{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/1j97659t16/manifest","type":"Manifest","label":{"en":["Preserving and Renewing the Recorded Legacy of Irv Teibel"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Jennifer Ballow (Presenter)","George Blood (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2017-05-13 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio","Slides"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eThis presentation will explore Irv Teibel’s recording and production methods, as well as the restoration of his work. Irv Teibel (1938-2010) was the producer, sound recordist, and entrepreneur behind Syntonic Research, Inc., the record label responsible for the influential environments series (1969-1979) and “The Altered Nixon Speech (1973).” The environments series was the first widely available psychoacoustic recording series that attempted to use natural soundscapes in order to alter psychological states, aid concentration levels, mask unwanted noise, and provide other therapeutic benefits to listeners. The series’ initial release, The Ultimate Seashore (1969), was the first commercially available, digitally processed recording edited on a mainframe computer. “The Altered Nixon Speech” re-edited President Richard Nixon’s denials of involvement in the Watergate scandal into a detailed confession. After Teibel passed in 2010, his family received several requests from scholars and academics to review archive materials related to Teibel’s work and business for research projects and publications that focused on a range of topics including music, technology, and the preservation of natural soundscapes. This attention helped ignite a renewed interest in Teibel’s work, and prompted Syntonic Research’s new shareholders to explore other opportunities to generate interest in Teibel’s recordings and story. Syntonic Research has recently launched a website devoted to Teibel that showcases his work and has partnered with a highly respected independent record label to create a mobile app for the environments series. These initiatives were developed in order to preserve Teibel’s legacy and introduce his influential work to a new generation.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Amanda McCabe"]}}],"summary":{"en":["\u003cp\u003eThis presentation will explore Irv Teibel\u0026rsquo;s recording and production methods, as well as the restoration of his work. Irv Teibel (1938-2010) was the producer, sound recordist, and entrepreneur behind Syntonic Research, Inc., the record label responsible for the influential environments series (1969-1979) and \u0026ldquo;The Altered Nixon Speech (1973).\u0026rdquo; The environments series was the first widely available psychoacoustic recording series that attempted to use natural soundscapes in order to alter psychological states, aid concentration levels, mask unwanted noise, and provide other therapeutic benefits to listeners. The series\u0026rsquo; initial release, The Ultimate Seashore (1969), was the first commercially available, digitally processed recording edited on a mainframe computer. \u0026ldquo;The Altered Nixon Speech\u0026rdquo; re-edited President Richard Nixon\u0026rsquo;s denials of involvement in the Watergate scandal into a detailed confession. After Teibel passed in 2010, his family received several requests from scholars and academics to review archive materials related to Teibel\u0026rsquo;s work and business for research projects and publications that focused on a range of topics including music, technology, and the preservation of natural soundscapes. This attention helped ignite a renewed interest in Teibel\u0026rsquo;s work, and prompted Syntonic Research\u0026rsquo;s new shareholders to explore other opportunities to generate interest in Teibel\u0026rsquo;s recordings and story. Syntonic Research has recently launched a website devoted to Teibel that showcases his work and has partnered with a highly respected independent record label to create a mobile app for the environments series. These initiatives were developed in order to preserve Teibel\u0026rsquo;s legacy and introduce his influential work to a new generation.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/494/small/ARSC_conf_2017_Ballow_thmb.jpg?1730768299","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-1umbzh.mp4"]},"duration":1998.336,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/494/small/ARSC_conf_2017_Ballow_thmb.jpg?1730768299","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/494/original/open-uri20200922-6764-1umbzh.mp4?1600801239","type":"Video","format":"video/mp4","duration":1998.336,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Preserving and Renewing the Recorded Legacy of Irv Teibel [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"While the curtain comes down for a change of the. Came to the set here. My figures. Jennifer Fallow, whose current president of Senate Research. The record label responsible for the influential Environment series and altered Nixon's speech. She is the daughter of Earth title founder Synoptic Research. Jennifer's interest in working on a private audio lectures developed with the preservation projects that she initiated for her father's recordings. Jennifer is a licensed math social worker and holds a B.S. in advertising and M.S. and social work from University of Texas at Austin. She's putting thirtysomething. This will be. Thank you. Hi, my name is Jennifer Ballou's. As George said, and I will be discussing my father's recordings with you today, as well as the process we have done to preserve them and make them available to the public once again. And I think you should be interested in this, because my father was considered a very good sound recordist. He was recognized as one of the best in his field and his fellow audio professionals and enthusiasts. I think it would make sense for you to learn what he did to make these very high quality recordings. He was also very successful in marketing these recordings and creating a profitable business out of them. So I wanted to start by answering the question, who is Earth title? He was a producer, sound recordist and entrepreneur. He was born in 1938 and passed away in 2010. Here he is in his studio in the 1960s and at the height of his business career in the 1970s. He was the founder of Record Labels and Tonic Research. Here's the official logo, which you might recognize and is available on some of the records I have here. And he created the Environment Series, which is a set of 22 nature soundscapes, originally released from 1969 to 79 on vinyl record and distributed internationally by Atlantic Records.