[78-L] Frequency Response/Range for 78's

[James]

Yes, I understand the value of using ones 'ears'. That makes perfect 
sense and in the end, that is the final judgement that matters. I was 
just hoping that somewhere, someone would have noted what sort of 
recording setup was available in different eras and what the frequency 
response was deemed possible by that equipment.

It was just a thought.....


On 7/27/2012 9:13 AM, David Lennick wrote:
> Actually, those of us professional restorers rely on our ears more than
> semi-reliable specs. There was a book published some years ago that purported
> to give the curves for dozens of record labels, but ignored English and
> European recordings, and boldly stated that Columbia's curve didn't change from
> 1939 to 1955. Columbia's curve changed every time someone made a new dub from
> one of the 33RPM originals.
>
> dl
>
> On 7/27/2012 12:07 PM, James wrote:
>> Thanks for the note. I am surprised there is not more info out there.
>> Seems it is critical for us amateurs who try and 'restore' the records.
>>
>>
>>
>> On 7/25/2012 9:02 PM, David Lewis wrote:
>>> Can anyone point me to a site that has a good break down of the
>>> realistic frequency response range for records in the 78 RPM era? I am
>>> looking for something that covers everything 1900-1957. I have looked
>>> and find bit here and there, much of it having to do how surprisingly
>>> well certain records from a certain era do...but I am looking for
>>> general guidelines. I know that all records were not made equal, so info
>>> on Victor records vs. Paramount is great as well. But what about Mexican
>>> 78's from the 1950's? Off brand 78's from the 40's? A 1938 Vocalion vs.
>>> a 1948 Aladdin. What are some 'general' guidelines?
>>>
>>> Thanks for any help....
>>> Not much help here; there has been a lot of data collected on this front,but I do not know of a single resource for it all. Perhaps ARSC, or someone, should set aside a place for people to park such data: high peak, low peakon a label in a given year or era. There is some string theory type researchthat needs to be investigated in regard to acoustics; how some can capture backand front perspective within a three-dimensional environment whereas others donot, and why. Why do badly damaged copies of records lose this perspective? SteveSmolian gave a demonstration at ARSC where he demostrated room sound on a Carusorecording at above 20,000 hz. I couldn't hear it, but that doesn't mean Stevewas wrong. We would need to leave room within a source document collecting thesefigures to account for anomalies like these.
>>>
>>> Uncle Dave Lewis
>>> uncledavelewis at hotmail.com 		 	   		
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