The talking machine world (July-Dec 1920)

158 THE TALKING MACHINE WORLD October 15, 1920 POSSIBILITIES [Editor's Note: — This is the fourth of a new series of articles by William Braid White, to be devoted to the fundamental problems of sound recording and reproduction, the writer believing that he can open up a new avenue for research and general trade interest. We commend these articles to the consideration of those who are interested in featuring and developing the musical possibilities of the talking machine.] MORE PROBLEMS IN RECORDING Among-st the problems which have already been mentioned in these articles as presenting greater or lesser difficulties to the recorder, none are more important than those which relate to instrumental characteristics. Every musical instrument or group of instruments possesses certain characteristics which are well known, of course, to the musician. These characteristics appeal to the musician as in their musical sense only. He thinks of them in relation to their distinguishing musical features and judges them cxclusivel} in accordance with their musical values. The tone qualities of the various instruments are, to him, interesting only as so many additional colors or tints on his musical palette which he uses as he wills. But when we come to consider the matter of recording and reproducing the sounds of these instruments, the condition is altogether different. Instead of thinking of them in connection with their musical value and with nothing else, we are obliged to think of them in connection with their greater or lesser adaptability to the uses of the talking machine. In this respect we soon find that we must make an altogether new classification. Many instruments which musically have always been the most convenient and simple, the most deservedl) popular, are found to be relatively ill-adapted to the use of the talking machine, in that thej^ do not make clear and satisfactory records. Others, again, which are less popular in themselves, make the best of records. The reasons for all these conditions are in reality not difficult to understand. A little examination of the facts will show clearly much that at first sight appears to be obscure. The Material of Recording In the first place it should be remembered that the recording apparatus comprises a disc of soft wax}^ material, in which are to be received the motions of the needle. The onlj' practical method of providing contact between the needle and the source of sound itself is by means of the atmosphere conveyed through a horn and soundbox. Now it is instantly evident that such a method of providing the necessary contact is satisfactory almost inversely in proportion to the nearness of the source of sound. That is to say, the more nearly and directly the source of sound can be directed towards the horn, the better will be the results, other things being equal. For instance, a voice or a violin can be actually thrown into the horn, under proper guidance, and the result is usually very good, often of surpassing goodness. But the sound of a piano cannot be directed towards the horn .but must to a certain extent diffuse itself through the space necessarily intervening, so that the result is never so satisfactory. I have already, in previous articles, shown what direction is taken by the various defects which operate in the recording of piano, orchestra and band tone. The Directing of Sound It would therefore seem to be fairly obvious that the problem of securing satisfactory recording from such instruments or groups of instruments as cannot be satisfactorily directed into the horn, is largely one of controlling the direction of travel of air-waves set in motion by the source of sound, and of eliminating reflections and echoes. Possible methods for doing this have been discussed in previous articles. But there is another side to the question. The peculiar properties of each instrument in respect of the manner in which its tone is produced, deserve more serious study than they have yet received. It is not possible to go into details at length, but a few remarks may be made which will perhaps clear up the situation somewhat. The Important Division For the purposes of the record, and apart from all other considerations, it is fair to divide all musical instruments into two special classes; those which do and those which do not sustain their tones. To the former class belong ihe wind instruments, and the stringed instruments played by a bow. To the latter belong the piano, the harp, mandolin, guitar and other stringed instruments played by a plectrum, and Mr. Victor Dealer: is Victor Supremacy Reflected by the smart, up-to-the-minute equipment and intelligent selling-serving personnel of your store? IF EVER— WHY NOT NOW? TALKING MACHINE CO. BIRMINGHAM VICTOR JOBBERS EXCLUSIVELY the various percussion instruments such as xylophone, dulcimer, cembalo, drums, etc, etc. The snstained-tone instruments, as they may be called, are all more satisfactory as recorders than the others. It will be noticed that the record of a stringed quartet is likely to be almost perfect everywhere except in the higher tones, whilst solos by clarinets, flute, French horn and all wind instruments which are not too noisy and powerful, are often wonderfully fine and always satisfactorj'. Violin and 'cello solos are also very good in almost all cases. On the other hand, as we all know, solos or concerted work b}' the instruments of the second class are usually not so satisfactory and are often very bad. It is worth while to note that in each case the difficulty arises in two ways: First, in the impossibility of getting the sound into the horn without echoes, and secondly, in the likelihood of very violent moments of sound which violently affect the needle and cause the unpleasant result known as "blasting." In these two causes lie all the reasons for the difficulty of obtaining perfectly satisfactory records of the sounds of these instruments. The Solution of Sound Direction I have already shown that the problem of getting the sound into the horn can be solved, at least in great .part, by the adoption of a specially devised room, built of special material with a special curvature. In reference, however, to the matter of "blasting" it is evident that the problem is much more complicated. With almost every percussion instrument save the piano and drums, the tone volume may be held fairly constant without unsatisfactory effect. The drums do not count and it rema,ins that the piano is the sole representative of the dangerous "blasters," since all other instruments, including the human voice, can be so managed as to prevent blasting and to obtain clear reproduction of their tones on the record. A New Piano Needed With the piano it is only possible to say that no solution will be found until a new and special instrument has been designed for the purpose. Such a piano should be made, first, to fit into the parabolic room which I have imagined in previous articles. It should be so built that the vibrations of the soundboard can be taken directly on to the recording apparatus, and in a manner which will not permit the incrowding of echoes. It should, finally be made in such a manner that piano tone and nothing else, finds its wa} into the record. In a word, it is no longer useful to trj' to accommodate the unyielding facts to what happens to be the present method of making pianos. A piano must be made to fit the requirements of recording. This can be done as soon as those who have the art of recording in their hands choose to specif}^ what they want. The subject is most interesting and in a future article I shall trj' to show practically what I mean by such a special piano, and how it may be practicallj' designed and constructed. INTRODUCES NEW TONE ARM William Phillips, president of the Mutual Talking iMachine Co., the Supreme Phono Parts Co. and the Manhattan Phono Parts Co., New York City, has recently added another tone arm of improved design and construction to the large line of tone arms which he is already producing. Mr. Phillips finds that business throughout the industry, while not undergoing the tremendous rush of war time, is entirely satisfactory. More attention than ever, he reports, is being -given to the subject of tone arms by the manufacturers and the importance of securing the proper tone arm for their individual requirements is increasingly realized.