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ARSCLIST  April 2012

ARSCLIST April 2012

Subject:

Re: ARSCLIST Digest - 17 Apr 2012 to 18 Apr 2012 (#2012-105)

From:

"Place, Jeff" <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Thu, 19 Apr 2012 10:55:35 -0400

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (1 lines)

Hi ARSC folk: My colleague Richard James Burgess is the author of the book, The Art of Record Production. He is updating his book and he had a few questions which I thought I would share from the group. Do any of you know the answer or know of a good source (s) to look them up in. Here goes:

Thanks for offering to ask these questions:
1.      What was the earliest use of the term producer (as in record producer or music producer)
2.      When was it used on a label or cover
3.      Who was the first to use it
4.      Most of the early producers such as Fred Gaisberg seem to have termed themselves “Recorders” is this the most commonly used term and if so when was it used until
5.      Were there other terms used for what we know call the role of producer
6.      Apart from Frances Densmore were there any other early women recorders or producers

-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of ARSCLIST automatic digest system
Sent: Thursday, April 19, 2012 12:00 AM
To: [log in to unmask]
Subject: ARSCLIST Digest - 17 Apr 2012 to 18 Apr 2012 (#2012-105)

There are 41 messages totalling 2297 lines in this issue.

Topics of the day:

  1. David Hall - ARSC Past President Obit (4)
  2. Crepitation Contest Steinweiss (5)
  3. reel-to-reel tape mono (11)
  4. David Hall (2)
  5. educational radio drama
  6. Celebrate Preservation Week 2012 - Society of American Archivists
     Preservation Section Resource Page
  7. Acetate 1" tape ? ? ? (10)
  8. Fwd: [ARSCLIST] David Hall (2)
  9. was Acetate 1" tape /now  1/2" acetate by the ton
 10. ye olde hi-fi history and eye candy (2)
 11. ye olde hi-fi history and eye candy - a different take
 12. ARSC debut as covered by High Fidelity magazine 5/66

----------------------------------------------------------------------

Date:    Wed, 18 Apr 2012 00:03:29 -0500
From:    sara velez <[log in to unmask]>
Subject: Re: David Hall - ARSC Past President Obit

Dear Becca,

How nice to hear from David's granddaughter. I also would like to send my
condolences to you and your family.

I was the last curator of the Rodgers & Hammerstein Archives of Recorded
Sound, to have worked and trained under David. When he retired from R & H,
our staff was deeply saddened to see him go. I found David to be truly a
force of nature, passionate in everything, both his likes and dislikes, but
especially in his love of music, and sound recording. He was a walking
encyclopedia of the record industry, having an incredible memory for people,
places and dates. He was the one who trained me on the Library's large tape
playback machines, and also, gave me first aid, when my finger was badly cut
after a customer accidentally started the tape playback while I was still
threading.

One of the qualities that I loved the most about David, was his childlike
enthusiasm for life in all its aspects. We used to have wonderful
conversations about music, musicians, performances, recordings etc. He was
truly a champion of many musical genres, especially American and
Scandinavian music.

I last spoke to him by e-mail about two years ago, when I retired from the
Library. I was feeling somewhat blue, because of the disruptive changes
being wrought by the Library's administration on the R & H Archives, as well
as on other divisions. David wrote me back the most comforting note, almost
as a father would answer a child. I would like to end my reminiscence of
David with this quote that he sent me, which would appear on his headstone.
It is taken from the 2nd Quartet "East Coker" of T.S Eliot's "Four
Quartets".  "For us there is only the trying. The rest is not our business."


In Sympathy,

Sara Velez

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Rebecca Hall
Sent: Monday, April 16, 2012 2:17 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] David Hall - ARSC Past President Obit

David was my grandfather.

I regret that I was only just beginning to realize the things he had
accomplished and cared about when his memory started to go. I wish I'd had
more time to learn from him. (It's part of why I'm on this email list).

