Jazz Record Restorer John R.T. Davies Dies - Page 3

Horizontal cramps. When using horizontal cramps, the insertion between cramp and record edge of a sliver of lead will spread the point of pressure and so obviate chipping, flaking and cracking.

Rebuilding a bite. Create and insert a wire bridge near rim. Fill in a base of new material with soldering iron to within about 0.015" of intended surface. Run chinagraph to all parts of the surface to provide adhesion for Edison cylinder wax to be built up to/above surface level and then trimmed and smoothed to surface level. Finally cut pilot grooves. (NB. Amberol wax works better than 2-minute.)

Record pressing materials. Certain record pressing materials – notably that of brown Perfects (14200 – 14900) resent insertion of pins, but the addition of post-1932 EMI pressing material will ameliorate.

2. PITCH CORRECTION

Not all "78"s are actually recorded at 78 revolutions per minute. While Edison's "diamond discs" are remarkably consistent at 80 r.p.m., other companies have been less consistent - usually by reason of unreliable power source or of ill-controlled elements such as lubrication or even weather! In early days, differences in recording speeds could be attributed to compromise between duration of performance and space available - (Pathe).

Variation in recording speeds were largely ignored in the days of "78" dubbed reissues when the pitch of the dubbing was directly related to that of the original. However, it has long been apparent that reproduction at correct pitch is essential to correct perception of the performance.

Although, in the past, musical pitches have varied (Steinway specified C517 c/s, "Old" Philharmonic pitch called for A452 and a half c/s) but, although some English Brass Bands continued to use the Old Philharmonic pitch through the first half of the last century, generally the New Philharmonic pitch at C522 to C523 or A440 has been that accepted as the norm since before the advent of sound recording and reproduction.

The most reliable clue to pitch is found in the vowel sounds of the human voice which remain a useful constant regardless of language. Even so, it is often difficult to discern exactitude within a semi-tone, and other yardsticks will be necessary to assist a closer approach.

While the classic music fraternity may feel unhappy when trying to relate the pitches employed by earlier composers to a modern equivalent, the performances during the sound recording period present less of a problem.

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