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=16.37,151.12"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He also produced the altered Nixon speech, which was a re edited version of President Richard Nixon's famous speech about his involvement in the Watergate scandal. This recording turned his denial into a detailed confession. So why was my father's work significant? The Environment series was the first widely available psycho acoustic recording series, which means that it was the first soundscape series that attempted to use natural soundscapes in order to alter psychological states such as eight concentration levels, masc unwanted noise and provide other therapeutic benefits to listeners. This is different than recording an environment and producing a record of sound effects which had been done many years before, or white noise machine like the mah pack shown here that used pink noise to help people sleep. It was the missing link that helped create what we have today with nature sounds that are used for a purpose like the Homeric sound spa, relaxation sound machine, or a set of nature based meditation and relaxation recordings that are widely available in home and wellness markets. So here is a quote from my father that explains the environment's concept. We're sort of the period of the recording industry. We take pure, unadulterated sounds and packaged them ambient sounds around us, maybe syrupy sweet like music or raucous like rock or TV sound, but they are rarely comforting. Environments deal with the important aspects of our perceptions. Their realism makes them far more effective than white noise machines or other electronic devices. Yet they cost far less since they utilize the advanced technologies of the Hi-Fi industry, which most people already own. So we took an existing technology to turn a recording into a therapeutic device that was widely available and fairly affordable. So here's a short video of composer and phenomena for Chris DeLorenzi, talking about how these recordings were different from other field recordings.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=152.65,278.29"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I think the genius of the environment is that could just end documents and labels. Well, listen, not just one way to document or to listen. There's ways to relax that offer multiple paths and do what it could in life might be. So, again, this really illustrated how these recordings were not just sound effects, but were actually used for something. So environments one ultimate sea shore was an important recording. It was considered one of the first commercially available, digitally processed recordings edited on a mainframe computer. And the story behind this is my father was working on a soundtrack for film that involved a recording of the ocean. So he went to Coney Island and noticed that this recording had special therapeutic qualities which made him feel more relaxed and at ease, which wasn't always the case with every recording that he made at the ocean or listened to. So he took it to a buddy at Bell Labs who was working with White Noise and ran the recording through a 360 IBM computer, which is shown here to create one continuous 30 minute recording. This type of manipulation had never been done to an audio recording before. This point Ultimate Sea Show was also one of the first quadraphonic releases on vinyl record, which means the recordings were made with at least four microphones or channels in order to make them seem as real as possible and incorporate surround sound. When he released this LP, it was one of the first to encode quadraphonic matrix thing on a vinyl phonograph, and it was also known for very long playback times, 30 minutes per side at 33 and a third r.p.m. and could be played at any speed from 16. And two thirds up to 45 r.p.m., which was rare at the time.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=287.46,407.89"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So in addition to the new technologies demonstrated with Ultimate Sea Shore, the Environment series was considered one of the first series of commercial recordings that was widely distribute, sold and distributed. That was not traditional pop music. So after marketing ultimate seizure on his own and selling quite a few, he sold out of places like Harvard Co-op, where college kids were using it to help them study. He eventually connected with Atlantic Records to sign a licensing deal. And that is how it achieves the high distribution levels and became widely available to the public. We're unsure of how many records were actually sold of Ultimate Sea Shore, but we, we estimate is close to a million copies. So younger kids were buying this in addition to the Beatles and the Rolling Stones. Yet it was something so completely different. So here's a picture of a promotional event, Environments one in New York City around the time it was released in 1969. And with my father posing with an Atlantic executives upon signing a licensing distribute distribution deal for the entire series. Environments also received a lot of press. Major publications like The New York Times and The Rolling Stone wrote about the series at the time, and environments were also considered very high quality nature recordings as they do not have continuous loops were made with very high quality tape recorders and took over a year to complete the sixth recording. Okie dokie. Swamp may have even been chosen by Carl Sagan to be included in the Voyager spacecraft Golden Record to most accurately represent nature sounds on Earth. But this has not been officially confirmed. But I will play an excerpt of that for you now. You can hear what it sounded like. Never know when to stop that, I think.