Here he is reenacting the famous photograph of Lionel Mapleson:
http://dl.dropbox.com/u/30696492/grandpa-cylinder-2.jpg

Becca

--
Becca Hall
Northwest Chicago Film Society
www.northwestchicagofilmsociety.org

On Mon, Apr 16, 2012 at 10:00 AM, Michael Biel <[log in to unmask]> wrote:

> David was an enthusiastic mentor to young collectors, discographers,
> and archivists.  When I first heard about ARSC in 1971, the current
> president was the music librarian at my school, Northwestern.  So I
> went over and asked him about it, and noted that David's name was
> listed as was Philip Miller.  "If I went to this conference, might I
> be able to meet them?"  "Sure," he replied.  And not only did I meet
> them, I was having lunch with them the first day!
>
>
> I wish Leah and I had had a chance to interview him on videotape when
> we were doing her "For the Record" documentary, but beyond that I had
> so many additional questions to ask on my research projects.  When I
> contacted him a year or two ago, his partner said that his memory had
> mostly gone but he did recognize my name when she gave him my message.
>
>
>
> David Hall was a driving force in the creation of ARSC and what was
> the premiere sound archive, R&H.  I've already been missing him.  Say
> Hi to Phil for me.
>
> Mike Biel  [log in to unmask]
>
>  -------- Original Message --------
>  Subject: [ARSCLIST] David Hall - ARSC Past President Obit
>  From: Steve Ramm <[log in to unmask]>
>  Date: Mon, April 16, 2012 9:22 am
>  To: [log in to unmask]
>
>  This sad news (details below) was received by ARSC Exec. Dir Peter
> Shambarger yesterday and I wanted to share. Though David retired to
> Maine years  ago - and I haven't seen him in many years - he was one
> of the "legends" in  Recorded Sound History who I had to honor to meet
> and dine with at many ARSC  Conferences and moments like that reminded
> me of why ARSC Conferences are  so much fun. (You get to meet folks
> you've only READ about in person.)
>
>  Steve Ramm
>
>
>  >Sound archivist, writer and record producer David Hall died in
> Castine,  >Maine, April 10, 2012, aged 95.
>  >
>  >After graduating from Phillips Exeter Academy and Yale University in
> >1939, Hall authored "The Record Book," an annotated discography of
>
>  >concert music repertoire on 78 rpm discs, which instructed record
> >collectors on "how to lay a solid foundation for a record library."
>  >Published in 1940, it was followed by a series of supplements, and
> an  >international edition, the last published in 1955.
>  >
>  >Hall began a lifelong involvement with the record business as
> >advertising copywriter with Columbia Records. In 1942, he became
> script  >writer for the NBC Symphony, the all-star orchestra conducted
> by Arturo  >Toscanini.
>  >
>  >In 1948, Hall joined fellow Yale graduate John Hammond on a quest to
> >postwar Europe on behalf of Mercury Records, to acquire European
> >classical recordings for American release. Their efforts helped
> Mercury  >become a major force in the record industry.
>  >
>  >Between 1951 and 1956, with C. Robert Fine and Wilma Cozart, Hall
> >co-produced Mercury's Living Presence Series, notable recordings by
> the  >Chicago, Minneapolis and Eastman Rochester symphony orchestras
> under  >such conductors as Rafael Kubelik, Antal Dorati, Paul Paray
> and Howard
>
>  >Hanson. Mercury's 1955 recording of Tchaikovsky's 1812 Overture
> became  >the best-selling classical record of the decade.
>  >
>  >After a year in Denmark as a Fulbright Fellow, in 1957, Hall joined
> >Stereo Review, to which he continued to contribute until 1999, when
> the  >magazine ceased publication. In 1963, he became president of
> Composers'
>  >Recordings Inc., a nonprofit label devoted to recording and
> distributing  >the work of American contemporary composers.
>  >
>  > From 1967 to 1985, Hall served as curator of the Rodgers and
> >Hammerstein Archives of Recorded Sound at Lincoln Center, which
> became a  >major force in sound recording collection and service.
> Under his  >direction, the Archives produced The Mapleson Cylinders,
> an important  >collection of historic sound which captured the
> performances of early  >20th century Metropolitan Opera stars. It
> received a Grammy from the  >National Academy of Recording Arts &
> Sciences in 1986.
>  >
>  >Hall was active in a variety of board and trusteeship activities: as
> >president of the Association for Recorded Sound Collections and the
> >Sibelius Society, as a director of the National Music Council, as
> >classical music consultant to the National Academy of Recording Arts
> and  >Sciences, as a member of the Music School sub-committee of the
> Yale  >University Council, and as trustee of the Wilton (CT) LIbrary
> Association.
>  >
>  >In 1985, Hall moved to Maine with his wife of 50 years, Bernice
> Dobkin,  >in 1985, where he served on the board of the Blue Hill
> Concert  >Association. Last fall, he donated an extraordinary
> collection of
> 2,500
>  >classical CDs to the Blue Hill Library.
>  >
>  >He is survived by his domestic partner, Del Thomas of Castine; his
> >children, Marion Hunt of St. Louis, Mo., Jonathan Hall of South
> >Brooksville, Peter Dobkin Hall of New Haven, Conn., and Susannah Hall
> of  >Bucksport; as well as nine grandchildren and five
> great-grandchildren.
>
>

