Text Editable/Searchable PDF File Version

Total Page:16

File Type:pdf, Size:1020Kb

Text Editable/Searchable PDF File Version feel especially honored to salute the rect distance dialing, microwave transmission, employees of the Bell System, who have satellite communications, electronic switching, shared so much of their time and talents and fiber optics, to name only a few. Day in and with me during the 35 years I have spent day out, Bell people have given selfless service, in this business. I admit that I would and they also have volunteered countless hours prefer another occasion upon which to pay to better their communities. tribute, because divestiture has been a difficult The use of our technologies, coupled with the and often painful process for all of us. At the humanity of our work, has touched and funda- same time, however, we have been building new mentally altered every aspect of our lives and enterprises, and I know each of us thrills to the livelihoods. The telephone transmits messages prospect of working in them. of compassion and calls to the moon. Taken for I think divestiture should be remembered for granted though it may be, there is nothing com- the new beginnings it brings us - and for the monplace about this extraordinary system. opportunity it provides to build upon our heri- Telephone service in this country deserves its tage. I, like so many of you, have deep roots in reputation. It is, indeed, the best in the world. the Bell System. My father was a district traffic We take pride in what we have accomplished. superintendent in Richmond, Virginia, at the Our heritage is glorious - and our future ripe time I was born; my mother was a supervisor in for further achievements. Divestiture has acted a Long Lines operating room in New York; and to put the destiny of the business back into the my sister worked as a service representative for hands of those who know best how to run it - New Jersey Bell. Each of us had the service its employees. It was never primarily the orga- ethic - that devotion to helping customers day nization of the Bell System that made the by day and in times of crisis. As a matter of fact, company work, though its organizational my parents first met in Philadelphia, where scheme certainly inspired and aided the busi- they were both on loan to help with the very ness. It was, instead, those assets that have not heavy emergency problems brought on by been subject to the divestiture process: our World War I. As I was growing up, I remember Spirit of Service, our tradition of excellence, our my father missing more than a few dinners in sensitivity to people, our reputation as a re- the course of his travels. He worked hard in sponsible corporate citizen, and - above all - helping to establish overseas telephony and our ability to discern the expectations of the TWX service, and he was very proud of the public and then conform the business to those business. expectations. His pride and dedication were two of the qual- If we continue to display these qualities and to ities that also impressed me about the Bell set them as examples for newcomers to our System people I came to work with. Whether companies, then we will surely live up to the they were the pole climbers who taught me that trust placed in us by our predecessors - and end of the business, or the hundreds of people at the Bell Systems heritage truly will become an Long Lines and the operating companies whom enduring one. From the standards we have I met in various jobs in various cities across the lived by for more than 100 years, we can grow country, the employees of the Bell System have in confidence in our individual abilities and been distinguished by their integrity, their stand firm on the fundamentals that have made determination, their enthusiasm, and their this business great: that it is an endeavor prof- devotion to excellence. itable to its owners, useful to its customers, It has taken all these qualities and one more - and, to its employees, worth working for. what the French call élan - to make the vision My wife Ann Lee and I plan to spend a quiet of our forebears in this business become a real- time on New Years Eve this year, as we usually ity: to link Americans to each other and to the do, but we will more than likely raise a toast to world with direct and almost instantaneous the men and women of the Bell System as they communication. Today, we have made that vi- begin their auspicious adventures. And we will sion a reality. In so doing, we also have given say what we feel in our hearts and what my this country more than a century of continuous family felt before me: that we hold you, collec- and systematic innovation - the transistor, di- tively and individually, in the highest regard. CAVALCADE An introduction to the