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

[Philip Carli]

I would say as a musician that complementary overtones can be "heard", or at least sensed, through the exit of the playback or amplification medium, depending upon the materials of the speaker/instrument or what have you, and the sometimes indefinable aspecta of individual hearing.  In hearing and recording studies, perceptual quality is difficult to quantify, at least in my experience.  That has been part of the "fidelity" debate going back through the history of recording. Philip Carli
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From: 78-l-bounces at klickitat.78online.com [78-l-bounces at klickitat.78online.com] on behalf of Doug Pomeroy [audiofixer at verizon.net]
Sent: Saturday, July 28, 2012 11:17 AM
To: 78-l at klickitat.78online.com
Subject: Re: [78-L] Frequency Response/Range for 78's

Hi,

As Mike says, Nick Bergh is doing valuable research on this subject. Nick
has first-hand knowledge of the equipment used from the very beginning
of electrical recording.

The July 1953 issue of Audio Engineering magazine reprints two figures
showing (1) the frequency response of the original Western Electric wax
recorder and the modifications to it by WE and RCA (in 1938), and (2)
the recording characteristics of Victor records from 1925 to the present:

The curves are not "written in stone" because most record companies did
some experimenting, especially with bass filters.  But in general they show
the high frequency capability of the original cutter was about 4 kHz and
it went out to 6 kHz after improvements to the rubber line cutter, and out
to about 8 kHz with the 1938 improvements, and out to about 10 kHz
by 1947.  By 1952, the New Orthophonic system extended the response
to beyond 12 kHz.

I the early years, Victor and Columbia were using the same WE cutters,
and their records reflect this.  Other companies used a variety of other
equipment, and may sound different (often worse).

Some collectors of 78s have claimed to hear "overtones" far higher in
frequency than the cutter known to have been used could possibly have
cut (even at a very low level), ignoring the elementary laws of physics.

Doug Pomeroy
Audio Restoration & Mastering Services
Transfers of metal parts, lacquers,
shellac and vinyl discs & tapes.
193 Baltic St
Brooklyn, NY 11201-6173
(718) 855-2650
audiofixer at verizon.net

============================================================
> Message: 14
> Date: Fri, 27 Jul 2012 11:16:06 -0700
> From: "Michael Biel" <mbiel at mbiel.com>
> Subject: Re: [78-L] Frequency Response/Range for 78's
> To: "78-L Mail List" <78-l at klickitat.78online.com>
> Message-ID:
>       <20120727111606.b192746a6fddb703927f95bcf5fd261f.8981c1d7a0.wbe at email06.secureserver.net>
>
> Content-Type: text/plain; charset="utf-8"
>
> From: James <sartana at cox.net>
>> 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.....
>
> Nick Bergh did a presentation at ARSC about his research on Western
> Electric equipment which includes info on frequency response and curves.
> He and his colleagues have a lot of the actual equipment and are
> starting to decode some of the technical notations in the Victor ledgers
> and the changes and improvements that were being made over the years.
> He also knows a lot about all other recording equipment available in the
> 30s and 40s.
>
> Mike Biel  mbiel at mbiel.com


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