------------------------------

Date:    Wed, 18 Apr 2012 08:19:58 -0400
From:    Jim Long <[log in to unmask]>
Subject: Crepitation Contest Steinweiss

If anyone is interested in seeing the cover and getting more dets on the
album mentioned in the David Hall - ARSC Past President Obit thread:

http://randsesotericotr.podbean.com/2008/05/14/the-great-crepitation-contest
-of-1946

Jim Long
Baroda, MI

------------------------------

Date:    Wed, 18 Apr 2012 08:47:12 -0400
From:    Randy Riddle <[log in to unmask]>
Subject: Re: Crepitation Contest Steinweiss

I have all these fascinating radio shows on my blog - hundreds of them
- and this one post has thousands of more hits than anything else.

Go figure.

rand

On Wed, Apr 18, 2012 at 8:19 AM, Jim Long <[log in to unmask]> wrote:
> If anyone is interested in seeing the cover and getting more dets on the
> album mentioned in the David Hall - ARSC Past President Obit thread:
>
> http://randsesotericotr.podbean.com/2008/05/14/the-great-crepitation-contest
> -of-1946
>
> Jim Long
> Baroda, MI

------------------------------

Date:    Wed, 18 Apr 2012 22:21:02 +0900
From:    Yasuhiro Fujioka <[log in to unmask]>
Subject: reel-to-reel tape mono

May I have one question?
My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
single track/mono or 2 tracks/mono (but not 4 tracks/stereo.)
We only know jazz reel-to-reel tape 4 tracks/stereo but never seen
single/mono or 2 tracks/mono.
Have you ever seen that?


Fuji
********************************************
Yasuhiro "Fuji" Fujioka
Coltrane House of Osaka
3-7-4, Kozu, Chuo-ku, Osaka, 542-0072, Japan
+81-66-632-2889 (phone & fax)
+81-901-028-8280 (mobile phone)
E-mail/ [log in to unmask]
E-mail/ [log in to unmask]
Blog: http://blog.livedoor.jp/coltranehouse
Facebook:http://www.facebook.com/#!/profile.php?id=1646240019
********************************************

------------------------------

Date:    Wed, 18 Apr 2012 09:50:27 -0400
From:    Tom Fine <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

Hello Fuji:

As far as a commercially-duplicated format, half-track mono was very short-lived. I don't know if
full-track mono was ever a commercially-duplicated format.

Here are two articles from Radio & Television News ...

