Musical ensembles of the period often favoured louder instruments such as trumpet, cornet, and trombone lower-register brass instruments such as the tuba and the euphonium doubled or replaced the double bass, and blocks of wood stood in for bass drums. These early recordings were necessarily of low fidelity and volume and captured only a narrow segment of the audible sound spectrum - typically only from around 250 Hz up to about 2,500 Hz - so musicians and engineers were forced to adapt to these sonic limitations. A sensitive membrane or diaphragm, located at the apex of the cone, was connected to an articulated scriber or stylus, and as the changing air pressure moved the diaphragm back and forth, the stylus scratched or incised an analogue of the sound waves onto a moving recording medium, such as a roll of coated paper, or a cylinder or disc coated with a soft material such as wax or a soft metal. These recorders typically used a large conical horn to collect and focus the physical air pressure of the sound waves produced by the human voice or musical instruments. The earliest practical recording technologies were entirely mechanical devices. Note the recording horns placed before soloist and orchestra The Acoustic Era (1877–1925) Edward Elgar and Beatrice Harrison during recording sessions for his Cello Concerto in 1920. ( August 2015) ( Learn how and when to remove this template message) Unsourced material may be challenged and removed. Please help improve this section by adding citations to reliable sources.
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