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=410.84,565.07"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So in addition to the Environment series and tonic research also released the altered Nixon speech in 1973, which demonstrated that magnetic tapes can be altered in ways to escape detection. This was notable because no one had attempted to modify spoken statements of an American president before this time. And today, this is a very easy thing to do with all of the computer software equipment that we have. But back in the 1970s, it was a very difficult task. Here's a sample sticker that he made to promote the record and always sold for two dollars at the. So here is my father with the forty five and an ad for the recording, which sold close to 20 thousand copies. The altered Nixon speech also received a fair amount of press and lost an expert witness career from my father. So he was asked to testify at high profile criminal case hearings, including those of Don Julio and James Coonan regarding audiotapes that may have been tampered with. He was also approached by individuals like Alan Barry, a prominent Bigfoot proponent, to examine recordings. His recordings and help him build a case to provide some proof that he made a legitimate recording of a Sasquatch. Though my father was not able to. He also received letters from major political figures and government officials such as Florida Representative Bill Chapell and Senator Ted Kennedy. They were very interested to know how political speech could be altered. And here's the speech re edited so you can hear it for yourself. I have my own life. What are you afraid of? I offer my support. She waged a legal campaign, acts as a cover up. I accept full responsibility for a brazen bombing of the Democratic National Headquarters. I campaign abuses.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=567.56,693.27"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Let me explain to you why they are not widely compatible. Very concur. I took part in the subsequent cover up activities. My answer to our Assen burglary. Republican Party is obstructing justice, Araluen intentions and compromising those agencies of government that show the love of others. We, of course, must be extremely careful in the way we all about this. I shall continue to subvert the institutions of government by unlawful means and I will carry out. This is often not a question that it is the simple to. So now I will discuss some of my father's recording and production methods. He had a general process for producing environments. He was basically a one man show and conducted all of his own market research, as well as recording, editing, mixing and packaging and handled everything personally as he did not trust these crucial aspects of his business to others. So he was definitely a perfectionist. And I'll talk a little bit more about the market research component, as it was such an important piece to making these recordings. He would send out response cards like this one and utilize the information provided on the back that listeners would fill out. And an example of how we use these for one of the recordings. Listeners indicated that there was a very high pitch bird sound that could not be picked up by record players at the time. So he actually went in and took it out every time it occurred, which was close to 200 times. He also designed all of the packaging, including the copy photog and photography. So, for instance, for environments for ultimate thunderstorm, he took the photograph, design the jacket and wrote the copy on the back of the sleeve. So he definitely fell back on his design and advertising skills to successfully promote these records.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=695.11,833.86"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He was a copy editor and photographer for Car Driver and Popular Photography magazine before starting santtana research for equipment. He several devices, including your stereo reel to reel tape player, a stellar box, SPF seven shops, condenser microphone and a Sony C, 20 Tudeh condenser microphone. And here he is out in the field with his real to real player for editing equipment. He used many different devices, including a three and 16 track recorder, a studio transfer machine, a Newman led system or a phone cartridge, an IBM 360 computer, which was a huge challenge at the time because it could only hold three minutes of recording time. So it was very hard to unobtrusively edit shortcakes into a usable 30 minute recording and DB X noise reduction system and an e-mail synthesizer just shown here. He also used rare specialty, custom and nontraditional equipment like a stethoscope for the heartbeat recording. And he often designed his own recording equipment as he went along and used motion picture equipment as it was better than audio equipment. At the time. And he would go as far as Switzerland to have recorders made to a specification and probably used equipment that enabled matrix, quadraphonic encoding and altered equipment to do this, as many devices at the time were not able to complete this function. An example of rare and specialty equipment. He used a tape recorder on Summer Kornfield that operated at 30 inches per second, which is four times the speed of ordinary professional tape recorders. So he recorded many of the sounds on location and here are some examples, Optimum Avery was an enclosure of birds at the Bronx Zoo. Country Stream was recorded in Stockbridge, Massachusetts, though the exact location is unknown. And he did this on purpose to keep it a company secret.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=834.97,976.25"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Donna does get new hope was recorded in back areas of eastern Pennsylvania. Okefenokee Swamp was recorded on location in Georgia. And there's a funny story about this. He had a dog that he would take with him on recording sessions. And he likes to say that while making this recording, the dog was almost eaten by an alligator. Well, it might have been this alligator. He had several pictures of this one and some are Kornfield was recorded in a field in Vermont. So he learned very quickly that it can be very hard to record nature. He often said pure sounds are rare and hard to capture. He had many intrusions during recording sessions. And an example of this, while doing a recording session in a remote seaside area in North Carolina, a Boy Scout troop came marching across the dunes. So, of course, the recording was ruined and he would try many tricks and techniques to get better recordings and avoid going into nature. So and that included staging techniques and an example of this. He one time purchase 10000 live crickets, tried to put them on a sound stage, only to find out it wasn't their mating season. So he had ten thousand silent crickets. Doesn't always work. But it did work with his thunderstorm recording. He would get drenched every time trying to go out and record a thunderstorm. So one day he was in his Manhattan apartments and held the microphone up to the window and managed to get a very recording that way without getting drenched. So that was how that recording with made. Many of the sounds were so subtle and difficult to capture that it often took one year or more to make each record. So he turned to editing to fix imperfections and get desired effects.