1. from March 1952 is an editorial by Oliver Read describing two duplicating operations known to
exist at that time. My assumption is that both were duplicating half-track mono reels, probably
7.5IPS. Both would have used DIY duplicating systems because Ampex did not release the first 3200
duplicator system until 1954.
https://rcpt.yousendit.com/1469297401/50703fa972a9cb9c8cd70c5996259528?cid=tx-02002207350200000000&s=19104
(paste full link into your browser, someone else feel free to give this a permanent home)

2. from April 1952 is an article by Leon Wortman (later an Ampex executive) describes on of the two
operations mentioned by Read.
https://rcpt.yousendit.com/1469293697/b9e851fae34bf0bc6a1583ee14f63b8b?cid=tx-02002207350200000000&s=19104
(again, make sure to copy the full link into your browser)

From these two sources, you might gather some facts as to what material was being duplicated in
those days.

There were definitely plenty of jazz albums issued in the 1956-58 timeframe on 2-track STEREO tapes.
I know for a fact that Mercury issued a bunch of jazz albums, as did Atlantic and others. I presume
RCA and Columbia did too, although I haven't seen any of those 2-track tapes. Grand Award also
issued their "20's" and "30's" series on 2-track reels in that timeframe.

As soon as the quarter-track format came along, mass-duped 2-tracks died out quickly.

It's also worth noting that in the very early days of 2-track stereo tapes, a few titles were issued
in staggered-head (Magnecorder) format. ConcerTapes and Livingston and perhaps others issued in this
format. Ampex put a heavy foot down in favor of the in-line head standard we know and use today, and
that was a good thing.

Please let us know if you find out about any jazz half-track duped tapes. I have quite a few
examples of early duped tapes, but few half-tracks and no jazz half-tracks.

-- Tom Fine

----- Original Message -----
From: "Yasuhiro Fujioka" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, April 18, 2012 9:21 AM
Subject: [ARSCLIST] reel-to-reel tape mono


> May I have one question?
> My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either single track/mono or 2
> tracks/mono (but not 4 tracks/stereo.)
> We only know jazz reel-to-reel tape 4 tracks/stereo but never seen single/mono or 2 tracks/mono.
> Have you ever seen that?
>
>
> Fuji
> ********************************************
> Yasuhiro "Fuji" Fujioka
> Coltrane House of Osaka
> 3-7-4, Kozu, Chuo-ku, Osaka, 542-0072, Japan
> +81-66-632-2889 (phone & fax)
> +81-901-028-8280 (mobile phone)
> E-mail/ [log in to unmask]
> E-mail/ [log in to unmask]
> Blog: http://blog.livedoor.jp/coltranehouse
> Facebook:http://www.facebook.com/#!/profile.php?id=1646240019
> ********************************************

------------------------------

Date:    Wed, 18 Apr 2012 10:02:01 -0400
From:    Randy Riddle <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

Are your jazz half-track mono tapes from England?

Pre-recorded mono half-track tapes seem to be more common from
England, particularly through the early 60s.  I've got examples that
are on 5" reels recorded at 3.75 ips - one is classical and one is
pop.  Releases of the Beatles albums in mono in this format aren't
uncommon.

I'm not sure, but I think it may be because small portable mono reel
to reel tape recorders using 5" reels were fashionable there with
young people at the time.  They pop up in some British films of the
period, like "Peeping Tom", as accessories for 20-somethings "on the
go".  Reel to reels here in the states were more entrenched with the
home-based hi-fi crowd.

