Sorry if this post has been received in other forms, I hadn't received it yet so I assumed it was
killed off by the ARSC server for some reason.
I have a question along these lines.
There was a recent article in Goldmine magazine about Willie Brown blues 78's on Paramount that no
copies exist anymore:
http://www.goldminemag.com/features/willie-brown-where-are-you
How is this possible? How many copies of these records were pressed? Were they only sold in a small
region? And no one saved any of them, not in attics or old general stores or old jukeboxes? If so
few were pressed, how was that commercially viable? It seems to me like once you make a stamper you
just as soon press more copies than you expect to sell and then hope you get lucky. The business
model I always understood for records is that extra copies are cheap, what's expensive is the
recording, mastering, plating, etc.
-- Tom Fine
----- Original Message -----
From: "Andrew Hamilton" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Sunday, January 23, 2011 10:02 AM
Subject: Re: [ARSCLIST] How many 78s to the Matrix
> Excellent question. Why not photo-admittance? Well, they don't call it that, but they do use
> it, too...
> Wiki has a page on CD glass mastering and explains that there are two kinds of photoresist
> (positive or negative) that can be washed away, after laser developing, but there is also
> NPR (non-photoresist) glass mastering, which uses an organic polymer dye as the laser-beam target
> layer. This dye layer is deeper than a pit, much the same as the lacquer layer, on a blank
> destined for vertical or stereo cutting, is deeper than the most deep, intentional embossing
> (gouge?). The pitch on a CompuDisk or Zuma is set to avoid hitting the bedrock of the
> supporting layer, whereas I believe that the photoresist layer, in the former-mentioned CD glass
> mastering method, is washed away clean down to the substrate - unlike a well-cut lacquer.
> Fortunately, the CD player is only trying to make a variable strobe light display, rather than
> musical wiggles... at that point in the chain.
>
>
> Andrew
>
>
>
>
>
>
> On Jan 23, 2011, at 7:49 AM, George Brock-Nannestad wrote:
>
>> From: Patent Tactics, George Brock-Nannestad
>>
>>
>> ----- are they not etched into the glass afterwards? What is the photoresist
>> resistant against?
>>
>> George
>>
>>
>>> Regarding CDs, the pits are in a thin photoresist layer that is spun onto
>>> the glass substrate.
>>>
>>> Jerry
>>> Media Sciences, Inc.
>>>
>>>> -----Original Message-----
>>>> From: Association for Recorded Sound Discussion List
>>>> [mailto:[log in to unmask]] On Behalf Of George Brock- Nannestad
>>>> Sent: Saturday, January 22, 2011 6:09 PM
>>>> To: [log in to unmask]
>>>> Subject: Re: [ARSCLIST] How many 78s to the Matrix
>>>>
>>>> From: Patent Tactics, George Brock-Nannestad
>>>>
>>>>
>>>> Hello,
>>>>
>>>> Stewart Goodeman wrote [quote]:
>>>>
>>>> I know in 1943, when they recorded the Rodgers and Hart
>>>>> revival of "A Connecticut Yankee" they actually used glass.
>>>>>
>>>>
>>>> ----- just to avert any confusion: glass means that the disc that
>>>> supported
>>>> the layer that the cut was made in was made of glass. The layer could
>>> have
>>>> been lacquer, or it could have been wax, both were used. It has been
>>>> thought
>>>> that glass was a cheap substitute for aluminum that was the most used
>>>> material for lacquer mastering discs, due to other uses for aluminum
>>>> during
>>>> the war. But in fact, the quality of the cut in glass-based discs was
>>>> better
>>>> than for aluminum, because the surface of glass was much smoother.
>>>>
>>>> This is very different from the use of glass in the manufacture of CDs;
>>>> here
>>>> the pits are really represented in the glass as a stage of manufacture.
>>>>
>>>> Kind regards,
>>>>
>>>>
>>>> George
>
|