Kohji Matsubayashi (松林弘治)

Things I learned on Phono EQ curves, Pt. 4

Pt.0 (はじめに)」、「Pt.1 (定速度と定振幅、電気録音黎明期)」、「Pt.2 (世界初の電気録音、Brunswick Light-ray、ラジオ業界の脅威)」そして「Pt.3 (Blumlein システム、当時のRCAやColumbia、民生用における高域プリファレンスの萌芽)」の続きです。

This article is a sequel to “Things I learned on Phono EQ curves, Pt.0”, “Pt.1”, “Pt.2” and “Pt.3”.

前回 は、大恐慌時代の1930年代前半、WE特許使用料回避のため生まれたBlumleinシステムや、当時のRCA VictorやColumbiaの状況など、あれこれについて調べました。

On the previous part, I studied on the history of the improvement of disc recording technology for commercial discs, including the Blumlein system, situations of RCA Victor and Columbia in the 1930s (during the Great Depression), etc.

今回は、民生用ではなく、映画用・放送局向けのレコード技術の話、そして初めてS/N比向上の目的で意識的に高域プリエンファシスが用いられた録音技術について学んでいきます。

This time, I am going to continue learning the history, from the disc recording technology for professional talking motion pictures and broadcast stations (not regular records for consumer market), and the very important technology that consiously used treble pre-emphasis for the first time in history, to increase S/N ratio.

Vertical cutting vs Lateral cutting (Read, 1952)

source: “The Recording and Reproduction of Sound”, Oliver Read, 2nd Edition, 1952, p.21, Fig. 3-3B.
縦振動記録(左)と横振動記録(右)の比較

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Kohji Matsubayashi (松林弘治)

Things I learned on Phono EQ curves, Pt. 3

Pt.0 (はじめに)」、「Pt.1 (定速度と定振幅、電気録音黎明期)」、そして「Pt.2 (世界初の電気録音、Brunswick Light-ray、ラジオ業界の脅威)」の続きです。

This article is a sequel to “Things I learned on Phono EQ curves, Pt.0”, “Pt.1” and “Pt.2”.

前回 は、電気録音黎明期のあれこれについて調べました。今回は、その後発展していく電気録音について引き続き調べていきます。

On the previous part, I studied on more of the history of Electrical Recording in its very early years, along with several digressions… This time, I am going to continue learning the evolution of the electrical recording.

American Epic; Recording The {Twenties, Thirties} Read More / 続きを読む
Kohji Matsubayashi (松林弘治)

Things I learned on Phono EQ curves, Pt. 1

Pt.0 (はじめに) の続きです。

This article is a sequel to “Things I learned on Phono EQ curves, Pt.0”.

レコードのEQカーブについて深掘りする前に、そもそもなぜイコライゼーションが生まれたのか、なぜ必要とされたのか、その歴史から調べてみることにしました。また、更にさかのぼって、音を溝に記録するとはどういうことか、についても学び直すことにしました。なので、カーブの話に到達するまでに長い道のりになってしまう予定です(笑)

Before digging deeper about EQ curves, I started to study from the very beginning: why the EQ curve was born, why it was/is needed for phonograph recording (and playback). Also, I tried to re-study the very basic – how the recording sounds are converted to a modulated spiral groove. So I’m afraid it will take very long before I reach the story of the EQ curve itself…

Digital image of the surface of 78 rpm record taken with optical magnification. The illumination is coaxial (the light falls vertically onto horizontal record), therefore only horizontal parts of the record reflect the light back into the optical system. These include the inter-groove surface of the record represented by the wide bands in the picture, and the bottom portion of the groove, represented by the thin lines. The scratches on the inter-groove surface are clearly seen. The size of the imaged surface is 2.35 x 2.19 mm 2 .

Audio Reconstruction of Mechanically Recorded Sound by Digital Processing of Metrological Data – Scientific Figure on ResearchGate.
Available from: https://www.researchgate.net/figure/Digital-image-of-the-surface-of-78-rpm-record-taken-with-optical-magnification-The_fig1_242606860 (accessed 4 Sep, 2022)

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