Actually, I have heard the Cala disc through high quality headphones ...
I remain unconvinced that it's the real thing.
Separate tracks on mechanical carriers that contain 'identical' signal
content will be just different enough to create 'stereo' - read
out-of-phase - effects when they are aligned.
Even sources recorded in separate channels on the same carrier can prove
problematic: when EMI engineers tried using digital delay on their
earliest two-track staggered-head Stereosonic' tapes, they discovered
that they couldn't entirely overcome HF comb filtering.
As for undiscovered stereo, the late Tony Griffith told me without
qualification that there was no such thing - in other words, a fantasy.
Michael Biel wrote:
> From: Mike Gray <[log in to unmask]>
>> For "left" / "right" to produce 'binaural' would require two entirely
>> independent microphone mixers feeding two separate disc-cutters.
>> Anything else is a fantasy. Mike Gray
> Since Stokowski had already participated in many stereophonic recording
> sessions since the early 30s, there is a high likelyhood that these ARE
> stereo recordings. The proof would be on Cala 551, of course. But also
> consider, recording in multiple "angles" was common practice in several
> Hollywood movie studios by the late 30s.
> On another related note, while you have certainly far more experience
> with the EMI archives than I, I have been reading recently that
> paperwork there DO indicate some recordings made in what is now termed
> "accidental stereo" despite their protestations to the contrary in the
> Mike Biel [log in to unmask]
> Dave Lewis wrote:
>> Edward Johnson, in his notes for Cala 551, "Stokowski Beethoven Symphony
>> No. 7 and Other First Stereo Releases on CD" states:
>> "In 2004, Anthony Fountain, Classical Archivist at Sony Music Studios in
>> New York, found many lacquer masters that Stokowski and the All American
>> Youth Orchestra had recorded in Hollywood after their 1941 summer tour.
>> The most significant part of the discovery was that all the recordings
>> were made in duplicate, with each pair of discs labeled "Left" and
>> "Right" respectively. [...] It was an exciting discovery and the Leopold
>> Stokowski Society wished to license a complete CD of these AAYO
>> 'binaural' recordings. However, the Sony powers-that-be decided that
>> such a discovery should appear on their own label instead, along with
>> any other records of the period that had been recorded binaurally. These
>> included the Stravinsky/New York Philharmonic sets of the early 1940s in
>> which the composer conducted his own 'Rite of Spring' and other works
>> [...] However, it all came to nought in 2006 when the senior executives
>> in charge were dismissed due to the poor sales of both their new and
>> historic releases. The Stokowski/AAYO lacquers were sent off for storage
>> and the transferring equipment dismantled, so it seems that the
>> opportunity for hearing more of these historic recordings binaurally
>> has, tragically, now gone."
>> Okay - I'm assuming that these notes, published with the final Stokowski
>> Society release that appeared in November, speak the truth. But just
>> last week I heard a Sony producer protesting on NPR that "people should
>> not take it on themselves and reissue classic recordings. First we have
>> to locate the original master recording, then we have to find the legal
>> holder of the performance rights, etc." The NPR commentator added that
>> Sony has transferred about 10,000 classic recordings since 1994 or so,
>> but is doing so in the face of the realization that only minimal
>> financial gain is likely to be made in such endeavor.
>> However, if they have "dismantled" [...] "the transferring equipment"
>> then all that the Sony producer said is mere bluster; one has to assume
>> that they aren't doing any of that kind of work now, based on what is
>> said in the Stokowski notes. Who is telling the truth?
>> David "Uncle Dave" Lewis Assistant Editor, Classical Rovi Corporation