Sound and vision blog

Sound and moving images from the British Library

118 posts categorized "Sound recording history"

18 March 2013

An aural history comes alive

A major 30-part radio series will be broadcast from today on BBC Radio Four. Noise: A Human History, made in collaboration with the British Library’s sound archive, is written and presented by David Hendy, professor of media and communications at Sussex University.

The series is a journey stretching across the world’s continents and over 100,000 years that explores the human experience of listening and the significance of sounds.

Cavern

During its preparation, Prof Hendy and series producer Matt Thompson gathered many recordings on location. They also wanted to mine the rich audio collections at the British Library for unique examples.  The Library has one of the world’s largest sound collections, covering an incredibly broad range of subjects: music of all genres; the spoken word, radio documentaries and oral memories; dialects and accents; sound effects and sounds of the natural world. You can discover and listen for free to 50,000 audio examples online at our British Library Sounds website.

Janet Topp Fargion, curator of our world and traditional music collections, Cheryl Tipp, curator of natural sounds, and Ian Rawes, our Sound and Vision reference specialist, each provided expert advice to the programme makers on sourcing recordings, selecting examples from among the 3.5 million recordings stored at the Library.  The choice is vast: if you listened to every track, for 24 hours per day every day, it would take 70 years of non-stop listening to hear the entire collection. Although such is the rate of intake, when you’d finished there would be an additional 180 years of new recordings to listen to!

Mankind’s ability to record sounds is only just over a century old. However the Library’s collection includes the kinds of timeless noises that we can be certain would have been heard by our earliest ancestors tens of thousands of years ago, such as this recording of water dripping in a subterranean limestone cavern in the Dordogne region of France.  The sounds of prehistoric caves are the focus of the first episode in the radio series.

 

Hear the sounds of water dripping in a limestone cavern
Hear the sounds of water dripping in a limestone cavern

Noise: A Human History is broadcast on weekdays at 13:45 from 18th March 2013 on BBC Radio Four. More details are our our Noise: A Human History web page. You can also follow the series and catch up on episodes at the BBC programme page:  http://www.bbc.co.uk/programmes/b01rglcy

Richard Ranft, Head of Sound & Vision

(Limestone cavern image: www.freenaturepictures.com)

15 November 2012

Tuning in on the first days of broadcasting

Yesterday, 14th November 2012, was the 90th anniversary of the BBC and the beginning of what was to become 'public service broadcasting' in the UK. It began with a 6 pm news bulletin read by Arthur Burrows and has continued daily, if not continuously, since that time, interrupted only by the occasional power cut.

It’s hard to imagine today what a groundbreaking moment it was, changing forever the way people acquired knowledge and information, the way their tastes and interests developed and in the way they experienced entertainment of all kinds. 

 

Alfred Taylor, 1922. Photo courtesy of Ann Gelly
Alfred Taylor in 1922, the year he began writing his Wireless Log and Minutes Book

 

On the BBC’s Radio Reunited programme celebrating the moment, Damon Albarn put two of the most commonly asked questions to staff of the Science Museum where part of the original 2LO transmitter is now on display. His first was “Who was listening?", to which he was correctly told that they were “amateur radio enthusiasts”.

But I suspect that what Albarn really wanted to know was – What kind of people were listening in the first days of broadcasting? Were they largely hobbyists, scientists and wealthy people? Or did ordinary workers, the retired and young people – the people who make up the bulk of today’s audiences – also get a chance to witness these historic events unfolding? We know there were listeners in London and the South East – but what about the small villages and towns of the north? What would they have heard, if anything, during those first days of transmission? And how easy was it to set up the equipment and tune in?  

A unique manuscript recently donated to the British Library by sisters Annie Bright and Susan Briars gives a fascinating first-hand insight into these and other questions – a ‘Wireless Log’ kept by their 16 year old uncle Alfred Taylor (1906-1985) over the 12 months from October 1922 (three weeks prior to the first BBC broadcast) through to 1923.

Taylor, the son of a Newark jeweller by this time resident in Lincoln, had recently won £200, then an enormous sum, in a competition in the short-lived newspaper Boy’s Pictorial (sic) – more than enough to cover the cost of the equipment, aerial installation and the regular ‘radio suppers’ he was to host for interested friends and neighbours over the following year.

The more powerful multi-valve sets of the kind Alfred bought then cost about £5 – equivalent to more than £200 today. One valuable aspect of his log is the detailed record he made of his equipment, including indoor and outdoor aerials, and how it was set up. He also noted the problems he experienced and the measures he took to resolve them.  

