From: Patent Tactics, George Brock-Nannestad

Thank you for the reference to an article in the NYT by Greg Milner, whose book probably has not been read by nearly as many.

Compression is good when you listen in an environment where the signal-to-noise ratio is less than 10dB, close to the dangerous noise dose at 80+ dB: many cars.

The film industry used such techniques for film soundtracks from the 1930s on. They used calibrated compressor-expanders. When the Danish film sound company called Fonofilm moved from sound-on-film to sound-on-disk (Ortofon) in the mid-1940s they collaborated with the Danish record company TONO, and indeed TONO recorded 78 rpm records using this technology to increase the dynamic ratio on records. I only knew one person who had the gramophone reproduction equipment for these records: the former head of recording operations at TONO. I myself used a Source Engineering preamplifier for many years in the 1970s, and it had an expansion feature apart from other useful settings, and it worked (without calibration) for the TONO records. I also used it on the Flanders & Swann song "the Ostrich" (At the Drop of Another Hat), where I really could get frightening sounds out of its climax.

Best wishes,


----- Original meddelelse -----
Fra: "Peter Hirsch" <[log in to unmask]>
Til: "Association for Recorded Sound Discussion List" <[log in to unmask]>
Sendt: fredag, 8. februar 2019 05:33:10
Emne: [ARSCLIST] Compression

This article <>recalled many a discussion back
in a particular not-too-distant era of this list, so it may be of interest
to some of you. The article does go maybe a little far with the graphs and
analysis for my level of interest and my generally non-technical
professional background, but I am getting some extra mileage out of the
hundreds of comments and replies.

Enjoy and discuss amongst yourselves.

Peter Hirsch