Randy

On Wed, Apr 18, 2012 at 9:50 AM, Tom Fine <[log in to unmask]> wro=
te:
> Hello Fuji:
>
> As far as a commercially-duplicated format, half-track mono was very
> short-lived. I don't know if full-track mono was ever a
> commercially-duplicated format.
>
> Here are two articles from Radio & Television News ...
>
> 1. from March 1952 is an editorial by Oliver Read describing two duplicat=
ing
> operations known to exist at that time. My assumption is that both were
> duplicating half-track mono reels, probably 7.5IPS. Both would have used =
DIY
> duplicating systems because Ampex did not release the first 3200 duplicat=
or
> system until 1954.
> https://rcpt.yousendit.com/1469297401/50703fa972a9cb9c8cd70c5996259528?ci=
d=3Dtx-02002207350200000000&s=3D19104
> (paste full link into your browser, someone else feel free to give this a
> permanent home)
>
> 2. from April 1952 is an article by Leon Wortman (later an Ampex executiv=
e)
> describes on of the two operations mentioned by Read.
> https://rcpt.yousendit.com/1469293697/b9e851fae34bf0bc6a1583ee14f63b8b?ci=
d=3Dtx-02002207350200000000&s=3D19104
> (again, make sure to copy the full link into your browser)
>
> From these two sources, you might gather some facts as to what material w=
as
> being duplicated in those days.
>
> There were definitely plenty of jazz albums issued in the 1956-58 timefra=
me
> on 2-track STEREO tapes. I know for a fact that Mercury issued a bunch of
> jazz albums, as did Atlantic and others. I presume RCA and Columbia did t=
oo,
> although I haven't seen any of those 2-track tapes. Grand Award also issu=
ed
> their "20's" and "30's" series on 2-track reels in that timeframe.
>
> As soon as the quarter-track format came along, mass-duped 2-tracks died =
out
> quickly.
>
> It's also worth noting that in the very early days of 2-track stereo tape=
s,
> a few titles were issued in staggered-head (Magnecorder) format. ConcerTa=
pes
> and Livingston and perhaps others issued in this format. Ampex put a heav=
y
> foot down in favor of the in-line head standard we know and use today, an=
d
> that was a good thing.
>
> Please let us know if you find out about any jazz half-track duped tapes.=
 I
> have quite a few examples of early duped tapes, but few half-tracks and n=
o
> jazz half-tracks.
>
> -- Tom Fine
>
> ----- Original Message ----- From: "Yasuhiro Fujioka"
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Wednesday, April 18, 2012 9:21 AM
> Subject: [ARSCLIST] reel-to-reel tape mono
>
>
>> May I have one question?
>> My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
>> single track/mono or 2 tracks/mono (but not 4 tracks/stereo.)
>> We only know jazz reel-to-reel tape 4 tracks/stereo but never seen
>> single/mono or 2 tracks/mono.
>> Have you ever seen that?
>>
>>
>> Fuji
>> ********************************************
>> Yasuhiro "Fuji" Fujioka
>> Coltrane House of Osaka
>> 3-7-4, Kozu, Chuo-ku, Osaka, 542-0072, Japan
>> +81-66-632-2889=C2=A0(phone & fax)
>> +81-901-028-8280=C2=A0(mobile phone)
>> E-mail/ [log in to unmask]
>> E-mail/ [log in to unmask]
>> Blog: http://blog.livedoor.jp/coltranehouse
>> Facebook=EF=BC=9Ahttp://www.facebook.com/#!/profile.php?id=3D1646240019
>> ********************************************

------------------------------

Date:    Wed, 18 Apr 2012 09:04:35 -0500
From:    sara velez <[log in to unmask]>
Subject: Re: David Hall - ARSC Past President Obit

Dear Becca,

How nice to hear from David's granddaughter. I also would like to send my
condolences to you and your family.

I was the last curator of the Rodgers & Hammerstein Archives of Recorded
Sound, to have worked and trained under David. When he retired from R & H,
our staff was deeply saddened to see him go. I found David to be truly a
force of nature, passionate in everything, both his likes and dislikes, but
especially in his love of music, and sound recording. He was a walking
encyclopedia of the record industry, having an incredible memory for people,
places and dates. He was the one who trained me on the Library's large tape
playback machines, and also, gave me first aid, when my finger was badly cut
after a customer accidentally started the tape playback while I was still
threading.

One of the qualities that I loved the most about David, was his childlike
enthusiasm for life in all its aspects. We used to have wonderful
conversations about music, musicians, performances, recordings etc. He was
truly a champion of many musical genres, especially American and
Scandinavian music.

