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Electrical transcriptions, "recordings made exclusively for radio broadcasting"〔Browne, Ray B. and Browne, Pat, Eds. (2001). ''The Guide to United States Popular Culture''. The University of Wisconsin Press. ISBN 0-87972-821-3. P. 263.〕 were widely used in the era of old-time radio, They provided material—from station-identification jingles and commercials to full-length programs—for use by local stations. Physically, electrical transcriptions look much like long-playing records that were popular for decades. They differ from consumer-oriented recordings, however, in that they were "distributed to radio stations for the purpose of broadcast, and not for sale to the public.... The ET had higher quality audio than was available on consumer records"〔Hull, Geoffrey P. (2011). ''The Music and Recording Business: Delivering Music in the 21st Century''. Routledge. ISBN 978-0-415-87560-8. P. 327.〕 largely because they had less surface noise than commercial recordings, ==Emergence of electrical transcriptions== Electrical transcriptions were created in the mid-1920s. Sources differ as to exactly when (and by whom) their creation occurred. A reference guide to music technology says that Marsh Laboratories, in Chicago, Illinois, produced the first electrical recordings in 1924, using the Autograph label.〔Holmes, Thom, Ed. (2006). ''The Routledge Guide to Music Technology''. Routledge ISBN 0-415-97323-6. P. 189.〕 Meanwhile, a biography of Leopold Stokowski cites Western Electric Company as developing American electrical recording in 1925.〔Smith, William Ander (1990). ''The Mystery of Leopold Stokowski''. Associated University Presses, Inc. ISBN 0-8386-3362-5. P. 175.〕 Freeman Gosden and Charles Correll are credited with being the first people to use recordings (albeit an older form predating electrical transcriptions) to distribute their ''Amos 'n' Andy'' program to stations other than their home station, WMAQ in Chicago.〔Baker, Joan (2005). ''Secrets of Voice-over Success: Top Voice-over Artists Reveal How They Did It''. First Sentient Publications. ISBN 1-59181-033-7. P. 11.〕 They used 78 RPM discs to provide two five-minute segments with a commercial break.〔Millard, Andre (2005). ''America on Record: A History of Recorded Sound''. Cambridge University Press. ISBN 0-521-83515-1. P. 173.〕 One audio historian wrote: "New methods of electronic reproduction and improved record material that produced very little background noise were developed ... By the end of the decade, the use of old phonograph music had largely been replaced by the new electrical transcription ... With the fidelity available, it was difficult to tell a transcription from the original artist."〔Davis, Henry B.D. (1983). ''Electrical and Electronic Technologies: A Chronology of Events and Inventors from 1900 to 1940.'' Scarecrow Press. ISBN 978-0-8108-1590-2. Pp. 73-74.〕 A 1948 ad for a disc manufacturer touted the use of transcriptions on the Voice of America, saying, "A substantial part of these daily programs is recorded and, due to the excellent quality of these transcriptions, such recorded portions cannot be distinguished from the ''live'' transmissions." Electrical transcriptions were often used for recording programs in old-time radio. Using a recording speed of 33 revolutions per minute (in contrast to the 78 RPM speed that was then standard for records for home use), 15 minutes of material could be stored on one side of a typical 16-inch diameter transcription.〔Kenney, William Howland (1999). ''Recorded Music in American Life: The Phonograph and Popular Memory, 1890-1945''. Oxford University Press. ISBN 0-19-510046-8. P. 188.〕 In contrast, commercially available 78 RPM records lasted for only 3–4 minutes per side and "had very poor frequency response."〔Sterling, Christopher H. and Kittross, John Michael (2002). ''Stay Tuned: A History of American Broadcasting''. Routledge. ISBN 0-8058-2624-6. P. 109.〕 WOR was one of the first radio stations to broadcast transcriptions, beginning to use them in 1929. Other stations joined the trend until soon more than 100 were doing so, largely because "this new kind of recording made programming more flexible and improved sound."〔 Dr. John R. Brinkley is generally credited with being the first performer to provide electrical transcriptions to radio stations.〔Kingsbury, Paul; McCall, Michael; and Rumble, John W. (2012). ''The Encyclopedia of Country Music''. Oxford University Press. ISBN 978-0-19-539563-1. P. 49.〕〔Laird, Tracey E. (2005). ''Louisiana Hayride: Radio and Roots Music Along the Red River''. ISBN 0-19-516751-1. P. 70.〕 Brinkley's use of the then-new technology arose out of necessity when agencies of the federal government prevented him from crossing from Mexico into the United States to use telephone lines to connect to U.S. stations remotely. "Brinkley began recording ... onto electrical transcription discs and sending them across the border for later broadcast."〔 "Electrical transcriptions were indispensable from the mid '30s to the late '40s," wrote Dr. Walter J. Beaupre, who worked in radio before moving into academia.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Electrical transcription」の詳細全文を読む スポンサード リンク
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