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=978.05,1099.75"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It was sort of the magic bullet to make these recording sound right. Editing was a very important part of the process. And he often said reproducing nature in home can be much more demanding than producing music. And this is because everybody knows what nature should sound like. Yet it's quite a challenge to fool the mind with such a concept. He also used his artistic experience to guide him and was an important part of the editing process. So I think this quote really summarizes this. I had to fall back on my artistic training, especially my photographic training. This turned out, in retrospect, to be the key. After all, what does a photographer really do? He doesn't sit in Nagara with a blank canvas the way a painter might know. He experiences reality hunting amidst the world's chaos for beauty, according to his own perceptions. A photographer puts a frame around reality, modifying and retouching the truth to conform to an inner need. So I definitely think he edited these recordings in a way that symbolized nature best to him. What was his view of what nature should sound like? Just the way a painter might present a nature scene and a painting. The recordings were very detailed and labor intensive, many of them contained 200 to 300 precise edits, and he enhanced and altered sounds with editing equipment. An example of this. He used a synthesizer for wind in the trees in summer cornfield and you separate tracks of sound. So for wood masted sailboat, he used 24 separate tracks of sound. This included seagulls from the Virginia shore, bellboys from the Long Island Sound. A boom bang from a creaking mass. And an old chronometer from a clock shop on Lexington Avenue. Offer the altered Nixon speech.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=1100.41,1218.75"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The production methods were much simpler. He abandoned sophisticated technology and really got back to basics. He used a razor blade and magnetic tape. And this was during a demonstration that he was doing for his students while teaching at the new school in New York City. With what can be accomplished with editing procedures. So it ended up being one hundred and twenty slices splices to a 60 second tape. So now I will move on to the preservation process for the recordings and how that started. My father passed away in 2010, as I mentioned earlier, and my sister and I inherited all of his things, including file cabinets and boxes full of items related to his work. So it looks something like this. And we quickly put them in storage and really didn't know what to do with them. But then I received a random call from a researcher who wanted to look at the archive for his dissertation on the history of white noise technology. And other academics contacted me, as well as the British Broadcasting Corporation. So I started doing some interviews and making some connections. So this led to sort of Santana 2.0. We just kept talking to people to see what opportunities might be out there. We found a researcher and a blog writer and a local marketing firm who made an official Web site for us urf titled Dot Com. And we secured a licensing deal with numero group the Independent and archival record label. So for the preservation and restoration process that had this involved, four main steps. The first was to find the master tapes and an audio engineer to digitize them. The second was to find another audio engineer to remaster the recordings, and Numero agreed to provide this.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=1219.92,1340.4"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The third was to release the remastered recording on an app and make them available on music streaming services such as Aitken's and Spotify. And the fourth was to find a place to house the physical archive and make it more accessible to researchers and the general public. So we are currently considering keeping the archive at the New York Public Library. So what do we have planned for the future? We're trying to license other recordings, such as unreleased recordings that my father made, as well as The Erixon Tapes, which is a synthesizer and harpsichord recording, produced Byzantine AgResearch and performed by Raymond Erixon and is very much in the same vein of early electronic classical works such as One Day Carlo Switched-On Bach. We're trying to sell old some stock from the company such as LP cassettes and Thursdays, and I brought them today if you'd like to take some not not for charge, just to take. We're trying to get the word out about the Web site that we've created. So we did a press release and we're hoping to send that information to targeted media outlets. And we're currently finishing official trademark applications for the business and the series. So this will be to gain federal trademark protection. And we're continuing to document the influence and impact of my father's work, and we're constantly learning more. So, for instance, we just discovered that he may have worked with the German experimental composer. Well, that's a bummer. With my last slide. So that's good. There you go. OK. Carl Hines stock and housing, which I've heard is a big deal. So and we're continuing to document the impact of the series. So there are many musicians that were influenced by the series. There's scientific evidence now behind music and sound therapy.