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MODERN RECORDING .. Asummaryojmethods MODERN RECORDING .. AsummaryojMethods By BEVERLY F. FREDENDALL Author's Note: This article is designed to acquaint the techni­ record material, purposely caused by a sufficiently large cal man not actively engaged in recording with some of the needle force. The mechanical track method is largely more pertinent aspects of this interesting industry_ used in present-day record players employing flat discs and in dictating machines using cylindrical records. T IS A LONG WAY back to the point in history The optical track employs a light source made to when Edison invented the phonograph in 1877. vary in one of two ways: (a) by varying the area of I However, it would be unfair not to pay tribute to the optical image; (b) by varying the light transmis­ this great man whose genius and the outgrowth of whose sion of an optical track of constant width. Optical developments are responsible for the gigantic record­ methods are used primarily in the motion picture in­ ing business of today. dustry. The original recorder as conceived by Edison utilized The magnetic track stores sound by magnetizing the sound waves to actuate a diaphragm and needle. As record material in either a lengthwise direction or a sound reached the diaphragm, the needle caused an transverse direction with relation to the sound track. indentation (recording) on tinfoil, which could then These variations may be thought of as applying to the be used in reverse to recreate the original sound waves. magnetic recording process in the same way that the Since that day, many changes, innovations, and improve­ terms "lateral and vertical" apply to the mechanical ments have been added to produce modern methods track process. Two additional terms used in magnetic of recording. (Notable contributions to the art of recording are DC Bias and Supersonic Bias. These recording are shown in Fig. 1.) designations deal with alternate methods of preparing Early recording systems were severely limited, as to the magnetic material to receive and magnetically store both frequency response and dynamic intensity range the variations of sound. The magnetic track method of reproduction. Such limitations in phonographs did is commonly known as magnetic wire recording or mag­ not detract at first from their universal acceptance, netic tape recording. Although originated several because people as yet had not become accustomed to decades ago, this method has become popularized only the superior reproduction of music and speech on the recently through further developmental work and radio and the sound motion picture. modern publicity. It has been used quite extensively Most of the early acceptance of the phonograph was during and since World War II for commercial pur­ based upon novelty and a wide choice of recorded poses, and an interesting application has been made in music. Subsequent to the introduction of the vacuum connection with furnishing entertainment on passenger tube amplifier, which also produced broadcasting, the trains. New uses are coming to the fore every day, early acoustical phonograph appeared doomed on two and one of these which doubtless will enjoy a big counts: quality was lacking in comparison with radio, futute is in the development of the application of sound and the quantity of recorded material appeared inade­ to home movies. quate. In an attempt to improve quality, the Ortho­ Although three basic systems of sound storage have phonic Victrola was marketed. Although the quality been described separately, two of them already have of music reproduction was noticeably improved, as the been combined in the Phillips-Miller method of tape result of a more efficient design of the acoustical horn, application. This utilizes a V-shaped needle which it could not compare with that of electrical recording cuts vertica11y through a black-coated surface, thus and reproduction, and, therefore, soon gave way to producing both a mechanical and an optical sound present-day systems. track. When the recording is played back, only the _ As an aid to understanding the wide choice of present­ optical track is used. The Phillips-Miller method has day recording methods, it is we11 to keep in mind that the advantage of constant track speed, resulting in the early machines were powered by acoustical energy fixed frequency response and long-time playability. and that only after the important invention of the This method has not become very popular to date, pos­ vacuum tube amplifier could the most worth-while im­ sibly because of the greater a11-over expense involved. provements take place. It has been used at radio station WaR in New York. SOUND STORAGE METHODS RECORDING MATERIALS Basica11y speaking, sound may be stored in one of The three main processes of sound storage have three ways: by employing either a mechanical, an