I have an Edison diamond disc dealer tone record for setting pitch but it
does not state anything on the label as to the frequency intended to be on
the record - There is no label or printing at all on this disc- I'll play at
80 and see if I get A440-Mickey
Follow me on Twitter
M.C.Productions Vintage Recordings
710 Westminster Ave. West
----- Original Message -----
From: "Steven Smolian" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, May 05, 2015 8:40 AM
Subject: Re: [ARSCLIST] A-440, was speaking of pitch
> There is a long answer to this that I'm not going into, as so much is
> hearsay and denial of what actually happens during the electrical
> recording period.
> However, as to acoustical recording speeds, various Victor consumer
> catalog recommend playing speeds for all their records that are at
> variance at those we know were used when the recording was made, even
> those close to the date of the catalog. Since recording and playback horn
> designs were not designed using valid mathematics until c. 1924-5 with the
> work toward the acoustic orthophonic player, I think it likely that nodes
> in the recording horn design may have been duplicated in some playback
> horns and playing back at a different speed would reduce the resonances on
> certain notes.
> On the other hand, it always seems to have been assumed by the
> manufacturers that the more musically literate would have a piano in their
> home to furnish a tone by which the user would set playback speed. That
> is why there is a speed control on most acoustic players. The Sarasate
> records include a tuning band . That would give proper pitch but the
> trade-off is that you'd get the resonances.
> This is still somewhat of a gray area. I plan to look into this further
> before my presentation.
> Steve Smolian
> -----Original Message-----
> From: Association for Recorded Sound Discussion List
> [mailto:[log in to unmask]] On Behalf Of Richard L. Hess
> Sent: Tuesday, May 05, 2015 10:27 AM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] A-440, was speaking of pitch
> Tom, I think it was briefly touched on in this thread but even if not, I
> recall hearing that there was a sense of sharp=brighter (or perhaps more
> On 2015-05-05 10:15 AM, Tom Fine wrote:
>> Richard, I agree. Even in the tape era (where we can assume some level
>> of competence vis-a-vis speed/pitch on recording and playback -- but
>> not always), there is a wide range of pitching. I don't understand why
>> the German and Austrian orchestras sometimes tuned sharp. Why? What is
>> the basis of that concept?
>> -- Tom Fine
>> ----- Original Message ----- From: "Richard L. Hess"
>> <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Tuesday, May 05, 2015 10:05 AM
>> Subject: Re: [ARSCLIST] A-440, was speaking of pitch
>>> I agree, Steve, and so noted that in the original message, but my
>>> assumption (which could be incorrect) was that the compilers of the
>>> video might have used restored recordings which, hopefully, had been
>>> properly pitched by the restorer...I know we've been discussing that
>>> is not always the case.
>>> Even if we throw out the pre-1950 recordings to eliminate the "78"
>>> ambiguity, it is still quite startling.
>>> On 2015-05-05 9:43 AM, Steve Smolian wrote:
>>>> Many 78s were recorded at speeds above and, more often, below 78.26.
>>>> This wild card makes such comparisons questionable.
>>>> Steve Smolian
>>>> -----Original Message----- From: Richard L. Hess Sent: Tuesday, May
>>>> 2015 9:18 AM To: [log in to unmask] Subject: Re: [ARSCLIST]
>>>> A-440, was speaking of pitch Getting back on topic, my son Robert,
>>>> the music student, passed on this link to me--I don't think that I
>>>> had mentioned this thread but we had been talking about variations
>>>> in recordings (specifically in regards to Dvorak's New World
>>>> Symphony (9th now after renumbering)).
>>>> So here are the opening chords of Beethoven's Eroica (3rd) Symphony,
>>>> recorded between 1924 and 2011.
>>>> And here is a similar compilation of a short section from
>>>> Stravinsky's Rite of Spring from 1921-2010
>>>> Yes, I know that the recording technology influences the pitch as
>>>> much as the actual playing, but, overall, I think these two are very
>>>> informative peeks into the degree of variation considered "normal."
>>>> The first Toscanini performance of the Beethoven really shows off
>>>> the dry acoustic of what I assume to be Studio 8H at 30 Rock...and
>>>> perhaps why, in 20/20 hindsight, it wasn't such a good idea, though
>>>> it seemed to make sense at the time.
>>>> As an aside, my friend the late Dr. Gerre Hancock, after bringing
>>>> the choir of Men and Boys from St. Thomas Church to ABC TV-2 studio
>>>> on W 66th Street in NYC for a holiday season appearance on "Good
>>>> Morning America" asked me why I built studios that sounded like
>>>> "pillow factories."
>>>> Get out your tuners or pitch pipes and enjoy! If you have perfect
>>>> pitch and are offended easily, please don't listen <smile>.
>>> Richard L. Hess email: [log in to unmask]
>>> Aurora, Ontario, Canada 647 479 2800
>>> Quality tape transfers -- even from hard-to-play tapes.
> Richard L. Hess email: [log in to unmask]
> Aurora, Ontario, Canada 647 479 2800
> Quality tape transfers -- even from hard-to-play tapes.
This email has been checked for viruses by Avast antivirus software.