NJ Audio Society - wax cylinder recording, Oct 21, 3:30

[Jerry Fabris]

Upcoming program hosted by the New Jersey Audio Society <http://www.njaudiosociety.com/>

"Edison’s Legacy: The symbiosis of art and technology"

Where: St. Philips the Apostle Church, Saddle Brook NJ
When: Sunday October 21, 2012 at 3:30 PM.
Admission is free. Donations are encouraged.

On October 21st, Eric Wyrick, concertmaster of the New Jersey Symphony Orchestra, will record ‘Prélude 'le Deluge‘ by Saint-Saens on an original Edison Cylinder, the first commercial recording system, widely used between 1888-1915. Working with Jerry Fabris, museum curator of the Thomas Edison National Historical Park, and Darryl Kubian, NJSO violinist, composer and sound engineer, the program will explore the ever-evolving medium of recorded sound, featuring technology from the late 19th century to the present day. The recordings produced during this program will provide a springboard for an interactive discussion between the artist, engineer and audience.

While the unique sound of the Edison Cylinder is fascinating in its own right, this program will also explore how it has influenced the art of modern recording. Mr. Kubian will simultaneously record Mr. Wyrick on two additional systems, each representing a pivotal phase in the history of sound technology. This live comparison of electronic recording technology to its mechanical predecessor will provide a unique opportunity to examine the progress we have made, and remember some of what we have lost.

[edisonphonoworks]

I have always felt that even though acoustic recording is limited, it is genuine. Depending on how good you are at making diaphragms and reducing mechanical distortion, the acoustic method of recording and playback, has a certain presence or character, that is not able to be conveyed through electronic means. If you listened to a pristine direct recorded Edison cylinder there is a sense of being there that you can't explain, but you feel. You can take the same cylinder and play it back electrically, and while you may hear more depth to the recording, something that you can't quite put your finger on is lost. The acoustic playback of this media the playback resonance were part of the sound that was intended when the engineers made the records. Now this is another strange thing, if I play back a lateral 78 on a modern turntable, even with a special 78s Sure and flat, it still has lost some of the charm of the acoustic talking machine, however I have a Western Electric 4C Audio Meter for hearing testing from about 1941 that contains an early 30s fish tail type magnetic pickup and tonearm (you can record on the Victor recording discs) This brings out many overtones, and minimal surface noise that the modern cartridge is not capable of, The bass is full and rich, the mid range is clean and present, and the highs shimmering and bright, yet has less surface noise than playback with the Stanton or Sure 78s. This is an experimental transcription from many years ago with this very equipment I speak about played through the old WE turntable, although this is an Orthophonic electric disc, notice you can hear him pop the microphone diaphragm!
http://youtu.be/T_QRZj23WcI