 

Alfred Taylor's Wireless Log detailing his equipment, where he acquired it and how he set up the outdoor aerial in 1922.
The Wireless Log, page 2 [click on image to view full size]

 

There was no mechanism for measuring audiences at the time. However the Postmaster-General had issued nearly 36,000 licences for BBC-approved wireless sets by the end of 1922 and thousands more had already built their own sets from widely available components in preceding years, suggesting that over 50,000 set owners were probably attempting to tune-into the first BBC broadcasts. But Taylor’s log shows that for every one of these set-owning “enthusiasts” a great many more people, owning neither licences nor equipment, made up the bulk of the first radio audiences.

They were the friends, family and neighbours who dropped in to share the revelatory experience of listening for a few minutes here and there, whenever they were allowed.

The Log also provides a more detailed answer to Albarn’s second question: "How far away was the furthest listener?” This depended on your equipment and on atmospheric conditions but the BBC’s 1,500 watt 2LO transmitter at Marconi House, London could certainly be picked up in Lincoln (East Midlands) with a three-valve receiver and outdoor aerial of the kind Alfred had. Sets with up to seven valves could have received the station considerably further afield, one 2LO listener even being reported in the Shetland Islands. Taylor’s records also show that it was possible to receive Marconi’s still operating experimental station at Writtle (21st Nov), the 4,000 watt station on the Eiffel Tower in Paris (call sign FL – 20th Nov etc), aircraft navigation signals from the Croydon aerodrome and, apparently most clearly of all – the 8,000 watt long-wave commercial radio station P.C.G.G. transmitting from The Hague in Holland. The latter’s clear reception, despite its distance, was due to its much greater power and uninterrupted view across the North Sea to the UK’s eastern seaboard.

We can also see how the quality of the teenager’s reception fluctuated owing to the vagaries of the weather and atmospheric conditions, and the limits of the accumulators (rechargeable batteries) powering the valves. At this time such equipment could not simply be plugged into the mains supply of a house because supply frequencies had yet to be standardized. So in these early months Taylor would probably have had to take the discharged accumulators to his local cycle repair or hardware shop for re-charging – a considerable inconvenience to regular valve set listeners. People using the cheaper and much weaker crystal sets, which used no power, would not have had this problem but had to content themselves with the much more limited reception range and low volume headphone output.

The first page of the log shows that although he was hearing sponsored concerts before the BBC’s first (official) programme went out on the 14th November, the historic date itself passed without comment by Alfred, perhaps because atmospheric conditions were poor, because he listened only “occasionally” or because he’d been unable to recharge the exhausted accumulators.

 

'Wireless Day By Day' column for 13th May 1922 - six months prior to the first BBC radio broadcast. An effective indoor aerial required the listener to construct a wooden frame several feet across.
Wireless Day By Day - The Daily Mail, 13th May 1922

 

He also kept a scrapbook into which he pasted a regular Daily Mail column for wireless enthusiasts titled Wireless Day By Day. Along with the daily reports and schedules published in newspapers such as The Times, this allows a useful comparison with Taylor’s ‘listening-in’ log and shows that while much excitement surrounded the entertainment possibilities of the new medium it was already also being put to many other uses – time signals being regularly transmitted as a means of synchronizing clocks and watches over a wide area and weather forecasts being aired soon after their issue by the met office – a great advantage to mariners who’d hitherto had to rely on newspaper information up to a day old.

 

 

Alfred Taylor's Wireless Log page 6 detailing his record of 'listening-in' during December 1922 and January 1923.
The Wireless Log page 6: 28th Dec 1922 to 17th Jan 1923

 

On the 28th December 1922 Alfred notes that his reception of 2ZY (BBC Manchester) and 2LO (BBC London) during his radio supper was “very much interfered with” – possibly due to atmospheric conditions but more likely down to the many amateur radio hams, transmitting as well as receiving, who were already starting to crowd the airwaves despite warnings from the Postmaster-General that they should first listen in to their chosen wavelength to ensure that they would not be interfering with other stations.

On the 17th Jan (1923) he also notes the live relay of La bohème from Covent Garden featuring Dame Nellie Melba, already famous for her experimental Chelmsford broadcast of June 1920, but seems more struck by the sound of the concert audience coming directly into the family’s Lincoln home.

 

Alfred Taylor's Wireless Log page 8, detailing his listening from 11th to 14th of February 1923, by which time several new BBC stations had come onstream. At this time it was not practical to network the stations by relaying from London to the rest, so each station transmitted its own regional service.
The Wireless Log page 8: 11th-14th February 1923

 

By February, Taylor was picking up several new BBC stations which had by then launched, including 5WA (Cardiff), 5NO (Newcastle) and 5IT (Birmingham). On the 14th he “Took a phone lead upstairs to mother” – presumably because she was confined to bed – and on the following day experimented with a technique for group listening to a “very loud” recital by the Wireless Orchestra: “Laid one pair phones on table & sat round & listened in – Good”

Although only a handful of radio recordings survive from the 1920s and listening logs of this kind – commencing before the first official day of transmission – must have been rare, many people presumably made single or occasional notes in their diaries concerning the new medium and what they heard. The radio curator would be interested to hear from anyone who has unpublished written records of radio listening in the 1920s and any interesting examples which come to light will be reproduced in a future update to this blog.