writers, photographers, and illustrators contributing to this commemorative edition. THE UBIQUITOUS TELEPHONE SO WE SAY GOODBYE - AND WELL DONE! R. Z. MANNA The telephone was contemporaneous with Tom Sawyer and EDITOR the self-binding reaper; a charming part of Americas mythic C. ANNE PRESCOTT past, a vital component of our technological future. SENIOR EDITOR AND AUTHORS LIAISON LORRIE TEMPLE MANAGING EDITOR PARALLELS WITH THE PAST BOB KINKEAD The perception of historic tranquility and a stormy future for the ASSOCIATE EDITOR Bell companies is mainly an illusion. Its just that hard times past tend RICK WILBINS to mellow in memory, and future unknowns loom larger than life. COORDINATING EDITOR GARY OSLAND DESIGN DIRECTOR LOOKING BACK TO SEE AHEAD BEN PASSANTINO, The years leading to divestiture may provide ROSALIND McDONALD RESEARCH ASSOCIATES guideposts for tomorrow. JAMES T. RYAN DESIGN ASSOCIATE ONE WORLD A. BRIAN SAVIN COUNSELING LIAISON A legend remembers when ATT gave something more than her art a voice. I S K C. L. BROWN CHAIRMAN OF THE BOARD THE RIGHTSPIRIT WILLIAM M. ELLINGMAUS PRESIDENT JAMES E. OLSON VICE CHAIRMAN THIS HAPPY BREED The people of the Bell System are fondly recalled T. O. DAVIS SECRETARY in a tribute to their character and competence. VIRGINIA A. DWYER VICE PRESIDENT AND TREASURER THE MIRACLE OF TELEPHONE SERVICE The miracle may seem magical, a writer discov- ers, but its wrought by telephone people every day. TELLING TALES The Bell System can be kept alive through the "living memories" of its people. CORPORATE BONDS Though not based on blood and genes, a corporate community nonetheless possesses strong familial ties. I B N SOCIAL STUDIES Bell Telephone Magazine is published in four editions this BLACK-CORD FEVER year by American Telephone and Telegraph Company, As seen by a child, the telephone was a device into 195 Broadway, New York, New York 10007. Typeset in Century Schoolbook by Franklin Typographers, Inc., New York City. which grown women shouted. For an adult, its an addiction. Printed by Georgian Press, Inc., Garden City, New York. © 1983 by ATT. Magazine design concept by Paul Hardy. Design assis- tance, Sally Stone. Clerical support, Gary Pletsch, Vivian Hope, PAS DE DEUX: THE BELL SYSTEM AND THE ARTS and Allyn Sitjar. Back issues of Bell Telephone Magazine are available from University Microfilms International, Ann Arbor, In the business of communicating, nothing quite Michigan; all rights reserved. Unless otherwise specified, all does it like the arts. material published in this magazine is the property of ATT and may not be reprinted in any publication without permission in writing from the editor. No part of this publication may be reproduced or transmitted in any form or by any means, elec- 0! PIONEERS! tronic or mechanical (including photocopy, recording, or any The Telephone Pioneers of America face a future information-and-retrieval system), without permission from the editor. Bell Telephone Magazine is distributed by the Bell in which they will be needed more than ever. System units. They bear the expense of the publication. To receive copies, please contact the Bell Telephone Magazine representative in the local or regional Bell unit. P G H BEGETTING A LEGACY A collection of photographs gleaned from the past that portrays the heritage a future can be built upon. AN EXALTATION OF DISCOVERIES WHERE R MEETS D At that juncture, as Bell Labs has found, freedom and focus undergird the road to success. LEARNING FROM SCRATCH A writer, unschooled in Bell Laboratories, finds an enterprise worthy of a book - and preservation. THE BIG SKILL Time may march on, but Western Electric has no trouble staying in step. P C C THE BUSINESS OF BUSINESS "T" AND WALL STREET The stodgy old "widows and orphans" stock has been one of the markets liveliest players for more than 100 years. A CAPITAL MOTIF The rise of giant corporations, technological innovation, and government oversight played major roles in shaping the Bell System during its first century. MINDS INTO MATTER Working smarter is the key in an economy increasingly geared to information. P M T A SUMMING UP RITES OF PASSAGE Cultivating a new culture to match new mis- sions may be the most difficult task facing post- divestiture employees. Illustrations by Ponder Goembel COVER: The quotation on the cover of this Special Commemorative Edition- a variation on themes uttered in Irish and Hindu proverbs and recast by such writers as Cervantes and Fernando de Rojas - has, over the years, been attributed to Alexander Graham Bell. One story, perhaps apocryphal, has it that these are words of comfort Bell communicated to Helen Keller. Whatever their origin, however, the words are astonishingly appropriate for this particularly poignant moment in Bell System history.
