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From: Patent Tactics, George Brock-Nannestad Joe Salerno said: > Interesting. > > The reason I ask is that I have a tape of an > acoustical Columbia side by Josef Hofmann. The piano > sounds quite distant from the horn at the beginning > but by the end of the side the sound is much closer. > The pianist plays continuously. > > I have wondered how this came to be. > ------ that sounds interesting, and the explanation logical. Columbia made some quite good "distant" recordings. But if moving the piano (or the recording machine for that matter was used - I have never seen it. Kind regards, George > > George Brock-Nannestad wrote: > > From: Patent Tactics, George Brock-Nannestad > > > > Hello, > > > > Joe Salerno asked: > > > >> Is there any reference to the piano being placed on > >> a system of rails or some such to move it closer to > >> or farther from the horn? > >> > > > > ----- I have not seen any reference to this. But I have seen a letter > > describing that the Gramophone Company for some records (and I suspect > only > > for a period, which IIRC would have been before 1910) used two pianos for > > accompaniment. I have no information whether they played in unison or > four- > > hand. I suspect unison. > > > > Kind regards, > > > > > > George > > > >> Don Cox wrote: > >>> On 28/05/07, George Brock-Nannestad wrote: > >>> > >>>> From: Patent Tactics, George Brock-Nannestad > >>>> > >>>> Don Cox asked: > >>>> > >>>> > >>>>> On 27/05/07, George Brock-Nannestad wrote: > >>>>> > >>>>> > >>>>>> I would guess that in most cases, if not all, the original room was > >>>>>> not designed at all, apart from such things as putting the piano up > >>>>>> on a platform. > >>>>> The Gramophone Company > >>>>> in their recording rooms in Hayes (post 1912) had ceilings that > >>>>> could be raised or lowered by rack and pinion according to the task. > >>>>> > >>>>> Interesting. Do you have a reference for that? > >>>> ----- I have seen it with my own eyes, both from below and from the > >>>> loft. It would have been in the early 1980s, when I spent quite some > >>>> time in the archives, before their move. The "studio" had been > >>>> restored some time prior to that, and in itself it was a hard room, > >>>> with pine panelling. I would be surprised if there were no > >>>> contemporary reports of the restoration. > >>> Your eyes are good enough for me. > >>>>>> ----- Edison also performed experiments with performers placed on > >>>>>> squares drawn on the floor (Harvith & Harvith). > >>>>>> > >>>>> Distance from the horn is obviously critical, but that isn't the > same > >>>>> as the design of the studio. Nowadays, everyone is aware of things > >>>>> like live and dead ends, etc. > >>>> ----- now, we cannot draw a direct line from amateur recording on > >>>> cylinder machines to record companies, but in the manuals for > amateurs > >>>> they already then described how to use screens and cubicles for some > >>>> instruments. > >>>> > >>> Regards > > > > __________ NOD32 2296 (20070529) Information __________ > > > > This message was checked by NOD32 antivirus system. > > http://www.eset.com > > > > > >