Many were produced by Charles O'Connell. Look for his book, "The Other Side
of the Record."

Steve Smolian

----- Original Message -----
From: "Roger and Allison Kulp" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, April 05, 2006 10:58 AM
Subject: Re: [ARSCLIST] Fwd: [ARSCLIST] The waltz (was Which U.S. orchestra
recorded first and Arthur...


>I had read this before.What I had never learned,was who
>produced/engineered the RCA classical recordings in the pre-Lp era ?
>Ifigured if anybody would know,you guy would.Roger
>
> Don Tait <[log in to unmask]> wrote: Regarding Karl's message, all
> pre-war (WWII) Boston Symphony (and Pops)
> recordings were indeed made in Symphony Hall. The only exception was
> Harris's
> Symphony 1933, recorded live by Columbia in Carnegie Hall in early 1934.
>
> I don't have complete information and other may know more. However, the
> reason for the lack of reverberation on the pre-1940 or so Boston
> recordings
> seems to be that the rehearsal curtain in Symphony Hall was drawn for the
> sessions. It was routinely used to cut down the immense reverberation in
> the hall when
> it was empty. Beginning with the Koussevitzky sessions in November 1944,
> Victor seems to have worked without that deadening influence. (When there
> was an
> audience, Symphony Hall was and is ideal. Either Richard Mohr or John
> Pfeiffer
> of RCA Victor were quoted somewhere as saying during the 1950s nor '60s
> that
> the two finest halls for recording in the USA were Symphony Hall when full
> or
> Chicago's Orchestra Hall when empty. The latter changed with the
> disastrous
> renovation of 1966, which essentially wrecked Orchestra Hall as a
> listening or
> recording venue.)
>
> Don Tait
> On Mon, 3 Apr 2006, Goran Finnberg wrote:
>
>> Which makes the practice of adding echo after the recording highly
>> dubious for classical music as you´re correct that the tempo is set by
>> how long the ambience is in the room where the recording was done.
>
> I agree. It really does become something else. But then I wonder...were
> the preLP Boston Symphony Orchestra recordings made in Symphony
> Hall...with its acoustic, yet recorded with such a dry sound. The NBC
> Symphony in 8 H was one thing, but I do wonder...
>
> I am reminded of some of the Dutton Boston Symphony Transfers with the
> added reverb...it all sounds so unnatural, or is it that I am used to
> listening to it with a dry acoustic.
>
> Karl
>
>
>
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