Recommended publications
  • The Arrival of the First Film Sound Systems in Spain (1895-1929)
    Journal of Sound, Silence, Image and Technology 27 Issue 1 | December 2018 | 27-41 ISSN 2604-451X The arrival of the first film sound systems in Spain (1895-1929) Lidia López Gómez Universitat Autònoma de Barcelona [email protected] Date received: 10-01-2018 Date of acceptance: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CHRONOPHONE | PHONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. 28 The arrival of the first film sound systems in spain (1895-1929) ABSTracT During the final decade of the 19th century, inventors such as Thomas A. Edison and the Lumière brothers worked assiduously to find a way to preserve and reproduce sound and images. The numerous inventions conceived in this period such as the Kinetophone, the Vitascope and the Cinematograph are testament to this and are nowadays consid- ered the forerunners of cinema. Most of these new technologies were presented at public screenings which generated a high level of interest. They attracted people from all social classes, who packed out the halls, theatres and hotels where they were held. This paper presents a review of the newspa- per and magazine articles published in Spain at the turn of the century in order to study the social reception of the first film equip- ment in the country, as well as to understand the role of music in relation to the images at these events and how the first film systems dealt with sound. Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018.
    [Show full text]
  • CHAPTER 3. Film Sound Preservation: Early Sound Systems
    CHAPTER 3. Film Sound Preservation: Early Sound Systems 3.1 Film Sound Preservation In the introduction I argued that the nature of film sound consists of different dimensions: the textual and material dimensions, the human and technological dimensions, the institutional, experiential and memorial dimensions. Each of these should be taken into account in preservation and presentation practices. Some of these dimensions were investigated in the first two chapters, where I outlined a set of key concepts related to recorded sound that I derived from social and artistic sound practices as well as media theories: the noise of the material carriers and technological devices, cleaned and cracked sounds, the notion of soundscape and high fidelity, and the concepts of media memory and audiovisual trace. In the following chapters I will further analyze the nature of film sound and its core dimensions beginning with the analysis of film sound preservation and presentation case studies. In this chapter, I examine preservation and restoration projects of films where the issue of sound is particularly relevant, while chapter four analyzes the work of film heritage institutions with respect to film sound presentation. The case studies discussed here are prompted by the following questions: how can we preserve and restore film sound materials? What are the different approaches to film sound preservation and restoration? What are the problems and defects of different film sound carriers and apparatuses? Which kind of actions can be taken to solve those problems? How can the actions undertaken to preserve film sound be recorded and documented? How is it possible to exhibit and display film sound in present-day theatres? The answers to these questions as provided by the case studies will contribute to the definition of the nature of film sound, which will be elaborated in chapter five.
    [Show full text]
  • Bell Laboratories Record August 1946 Volume Xxiv Number Viii
    BELL LABORATORIES RECORD AUGUST 1946 VOLUME XXIV NUMBER VIII PROPERTY OF THE LIBRARY U.S. NAVY RADIO & SOURD LABORATOI Madam, Will You Talk? SAN DIEGO 52, CALIFORNIA By STANLEY WATKINS Publication Department "Madam, will you walk? turn of the century, quite innocent of the Madam, will you talk? fact that, a score of years later, he was to Madam, will you walk have the good fortune to play a part in the and talk with me ?" transformation of the motion picture indus- -From an old song try. The commercial failure of these early efforts can be laid to the fact that, for a IT MUST seem strange to those who are new form of entertainment to be put across young enough never to have seen a movie successfully, two things must be brought without sound to realize that it is but together. The first of these is technical per- twenty years since the first successful pres- formance good enough to be acceptable in entation of movies with sound took place. comparison with the existing arts, and the Not by The first successful presentation. The photograph at the top of the page was taken any means the first attempt or even the first by Warner Bros in the Manhattan Opera House public showing, for since the invention of studio. The set for a "short" featuring Anna Case; motion pictures in the last century attempts showing camera booth and mercury lamps later had been made to wed them with sound. discarded in favor of incandescents because of elec- trical interference. Sam Warner (with coat on) The writer saw his first `singie" in a Lon- near the booth.