N.B. Please do not post any unique materials without first contacting us for advice. Email the radio curator at [email protected] or write to: Paul Wilson, The British Library, 96 Euston Road, London NW1 2DB. 

19 October 2012

British Library Sounds website shortlisted in prestigious awards

The British Library Sounds website (http://sounds.bl.uk/) has been shortlisted in the Education category of this year’s prestigious Lovie Awards.

BL Sounds website

Named in honour of Ada Lovelace, the world's first computer programmer, the Lovie Awards are the European equivalent of the Webby awards, and highlight the best of Europe's websites, mobiles and apps, online video and interactive advertising. This year, work from over 20 different European countries was shortlisted.

Shortlisted entries into the Lovie Awards are those entries that the judges deemed noteworthy and of a high quality yet were not scored quite high enough to qualify for Gold, Silver or Bronze awards.

See http://lovieawards.eu/winners/ - you need to scroll a long way down the page or to use the filters in the right hand column or your browser's text search feature.

16 April 2012

Interactivity and British Library Sounds

Have you recently visited the new British Library Sounds website and tried out its new features?

The British Library Sounds website (http://sounds.bl.uk) now has 50,000 sound tracks, all freely available for listening online. It represents the most diverse online collection of scholarly sounds anywhere, and now has improved interactive features, including tagging, favouriting, playlist generation and timed annotation features.

Simply register on http://sounds.bl.uk, then those features are enabled. Registering allows you to make notes, add tags and personally manage items using favourites and playlists.

An example of timed annotations is here:
http://sounds.bl.uk/Accents-and-dialects/Survey-of-English-dialects... (& see the screen grab image below), but please do register yourself and add your own notes to other tracks.

Blsounds02

Watch this space over the next few weeks as we announce more collections that have recently been digitised and copyright-cleared for public access.

20 February 2012

The new British Library Sounds website

Launched today, the new British Library Sounds website at http://sounds.bl.uk lets you listen for free to 50,000 tracks of music, spoken words and environmental sounds. Listeners at licensed UK universities and colleges may additionally download tracks for their research.

Here are 10 'taster' clips:

Originally launched as a service for UK universities and colleges in 2007 as 'Archival Sound Recordings', with support of JISC (Joint Information Systems Committee) under its Digitisation Programme, the new British Library Sounds site introduces a number of enhancements available to anybody:

  • completely redesigned pages
  • improved navigation
  • new audio player with waveforms
  • improvements for linking to pages
  • improved sound maps
  • and if you sign up for free registration, you can:
  • add notes at specific points on the audio timelines
  • create your own playlists
  • add tags and 'favourite' specific tracks so that you can easily find them again on return visits to the site.

More information.

Feedback on the new site is welcome and will help us add further improvements to the site.

29 November 2011

Japanese Birdsong

Cheryl Tipp, Wildlife Sounds Curator, writes: 

Early-wildlife-recordings

The first commercially available recordings of Japanese birdsong were released by the Japanese Victor Company in 1954. The publications comprised three beautifully designed albums, each containing a set of three double-sided 78rpm discs and an illustrated booklet describing the birdlife that could be heard on these records. For the first time ever, people could listen to sound recordings of the songs and calls of birds that lived on the eastern fringes of the Palearctic region (Europe, north Africa and northern areas of Asia).

These publications include the earliest known wildlife recordings made in Japan, such as the Japanese Scops Owl and the Japanese Paradise Flycatcher. In addition to individual species recordings, the sets also include dawn chorus recordings featuring a wealth of different birds.

Japanese-birdsongs-booklet

The recordings were made by Tsuruhiko Kabaya, a graduate of Tokyo University, and Kasuke Hoshino, manager of the Hoshino Hot Spring Resort. Kabaya had been experimenting with acetate discs before acquiring an early tape recorder in 1951, while Hoshino had begun to study the sounds of birds found in the woodland surrounding his resort. According to Kabaya, the pair came together because he owned a tape recorder while Hoshino had access to a wealth of birds and, crucially, a nearby power supply!

The recordings featured on Japanese Bird Songs vols 1 - 3 are the latest sounds to be added to Early Wildlife Recordings.