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=1341.93,1466.43"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And there's a big impact with certain recordings, such as the heartbeat, which was known had this following for lovemaking. So we're we're documenting that and finding ways to to share that with people. So that concludes my presentation. Thank you so much for listening. And if you want information, please contact me. Again, my name is Jennifer Bolu. And emails probably the best way to get a hold of me and I will take questions. You have any? Jennifer, just to reexamine this one out. You look at where. Good morning. Just a few questions while Steve sets up. This is similar to what? Some of the people here to know I generally am one who finds historical precedent whenever anybody says they first do something, I usually have found they were not in the first place. When I heard the high on some of the news programs, I thought the big speech teacher at that time and in passing and thinking, OK, this might be interesting for you to get to make it easy to show. And in my classes when I got out of the restroom, first thing I saw was this was. It is a wrench in reverberation to try to cover up what was being done. If you do that, they probably don't need to do that. I was trained how to head back in the 1960s. I work at a company, Boydell Pearson Inc., where we did motion picture trades. And sometimes these 60 second and 30 second trailers were worked on for two weeks, editing and rehab, taking multiple tapes from the announcement like Fred Foy done, using a word from here, a word from there. If he said a word that was not quite long enough to fit in with the music because all of this was scored to music, we'd extend the word.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=1467.66,1644.81"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We can take a vowel sound and in two or three vowel sounds, or we could short works well to ease all of razorblade in. So this thing that this type of editing has precedent going back decades before that. I sometimes in class would be wholly conversation with the students, why I'm doing anything on things as demonstrations are, it's suddenly that editors and film editors were able to do back in the 1930s. About the mike. Mike, we should talk about the sound effects and stuff. You mentioned that this is one of the best first best selling down useful recordings. I think a lot of the 78 collectors you will know about the Rice 83 recordings that there was a whole series of of songs of birds song recorders started back in the 80s. One of the recordings of the song of the Nightingale was pretty from around 1960 to probably nineteen fifty or fifty one as a 78 r.p.m. or so and sold and so and so. So there's nothing new about that. I've been trying to figure out what is different about environment Storen and Emiri Crookes Voice of the Sea, which also was some starting reported by the. This happens to be a body copy of the stereo copy over and over. Now more records you want to swap dollars for. And there was a radio program called Churi Mike Mike with that used birds and music. And so a lot of this stuff was it was done without this psychedelic hype. Decades and decades earlier than I knew about the environments records. I about it in the mail that they came out. I saw your father at the beach in 1969 when he reported what eventually was in an environment three. He wouldn't tell me about his project was.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=1645.26,1801.09"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I know I know from the very beginning that all of these all of these recordings and I don't think that there is anything, including computerized recordings going back to the 1950s. I can cite four or five Elspeth's that used computerized recording. Mike, thank you very much for sharing all that information with me. I'm still trying to learn exactly when my father's story. And this is the best that I can do to describe it. Well, I should probably always say one of the first. And if I did fail me first in the presentation I saw. I lost my health insurance during the Bush decade. He's back. So, Bassendean, we're talking about he's creating his vision for a few stages since he's on Earth. I mean, it's you know, he has lots of other animals. How so? It's so similar to the ones that are this as the backdrop to create these remarks, sort of overtly artificial or musical. Any thoughts on this? Was it against his vision or there were some there? I mean, you talked about recording. You say that overtly include musical instruments. Yeah, we got synthesizer swells, and that is the background on this record. So, yeah. Yeah. Or whatever. Yes, I suppose. And where that Danielson's solid experience for me was one of the largest white steel one that incorporated musical instruments. If there's the series before then, please correct me. But that is the one that I'm most of the year where it started. And then that became an entire movement, too, which is probably much more widespread today with musical accompaniment for therapeutic uses than just your major sounds. Oh, I know your father was. Oh, the laughter. He hated it. Oh, absolutely. Yes. He he was not a fan.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=1802.28,1965.99"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That was just his personal taste for it. I, I like. I don't mind if. So it's just a matter of personal taste.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494#t=1967.61,1975.18"}]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/97494/transcript/19066/annotation/16","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/066/original/open-uri20200924-1385-p6el6v?1600957057","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/066/original/open-uri20200924-1385-p6el6v?1600957057"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/255818","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2017_Ballow_audio.mp3"]},"duration":1962.09725,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/255818/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/255818/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/255/818/original/ARSC_conf_2017_Ballow_audio.mp3?1730760752","type":"Audio","format":"audio/mpeg","duration":1962.09725,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29686/file/255818","metadata":[]}]}],"annotations":[]}]}