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.

Joe Salerno
Industrial Video Services

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
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