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In April 1930, Brunswick-Balke-Collender sold Brunswick Records to Warner Bros., and the company's headquarters moved to New York. [4] Warner Bros. hoped to make their own soundtrack recordings for their sound-on-disc Vitaphone system. A number of interesting recordings were made by actors during this period, featuring songs from musical films.
Brunswick Corporation, formerly known as the Brunswick-Balke-Collender Company, is an American corporation that has been developing, manufacturing and marketing a wide variety of products since 1845. Brunswick has more than 13,000 employees operating in 24 countries.
According to a book co-authored by Jack Warner, Jr., Warner Bros. Pictures "bought the radio, record and phonograph divisions of Brunswick-Balke-Collender Company for the company's patents, its record factory, and its 16mm home talkie projector". [14] Before they came to their senses, it was all moved across the country to WB's Sunset studio.
The phonograph, in its later forms also called a gramophone, record player or turntable, is a device introduced in 1877 for the mechanical recording and reproduction of sound. Phonographs can also specifically refer to machines that only play Phonograph cylinder s, the gramophone is an advanced version of the phonograph that only plays disc ...
Phonograph records were now supplied by the Brunswick-Balke-Collender company, again in exchange for promotional announcements. [20] There were also live performances, including multiple appearances by Vaughn De Leath—for these broadcasts she earned the sobriquet "The Original Radio Girl". [21]
In 1925, the Brunswick-Balke-Collender Company, maker of Brunswick phonograph records, licensed parts of GE's system for use in the electrical recording process it was developing. Instead of beaming the light onto photographic film, the vibrating mirror reflected it directly into a photoelectric cell, generating an electronic audio signal which ...
Phonograph record of "Feetball" monologue on Brunswick Records (Brunswick-Balke-Collender Company) According to Jack Benny's autobiography, Sunday Nights at Seven, he once cast Rubin to portray a Pullman porter. Although Rubin could do a convincing African-American dialect, the producer insisted he looked "too Jewish" for the part.
These were pressed for distribution to other radio stations as 12" shellac 78 rpm discs. She indicated that a speed around 80 rpm was sometimes more accurate. On April 29, 1929, the recording contract went to Brunswick-Balke-Collender (Brunswick Corporation) and the audio quality of the discs improved substantially. [6]