been described with little or no mention of the form optical, or a magnetic sound track. Let us examine or the materials used in the record itself. The shape in some detail definitions of these three forms of of the record may be, as in Edison's original device, storage. a cylinder, or it may be a disc, a tape, or a wire, de­ The mechanical track is either a lateral cut or a pending upon the process used and the application vertical cut, depending upon whether or not the needle of the finished product. When discs are used for vibrates crosswise to the groove at a uniform depth, receiving and storing sound, they may be either metal, as in lateral recording, or vibrates up and down with wax, she11ac, modern plastics, or consist of coatings varying depths, as in vertical recording. The grooves such as lacquer applied on metal, bristol board, or may be formed by either the engraving process or glass. Material for the optical process is the usual embossing. In engraving, a chip or thread is removed photographic emulsion, such as is used on motion pic­ from the surface of the material, whereas in emboss­ ture film. Materials for the magnetic process are either ing, the groove is formed by an indentation of the steel tape or other types of tape coated with magnetic APRIL,1948 Page '5 dust. This latter tape may be anyone of several WI~E RECORDER PUIUOTY different kinds, among which are motion picture film C).M9.M and paper. For wire recording, ordinary small-gauge VERTlC~L L~TER~L ~E~O llGHTPERMANEWT STYlU5~i~~~'p steel wire is used. RECORDING LACQUERCOATED OI~rs"'INT jr.A.PlERCE PREHO co. HIGHLIGHTS HEEL ON CUTTING NEEDLE TRACK SPEED FI ~ HONO<iRA9H I~"PP'PANATROPE The recording track speed may be either constant A.CVA . or variable, depending upon choice and execution of FIRn COMMERCIAL IOUND P ES O~THOPHONIC ~ICHOL~ the mechanical drive. For example, Edison's original H,C.tiAUISQN ELECTRIC~L RE(O~DING cylinder, plus the film, tape, and wire forms, is of the ToP. MAXFIELD ET.AL. COMMERCIAL ~ECORDER constant track speed variety, while the usual home J.1.~CULLY phonograph has a variable track speed, resulting from -~~~~~~~--(~R~-------' DOUBLE FACED RECORD I COLOMBIA I a spiral groove on a constant angular speed turntable. DICTAPHONE. J.1.SClILL .1 Track speeds vary from 15 to 180 ft per minute. HORN IN CABINET I I The higher the sound track speed, the better is the VACUUM TUBE NAMED Vl(TROL'" 1 L.DE-FOR.E.ST I frequency response possible and the higher the cost GREAT ARTI SHY I O.R.USO I of material. The use to which the finished record is MAGNETIC RECORDINu 1 POULSEN I put and the frequency response desired should deter­ I. DIIC I 2. DUPLiCATION I mine the original recording speed. EMILe .EKLINE. I I (OMMEWALMA(HI~E I RECORDING INVEWTED •.•. me I CHOOSING A RECORDER I T.~.~DISON I One might question the need for such a large diversi­ I I I fication in the process, form, material, and speed used 1660 1110 1910 1110 1$0 in the entire field of recording. Some of these differ­ Figure 1 ences were undoubtedly designed to circumvent patents, while others were worth-while contributions to the art of recording. The person concerned with choosing careful thought. While the primary concern IS per­ a suitable recording system should consider the follow­ formance, it is quite possible that anyone of the ing three groups of factors, the meaning of which will other factors may govern the choice of a recording be described later: machine in a specific instance. Since performance fac­ tors are of such importance, an explanation of each is PERFORMANCE FACTORS: now in order. Frequency range Signal to noise ratio Distortion PERFORMANCE FACTORS Uniformity of response Signal stability The sound spectrum is generally considered to be composed of ten octaves, ranging from 16 to 16,000 MACHINE FACTORS: cycles per second. Edison's early cylinder probably Initial cost Operating cost utilized not more than three of these ten octaves. Its Size and weight frequency range, therefore, can be thought of as lim­ Ease of operation and handling ited to about 30 per cent of the total. However, al­ Recording time available though limited in range, the early acoustical phono­ Reliability of tracking Ease of spotting and editing graph was acceptable because the middle portion of Instantaneous speed accuracy the frequency band is of greater importance than Cumulative speed accuracy either end. See Fig. 2. Life of machine Time interval between recording and playback The Signal to Noise Ratio is important because it Effect of temperature and humidity defines the degree of sound intensity or dynamic range Ease of maintenance which can be accommodated. Noise tends to mask the Adaptability to automatic operation desired signal when that signal is weak or of low in­ Adaptability to field or mobile use Adaptability to synchronism tensity.
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