Print

Print


  My understanding is that Phonograph Monthly Review was a victim of the Depression in 1932 and was reorganized and replaced somehow as The American Music Lover, which became The American Record Guide.

  Don Tait

 

 

 

-----Original Message-----
From: Tom Fine <[log in to unmask]>
To: ARSCLIST <[log in to unmask]>
Sent: Wed, Oct 17, 2012 7:00 am
Subject: Re: [ARSCLIST] Phonograph Monthly Reviews @ Philadelphia Free Library...Light Ray Recording


Exactly WHO is claiming to own the copyright on Phonograph Monthly Review 
magazines? There are 
apparently scans at Google Books, but the text is inaccessible. I can't imagine 
anyone remotely 
connected with this original magazine company is anywhere near Earth to claim a 
copyright, so this 
must be some sort of pirate/loophole-taker involved.

There is a description of the Light Ray system included in the text for this 
video (I'm not vouching 
for any accuracy):
http://www.youtube.com/watch?v=Y9EKFcP2TTA

Here is more on the system, as used in Germany:
http://forum.talkingmachine.info/viewtopic.php?f=2&t=4643
apparently, the Germans used a purely electrical system, rather than an acoustic 
horn as the sound 
collector as some descriptions have Brunswick's US system.

Some mention of the Light Ray system here, again not vouching for any accuracy:
http://zaydesturntable.wordpress.com/tag/light-ray-process/

Here is a Google Books excerpt where you can actually read the text, with 
detailed mention of the 
Brunswick Light Ray system in the US:
http://tinyurl.com/ctrd7k9

In general, optical recording needed much refinement and mitigation to result in 
really excellent 
audio. It was always fine for dialog, field audio and some sound effects. But 
the high levels of 
distortion, limited dynamic range and vagueries of bulb brightness, film stock 
and the like would 
lead to less reliable fidelity than could be achieved via the WECO electronic 
groove-cutting system. 
There is a vast library of papers that were published in the SMPE/SMPTE  
Journal, IEEE Journal and 
other places, describing the many and continuous refinements in optical 
recording, up to the very 
recent past. Often, a telltale sign of optical recording (combined with SMPTE 
curves for 
dialog-intelligability) is a screaming midrange with very little bass or treble. 
This works OK in a 
cinema, because it makes the dialog crystal clear and people are generally 
munching popcorn and 
paying less attention to sound fidelity than what's happening on-screen. It does 
not work well in a 
home-theater setting, and thus the best home-video releases have always featured 
a remixed and often 
re-equalized soundtrack making for wider frequency range and bettter overall 
audibility through home 
speakers. Lower-budget home-video releasers have not gone to the trouble, and 
their lousy-sounding 
work is sometimes painful to watch!

-- Tom Fine

----- Original Message ----- 
From: "Art Shifrin" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, October 17, 2012 7:28 AM
Subject: [ARSCLIST] Phonograph Monthly Reviews @ Philadelphia Free 
Library...Light Ray Recording


> Does anyone live near the Library who might attempt to get a copy made for
> distribution to this list?  If not, then I will ask someone if it's
> feasible that this favor be done.  I'm anxious to see the article but don't
> want to impose if it's unnecessary.  IF RESPONDING TO THIS ON THE LIST,
> THEN PLEASE ALSO  COPY ME DIRECTLY.
>
> Shiffy
>