..so the 43 is a post-revolution assigned number, as the - - either side suggest. In which case the 1927 date is a Soviet issue date.
But it can't be a prerevolutionary recording as the words and the subject are from the Soviet era, aren't they? The recording is far better than any Soviet acoustic that I have heard, and frankly better than the earliest electrics.
These numbers belong to MusTrust's numeration of acoustic recordings. This numeration includes more than 3.000 numbers, but partly it doubles the numeration of early electrics, and the most part of the rest of it consists of pre-revolutionary recordings that were given new numbers. But there also was a quantity of original Soviet records.
The quality of the sound can be explained by uncommonly high (for MusTrust) quality of material.
According to Demyan Bedny's Corpus operum, this poem was written in February 1919. There are letters "OBC" on the mirrored part of the record that are the initials of Oscar Blesche (a sound technician famous for his leading participation in recording of V.I.Lenin's voice. Unfortunately, there's no information about his later activity). Yet these recordings definitely couldn't be made in 1919. But they, obviously, might be an evidence of O. Blesche later work in Soviet Union.
But why is it impossible that this record was made in 1919 or not long after?
About the sound quality question, Soviet acoustics mostly have a gross distortion which might be due to damage or loose linkage in the soundbox. It is very obvious in most of the band recordings. In the late Patorzhinskii acoustics he seems to have a hoarse voice which I think is actually due to this distortion. Different voices and sound sources could be affected differently by the distortion. The very first acoustics. of Lenin etc are dim and distant but perhaps don't show the distortion, or perhaps at this low level of recording the distortion was less.
Early Soviet electrics have other problems. The system had poor sensitivity and frequency response, and the distortion seems to be characteristic of a poor, probably overloaded amplifier. As the cutter head and microphone were commercial products of Telefunken and Neumann I wonder if the amplifier was a Soviet one, perhaps designed for other purposes and not up to the job of cutting waxes.
This record might possibly have slight distortion of the acoustic type, or it might be due to slight groove damage, but it doesn't to me sound obviously like a Soviet recording of any time up to 1930.
About the date: the earliest Soviet recordings (issued by "Tsentropechat' ") had a zero in the beginnings of their numbers. Also, they obviously haven't got any order numbers.
Besides that, it seems to me doubtful that Borisov could record already in 1919. Unfortunately, I do not know what recordings of Tsentropechat' have numbers 43 and 44, but (according to the card index of the Russian State Archive of Phonic Documents) number 40 is this very poem performed by Demyan Bedny himself. It is not likely there was any need in other performances.
P.S. In addition I must say that the sound quality of this record is somehow a riddle to me, too. I guess this question will brighten up when we listen to some other records similar to this.
It seems that MusTrust in its early period organized sound experiments, but for some reason or other the quality didn't retain on the initial (rather high) level.
Yes, I agree that if Bedny recorded it, Borisov wouldn't also record it at the same time.
What records do you mean, that contain the sound experiments? I don't know of any early electrics with good recording quality. I agree that some Muztrests have a smooth surface, and some are laminated, as can be seen by 'river-like' wavy marks on the surface, and on damaged records where thin paper can be seen under the laminated surface.
One of the good things for me about collecting Soviet 78s is that (after about 1936 especially) there can be wonderfully silent surfaces, if you're lucky. In the UK, after 1931 HMV and Columbia pressings had a crackly sound right until the end, so there can be no lucky finds of a silent pressing.
Есть вероятность, что это запись не 1927 года, а более ранняя, примерно 1925 года.
В более раннем издании номер матрицы мог быть из серии ОХ.
Позже этот номер стерли и нанесли новый.
Печатали всегда с оригинальной матрицы, но в каждом новом тираже проставлялся новый номер.
Например, ОХ223 Молодая гвардия, Орк. Львова-Вельяминова в некоторых тиражах имеет номер -138-.
Кирпичики, Хор Алехина ОХ210 имеет номер -884-.
Konstantin, there's one Muztrest on this site of Soviet acoustic origin, though that one has an OX number.
The only Soviet acoustics I have heard of are the Tsentropechat ones and the later OX/XO series. I have often seen big differences in which of the types of number actually appear on the mirror, often different even between the two sides of the same record. So these Borisov sides might have had OX numbers originally, missing from this pressing and label.
The OBC is the surprising thing. Reading Konstantin's explanation, it still to me suggests an early date.
I believe that the -NNNN- numbers date from around 1926, and were an attempt to standardise the arrangement and maybe the storage of matrices. The numbers seem to be in the same order as they appear in the 1926 catalogue - therefore bands and orchestras, coming early in the catalogue, have a low number, and choirs a few pages later have higher numbers, then solo singers higher again. This pattern is only true of the first series I think. If this Borisov title was listed in the 'Political' section of the catalogue, right at the start, it would have a very low number - such as 43! If that is true, the Zakaz number 502 should be in a 'political' block of numbers.