    [Show full text]
  • Manual of Analogue Sound Restoration Techniques
    MANUAL OF ANALOGUE SOUND RESTORATION TECHNIQUES by Peter Copeland The British Library Analogue Sound Restoration Techniques MANUAL OF ANALOGUE SOUND RESTORATION TECHNIQUES by Peter Copeland This manual is dedicated to the memory of Patrick Saul who founded the British Institute of Recorded Sound,* and was its director from 1953 to 1978, thereby setting the scene which made this manual possible. Published September 2008 by The British Library 96 Euston Road, London NW1 2DB Copyright 2008, The British Library Board www.bl.uk * renamed the British Library Sound Archive in 1983. ii Analogue Sound Restoration Techniques CONTENTS Preface ................................................................................................................................................................1 Acknowledgements .............................................................................................................................................2 1 Introduction ..............................................................................................................................................3 1.1 The organisation of this manual ...........................................................................................................3 1.2 The target audience for this manual .....................................................................................................4 1.3 The original sound................................................................................................................................6
    [Show full text]
  • 32 Rudolf Pfenninger in His Laboratory with Hand
    Rudolf Pfenninger in his laboratory with hand-drawn sound strips, 1932. Source: Pfenninger Archive, Munich. 32 “Tones from out of Nowhere”: Rudolph Pfenninger and the Archaeology of Synthetic Sound THOMAS Y. LEVIN 4.014 The gramophone record, the musical idea, the written notes, the sound waves, all stand in the same internal representational relationship to one another that obtains between language and the world. —Ludwig Wittgenstein, Tractatus logico-philosophicus (1921) “All-of-a-tremble”: The Birth of Robotic Speech On February 16, 1931, the New York Times ran a story on a curious development that had just taken place in England: “Synthetic Speech Demonstrated in London: Engineer Creates Voice which Never Existed” read the headline.1 The day before, so the article began, “a robot voice spoke for the first time in a darkened room in London . uttering words which had never passed human lips.” According to the accounts of this event in numerous European papers, a young British physi- cist named E.A. Humphries was working as a sound engineer for the British International Film Co. when the studio ran into a serious problem. A synchro- nized sound film (then still quite a novelty) starring Constance Bennett had just been completed in which the name of a rather unsavory criminal character hap- pened to be the same as that of a certain aristocratic British family. This noble clan was either unable or unwilling to countenance the irreducible—even if seemingly paradoxical—polysemy of the proper name (so powerful, perhaps, was the new experience of hearing it actually uttered in the cinema) and threat- ened a libel suit if “their” name was not excised.
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]
  • Innovation Is in Ourdna Letter from Our Contents Page 12 Our Editor Features
    Magazine for the Science & Technology Innovation Center in Middletown, NJ • Premier Edition Honoring the Past, Creating the Future Innovation is in ourDNA Letter from Our Contents page 12 our Editor Features 2 The History of AT&T 94 Data Transmssion — Fax Welcome to our Science & Technology Innovation Center of Middletown, New Jersey magazine premier edition. The new Innovation Center is a place 12 The Transistor 100 Cellular Phones of inspiration and learning from the history of AT&T and significant inventions that our company has created over the past 142+ years that contribute to 13 Bell Solar Cell 104 Project AirGig™ the advancement of humanity. Over my years at AT&T, I have spoken to many The Telstar Project Our Contributors people who never knew that AT&T had a history of innovation in so many 16 109 areas beyond the creation of the telephone by Alexander Graham Bell. Coax Cable 24 Throughout the years, AT&T has been a key player in local and long-distance 30 Fiber Optics in the AT&T Network voice telephony, motion pictures, computers, the cable industry, wireless, and Science & Technology broadband. AT&T has served the nation’s telecommunication needs and par- 34 Vitaphone and Western Electric ticipated in many technology partnerships in every industry throughout the globe. The breadth of technology and innovation goes on and on, but a 44 Picturephone Irwin Gerszberg few of the innovations you might see at our new Innovation Center include: Innovation ground-to-air radio telephony, motion picture sound, the Telstar satellite, Theseus Honoring the Past, Creating the Future AVP Advanced Technology Research 48 telephone switching, the facsimile machine, military radar systems, the AT&T Science & Technology transistor, undersea cable, fiber communications, Picturephone via T1’s, coin 50 A Short History of UNIX™ EDITOR-IN-CHIEF Innovation Center phones, touch-tone dialing, AMPS cellular phones, UNIX™ and C language Irwin Gerszberg programming.
