Marina Cañardo and Guillermo Elías preparing the phonograph for acoustic recording
On October 24th we were invited us with sounds of yesteryear, echoes of a past that transported us to past times. This trip was not aboard a DeLorean, but something closer to us, a phonograph.
We had the opportunity to understand how the records were recorded 100 years ago in Argentina, thanks to the results of an extensive investigation by Marina Cañardo, who with excellent predisposition told us about those first national stages in the "printing laboratories" (equivalent from today's recording studio, which we all know). Marina shared her vast knowledge of the subject with very strong examples using vintage videos and recordings. All that she showed us is a small part contained in her book: "Factories of music" and whose reading resulted in this event of AES Argentina: "A century from the first national album."
Ianina Canalis, told us about the setbacks of a great Argentine invention that, for historical reasons, emerged with great force and in the same way fell into oblivion; The photoliptophone. Device that recorded the sound in print on paper for mass distribution, and subsequent listening. For those interested in learning more about the photoliptophone, please visit this blog: http://fotoliptofono.blogspot.com/
Finally, we enjoyed listening to Guillermo Elías, a great specialist in paleo phonography who, in addition to illustrating the origins of the sound record, brought us two Edison phonographs from 1877; of which one was used to record and playback acoustically. Guillermo is also the author of a book that includes digitized records of old rollers where voices can be heard, for example by Juan B. Justo, among others: "Stories with voice" (edited by the Foundation Argentine Cultural Industries).
We were able to appreciate the sound recorded 60 years ago in a "Webster Chicago" wire recorder. We also show some of the modern digital technologies that today are part of the story as a "Julia" board and the controller of an "Ensonic Paris" system.
We want to thank Leandro Márques and Javier Asioli from Estudio Urbano for their always generous attention with AES Argentina providing their space for this type of proposal. Of course, thank the luxury speakers we had, Marina Cañardo, Ianina Canalis and Guillermo Elías
From AES Argentina we wanted, in some way, to recognize or honor the "foundations" in which we built all the technical possibility of perpetuating the sounds in time.