I last spoke to him by e-mail about two years ago, when I retired from the
Library. I was feeling somewhat blue, because of the disruptive changes
being wrought by the Library's administration on the R & H Archives, as well
as on other divisions. David wrote me back the most comforting note, almost
as a father would answer a child. I would like to end my reminiscence of
David with this quote that he sent me, which would appear on his headstone.
It is taken from the 2nd Quartet "East Coker" of T.S Eliot's "Four
Quartets".  "For us there is only the trying. The rest is not our business."


In Sympathy,

Sara Velez


-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Rebecca Hall
Sent: Monday, April 16, 2012 2:17 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] David Hall - ARSC Past President Obit

David was my grandfather.

I regret that I was only just beginning to realize the things he had
accomplished and cared about when his memory started to go. I wish I'd had
more time to learn from him. (It's part of why I'm on this email list).

Here he is reenacting the famous photograph of Lionel Mapleson:
http://dl.dropbox.com/u/30696492/grandpa-cylinder-2.jpg

Becca

--
Becca Hall
Northwest Chicago Film Society
www.northwestchicagofilmsociety.org

On Mon, Apr 16, 2012 at 10:00 AM, Michael Biel <[log in to unmask]> wrote:

> David was an enthusiastic mentor to young collectors, discographers,
> and archivists.  When I first heard about ARSC in 1971, the current
> president was the music librarian at my school, Northwestern.  So I
> went over and asked him about it, and noted that David's name was
> listed as was Philip Miller.  "If I went to this conference, might I
> be able to meet them?"  "Sure," he replied.  And not only did I meet
> them, I was having lunch with them the first day!
>
>
> I wish Leah and I had had a chance to interview him on videotape when
> we were doing her "For the Record" documentary, but beyond that I had
> so many additional questions to ask on my research projects.  When I
> contacted him a year or two ago, his partner said that his memory had
> mostly gone but he did recognize my name when she gave him my message.
>
>
>
> David Hall was a driving force in the creation of ARSC and what was
> the premiere sound archive, R&H.  I've already been missing him.  Say
> Hi to Phil for me.
>
> Mike Biel  [log in to unmask]
>
>  -------- Original Message --------
>  Subject: [ARSCLIST] David Hall - ARSC Past President Obit
>  From: Steve Ramm <[log in to unmask]>
>  Date: Mon, April 16, 2012 9:22 am
>  To: [log in to unmask]
>
>  This sad news (details below) was received by ARSC Exec. Dir Peter
> Shambarger yesterday and I wanted to share. Though David retired to
> Maine years  ago - and I haven't seen him in many years - he was one
> of the "legends" in  Recorded Sound History who I had to honor to meet
> and dine with at many ARSC  Conferences and moments like that reminded
> me of why ARSC Conferences are  so much fun. (You get to meet folks
> you've only READ about in person.)
>
>  Steve Ramm
>
>
>  >Sound archivist, writer and record producer David Hall died in
> Castine,  >Maine, April 10, 2012, aged 95.
>  >
>  >After graduating from Phillips Exeter Academy and Yale University in
> >1939, Hall authored "The Record Book," an annotated discography of
>
>  >concert music repertoire on 78 rpm discs, which instructed record
> >collectors on "how to lay a solid foundation for a record library."
>  >Published in 1940, it was followed by a series of supplements, and
> an  >international edition, the last published in 1955.
>  >
>  >Hall began a lifelong involvement with the record business as
> >advertising copywriter with Columbia Records. In 1942, he became
> script  >writer for the NBC Symphony, the all-star orchestra conducted
> by Arturo  >Toscanini.
>  >
>  >In 1948, Hall joined fellow Yale graduate John Hammond on a quest to
> >postwar Europe on behalf of Mercury Records, to acquire European
> >classical recordings for American release. Their efforts helped
> Mercury  >become a major force in the record industry.
>  >
>  >Between 1951 and 1956, with C. Robert Fine and Wilma Cozart, Hall
> >co-produced Mercury's Living Presence Series, notable recordings by
> the  >Chicago, Minneapolis and Eastman Rochester symphony orchestras
> under  >such conductors as Rafael Kubelik, Antal Dorati, Paul Paray
> and Howard
>
>  >Hanson. Mercury's 1955 recording of Tchaikovsky's 1812 Overture
> became  >the best-selling classical record of the decade.
>  >
>  >After a year in Denmark as a Fulbright Fellow, in 1957, Hall joined
> >Stereo Review, to which he continued to contribute until 1999, when
> the  >magazine ceased publication. In 1963, he became president of
> Composers'
>  >Recordings Inc., a nonprofit label devoted to recording and
> distributing  >the work of American contemporary composers.
>  >
>  > From 1967 to 1985, Hall served as curator of the Rodgers and
> >Hammerstein Archives of Recorded Sound at Lincoln Center, which
> became a  >major force in sound recording collection and service.
> Under his  >direction, the Archives produced The Mapleson Cylinders,
> an important  >collection of historic sound which captured the
> performances of early  >20th century Metropolitan Opera stars. It
> received a Grammy from the  >National Academy of Recording Arts &
> Sciences in 1986.
>  >
>  >Hall was active in a variety of board and trusteeship activities: as
> >president of the Association for Recorded Sound Collections and the
> >Sibelius Society, as a director of the National Music Council, as
> >classical music consultant to the National Academy of Recording Arts
> and  >Sciences, as a member of the Music School sub-committee of the
> Yale  >University Council, and as trustee of the Wilton (CT) LIbrary
> Association.
>  >
>  >In 1985, Hall moved to Maine with his wife of 50 years, Bernice
> Dobkin,  >in 1985, where he served on the board of the Blue Hill
> Concert  >Association. Last fall, he donated an extraordinary
> collection of
> 2,500
>  >classical CDs to the Blue Hill Library.
>  >
>  >He is survived by his domestic partner, Del Thomas of Castine; his
> >children, Marion Hunt of St. Louis, Mo., Jonathan Hall of South
> >Brooksville, Peter Dobkin Hall of New Haven, Conn., and Susannah Hall
> of  >Bucksport; as well as nine grandchildren and five
> great-grandchildren.
>
>

