While we wait....
 

"Serge Auckland" wrote in message
...
Keith G wrote:


But it's very interesting in that (having never had cause to fire
*anyone* in over 500 combined years of employment) it is in keeping with
my own view that there is a massive responsibility on the part of the
employer not to hire the wrong people for the job, or allow them to fail
in the job once they have been taken on....??

In France you have every incentive to make sure that happens.



And I have just won this on eBay:

http://cgi.ebay.co.uk/ws/eBayISAPI.d...5627&rd=1&rd=1


Lovely, innit? I just hope it gets here in good shape!

I wonder how hard it would be to fit it to this (which I won yesterday
for the price of a T&G headshell):

http://cgi.ebay.co.uk/ws/eBayISAPI.d...6830&rd=1&rd=1


with one of my M75s with a 78 needle in it and get a squeak out of it?

Daft but fun!

(Streuth, but I just *love* records and record players - every damn one
of them!! :-)


As you say, daft but fun. I think there's a very good chance of making it
work properly. Yesterday I got out of my loft a 1920s acoustic gramophone
I had there for the past 20 years with the intention of getting it working
again. Mechanism works fine, it's the cabinet that needs attention. I have
three boxes of needles and all I need now are a few 78s.

I love the volume control on it, a pair of doors over the end of the horn,
open them and it gets louder.....


Which is just the reverse of the acoustic recording process.
Decca, the company where I worked in the UK, had its roots
in The Crystalate Gramophone Record Company, late of
Tonbridge, Kent, which claimed to be the oldest record
producer in Britain.

In the late sixties, someone at Decca gained access to an acoustic
recording machine, and as the disc cutting expertise there was
considerable, we still had people who could "cut and shave" waxes
as they were called. We made several experimental acoustic recordings
following procedures which had been well documented back in the
20s and 30s.

The recording engineer, who stands in the studio with the "recording
machine" has no console or attenuators, but used a large piece of
angora wool which he inserts into the horn to attenuate loud passages.

The machine would have been a great success, but for the
missing Midi port and USB connector:-)

Iain

While we wait....
 

Iain Churches wrote:
"Serge Auckland" wrote in message
...
Keith G wrote:

But it's very interesting in that (having never had cause to fire
*anyone* in over 500 combined years of employment) it is in keeping with
my own view that there is a massive responsibility on the part of the
employer not to hire the wrong people for the job, or allow them to fail
in the job once they have been taken on....??
In France you have every incentive to make sure that happens.


And I have just won this on eBay:

http://cgi.ebay.co.uk/ws/eBayISAPI.d...5627&rd=1&rd=1


Lovely, innit? I just hope it gets here in good shape!

I wonder how hard it would be to fit it to this (which I won yesterday
for the price of a T&G headshell):

http://cgi.ebay.co.uk/ws/eBayISAPI.d...6830&rd=1&rd=1


with one of my M75s with a 78 needle in it and get a squeak out of it?

Daft but fun!

(Streuth, but I just *love* records and record players - every damn one
of them!! :-)

As you say, daft but fun. I think there's a very good chance of making it
work properly. Yesterday I got out of my loft a 1920s acoustic gramophone
I had there for the past 20 years with the intention of getting it working
again. Mechanism works fine, it's the cabinet that needs attention. I have
three boxes of needles and all I need now are a few 78s.

I love the volume control on it, a pair of doors over the end of the horn,
open them and it gets louder.....


Which is just the reverse of the acoustic recording process.
Decca, the company where I worked in the UK, had its roots
in The Crystalate Gramophone Record Company, late of
Tonbridge, Kent, which claimed to be the oldest record
producer in Britain.

In the late sixties, someone at Decca gained access to an acoustic
recording machine, and as the disc cutting expertise there was
considerable, we still had people who could "cut and shave" waxes
as they were called. We made several experimental acoustic recordings
following procedures which had been well documented back in the
20s and 30s.

The recording engineer, who stands in the studio with the "recording
machine" has no console or attenuators, but used a large piece of
angora wool which he inserts into the horn to attenuate loud passages.

The machine would have been a great success, but for the
missing Midi port and USB connector:-)

Iain


Is life possible without USB? How *did* our ancestors manage?

I just came across a web site on the construction of Broadcasting House
in the late 20s, with circuit diagrams of the studios.
http://www.btinternet.com/~roger.beckwith/bh/menu.htm

It is amazing just how crude early broadcasting was, and yet, and yet.....

It must have been a very exciting time...early radio, early TV, stereo
colour TV, digital audio.... I've worked through some of these, and they
were indeed exciting. I wonder how exciting today's young engineers find
it all. Maybe software *is* exciting, it just doesn't do it for me the
way a glowing 807 or the first CDs do.

S.

While we wait....
 

"Serge Auckland" wrote in message
...

It must have been a very exciting time...early radio, early TV, stereo
colour TV, digital audio.... I've worked through some of these, and they
were indeed exciting. I wonder how exciting today's young engineers find
it all. Maybe software *is* exciting, it just doesn't do it for me the way
a glowing 807 or the first CDs do.


Thinking back, they were pretty bold people to attempt what they did
Flying by the seat of ones pants was still a common part of studio
life even in the 70's.

Cutting a disc was sometimes a harrowing experience when you got
to the last track (in a symphonic work often the loudest of all)
wondering all the time if the disc would overrun.

It's all pretty simple these days. The digital workstation can show
you the phase and level envelope of your material (although phase is no
longer critical) but still people manage to destroy a good recording
at the mastering stage.

For my money no one has really paid their dues until they have edited
a composite from a 24track 2" analogue multitrack with razor-blade
and Chinagraph pencil, with the producer, assistant producer, and a
group of performers looking on with baited breath. That really sorts
out the men from the boys. Levels of Undo? Zero:-)


Iain