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Maybe there is a simpler explanation. Gain riding on the tape. SA ----- Original Message ----- From: "George Brock-Nannestad" <[log in to unmask]> To: <[log in to unmask]> Sent: Wednesday, May 30, 2007 5:17 AM Subject: Re: [ARSCLIST] Cedar - acoustical recordings > 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 >> > >> > >> >