[78-L] acoustic recording

[Leroy Barco]

"Rainbow" by Murray and Jones on Blue Amberol gives evidence of at least two
horns with a control for horn volume.

The song didn't need four minutes but was stretched with a bridge by a vocal
or instrumental ensemble. Jones and Murray's "feed" was choked during the
bridge and evidently not opened for a time when they came back in... at
least the volume for them is much reduced.

The above from memory, since I don't have the cylinder at hand.

LeRoy

On Fri, Feb 12, 2010 at 1:35 PM, Michael Biel <mbiel at mbiel.com> wrote:

> DAVID BURNHAM wrote:
> > I'm curious to know if they ever tried multi-horning - using one horn for
> the voice and a second for the piano or orchestra or whatever.  They
> certainly had long enough to try this kind of inovation, they were aware of
> the complications of trying to get all of the musicians around a single
> horn.  Flexible tubing should enable the horns to be moved around and  the
> recording engineer could even have chokes, similar to those used to control
> the volume of an acoustic gramophone, to control the recording volume from
> each horn.  I'm sure that likely they didn't but it's an interesting
> thought.
> >
> > db
> Multi horning was very common.  I recently read an article which
> discussed the remaining Victor or HMV specs on the joining devices,
> which included notations on the percentage of the openings for one horn
> vs. the other horn, but I can't locate it now.  I should ask George
> Brock-Nannestad where it can be found.
>
> Mike Biel  mbiel at mbiel.com
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