    [Show full text]
  • Sound Timeline
    FILM 134A TIMELINE FOR THE TRANSITION TO SOUND FILM 1924 First viable sound film technology available is a sound-on-disk system, Vitaphone, developed by Western Electric (a subsidiary of AT&T); derived from the companyʼs experiments with sound amplification in long-distance telephones Vitaphone system rejected by all major Hollywood studios 1925 The small studio Warner Bros. receives a $3 million line of credit and begins an expansion designed to compete with major studios Warner Bros. acquires smaller studio and chain of theaters 1926 April: Warner Bros. and Western Electric co-found Vitaphone Corporation to make sound films and market sound equipment August: premiere of Warner Bros.ʼ Don Juan, the first feature with synchronized recorded musical accompaniment using a Vitaphone sound-on-disk system Fox Film (another smaller studio) acquires the Movietone sound-on-film system and begins producing sound newsreels Warner Bros. installs over 100 sound systems in theaters 1927 February: major Hollywood studios sign “Big Five Agreement,” pledging to act together to adopt whichever sound system proved most advantageous October: premiere of The Jazz Singer, the first feature to include synchronized record music and some dialogue using a Vitaphone sound-on-disk system 1928 Summer: first “all-talkie” is released, The Lights of New York Western Electric offers a sound-on-film system with sound and image recorded separately (unlike the Movietone system) Major studios begin equipping their theaters and production facilities for sound under contract with Western Electric Three-quarters of US-made films are released with some form of pre-recorded soundtrack 1930 All US films are released with recorded dialogue, sound effects and music on the soundtrack Warner Bros.ʼ assets increase from $5 million in 1925 to $230 million Average production costs rise from $80,000 per film before sound to $375,000 per film with sound .
    [Show full text]
  • Re-Equalizer
    OPERATING MANUAL FOR ESOTERIC SOUND RE-EQUALIZER PRICE; $5.00 INSTRUCTIONS FOR OPERATION OF ESOTERIC SOUND RE-EQUALIZER INTRODUCTION: Today's modern audiophile equipment can som etim es be frustrating to owners of old records, especially when their collection includes many old 78's or old mono Lp's. All m odern pream ps are designed solely for today's microgroove, RIAA equalized recordings. In the 1950's, almost all preamplifiers included selector switches having several different RECORD COMPENSTIONS. Occasionally, on the more expensive units, this function was divided among two switches labeled TURNOVER and ROLLOFF. These terms should be explained: Turnover refers to the bass boost that must be applied in the preamp to compensate for the purposeful diminishment of bass during record cutting to avoid crosscutting of the grooves. Rolloff refers to the treble loss the preamp must provide to compensate for high frequency boost applied during record cutting. The benefit of the latter is a reduction of surface noise during play. Up until 1954, there were a variety of recording characteristics applied to records as they were being cut, such as AES, LP, NAB and FFRR. Actually, most of these compensations have use only for records of a relatively brief period, say between 1940 and 1954. Before 1940, most records were cut flat with only a low frequency turnover of 6 db per octave below frequencies below from 300 Hz to 800 Hz. This also applied to broadcast recordings(transcriptions) and Vitaphone type recordings used before sound-on-film . Therefore, if you play a pre-WWII 78 rpm record on a modern preamp, you are actually effectively playing it with a scratch filter whose cutoff begins at 2200 Hz.
    [Show full text]
  • Some Hints and Pecularities of the Phonograph
    Преглед НЦД 13 (2008), 49–56 Milan P. Milovanović (National Library of Serbia) DIGITALIZATION OF TECHNICALLY OBSOLETE FORMATS OF ANALOG SOUND RECORDINGS Abstract: Digitalization of obsolete analog formats makes it possible that historically important material re- corded on them can be again presented to contemporary listeners. During the history of recorded sound, there were several sound recording formats of which the phonograph record was one of the most common. The pho- nograph record has been used during almost the whole era of sound recording and reproduction. It has been pro- duced of different materials and had various physical dimensions. Also, the nature of the recording varied. Learning about these details makes it possible to choose the digitalization strategy on optimal, the most rational way. Through several examples of digitalization and sound restoration of a particular 78rpm phonograph record, we demonstrate influence of various factors on the final result—restored audio recording. ] Key words: digitalization, National Library of Serbia, analog sound recordings, sound restauration 1. Introduction Historically speaking, at the time of analogue technique recording and reproduction, until digital sound formats as well as tools for their creation came into wide application, only a few eminent foreign record companies attempted to reissue old sound material and turn into com- mercial records that sound pleasant. Such companies generally limited their reissues to most popular performers or composers. At present times of digital sound supremacy, possibility arises the first time to publish old sound recordings in acceptable quality, using contemporary standardized digital formats. In addition, digitalization and subsequent sound restoration can dramatically improve accessibility of vintage sound materials to scholars, archivists, musi- cologists, theatrologists, language experts, media history researchers and culture sociologists.
