Dudas sobre musica años 20

Alguien escribió:

Si alguien pudiera arrojarme algo de luz sobre el tema,ya que he buscado por la red y no he encontrado nada por el estilo.

Dogbert escribió:

Si se quiere ser históricamente riguroso habría que usar emulación de vinilo

Santa Wikipedia, patrona del conocimiento y la sabiduría escribió:

The earliest practical recording technologies were entirely mechanical devices. These recorders typically used a large conical horn to collect and focus the physical air pressure of the sound waves produced by the human voice or musical instruments. A sensitive membrane or diaphragm, located at the apex of the cone, was connected to an articulated scriber or stylus, and as the changing air pressure moved the diaphragm back and forth, the stylus scratched or incised an analogue of the sound waves onto a moving recording medium, such as a roll of coated paper, or a cylinder or disc coated with a soft material such as wax or a soft metal.

These early recordings were necessarily of low fidelity and volume and captured only a narrow segment of the audible sound spectrum — typically only from around 250 Hz up to about 2,500 Hz — so musicians and engineers were forced to adapt to these sonic limitations. Musical ensembles of the period often favoured louder instruments such as trumpet, cornet, and trombone; lower-register brass instruments such as the tuba and the euphonium doubled or replaced the double bass, and blocks of wood stood in for bass drums. Performers also had to arrange themselves strategically around the horn to balance the sound, and to play as loudly as possible. The reproduction of domestic phonographs was similarly limited in both frequency-range and volume.

The 'second wave' of sound recording history was ushered in by the introduction of Western Electric's integrated system of electrical microphones, electronic signal amplifiers and electromechanical recorders, which was adopted by major US record labels in 1925. Sound recording now became a hybrid process — sound could now be captured, amplified, filtered, and balanced electronically, and the disc-cutting head was now electrically powered, but the actual recording process remained essentially mechanical – the signal was still physically inscribed into a wax 'master' disc, and consumer discs were mass-produced mechanically by stamping a metal electroform made from the wax master into a suitable substance, originally a shellac-based compound and later polyvinyl plastic.

The Western Electric system greatly improved the fidelity of sound recording, increasing the reproducible frequency range to a much wider band (between 60 Hz and 6000 Hz) and allowing a new class of professional – the audio engineer – to capture a fuller, richer, and more detailed and balanced sound on record, using multiple microphones connected to multi-channel electronic amplifiers, compressors, filters and mixers. Electrical microphones led to a dramatic change in the performance style of singers, ushering in the age of the "crooner", while electronic amplification had a wide-ranging impact in many areas, enabling the development of broadcast radio, public address systems, and electronically-amplified home record players.

In addition, the development of electronic amplifiers for musical instruments now enabled quieter instruments such as the guitar and the string bass to compete on equal terms with the naturally louder wind and horn instruments, and musicians and composers also began to experiment with entirely new electronic musical instruments such as the Theremin, the Ondes Martenot, the electronic organ, and the Hammond Novachord, the world's first analogue polyphonic synthesiser.

Contemporaneous with these developments, several inventors were engaged in a race to develop practical methods of providing synchronised sound with films. Some early sound films — such as the landmark 1927 film The Jazz Singer – used large soundtrack records which were played on a turntable mechanically interlocked with the projector. By the early 1930s, the movie industry had almost universally adopted sound-on-film technology, in which the audio signal to be recorded was used to modulate a light source that was imaged onto the moving film through a narrow slit, allowing it to be photographed as variations in the density or width of a "soundtrack" running along a dedicated area of the film. The projector used a steady light and a photoelectric cell to convert the variations back into an electrical signal, which was amplified and sent to loudspeakers behind the screen.

The adoption of sound-on-film also helped movie-industry audio engineers to make rapid advances in the process we now know as "multi-tracking", by which multiple separately-recorded audio sources (such as voices, sound effects and background music) can be replayed simultaneously, mixed together, and synchronised with the action on film to create new 'blended' audio tracks of great sophistication and complexity. One of the best-known examples of a 'constructed' composite sound from that era is the famous "Tarzan yell" created for the series of Tarzan movies starring Johnny Weissmuller.

Among the vast and often rapid changes that have taken place over the last century of audio recording, it is notable that there is one crucial audio device, invented at the start of the "Electrical Era", which has survived virtually unchanged since its introduction in the 1920s: the electro-acoustic transducer, or loudspeaker. The most common form is the dynamic loudspeaker – effectively a dynamic microphone in reverse. This device typically consists of a shallow conical diaphragm, usually of a stiff paper-like material concentrically pleated to make it more flexible, firmly fastened at its perimeter, with the coil of a moving-coil electromagnetic driver attached around its apex. When an audio signal from a recording, a microphone, or an electrified instrument is fed through an amplifier to the loudspeaker, the varying electromagnetic field created in the coil causes it and the attached cone to move backward and forward, and this movement generates the audio-frequency pressure waves that travel through the air to our ears, which hear them as sound.

Although there have been numerous refinements to the technology, and other related technologies have been introduced (e.g. the electrostatic loudspeaker), the basic design and function of the dynamic loudspeaker has not changed substantially in 90 years, and it remains overwhelmingly the most common, sonically accurate and reliable means of converting electronic audio signals back into audible sound.

Alguien escribió:

Creo que tanto el vinilo como la cinta magnética son tecnologías desarrolladas en los años 40, en los años 20 se grababa en cilindros y discos de cera.