RARE ASCH records 78 rpm STRICTLY GI WWII hy zaret sounds off soldier songs & pa

$

25

These records are all E-, some close to E. Album is pretty good, some edge wear, a tape repair to one folder; otherwise good. one disc has an edge chip DNAP
ASCH 4541- 4554, 4 discs, 8 songs

FREE SHIPPING

WIKIPEDIA:

Usage of terminology is not uniform across the English-speaking world (see below). In more modern usage, the playback device is often called a "turntable", "record player", or "record changer", although each of these terms denote categorically distinct items. When used in conjunction with a mixer as part of a DJ setup, turntables are often colloquially called "decks".[5] In later electric phonographs (more often known since the 1940s as record players or turntables), the motions of the stylus are converted into an analogous electrical signal by a transducer, then converted back into sound by a loudspeaker.[6]

Close up of the mechanism of an Edison Amberola, circa 1915

The term phonograph ("sound writing") was derived from the Greek words φωνή (phonē, 'sound' or 'voice') and γραφή (graphē, 'writing'). The similar related terms gramophone (from the Greek γράμμα gramma 'letter' and φωνή phōnē 'voice') and graphophone have similar root meanings.[7]

In British English, "gramophone" may refer to any sound-reproducing machine using disc records, which were introduced and popularized in the UK by the Gramophone Company. Originally, "gramophone" was a proprietary trademark of that company and any use of the name by competing makers of disc records was vigorously prosecuted in the courts, but in 1910 an English court decision decreed that it had become a generic term;[8]

United States

Early phonograph at Deaf Smith County Historical Museum in Hereford, Texas

In American English, "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to Emile Berliner's upstart Gramophone, a very different machine which played nonrecordable discs (although Edison's original Phonograph patent included the use of discs.[9])

Australia

Wood engraving published in The Illustrated Australian News, depicting a public demonstration of new technology at the Royal Society of Victoria (Melbourne, Australia) on 8 August 1878.

In Australian English, "record player" was the term; "turntable" was a more technical term; "gramophone" was restricted to the old mechanical (i.e., wind-up) players; and "phonograph" was used as in British English. The "phonograph" was first demonstrated in Australia on 14 June 1878 to a meeting of the Royal Society of Victoria by the Society's Honorary Secretary, Alex Sutherland who published "The Sounds of the Consonants, as Indicated by the Phonograph" in the Society's journal in November that year.[10] On 8 August 1878 the phonograph was publicly demonstrated at the Society's annual conversazione, along with a range of other new inventions, including the microphone.[11]

Early history

Dictionary illustration of a phonautograph. This version uses a barrel made of plaster of Paris.

Phonautograph

Main article: Phonautograph

The phonautograph was invented on March 25, 1857 by Frenchman Édouard-Léon Scott de Martinville,[12] an editor and typographer of manuscripts at a scientific publishing house in Paris.[13] One day while editing Professor Longet's Traité de Physiologie, he happened upon that customer’s engraved illustration of the anatomy of the human ear, and conceived of "the imprudent idea of photographing the word." In 1853 or 1854 (Scott cited both years) he began working on "le problème de la parole s'écrivant elle-même" ("the problem of speech writing itself"), aiming to build a device that could replicate the function of the human ear.[13][14]

Scott coated a plate of glass with a thin layer of lampblack. He then took an acoustic trumpet, and at its tapered end affixed a thin membrane that served as the analog to the eardrum. At the center of that membrane, he attached a rigid boar's bristle approximately a centimeter long, placed so that it just grazed the lampblack. As the glass plate was slid horizontally in a well formed groove at a speed of one meter per second, a person would speak into the trumpet, causing the membrane to vibrate and the stylus to trace figures[13] that were scratched into the lampblack.[15] On March 25, 1857, Scott received the French patent[16] #17,897/31,470 for his device, which he called a phonautograph.[17] The earliest known surviving recorded sound of a human voice was conducted on April 9, 1860 when Scott recorded[15] someone singing the song "Au Clair de la Lune" ("By the Light of the Moon") on the device.[18] However, the device was not designed to play back sounds,[15][19] as Scott intended for people to read back the tracings,[20] which he called phonautograms.[14] This was not the first time someone had used a device to create direct tracings of the vibrations of sound-producing objects, as tuning forks had been used in this way by English physicist Thomas Young in 1807.[21] By late 1857, with support from the Société d'encouragement pour l'industrie nationale, Scott’s phonautograph was recording sounds with sufficient precision to be adopted by the scientific community, paving the way for the nascent science of acoustics.[14]

