I've heard that a lot of the later Edison DD's and especially the electrically recorded DD's, were actually recorded at 78.26 rpm.  Can anyone verify this? 
Ron Roscoe

-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Dave Burnham
Sent: Tuesday, April 28, 2015 2:26 AM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Here's a tough one - maybe

Of course this is based on three assumptions - that your playback speed with a heavy Edison disc and stylus drag is running at precisely 78.26 rpm, that the original recording turntable was running at exactly 80 rpm and perhaps most unlikely, especially with pop music, that the key of the piece is known and that the group was tuned to A = 440 Hz. A lot of variables. Unless there is a mains hum and the frequency of that is precise and known. 


Sent from my iPhone

> On Apr 28, 2015, at 1:57 AM, John Haley <[log in to unmask]> wrote:
> You're welcome, Ben.  Taking Paul's math, which looks correct, the 
> adjustment you are looking for will be to raise the pitch 2.2% (.022).  
> To raise it a half step, that would be 5.6% (.056).  So the adjustment 
> you want to make is a little less than a quarter tone, but you 
> definitely want to make it, as a 2.2% change in pitch and tempo (and 
> yes, you want to keep them hooked together, as Richard said) can be 
> very noticeable in most music, particularly if there is a vocal.  The 
> human voice really wants to be reproduced right on pitch, and small 
> changes one way or the other can make a voice sound shrill or thick.  
> But the tone of many instruments suffers as well.  A quarter tone is a lot in this context.
> I don't know how reliable the speed is for Edisons, but for most other 
> 78's you cannot count on the speed being exactly 78.26, the nominal standard.
> In fact commercial 78's ranged all over the place.  That is why I said 
> it would be best to pitch each record individually.
> There is an easy way to do this, which I use almost every day.  I 
> recently bought a Yamaha electronic keyboard (only $100 on sale), and 
> I play on it all the time along with the music to compare the pitch.  
> Even just a few chords will tell you instantly where the pitch needs 
> to go to be right.  By my Korg tuner, which I also use, the Yamaha 
> keyboard is exactly top-dead-center on pitch (unlike my Steinway 
> piano). Getting the pitch right becomes a snap.
> When it comes to restoration work, getting the pitch right might be 
> the very most important thing.  I am always astonished how many 
> transfers of both tapes and records, even commercial ones, are done 
> off pitch, sometimes wildly off pitch.  It is just as critical an 
> issue when working from tape sources, as it can seem like no two tape 
> recorders in the old days ever played at exactly the same speed.
> Sometimes, where large changes are necessary, you need to get it close 
> in the analog playback domain, and not just on the computer, because 
> the operation of phono EQ or tape EQ is impacted.  Those "built in" EQ 
> systems are expecting to "see" recordings on pitch and will make the 
> wrong adjustments for a recording that is way off pitch.  This will be 
> especially true for the bass turnover point for records.
> Best,
> John Haley
>> On Mon, Apr 27, 2015 at 10:27 PM, Paul Stamler <[log in to unmask]> wrote:
>>> On 4/27/2015 6:14 PM, Richard L. Hess wrote:
>>> Of course 96 is also good for accurately reproducing the scratches 
>>> to make removal easier.
>> Unless you're using the descratching algorithm in DC-EIGHT or its 
>> predecessors, which for some unaccountable reason is optimized for 
>> 44.1kHz to the extent that it basically doesn't work at higher sample rates.
>> I usually work at 44.1kHz, so I don't have a problem with this, but I 
>> really don't like the limitation.
>> And yes, it's vital to work at 24-bit resolution; speed changes and 
>> EQ work a helluva lot better on 24-bit files, and so (in my 
>> experience) does descratching.
>> Peace,
>> Paul
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