I got one.
We were recording a live event that takes place in a synagogue on mount
Zion. It is just across the street from the Dormission Abbey. So here we
are recording these religious Jews singing and praying with the bells
from the Abbey going off every hour. And the funny part was that my
parter was asked one day how did we get those bell FX to sound so real.
Here's a link to the project.
בתאריך 02/08/13 10:31 PM, ציטוט Hooyenga, Susan Marie:
> Interesting! I wouldn't have guessed that it could be useful information.
> -----Original Message-----
> From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of David Lewis
> Sent: Friday, August 02, 2013 3:59 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Phonobomb examples?
> By RCA he means "Record Corp. of America" not RCA Victor
> On Fri, Aug 2, 2013 at 3:57 PM, David Lewis <[log in to unmask]> wrote:
>> from http://www.soundfountain.com/allegro-royale/catalogue.html
>> Documented instances where phonobombs may be used to *identify* a recording:
>> Discussion . . .
>> During the evaluation of certain items of the "RCA" catalogue, the
>> author has found hints which might additionally point for a couple of
>> items to an "East German source" and he prefers to believe in the use
>> of first generation copies of radio tapes in these cases, rather than
>> in the generally accepted version of low-quality tape recorded
>> The Brahms Symphony No. 4 on Royale 1239 ("Berlin Symphony Orchestra /
>> Franz R. Friedl", also on Allegro/Elite 3124, "Dresden State Symphony
>> Orchestra / Fritz Schreiber") is a studio recording of the same sound
>> ambience as in the Haydn No. 94 on Royale 1223 and in some other works
>> in their catalogue. What makes these recordings so interesting is some
>> extraneous noise, clearly audible during certain soft passages in the
>> slow movements, especially when earphones are used. However, this
>> could only be detected in some of the cases when the usually quieter
>> pressings of these performances in their incarnations on Gramophone
>> were inspected. In these cases there are crows of a rooster and sounds
>> of car horns coming in from outside the recording location!
>> It may not be without significance, in this respect, that sounds from
>> car horns also intrude into the recordings of Dvorak's 9th symphony
>> under Pflüger (Urania URLP 7132) as well as into Abendroth's
>> Beethoven 'Pastorale' from 1950 and into his Tchaikovsky 'Pathétique'
>> from 1952, both issued on Etema. In Schubert's 'Unfinished' on Royale
>> 1220 ("Rome Symphony Orchestra / Dr. Felix Guenther", also on
>> Gramophone 2040, "National Opera Orchestra") there is another car horn
>> finding its way into the recording somewhere in the middle of the
>> first movement, and yet another one can be heard at the very beginning
>> of Franck's Symphony on Royale 1288 ("Berlin Symphony Orchestra /
>> Joseph Balzer", also on Gramophone 2088, "National Opera Orchestra").
>> The peak may be in Haydn's 'Surprise Symphony' on Royale 1223
>> ("Orchestra of the Rome Symphony / Angelo Questa", also on Gramophone
>> 2040, "Varsity Symphony Orchestra"), where a rooster's crow is
>> followed by a car horn and then something like the jingling bells of a
>> tramway, all this at the beginning of the second movement, when
>> Haydn's "surprise" is just about due. This extraneous noise, the
>> rooster's contribution in particular, is a tantalizing facet of these
>> "RCA" items, as this makes them likely to be connected with a very
>> particular, if not unique, recording location. No definite answer can
>> be given as yet to the question of where this location may have been.
>> In this author's opinion the fact of these very faint noises, captured
>> on a tape used for a record production would rule out a mere
>> off-the-air tape as a master in these instances (and many others not
>> "marred" by such extra-musical ornation), because it seems unlikely
>> that such delicate sounds should have been transmitted that clearly by
>> AM or FM broadcasts of those times. Record piracy indisputably is a
>> violation of law. Nevertheless, without a doubt, through this practice
>> a couple of performances have been preserved, which otherwise would be
>> lost for all times. In continuing his research, the author hopes to be
>> able to rely as much on his fellow-collectors'future support as he
>> could in the past. There is still much to do and surely more to
>> forwarded by Uncle Dave Lewis
>> On Fri, Aug 2, 2013 at 3:33 PM, <[log in to unmask]> wrote:
>>> I recall reading that there are birds twittering on at least one of
>>> Les Paul's great hit records.
>>> In a message dated 8/2/2013 3:30:26 P.M. Eastern Daylight Time,
>>> [log in to unmask] writes:
>>> Insect noises? Like termites munching his Bosendorfer?
>>> I know of one instance where an artist dubbed in his dog barking
>>> quietly at the beginning of a piece. he had flubbed the beginning,
>>> stopped, went "Shhh... shh..." to the dog and began again. Very cute.
>>> On 8/2/2013 4:18 AM, Don Cox wrote:
>>>> On 02/08/2013, Donald Clarke wrote:
>>>>> Mitch Miller wanted Frank Sinatra to bark like a dog on one of his
>>>>> later Columbia sides, but he wouldn't do it and Miller had to get
>>>>> somebody else. A famous recording of Scheherezade by the
>>>>> Philadelphia Orchestra, transferred from 78s for the new
>>>>> long-playing record in 1948, had reverb added to it, using an old
>>>>> piece of tape that had a barking dog on it, and you could hear
>>>>> that on the finished LP. And there's a few live folk recordings
>>>>> made outdoors with barkers in the chorus; I've heard one, but I
>>>>> don't remember what it was. There were fiddlers playing "The Hot Canary", Leroy Anderson's "The Waltzing Cat"
>>>> Rudolf Serkin's version of the Diabelli Variations, recorded at his
>>>> home, has insect noises in the background.
>>>> There are many recordings from Kingsway Hall with audible tube trains.
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