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Audio recording of a Kodak Carousel

Mateus Castilha

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Hello everyone!

I’d like to ask a favor from those who own a Kodak Carousel projector (Ektagraphic models are welcome too).

Would anyone be willing to record a short audio sample of the projector? Ideally: the startup, a few seconds of it running, and then the sound of slides advancing (and pausing between them). No more than 15 seconds total is enough.

A smartphone recording would be perfectly fine, but if a kind soul happens to have a field recorder and can capture a 24-bit / 48 kHz audio file, that would be greatly appreciated.

I’m currently editing an experimental short film using still images (analog pinholes), and I’d love to explore the connection with the (perhaps “old”) practice of slide shows.

Thank you very much!
 
I can probably do that. I've got an Olmpus LS-10 PCM recorder -- if I can remember how to use it.

Not sure I can completely eliminate all background noise.

The files will probably be too big to email(?) -- do you have someplace I can drop them?
 
My old Kodak Carousel 750H was working last time I used it in 2019, but today, while setting the recording levels, suddenly quit advancing slides. I had to replace the focusing gear in 2019, but now it needs something else. I would rather get a root canal than try to repair the dang thing.

So I won't be able to make an accurate recording today, sorry.
 
@runswithsizzers

Thank you for your dedicated effort! It’s a shame the equipment isn’t working. I’ve considered buying one myself, but my use case would be very limited, and it would honestly break my heart to see the thing fail.
Regarding bit depth and audio sample rate, the format I mentioned (24/48) has essentially become the standard in audiovisual work. When using video editing software like DaVinci Resolve, that’s the expected input format. Even files I’ve recorded at 44.1 kHz end up being upsampled before going into DaVinci — but that’s probably a discussion for another forum! By the way, WeTransfer is a good platform for sending large files for free (I believe the limit is 2 GB for non-paying users).

@Alan Edward Klein

I did look this up on YouTube, but so far I haven’t found a video with satisfactory audio. If no new volunteer shows up (I imagine the recording experiment could actually be fun), I’ll probably end up resorting to what’s already available there.
 
Would mono be good enough? I only have one good mic
 
@Bill Burk
Yes, of course! Mono is definitely enough. A good microphone, positioned close to the projector with well-adjusted input levels, is the best way to go. Please note that it may be longer than originally suggested, as longer intervals between actions (such as advancing slides) are helpful during the editing process. Please feel free to go ahead whenever it works best for you—I’m really looking forward to it.
 

I'm wondering are the analog pinhole photos slides?? I've got a couple 760H projectors from mid 70's and an Ektagraphic I rescued from work. They sound the same, as I recall. You really need the sound of the autofocus mechanism struggling to keep the standard cardboard mounts in focus, especially as the film popped as it warmed.
One of the most favorite things as a little kid (even today) was looking at my father's excellent Kodachrome slides. He had some weird Airquipt projector only he could run, I can clearly remember the smell of the hot projector lamp and even the smell of the screen.
Good times!
 
@mshchem
Actually, the pinholes were made using black-and-white negative film, and I’m allowing myself quite a bit of freedom in making this association. The project isn’t really aimed at an audience deeply familiar with photography.
It’s a short film about a friend who wanted to become a filmmaker, but who had very serious personal struggles and ultimately took his own life. So these imprecisions — a film that isn’t exactly a film, an image that doesn’t feel fully finished — are part of the game.
Working with these emotional memories is part of the artistic strategy, so the intention isn’t strictly technical or documentary.
I’m sharing one of the frames from the project to give a sense of its overall tone. Most of the images are handheld pinholes, made with an Olympus OM-2 using Ilford HP5 pushed to 1600 and developed in Rodinal, which means shutter speeds generally fall between 1 second and 1/8.
If anyone is interested, I recently commented on the setup I used to make this scan. It’s quite simple and inexpensive, but I’m happy with the results, as it gave me a much better grain texture than the Epson V750 I had been using. https://forums.negativelabpro.com/t/lets-see-your-dslr-film-scanning-setup/27/402?u=mcastilha
 

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I have the TASCAM US-4x4 audio interface which is supposed to be able to do 24bit 48kHz recording but it seems that I always have problem trying to do that. I have 2 Kodak Ektagraphic III and a Carousel projector.
 
