MDM, wrote on Wed, 07 October 2009 08:33 |
pretty neat! looks like a big ribbon mic in the back, and some kind of omni mic (small ball) closer-up? actually similar to what's done today, but in stereo and with condensers today maybe they'd probably add a couple of mics even closer.. |
compasspnt wrote on Wed, 07 October 2009 09:44 |
My favourite things are the clock, that table for the hat, and announcing the artist/take number for playback. Quite sure there was the one RCA 44 mic only. The engineer probably had one mic input level pot, and then perhaps monitor level or output level for the other hand. |
CHANCE wrote on Wed, 07 October 2009 10:58 |
A lot of early recordings were direct to disc |
compasspnt wrote on Wed, 07 October 2009 16:20 |
I wonder how the movie meeting went later that evening... |
PRobb wrote on Wed, 07 October 2009 13:43 |
the Ampex 200 was introduced in 1948, so RCA having tape was right on the cutting edge of technology. |
Fred Baugher wrote on Wed, 07 October 2009 22:46 | ||
Wire recording technology was also in use in 1948 although I'm not sure how much use it received in Hollywood. |
Todd Loomis wrote on Sun, 11 |
According to the liner notes in my Rubinstein Nocturnes collection, the original recording was done to 3-track 30-i.p.s. tape. Playback was through a solid state 3-track tape machine, but they left out the center channel and only used 2 tracks on the disc. The booklet says "an equalization curve was devised to flatten the bass dip, mid-range and high-end peaks of the microphones used for these recordings, thus giving the sound of a flat microphone response." There is no information though about the specific microphones that were used, or how/where they were positioned, etc. My set is a 2 disc set - recorded at RCA Italiana Studios, Rome, August 30 and 31, September 1 and 2, 1965. Recording Engineer: Sergio Marcotulli. |