The device’s true significance in the history of recorded sound was not fully realized prior to March 2008, when it was discovered and resurrected in a Paris patent office by First Sounds, an informal collaborative of American audio historians, recording engineers, and sound archivists founded to make the earliest sound recordings available to the public. The phonautograms were then digitally converted by scientists at the Lawrence Berkeley National Laboratory in California, who were able to play back the recorded sounds, something Scott had never conceived of. Prior to this point, the earliest known record of a human voice was thought to be an 1877 phonograph recording by Thomas Edison.[15][22] The phonautograph would play a role in the development of the gramophone, whose inventor, Emile Berliner, worked with the phonautograph in the course of developing his own device.[23]

Paleophone

Charles Cros, a French poet and amateur scientist, is the first person known to have made the conceptual leap from recording sound as a traced line to the theoretical possibility of reproducing the sound from the tracing and then to devising a definite method for accomplishing the reproduction. On April 30, 1877, he deposited a sealed envelope containing a summary of his ideas with the French Academy of Sciences, a standard procedure used by scientists and inventors to establish priority of conception of unpublished ideas in the event of any later dispute.[24]

An account of his invention was published on October 10, 1877, by which date Cros had devised a more direct procedure: the recording stylus could scribe its tracing through a thin coating of acid-resistant material on a metal surface and the surface could then be etched in an acid bath, producing the desired groove without the complication of an intermediate photographic procedure.[25] The author of this article called the device a phonographe, but Cros himself favored the word paleophone, sometimes rendered in French as voix du passé ('voice of the past').[citation needed]

Cros was a poet of meager means, not in a position to pay a machinist to build a working model, and largely content to bequeath his ideas to the public domain free of charge and let others reduce them to practice, but after the earliest reports of Edison's presumably independent invention crossed the Atlantic he had his sealed letter of April 30 opened and read at the December 3, 1877 meeting of the French Academy of Sciences, claiming due scientific credit for priority of conception.[26]

Throughout the first decade (1890–1900) of commercial production of the earliest crude disc records, the direct acid-etch method first invented by Cros was used to create the metal master discs, but Cros was not around to claim any credit or to witness the humble beginnings of the eventually rich phonographic library he had foreseen. He had died in 1888 at the age of 45.[27]

The early phonographs

Patent drawing for Edison's phonograph, May 18, 1880

Thomas Edison conceived the principle of recording and reproducing sound between May and July 1877 as a byproduct of his efforts to "play back" recorded telegraph messages and to automate speech sounds for transmission by telephone.[28] His first experiments were with waxed paper.[29] He announced his invention of the first phonograph, a device for recording and replaying sound, on November 21, 1877 (early reports appear in Scientific American and several newspapers in the beginning of November, and an even earlier announcement of Edison working on a 'talking-machine' can be found in the Chicago Daily Tribune on May 9), and he demonstrated the device for the first time on November 29 (it was patented on February 19, 1878, as US Patent 200,521). "In December, 1877, a young man came into the office of the Scientific American, and placed before the editors a small, simple machine about which very few preliminary remarks were offered. The visitor without any ceremony whatever turned the crank, and to the astonishment of all present the machine said: 'Good morning. How do you do? How do you like the phonograph?' The machine thus spoke for itself, and made known the fact that it was the phonograph..."[30]

The music critic Herman Klein attended an early demonstration (1881–2) of a similar machine. On the early phonograph's reproductive capabilities he writes "It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct."[31]

The Argus newspaper from Melbourne, Australia, reported on an 1878 demonstration at the Royal Society of Victoria, writing "There was a large attendance of ladies and gentlemen, who appeared greatly interested in the various scientific instruments exhibited. Among these the most interesting, perhaps, was the trial made by Mr. Sutherland with the phonograph, which was most amusing. Several trials were made, and were all more or less successful. "Rule Britannia" was distinctly repeated, but great laughter was caused by the repetition of the convivial song of "He's a jolly good fellow," which sounded as if it was being sung by an old man of 80 with a very cracked voice."[32]

Early machines

Phonograph cabinet built with Edison cement, 1912. The clockwork portion of the phonograph is concealed in the base beneath the statue; the amplifying horn is the shell behind the human figure.