@Chan Tran

Audio properties aren’t super critical here — I can always resample later with minimal impact. Like I mentioned before, proper mic placement and setting the levels right (so we don’t pick up background noise unrelated to the projector) are really the key things for getting a good recording. If you can take care of that, I’m sure we’ll end up with a solid result.
 
Hey @Alan Edward Klein, that second video is probably a good one. I'll work from that over the weekend. Thanks!

If anyone still wants to share new samples, they’re very welcome. The more options we have, the better.
 
My auto focus was on the fritz so couldn’t include that. Also the remote focus wasn’t working. On the 500 I had to use reverse so you can hear the second solenoid for extra loud slide changes.

The interval between slides is 5 to 8 seconds arbitrarily paced, the way I usually make slide shows.
 
Hello, @Bill Burk . Thank you very much for your contribution — without a doubt, a very rich sonic element. It’s also great to be able to choose between the options; the Ektagraphic has a deeper, almost dark sound, yet a pleasant one, which should pair beautifully with the film’s opening scene. I don’t have a set timeline to finish it, but I’ll be happy to credit you in the acknowledgements.
 
The Ektagraphic fan is quieter, mechanism sounds more robust. Just now listened. Well done!
 
  • Radost
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The fan sound is real but is it better for the OP if there is no fan sound?
 
While the Ektagraphic fan is more balanced, to my ear, the fan noise in both recordings is too loud, relative to the clackity-clack of the slide changing mechanism. But I don't think the fan noise should be entirely eliminated, only reduced in comparison to the other sounds.

Because the fan is always on, I'm not sure how that would be done -- maybe moving the microphone to some other position? Or possibly with audio filters, tho I've never had much success trying to filter specific sounds, myself.
 
You might try Audacity, a free version of a sound editing program. Here's a description of how to apply noise reduction. Section 1 appears to be the one you might try.

How to eliminate certain sounds using AUdacity app





Removing specific sounds in Audacity depends on whether you're trying to clear out a constant "background" noise (like a fan) or a sharp, sudden sound (like a cough or a click).
Here are the most effective methods to eliminate unwanted sounds:

1. The "Noise Reduction" Tool (For Constant Sounds)​

This is best for consistent background noise like humming, static, or air conditioning.
  • Step 1: Get Noise Profile. Use your mouse to highlight a few seconds of "silence" that contains only the noise you want to remove. Go to Effect > Noise Removal and Repair > Noise Reduction and click Get Noise Profile.
  • Step 2: Apply. Select your entire track (Ctrl+A), go back to the same menu, and click OK.
    Tip: Start with the default settings. If the audio sounds "watery" or metallic, undo and try again with a lower Noise Reduction (dB) setting.
    Click to expand...

2. Spectral Editing (For Specific, Individual Sounds)​

If you have a specific sound (like a bird chirp or a phone beep) occurring during speech, the Spectrogram view allows you to "see" it and delete it.
  • Switch View: Click the track name in the control panel and select Spectrogram.
  • Identify: Look for a bright spot or horizontal line that doesn't match the rest of the audio.
  • Erase: Use the Spectral Selection tool to draw a box around that specific frequency and press Delete, or use Effect > Spectral Delete.

3. Click Removal & Repair (For Sharp Noises)​

  • Clicks and Pops: For short, sharp sounds, highlight the area and use Effect > Noise Removal and Repair > Click Removal.
  • Repair Tool: For a tiny imperfection (less than 128 samples), zoom in until you see individual dots (samples), highlight the "glitch," and go to Effect > Noise Removal and Repair > Repair. This intelligently "smooths" the gap using the surrounding audio.

4. The Noise Gate (For Quiet Backgrounds)​

A Noise Gate essentially "mutes" the track whenever the volume falls below a certain level.
  • This is perfect for removing the sound of breathing or room tone in the gaps between sentences.
  • Go to Effect > Noise Removal and Repair > Noise Gate. Set the threshold so that it stays quiet during pauses but opens up when you start speaking.

Would you like me to explain how to fine-tune the "Sensitivity" settings to prevent your voice from sounding distorted?
 
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