{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/wm13n22698/manifest","type":"Manifest","label":{"en":["Strange To Your Ears—A History of Manipulating Pitch, Timbre, and Time in Sound Recordings"]},"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":["Leah Biel (Presenter)","Michael Biel (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2006-05-20 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["From the very beginning of sound recording it was known that if the recording and playback speeds differed from each other, the pitch and the tempo of the reproduced sound would be affected. But because the usual goal of sound reproduction was recognizable recreation of the original sound, rarely were there any attempts to purposefully alter recorded sound until the 1930s. After a few scattered uses, mostly in cartoons, the first major use of altered voice pitch was in the 1939 movie \"The Wizard of Oz.\" Following Danny Kaye's \"The Babbett and the Bromide\" it is a long way to Big Jon Arthur's Sparkie, Ross Bagdsarian's Witch Doctor and Chipmunks, Sheb Wooley’s Purple People Eater, and Jerry Samual’s Napoleon XIV. Most of these voice pitch manipulations are used only in conjunction with normal voice recordings. Once the public was familiar with this technique, musical instruments were also manipulated for comedic effects by, among others, Andre Popp and Peter Sellers. The Solovox and Vocoder allow musical instruments and trains to speak. But musical pitch and tonal identity are generally tied in with the tempo of the recording because normally speed and pitch are interrelated. But allowing the separation of pitch and tempo, first with the Eltro and Whirling Dervish, and later with the Eventide Harmonizer and other pitch shifters, has freed sound manipulators to change the pitch of a sound with out changing the tempo, and vice versa. This has allowed for compressed speech, and changing dance tempos and musical keys independently to create seamless dance mixes. It has also allowed for disguising and counterfeiting orchestral recordings, and making fanciful alterations of Caruso’s voice for different and amusing purposes by Charles Dodge and David Hamilton. This presentation has borrowed its title from a pioneering series of essays about sound manipulation by Jim Fassett. Starting as intermission features on the CBS broadcasts of the New York Philharmonic-Symphony in the late 40s and culminating in a groundbreaking Columbia LP, Fassett and his engineer Mortimer Goldberg turned sound inside-out and backwards and forwards and faster and slower to create a whole mysterious new world. This presentation is dedicated to him, and to the proposition that recreating reality is not all that it is cracked up to be."]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["From the very beginning of sound recording it was known that if the recording and playback speeds differed from each other, the pitch and the tempo of the reproduced sound would be affected. But because the usual goal of sound reproduction was recognizable recreation of the original sound, rarely were there any attempts to purposefully alter recorded sound until the 1930s. After a few scattered uses, mostly in cartoons, the first major use of altered voice pitch was in the 1939 movie \"The Wizard of Oz.\" Following Danny Kaye's \"The Babbett and the Bromide\" it is a long way to Big Jon Arthur's Sparkie, Ross Bagdsarian's Witch Doctor and Chipmunks, Sheb Wooley’s Purple People Eater, and Jerry Samual’s Napoleon XIV. Most of these voice pitch manipulations are used only in conjunction with normal voice recordings. Once the public was familiar with this technique, musical instruments were also manipulated for comedic effects by, among others, Andre Popp and Peter Sellers. The Solovox and Vocoder allow musical instruments and trains to speak. But musical pitch and tonal identity are generally tied in with the tempo of the recording because normally speed and pitch are interrelated. But allowing the separation of pitch and tempo, first with the Eltro and Whirling Dervish, and later with the Eventide Harmonizer and other pitch shifters, has freed sound manipulators to change the pitch of a sound with out changing the tempo, and vice versa. This has allowed for compressed speech, and changing dance tempos and musical keys independently to create seamless dance mixes. It has also allowed for disguising and counterfeiting orchestral recordings, and making fanciful alterations of Caruso’s voice for different and amusing purposes by Charles Dodge and David Hamilton. This presentation has borrowed its title from a pioneering series of essays about sound manipulation by Jim Fassett. Starting as intermission features on the CBS broadcasts of the New York Philharmonic-Symphony in the late 40s and culminating in a groundbreaking Columbia LP, Fassett and his engineer Mortimer Goldberg turned sound inside-out and backwards and forwards and faster and slower to create a whole mysterious new world. This presentation is dedicated to him, and to the proposition that recreating reality is not all that it is cracked up to be."]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"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/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2674/collection_resources/125784/file/233297","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2006_Biel_audio.mp3"]},"duration":3215.90857,"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/2674/collection_resources/125784/file/233297/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2674/collection_resources/125784/file/233297/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/233/297/original/ARSC_conf_2006_Biel_audio.mp3?1709985054","type":"Audio","format":"audio/mpeg","duration":3215.90857,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2674/collection_resources/125784/file/233297","metadata":[]}]}],"annotations":[]}]}