13 April 2011

Early wildlife recordings

Cheryl Tipp, Wildlife Sounds Curator, writes:

Early-wildlife-recordingsA new collection of species and habitat recordings from the first half of the 20th century have recently been added to the Environment and Nature category on Archival Sound Recordings. The majority of these recordings were originally released on gramophone records, presented in box sets and accompanied by illustrated literature that provided the listener with information about the animals they were hearing, possibly for the very first time.

 Ludwig Koch is described as being the father of wildlife sound recording and many of his recordings are featured in Early Wildlife Recordings. Born in Frankfurt on November 13th 1881, Koch made his first animal sound recording at the age of 8 when his father presented him with an Edison Phonograph and box of wax cylinders. This simple gift ignited a passion for wildlife sound recording that was to last a lifetime. Significant publications from Koch included Songs of Wild Birds (1936), More Songs of Wild Birds (1937) and Animal Language (1938), all of which are included in this collection.

'Songs of wildbirds' record cover

Another pioneer field recordist was the self-taught Danish ornithologist Carl Weismann. During his lifetime, Weismann recorded a wealth of material and published a number of recordings on his own record label. The recordings selected for inclusion in this compilation were taken from Weismann’s original archive discs which are now held by the British Library.

There are many more examples of early published wildlife recordings that will be added to this initial selection in due course. Highlights will include the first commercially available wildlife record (Carl Reich’s ‘Actual Bird Record made by a Captive Nightingale’) which dates back to 1910 and a series of speciality publications featuring wildlife sounds incorporated into traditional musical pieces such as ‘Londonderry Air’ and ‘The First Noel’.

29 March 2011

Walls of Sound

Paul Wilson, curator of radio, writes:

BBC Radio 4’s The Archive Hour feature on the British Library’s work with sound aired on 26th and 28th March. The idea for the programme, produced by Julian May and presented by radio historian Sean Street, was to explain and illustrate in under an hour the importance of the British Library’s work in rescuing and preserving the sounds of the world around us – from Victorian Britain to the present day. No mean feat considering the enormous breadth of audio subjects and source materials which the Library is called upon to deal – from the regional dialects of chaffinches to the last recorded words of Nelson Mandela prior to his 1964 incarceration. They can be found on carriers as unlikely as rolls of wire or even postage stamps.

Mandela_dictabelts 
Original dictabelt recordings of Nelson Mandela's trial

Those who work with unpublished sound recordings might concur with my own view that the most rewarding moments occur during those few seconds of tape hiss or surface noise which follows the engagement of a recording device with a sound carrier of unknown origin – the suspense of waiting to be transported to an unknown place and time. And the possibility that you may be about to witness something no one has heard since a time long before you were born.

Walls of Sound presents a travelogue of such moments with some of the more unlikely recording locations offering clues:

  • Underwater in a marine laboratory aquarium, Aberdeen (2000)
  • The roof of New York’s St Regis Hotel (1938)
  • Florence Nightingale’s study (1890)
  • In the ‘uppermost branch of a fir tree’, Northants (1974)
  • Somewhere in Himalayan Bhutan (early 1970s)
  • A bookstore in Paris (1924)
  • Inside a coin operated recording booth, Egypt (1943)
  • A podium in Wembley Stadium (1924)
  • Lubiri palace, Kampala, Uganda (ca. 1949)
  • A swamp in Kauai, Hawaii (1983)
  • A supermarket checkout, Glasgow (2011)

But for archivists, of whatever medium, the ultimate satisfaction is experienced on those rare occasions when a forgotten document of the past can be reunited with its rightful owner.

One touching moment in the programme is the on-air transfer of the previously unheard contents of a booth disc recording picked up by Philatelic curator Paul Skinner at an online auction. It was found to contain a private audio letter from a British soldier based in Egypt during World War 2 to his family back home in Coventry – then still reeling from the blitz which had killed over 1,000 and flattened more than 60,000 buildings. Within hours of its transmission, a message was received from a Mr Keith Spragg, nephew of soldier Frank Spragg, expressing his joy at hearing a 67 year old recording he had no idea even existed, and at the unexpected opportunity of hearing again the voice of an uncle who’d survived the war but finally passed away in 1998.

Nigel_Bewley_working_in_the_sound_studios
Working in the British Library's sound studios

The final voice in the programme is that of a now extinct species, the last surviving Kauai O’o A’a bird, calling to a mate killed in a hurricane the previous year and, as presenter Sean Street noted, “unaware that he is now completely alone in the world.” An appropriate reminder of the vital importance of the British Library’s work in recording and preserving the sounds of the world around us.

Walls of Sound can be heard online via the BBC’s iPlayer until Sat April 2nd, after which it will be available within the British Library’s reading rooms via the onsite Soundserver.

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