Edison's early phonographs recorded onto a thin sheet of metal, normally tinfoil, which was temporarily wrapped around a helically grooved cylinder mounted on a correspondingly threaded rod supported by plain and threaded bearings. While the cylinder was rotated and slowly progressed along its axis, the airborne sound vibrated a diaphragm connected to a stylus that indented the foil into the cylinder's groove, thereby recording the vibrations as "hill-and-dale" variations of the depth of the indentation.[33]

Introduction of the disc record

"I Am The Edison Phonograph" 2:24 This 1906 recording (with the character being voiced by Len Spencer) enticed store customers with the wonders of the invention.
2 minutes, 23 seconds. Problems playing this file? See media help.

By 1890, record manufacturers had begun using a rudimentary duplication process to mass-produce their product. While the live performers recorded the master phonograph, up to ten tubes led to blank cylinders in other phonographs. Until this development, each record had to be custom-made. Before long, a more advanced pantograph-based process made it possible to simultaneously produce 90–150 copies of each record. However, as demand for certain records grew, popular artists still needed to re-record and re-re-record their songs. Reportedly, the medium's first major African-American star George Washington Johnson was obliged to perform his "The Laughing Song" (or the separate "The Whistling Coon")[34] literally thousands of times in a studio during his recording career. Sometimes he would sing "The Laughing Song" more than fifty times in a day, at twenty cents per rendition. (The average price of a single cylinder in the mid-1890s was about fifty cents.)[citation needed]

Oldest surviving recordings

Lambert's lead cylinder recording for an experimental talking clock is often identified as the oldest surviving playable sound recording,[35] although the evidence advanced for its early date is controversial.[36] Wax phonograph cylinder recordings of Handel's choral music made on June 29, 1888, at The Crystal Palace in London were thought to be the oldest-known surviving musical recordings,[37] until the recent playback by a group of American historians of a phonautograph recording of Au clair de la lune made on April 9, 1860.[38]

The 1860 phonautogram had not until then been played, as it was only a transcription of sound waves into graphic form on paper for visual study. Recently developed optical scanning and image processing techniques have given new life to early recordings by making it possible to play unusually delicate or physically unplayable media without physical contact.[39]

A recording made on a sheet of tinfoil at an 1878 demonstration of Edison's phonograph in St. Louis, Missouri has been played back by optical scanning and digital analysis. A few other early tinfoil recordings are known to survive, including a slightly earlier one which is believed to preserve the voice of U.S. President Rutherford B. Hayes, but as of May 2014 they have not yet been scanned.[clarification needed] These antique tinfoil recordings, which have typically been stored folded, are too fragile to be played back with a stylus without seriously damaging them. Edison's 1877 tinfoil recording of Mary Had a Little Lamb, not preserved, has been called the first instance of recorded verse.[40]

On the occasion of the 50th anniversary of the phonograph, Edison recounted reciting Mary Had a Little Lamb to test his first machine. The 1927 event was filmed by an early sound-on-film newsreel camera, and an audio clip from that film's soundtrack is sometimes mistakenly presented as the original 1877 recording.[41] Wax cylinder recordings made by 19th century media legends such as P. T. Barnum and Shakespearean actor Edwin Booth are amongst the earliest verified recordings by the famous that have survived to the present.[42][43]

Improvements at the Volta Laboratory

Main article: Volta Laboratory and Bureau § Sound recording and phonograph development

Alexander Graham Bell and his two associates took Edison's tinfoil phonograph and modified it considerably to make it reproduce sound from wax instead of tinfoil. They began their work at Bell's Volta Laboratory in Washington, D. C., in 1879, and continued until they were granted basic patents in 1886 for recording in wax.[44]

Although Edison had invented the phonograph in 1877, the fame bestowed on him for this invention was not due to its efficiency. Recording with his tinfoil phonograph was too difficult to be practical, as the tinfoil tore easily, and even when the stylus was properly adjusted, its reproduction of sound was distorted, and good for only a few playbacks; nevertheless Edison had discovered the idea of sound recording. However immediately after his discovery he did not improve it, allegedly because of an agreement to spend the next five years developing the New York City electric light and power system.[44]

