Capstan will certainly to that, but so will Izotope RX.
On Mon, Jan 22, 2018 at 6:38 PM, Tim Gillett <[log in to unmask]>
> Then there's the problem of rotational speed changing between outer to
> inner grooves. It's harder for the disc cutter to maintain a constant
> rotational speed when cutting the outer grooves than the inner. It requires
> more torque cutting the outer groves. So typically the playback will start
> at one pitch and appear to lower in pitch (slow down) towards the inner
> grooves. I dont know how common this problem was in disc cutting in that
> era but I've observed it ocasionally repairing an old wind up acoustic
> gramophone. Of course it's harder to correct for such an error but I'd
> imagine today a product like Celemony Capstan or the equivalent Cedar
> product would make it a lot easier, though strictly they appear to be
> designed to correct wow and flutter. Others with experience with these
> tools will know more.
> ----- Original Message ----- From: "John Haley" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Tuesday, January 23, 2018 6:21 AM
> Subject: Re: [ARSCLIST] Recording Process in 1920s
> The easiest way I have ever found to determine the pitch of a recording and
>> adjust it correctly is this. Just play along with the recording on an
>> electronic keyboard such as the Yamaha one I use, which has absolutely
>> perfect pitch--it reads "top dead center" on a Korg tuner. This will tell
>> you instantly if the recording if at the same pitch, or higher or lower,
>> and you can easily hear very, very small pitch errors this way--they
>> quite apparent--way easier than trying to remember a pitch mentally.
>> Obviously I am just playing tunes and sometimes harmonies, not the whole
>> thing, and I am not making any effort to play anything well. This takes
>> hardly any keyboard skill, and it is far easier for me to hear what is
>> going on this way than using a Korg guitar tuner (which is itself way
>> better than nothing). Getting pitch right used to be such a headache--now
>> it's a snap. I can do it in seconds. Such an electronic keyboard costs
>> something like $100.
>> Plus, the keyboard is easily adjustable to other pitches--for instance,
>> where we know that an orchestra tunes to A = 442 or some other A besides
>> On Mon, Jan 22, 2018 at 4:28 PM, George Brock-Nannestad <[log in to unmask]>
>> From: Patent Tactics, George Brock-Nannestad
>>> Hello, Terri and all,
>>> the question, as I read it, is not entirely clear to me. What is meant by
>>> "recordings in the 1920s were transferred to disc"? Would that indicate
>>> recordings on cylinders -- a standard format in ethnomusicology until
>>> 1940 -- would have been transferred to disc in the 1920s, OR that
>>> from the 1920s (still on cylinders) have been transferred to LP (from the
>>> 1950s) or CD (from about 1985)? This involves two stages of recording:
>>> cylinder, and 2nd onto the next medium, playing the cylinder. There may
>>> certainly be problems in the transfer from cylinder to next medium. The
>>> ethnomusicologists (from the time the field was called "comparative
>>> musicology") knew this, and this is why they frequently sounded a pitch
>>> before each take. If this pitch is reproduced correctly in the next
>>> medium, the
>>> whole recording is correct as concerns pitch.
>>> Most commenters have talked about disc recording, but these did not
>>> really important for ethnomusicological sound collection before the 1930s
>>> Lomax and Laura Boulton were typical representatives). The Library of
>>> started transferring their Densmore cylinders to 78 rpm vinyl discs in
>>> I am worried about the 1938 Presto lathe that apparently cuts 7% slow
>>> cutter on the virgin disc. This how I interpret that the playback of the
>>> just cut is 7% sharp, all provided that the Presto turntable is used
>>> with a
>>> pickup-arm for reproducing the disc just cut. And this would indicate an
>>> underpowered motor. Otherwise the reason could be that the speed of the
>>> reproducing turntable is too fast.
>>> Concerning discs I agree completely with John Haley at Mon, 22 Jan 2018
>>> 11:57:30. And I have used the approach recommended by Steve Smolian since
>>> and I am on my 4th Korg right now, although it is called a Chromatic
>>> no string preferences. If you would like to know more about my version of
>>> approach, Google will show the way.
>>> If someone is interested in digging deeper into acoustic recording as
>>> at the Victor Talking Machine Company and the Gramophone Company up to
>>> 1925, I
>>> would recommend my AES Conference Preprint from 1997:
>>> "The Objective Basis for the Production of High Quality Transfers from
>>> Sound Recordings", AES Preprint No. 4610, 103nd Convention 1997 September
>>> 26-29, New York. This is free in electronic form to members of the Audio
>>> Engineering Society. I have noticed that it is being cited quite
>>> frequently in
>>> later years.
>>> I would be happy to provide greater detail, but in that case perhaps an
>>> off-list exchange would offend the fewest people.
>>> Kind regards,
>>> From: Terri Brinegar <[log in to unmask]>
>>> To: [log in to unmask]
>>> Subject: [ARSCLIST] Recording Process in 1920s
>>> Date sent: Mon, 22 Jan 2018 11:09:06 -0500
>>> > Hello All,
>>> > Can anyone tell me if recordings in the 1920s were transferred to disc
>>> > at
>>> > exactly the same speed as they were recorded? In other words, if >
>>> > singing an "F" pitch on the recording, is that the actual pitch sung or
>>> > could the engineer possibly speed it up somehow, thus raising the >
>>> > sure if that was possible back then.
>>> > Thank you!
>>> > Terri Brinegar
>>> > PhD Candidate in Ethnomusicology
>>> > University of Florida
>>> > [log in to unmask]
>>> > [log in to unmask]
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