Editing Phonograph record (section)

===Acoustic recording===
Early recordings were made entirely acoustically, the sound was collected by a horn and piped to a [[Diaphragm (acoustics)|diaphragm]], which vibrated the cutting stylus. Sensitivity and frequency range were poor, and frequency response was irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer almost had to put their face in the recording horn. A way of reducing resonance was to wrap the recording horn with tape.<ref>Scholes, plate 73.</ref>

Even drums, if planned and placed properly, could be effectively recorded and heard on even the earliest jazz and military band recordings. The loudest instruments such as the drums and trumpets were positioned the farthest away from the collecting horn. [[Lillian Hardin Armstrong]], a member of [[King Oliver's Creole Jazz Band]], which recorded at [[Gennett Records]] in 1923, remembered that at first Oliver and his young second trumpet, [[Louis Armstrong]], stood next to each other and Oliver's horn could not be heard. "They put Louis about fifteen feet over in the corner, looking all sad."<ref>Rick Kennedy, ''Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz'', Bloomington and Indianapolis: Indiana University Press, 1994, pp. 63–64.</ref><ref>A photograph of the [[Gennett Records]] studio is available. {{cite web |url=http://www.nicklucas.com/Image/nick_lucas_playing%20_with_bailey's_lucky_seven_at_gennett_studios.jpg |title=nick lucas playing with bailey's lucky seven at gennett studios |website=Nick Lucas |access-date=9 April 2008 |url-status=live |archive-url=https://web.archive.org/web/20080529082244/http://www.nicklucas.com/Image/nick_lucas_playing%20_with_bailey's_lucky_seven_at_gennett_studios.jpg |archive-date=29 May 2008 }}</ref>