Volta's early challenge

Meanwhile, Bell, a scientist and experimenter at heart, was looking for new worlds to conquer after having patented the telephone. According to Sumner Tainter, it was through Gardiner Green Hubbard that Bell took up the phonograph challenge. Bell had married Hubbard's daughter Mabel in 1879 while Hubbard was president of the Edison Speaking Phonograph Co., and his organization, which had purchased the Edison patent, was financially troubled because people did not want to buy a machine which seldom worked well and proved difficult for the average person to operate.[44]

Volta Graphophone

See also: Graphophone A 'G' (Graham Bell) model Graphophone being played back by a typist after its cylinder had recorded dictation.

The sound vibrations had been indented in the wax which had been applied to the Edison phonograph. The following was the text of one of their recordings: "There are more things in heaven and earth, Horatio, than are dreamed of in your philosophy. I am a Graphophone and my mother was a phonograph."[45] Most of the disc machines designed at the Volta Lab had their disc mounted on vertical turntables. The explanation is that in the early experiments, the turntable, with disc, was mounted on the shop lathe, along with the recording and reproducing heads. Later, when the complete models were built, most of them featured vertical turntables.[44]

One interesting exception was a horizontal seven inch turntable. The machine, although made in 1886, was a duplicate of one made earlier but taken to Europe by Chichester Bell. Tainter was granted U.S. Patent 385,886 on July 10, 1888. The playing arm is rigid, except for a pivoted vertical motion of 90 degrees to allow removal of the record or a return to starting position. While recording or playing, the record not only rotated, but moved laterally under the stylus, which thus described a spiral, recording 150 grooves to the inch.[44]

The basic distinction between the Edison's first phonograph patent and the Bell and Tainter patent of 1886 was the method of recording. Edison's method was to indent the sound waves on a piece of tin foil, while Bell and Tainter's invention called for cutting, or "engraving", the sound waves into a wax record with a sharp recording stylus.[44]

Graphophone commercialization

A later-model Columbia Graphophone of 1901 3:52 Edison-Phonograph playing: Iola by the Edison Military Band (video, 3 min 51 s)

In 1885, when the Volta Associates were sure that they had a number of practical inventions, they filed patent applications and began to seek out investors. The Volta Graphophone Company of Alexandria, Virginia, was created on January 6, 1886, and incorporated on February 3, 1886. It was formed to control the patents and to handle the commercial development of their sound recording and reproduction inventions, one of which became the first Dictaphone.[44]

After the Volta Associates gave several demonstrations in the City of Washington, businessmen from Philadelphia created the American Graphophone Company on March 28, 1887, in order to produce and sell the machines for the budding phonograph marketplace.[46] The Volta Graphophone Company then merged with American Graphophone,[46] which itself later evolved into Columbia Records.[47][48]

A coin-operated version of the Graphophone, U.S. Patent 506,348, was developed by Tainter in 1893 to compete with nickel-in-the-slot entertainment phonograph U.S. Patent 428,750 demonstrated in 1889 by Louis T. Glass, manager of the Pacific Phonograph Company.[49]

The work of the Volta Associates laid the foundation for the successful use of dictating machines in business, because their wax recording process was practical and their machines were durable. But it would take several more years and the renewed efforts of Edison and the further improvements of Emile Berliner and many others, before the recording industry became a major factor in home entertainment.[44]

Disc vs. cylinder as a recording medium

Discs (that aren't re-recordable) are not inherently better than cylinders at providing audio fidelity. Rather, the advantages of the format are seen in the manufacturing process: discs can be stamped, and the matrixes to stamp disc can be shipped to other printing plants for a global distribution of recordings; cylinders could not be stamped until 1901–1902, when the gold moulding process was introduced by Edison.[50]

A Victor V phonograph, circa 1907

Hy Zaret (born Hyman Harry Zaritsky; August 21, 1907 – July 2, 2007) was an American Tin Pan Alley[1] lyricist and composer who wrote the lyrics of the 1955 hit "Unchained Melody," one of the most recorded songs of the 20th century.[2]

