aside from broadcasting,> >
> > limiters were needed for optical sound-films. All of this was developing> >
> > around the same time as electrical disk recording.> >> > There was rapid
> > progress in the 20s and into the 30s. I assume everything> > got stopped
> > dead in its tracks by the Depression and then WWII. Nick Bergh> >
> > demonstrated the output of a Victor/RCA recording chain circa early 1930s
> > at> > the Rochester ARSC. The fidelity coming out of the microphone and> >
> > amplifiers, getting to the cutting head was very high. Disk recording
> > still> > introduced all sorts of fidelity losses, but we can hear from
> > reissues made> > from metal parts that there was decent fidelity going to
> > the disks in some> > cases. The shellac material added a bunch of noise,
> > and Depression economics> > led to low-grade materials and terrible
> > pressings. Recordings made outside> > of major recording studios also
> > didn't have the fidelity that Nick> > demonstrated. We also know from the
> > Bell Labs records that WECO was capable> > of recording and pressing a very
> > high quality disk and a stereo disk in the> > early 1930s. What Nick Bergh
> > demonstrated was that a lot of the challenges> > of getting a sound, pretty
> > much intact, from the air to a cutting head was> > solved by the early
> > 1930s. The theories of limiters were figured out in the> > same timeframe.
> > By the time the Age of High Fidelity came along in the> > 1950s, we were up
> > to second- and third-generation refinements of all the> > gear, from the
> > microphones to the playback to the mass media (now LP> > records).> >> > --
> > Tom Fine> >> > ----- Original Message ----- From: "Art Shifrin" <
> > [log in to unmask]>> > To: <[log in to unmask]>> > Sent:
> > Tuesday, March 05, 2013 6:54 AM> > Subject: [ARSCLIST] possibly the first
> > audio compressor aka limiter> >> >> >> Thanks to Mark Durenberger:> >>> >>
> > http://www.durenberger.com/**documents/LIMITERS1237.pdf<http://www.durenberger.com/documents/LIMITERS1237.pdf>>
> > >>> >> Shiffy> >>> >>> >>> >>> >>>> >>> >
>
>
>
>
> --
> 1006 Langer Way
> Delray Beach, FL 33483
> 212.874.9626
|