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RCA-77 type ribbon microphone The microphone on the right side next to the singer Enrique Campos, is a. Which was a very versatile microphone. It could be modified through a simple switch and therefore be used for different applications. For vocals it had a selectable cardioid pattern. Up to now, I was thinking the microphones used in that time would be completely obsolete nowadays. But apparently they are still in use and occasionally sold via eBay for very high prices. And I also learnt during my research, they still find their application in some modern recording studios!
It is also important to note that these microphones were under constant development and for instance the RCA Type 77 went through several sub types, with the A model initially developed in the 1930s. Until the year 1945, there have been a B, C and then a D model. The D model reached in 1945 a frequency range from 50Hz-15kHz.
It was definitely replaced in 1955 by the RCA Type 77-DX. These microphone improvements are something you can really hear when you compare recordings from the 1920s, 1930s, 1940s and 1950s ( see also the spectrograms above for a 1940s to 1950s comparison). RCA-44A ribbon microphone The orchestra microphone in the middle of the Tanturi picture is most likely a or one of its successors. It’s the orchestra microphone par excellence and was manufactured since 1932. It later evolved to an incredible frequency response of 30 to 16kHz which is pretty much the full audible spectrum!
It’s the central orchestra microphone in the Tanturi picture and might be the same type on the Di Sarli picture. Most of the ribbon microphones were construction -related omni-directional and some were modified through obturation and electrical modifications to become directional or to have other pickup patterns. Shows how to use a 44A microphone in a single microphone setup and how to take advantage of its omni-directional sensitivity in the form of an 8. RCA’s suggestion for setting up the RCA-44 microphone and taking advantage of the omni-directional 8 pattern to record a dance orchestra or use it as a movie microphone with some actors Nowadays a grand piano would be picked up with a complex microphone setup inside the body of the piano, maybe using to get a perfect stereo image as shown in the diagram to the left. The disadvantage of a setup like this is that one needs to EQ and compress quite a lot the obtained signal to get it right. It needs a lot of post-processing which was largely unavailable in 1950s and earlier.
Also, these complex setups are more suited for recording solo pianos and not so much orchestras where there is a piano in the context of other instruments. There is a simpler technique with one microphone from the side which is more fitted for a piano in an orchestra context. It’s the same technique RCA Victor used in the 1950s with Carlos Di Sarli: Putting the string bass next to the piano is a suggestion which can also be found in the above mentioned RCA microphone manual. The setup in the Di Sarli situation is very much identical. Frank Sinatra Album Cover with RCA KU-2A As Di Sarli was conducting his orchestra from behind the piano, I can image that he would have liked to have the singer very close to be able to communicate and that’s what the second flying microphone on the left side was meant for.
There are some other documents which show that it was used for vocalists, like on that Frank Sinatra photograph. It’s a, with an unusual uni-directional cardioid pickup pattern and a uniform response in its operating range making it ideal for voice recording (the majority of ribbon microphones are omni-directional “8” pattern microphones). Most studio vocal recordings are made using a cardioid or uni-directional microphone, as these pick up less sound from the sides and rear. I heard quite some opinions about why tango DJs should use different other words for what they are doing because the expression DJ wouldn’t fit them. I totally disagree with this and that’s why I drop these lines.
The abbrevation DJ means Disc Jockey where Disc stands for a phonograph record, and, in extension any sound recording, and the word Jockey stands for operator. So in short it’s an operator who presents or mixes different sound recordings to an audience. Some people argue that a tango DJ doesn’t mix and therefore you ought not call him or her a DJ like as the expression became reserved to the single context of clubbing. But the meaning of “to mix” is not that narrow it can also mean juxtaposing not just superimposing. And indeed the expression disc jockey is also much older than the electronic or scratched music culture from the 1980 and the first beatmatching experiences from the mid-1960s. It has started with early radio programs where presenters were playing records to the audience.
Check this photograph, it’s from a time when records were still cylinders and they got already played to an audience! According to “In 1935, American radio commentator coined the term ‘disc jockey’ (the combination of disc, referring to the disc records, and jockey, which is an operator of a machine) as a description of radio announcer, the first announcer to become a star.
I backed into the podium as seven coffins containing the tehorim (pure souls) were brought into the room one at a time right before my eyes. Bavli and Yerushal bmited until Names can be su day, 3:00 pm on Thurs nd 2015 13 Nisan - April 2. 1-888-KUPATHAIR 5. Maran Hagaon Harav Chaim Kanievski, shlit'a,.
While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation’s top dance bands performing live. The show, which he called Make Believe Ballroom, was an instant hit. The term ‘disc jockey’ appeared in print in in 1941″.
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