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arsclist aCQUISITION OF AN elp lASER
Hi George , the Gramophone Records Museum and Research
Centre of Ghana is desirous in acquiring one ELP Laser
Turntaable for our project involving over 18, 000
78rpm shellacs some in very bad condition and with
about 4000 broken. The materials are works produced by
Ghanaian traditional musicians .Could you please let
us have particulars on the manufacturers.
Thank you .
--- George Brock-Nannestad <pattac@xxxxxxxx> wrote:
> From: Patent Tactics, George Brock-Nannestad
> Dear All,
> I am afraid this is a longer comment, but the issues
> raised are
> central to all of us.
> A number of persons have responded to Alain Carou's
> query. The responses are all to the point, however
> they do not
> address Alain's original query: how do you store
> broken records?
> Daniel Leech-Wilkinson was quite to the point in
> producing an
> argument why you need to keep the original, although
> it may be
> broken: because the physical evidence is a source of
> information that may shed a lot of light on the
> primary information.
> My latest contribution to this line of thought is in
> "What Are The
> Sources of The Noises We Remove", in Proceedings of
> the 20th
> AES International Conference "Archiving,
> Restoration, and New
> Methods of Recording" Budapest 2001 October 5-7, pp.
> 175-82. I
> may add other sources of information: the groove
> profile and the
> inner and outer diameter of the recorded area. In
> particular the
> latter is important in distinguishing between
> alternative takes, dubs,
> etc.. So, even if you will only be able to reproduce
> the disc as it
> was intended with exceeding difficulty, a number of
> features are still available in the broken original.
> Don Cox and Göran Finnberg opened the other line,
> namely that of
> the innumerable undocumented versions available of
> transfers from
> the original, all purporting or implying to be "the
> original" or "the
> truth". In fact, such representations are unethical.
> The mere
> transfers are not unethical, only the promises
> given. Since I started
> lecturing in this field in 1983 based on a
> source-critical approach, I
> have collected a lot of evidence of the tampering
> that has been
> going on from the earliest times of re-recording,
> and the results are
> ripping off the general public and researcher alike.
> Now back to Alain's query: I will mention solutions
> that I have
> myself used.
> Since 1989 I have taught physical repair methods for
> recordings, of which 7 years at the School of
> Conservation in
> Copenhagen. It is a specialised undertaking, turning
> out to be very
> expensive. It is also quite unneccesary if just a
> replay is desired,
> because e.g. the ELP Laser Turntable does a
> magnificient job of
> playing fractured discs, provided the pieces have
> been correctly
> joined and fixed by tape on the reverse. For side 2
> you will move
> the tapes to side 1. So, you end up with having to
> store a record in
> more than one piece.
> If the smaller piece is just a bite off the edge,
> then one, primitive,
> solution is to put it in a small bag of 7 g/square
> meter Japanese
> paper and to jam it into the lower corner of the
> ordinary cardboard
> sleeve that you are storing your record in. The bag
> should be long
> enough to be visble at the label hole, so that it
> can easily be
> extracted. The important thing is to mark the
> cardboard sleeve
> itself very clearly that there is a loose piece
> If there are several smaller pieces a solution is to
> keep these
> separate in a jewel-box for a CD without the black
> insert, again
> wrapped in thin, strong paper. Again, mark not only
> the catalogue
> but also the sleeve for the large part of the record
> that there is a
> small jewel-box somewhere else.
> If the record is broken in two, then the two parts
> may be stored in
> one cardboard sleeve each, preferably without a
> label inspection
> When I say "cardboard" above I do not mean Kraft
> paper, but a
> heavy carton.
> It may be preferable to keep the collection of
> broken records
> completely separate. They are actually the most
> valuable part of
> the whole collection, because the broken bits may be
> all that there
> is left in the World of the original (original
> meaning that it may be
> different in one or more physical characteristics
> from any other
> copy held).
> Several threads may have sprung from Alain's
> original query. It is
> not for me to give them new subject headings.
> Kind regards,
> George Brock-Nannestad
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