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A considerable appreciation of early records is noted in the CD market; however, the resulting signals presented on these CDs are extremely inconsistent. It is un-historical and hence un-authentic to use an expectation of the taste of present-day listeners as the guiding principle for transfers. Rather than trying to criticize those responsible for such transfers, the present paper presents the recording process of the acoustic period in order to promote a necessary step of interpretation and reverse engineering.
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 Scott Dorsey |
Comment posted July 28, 2020 @ 18:00:24 UTC
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This paper is kind of fragmentary and disorganized but has a lot of interesting information about the acoustic recording process. There is some very important information here but some of it remains hidden. For example, we have a diagram of a session employing three horns of two different diameters; this has severe consequences for people attempting to equalize horn resonances which are not discussed. Some of the discussion about the selection of soundboxes is interesting but not explored deeply. Much of the information here remains obscure; the author's unearthing of correspondance between the Victor Talking Machine Company and their UK licensee, the Gramophone Company, provides a very interesting look into industry practices and methods. (Respond to this comment)
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