[78-L] It was more than Okeh

[mbiel at mbiel.com]

It wasn't Brunswick's system, it was the RCA Pallotrope system devedoped by Charles Hoxie atGE.  Other parts of it became RCA Photophone sound-on-film  As for the muddy sound of late 30s OKehs, the bassy sound of the jukeboxes was what people liked for pop music back then.   Mike Biel  mbiel at mbiel.com

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------Original Message------
From: David Lennick <dlennick at sympatico.ca>
To: <78-l at klickitat.78online.com>
Date: Wednesday, May 19, 2010 12:48:08 AM GMT-4
Subject: Re: [78-L] It was more than Okeh


Electrical recording also needed a good system going in, but Brunswick didn't have Western Electric, they had their own "light ray" system. Even after they gave that up, some of their electricals (especially Los Angeles recordings) were pretty rotten. And then they went to no bass in the early 30s, and a boxy studio in the late 30s, and..

 

dl
 
> From: stevenc at interlinks.net
> To: 78-l at klickitat.78online.com
> Date: Wed, 19 May 2010 00:10:54 -0400
> Subject: Re: [78-L] It was more than Okeh
> 
> --------------------------------------------------
> From: "Taylor Bowie" <bowiebks at isomedia.com>
> >>> _______________________________________________
> >> The other side of the coin: how did Brunswick get away with their mushy
> >> sound in the late 30s?
> >> Julian Vein
> >
> > Or for that matter, how did they manage that ghastly, boxy, hollow 
> > sound
> > on those real early electrics, around 2900 -3100 series? Terrible sound 
> > on
> > most of them I've heard.
> >
> All that an "electric" recording needed was the extended bass response (as
> compared to acoustic recordings). Keep in mind that the players of the 
> 1925-3?
> period were FAR from "high fidelity"...in fact, many people were still using 
> old
> acoustic players. This is why Columbia could sell acoustic Harmonys (et al)
> into 1931...!
> 
> Steven C. Barr 
> 
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