    [Show full text]
  • The Jazz Singer by Ron Hutchinson
    The Jazz Singer By Ron Hutchinson It wasn’t the first talking picture. Or even the thou- sandth. But “The Jazz Singer” leveraged the conver- gence of technology, studio ambition, and an electric personality to become the first successful synchro- nized feature with talking. And starting with the film’s premiere, there was to be no turning back to silents. For nearly three decades, studios saw every attempt at synchronizing picture and sound as the surest way to lose a fortune. Beginning in 1896, dozens of systems were developed and promptly failed. Most tried to synchronize a flat or cylinder record to a sep- arate projector. Edison’s Kinetophone failed in part because rats liked to chew on the pulleys connecting a cylinder phonograph with the projector. Some sys- tems had actors lip synch to a pre-recorded record. Every system’s Achilles’ Heel could be traced to three primary factors: lack of foolproof synchroniza- tion, the inability to fill a theatre with sound from a horn phonograph, and less than realistic acoustic sound recording. Since the movie industry was very lucrative, the stu- An ad promoting the film and its star. Courtesy Ron Hutchinson. dios saw no need to tamper with success. But when Sam Warner, the most visionary of the same program preceding the synchronized silent Warner brothers, was bowled over by Bell Labs’ feature “The Better ‘Ole” in late 1926. The Jolson demonstration of a new sound film system in 1925, short electrified the audience. Jessel’s not so much. he saw those technical roadblocks evaporate. Using one motor to drive both the projector and the turnta- Warner Brothers decided that “The Jazz Singer” ble holding the 16” soundtrack disk, the Vitaphone needed Jolson to ensure attention and success, not system also used state-of-the-art electrical sound only for the film but for Vitaphone itself.
    [Show full text]
  • Sound Film Amplification & Synchronization
    Sound Film Amplification & Synchronization • Edison Kinetophone • Gaumont Chronophone • 1907 Audion tube • Lee De Forest • De Forest Phonofilm • Optical sound on film A.T.&T. Bell Labs Western Electric Microphones & Loudspeakers Sound on Disk Warner Bros. • Harry, Jack, Sam, & Al Warner • Vitaphone • DON JUAN, August 6, 1926 • Sound on disk • Vitaphone music & effects • 8 synchronized sound shorts • THE JAZZ SINGER, October 6, 1927. • Singing, music, effects & a talking scene • 1928: THE SINGING FOOL -- $3 film • 1928: THE LIGHTS OF NEW YORK – first all talkie Hollywood & Sound • 1927 Feb Big Five agreement • ERPI (Electrical Research Products Inc.) • 1928 Feb Majors sign with AT&T/Western Electric/ERPI • 1928 – 220 Silent, 74 Sound 1929 – 38 Silent, 252 Sound • US Theaters wired for sound 1926-1931 Fox Movietone • Fox Case optical sound on film • 1927 April 30 Movietone News premieres • 1927 May 20 Lindbergh Radio • 1895 Guglielmo Marconi 1874 -1937 • Wireless Telegraph – Point to point • World War I – research, training, military use • 1919 – Radio Corporation of America – RCA • 1920 – KDKA Pittsburgh – First Broadcast Station • 1922 – Toll (commercial) Broadcasting • 1922 – Network Radio • 1926 – RCA creates NBC Radio Network • 1927 -- CBS Radio Network • RCA, NBC & David Sarnoff 1891 - 1971 R.K.O. • RCA Photophone • Optical sound on film • FBO -- Kennedy’s Film Booking Office • Keith-Albee-Orpheum • Radio Pictures 1929 • RCA RKO NBC – David Sarnoff • Paramount Vitaphone CBS – Adolph Zukor • Fox Loews-MGM First National • Loew’s Inc Pres. Nicholas Schenck • 1929 October Stock Market crash • The Big 5 Sound Changes in Production – sound stages, motorized cameras, microphones Sound Changes in Exhibition – wiring the theaters Early Sound Films – part talkies Early Sound Stars – voices tested; influx of new talent from stage & radio Early Sound Genres – The Musical Busby Berkeley Astaire/Rogers at RKO Early Sound Genres – Gangster Films .
    [Show full text]