Personal life

Zaret was born on August 21, 1907 in New York City to Max Zaritsky and Dora Shiffman, who had emigrated from Russia in the 1890s. He attended West Virginia University and Brooklyn Law School, where he received an LLB. He shortened his name legally from Zaritsky to Zaret in 1934.[3] Zaret served in the Army's Special Services division during World War II.[4]

Zaret had two sons, and was married to the former Shirley Goidel. He died at his home in Westport, Connecticut on July 2, 2007, at the age of 99.[3]

Career

He scored his first major success in 1937, when he teamed up with Saul Chaplin and Sammy Cahn to co-write the pop standard "Dedicated to You." The early 1940s brought some collaborations with Alex C. Kramer and Joan Whitney, including 1941's "It All Comes Back to Me Now" and the socially conscious, WWII-themed "My Sister and I." In 1941 Vaughn Monroe had a top 5 hit with the song “There I Go,”[5] which Zaret co-wrote with Irving Weiser.[3]

Zaret wrote the lyrics for an English translation of the French Resistance song "La Complainte du Partisan" ("The Song of the French Partisan"). The song became popular after it was recorded by Leonard Cohen and others as "The Partisan". In 1944 he and Lou Singer wrote the popular hit novelty song "One Meatball", based on a song popular among Harvard undergraduates.[1]

"Unchained Melody"

Zaret's biggest success, though, was "Unchained Melody," a song he co-wrote with film composer Alex North for the 1955 prison film Unchained (hence the title), which was nominated for the Academy Award for Best Original Song. No fewer than three versions of the song—by Les Baxter, Al Hibbler, and Roy Hamilton—hit the U.S. Top Ten that year, with Hibbler's version ranking as the best-known for the next ten years. The song was also recorded successfully by Eddie Fisher, whose version bowled over critics, Jimmy Young and Liberace, and covered by countless others. And The Righteous Brothers' 1965 version was perhaps the biggest selling version, reaching the U.S. pop Top Five. That recording was revived in 1990 thanks to its inclusion in the film, Ghost, and nearly reached the U.S. Top Ten all over again, whilst it reached No.1 in the U.K on this release. Elvis Presley, Sam Cooke, Cliff Richard, Roy Orbison and Donny Osmond also recorded versions of the song. This song is unique in that it has made No.1 on the U.K. singles charts in four different guises by four different artists over a period of nearly fifty years: Jimmy Young (1955), The Righteous Brothers (1990), Robson & Jerome (1995) and Gareth Gates (2002). The latter three versions have all recorded certified sales in excess of one million copies in the U.K. alone.

Children's music

Zaret turned his attention to educational children's music in the late 1950s, collaborating with Lou Singer on a six-album series called "Ballads for the Age of Science"; different volumes covered space, energy and motion, experiments, weather, and nature. The records were quite successful, and the songs "Why Does the Sun Shine?" (aka "The Sun Is a Mass of Incandescent Gas") and "A Shooting Star Is Not a Star" were even covered by alternative rock band They Might Be Giants in 1993 and 2009, respectively. (source: Steve Huey, Allmusic)

See also

• Great American Songbook Foundation - where Hy Zaret's papers are housed. A collection guide can be found here

References

1. 
   

• "Song for Hard Times", Harvard Magazine, May–June 2009
• 
  
• Dowling, Stephen (November 6, 2003). "Brothers in good company with hits". BBC News. Retrieved July 3, 2007.
• 
  
• Martin, Douglas (July 3, 2007). "Hy Zaret, 99, Tin Pan Alley Lyricist, Is Dead". New York Times. Retrieved July 3, 2007.
• 
  
• Biography of Hy Zaret www.argosymusiccorp.com. Retrieved August 12, 2021.
• 
  
5. "Achievements Hits".

External links

• ASCAP Foundation Living Video Archive interview Hy Zaret Archived July 26, 2011, at the Wayback Machine
• Zaret Bio at MPL Communications at the Wayback Machine (archived February 10, 2006)
• "Story of Unchained Melody at MPL Communications". Archived from the original on February 26, 2006. Retrieved April 11, 2007.
• Great American Songbook Foundation Archived May 27, 2017, at the Wayback Machine
• Argosy Music Corp.
  • History of Little Songs
• Publishing administrator for "Unchained Melody"
• Hy Zaret discography at MusicBrainz