In this series, we aim to introduce fundamental concepts in audio research in such a way, that it helps you to wrap your head around it easily. While we will only scratch the surface, today, we will briefly explore the Edison Tone Test and its significance.
What is the Edison Tone Test and How Did It Work?
In the early 20th century, when the world was still wonder at the emergence of recorded sound, Thomas Edison introduced a groundbreaking marketing experiment known as the Edison Tone Test. This unique demonstration aimed to showcase the fidelity and quality of his Diamond Disc Phonographs. The Edison Tone Test wasn’t just a technical comparison; it was a profound exploration of human perception and the capabilities of early audio technology.
Thomas Alva Edison, renowned for his successful inventions, profoundly impacted audio recording. After inventing the phonograph in 1877, Edison continued refining his audio playback devices. By 1915, he developed the Diamond Disc Phonograph, which he claimed produced sound so lifelike it was indistinguishable from live performance. To prove this claim, Edison devised the Tone Test. These tests, conducted across the United States from 1915 to 1925, received widespread acclaim.
The Edison Tone Test was a public demonstration where a live performer would sing or play an instrument alongside a phonograph playing a pre-recorded version of the same performance. Audiences were challenged to determine whether the sound they heard was live or recorded. The test was carefully designed to eliminate visual and auditory cues that might reveal the sound source.
During the performance, artists would occasionally stop, leaving only the recording to play. At the conclusion of the show, the room lights would dim, and the live performer would quietly leave the stage, so when the lights came up again, only the phonograph was playing. As a result, the audience was often unaware of when the performer had left the stage.
However, while the tests were significant in the development of sound recording during the time, these tactics and theatrical elements such as dimming lights and the performer leaving the stage unnoticed, could be seen as manipulative and might have led to skepticism about the authenticity of the test results.
Edison recording artists who participated in the tone tests included Anna Case, Thomas Chalmers, Arthur Collins, Byron G. Harlan, Frieda Hempel, Mario Laurenti, Marie Rappold, Maggie Teyte, Jacques Urlus, Alice Verlet, and Giovanni Zenatello. The audience, usually composed of journalists, critics, and the general public, was invited to judge the authenticity of the sound.
Finally, after years of experimenting, the Diamond Disc debuted in 1913, delivering exceptional audio fidelity for its time. The machine featured a heavier reproducer than those used on cylinder players, necessitating a harder surface for the discs, achieved using a plastic named Condensite.
Science and Technology Behind the Tone Test
The science and technology behind the tone test involved several technical innovations and scientific principles. Unlike other phonographs of the time that used steel needles, the Diamond Disc Phonograph used a diamond-tipped stylus, providing greater durability and finer groove tracking, resulting in superior sound quality. Edison’s discs had vertical (hill-and-dale) grooves rather than the lateral grooves used by competitors, reducing surface noise and enhancing recording clarity.
Significant efforts were made to match the acoustics of the live performance to the phonograph playback. This involved carefully setting up the performance space and precise adjustments to the phonograph.
The Tone Test also highlighted the subjective nature of sound perception, revealing that with the right technology and conditions, recorded sound could evoke the same emotional and sensory responses as live performance, a concept that continues to influence audio engineering and psychoacoustics today.
Resources
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Bucyrus Historical Society. (n.d.). Edison Diamond Disc Phonograph. https://bucyrushistoricalsociety.org/gallery_articles/edison_disc_phonograph.htm
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Cornell, B. (2015, May 21). Is it live or is it Edison? Library of Congress Blogs. https://blogs.loc.gov/now-see-hear/2015/05/is-it-live-or-is-it-edison/
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Library of Congress. (n.d.). History of the Edison disc phonograph. https://www.loc.gov/collections/edison-company-motion-pictures-and-sound-recordings/articles-and-essays/history-of-edison-sound-recordings/history-of-the-edison-disc-phonograph/
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Tommasini, A. (2004, July 24). Lincoln Center Festival review; Is it live or is it Edison? A 1915 challenge. The New York Times. https://www.nytimes.com/2004/07/24/theater/lincoln-center-festival-review-is-it-live-or-is-it-edison-a-1915-challenge.html
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Wikipedia. (n.d.). Edison Records. In Wikipedia. Retrieved from https://en.wikipedia.org/wiki/Edison_Records