------------------------------

Date:    Wed, 18 Apr 2012 09:17:47 -0500
From:    sara velez <[log in to unmask]>
Subject: David Hall

I sent a message regarding David Hall late last night, and it appeared in my
"sent" box but I don't see it in my" in" box.  Is it possible for someone to
find out why this happened?



Thanks.



Sara Velez

------------------------------

Date:    Wed, 18 Apr 2012 14:29:03 +0000
From:    "Casey, Michael T" <[log in to unmask]>
Subject: educational radio drama

We thought that subscribers to this list might particularly enjoy Patrick F=
easter's blog post on the Indiana School of the Sky, an educational radio d=
rama series produced by Indiana University in the 1940s and 50s. The post, =
with associated audio and video, is on the Media Preservation Initiative bl=
og at
http://mediapreservation.wordpress.com/2012/04/12/the-school-of-the-sky-ret=
urns/

Mike

----------
Mike Casey
Director of Media Preservation Services
Media Preservation Initiative
Indiana University Bloomington

(812)855-8090

http://www.indiana.edu/~medpres/
http://mediapreservation.wordpress.com/

------------------------------

Date:    Wed, 18 Apr 2012 07:36:03 -0700
From:    Karl Miller <[log in to unmask]>
Subject: Re: Crepitation Contest Steinweiss

Thanks for pointing this out. I was unaware of the Steinweiss connection and had never bothered to check into the history of this.

As to why this concerns me, looking for projects in retirement, I decided to do a book (or perhaps a website) of the covers of odd LP records I have acquired in shops over the years. My large bed scanner just arrived last week! Having 4 LP incarnations of the "contest," knowing about the source has been most helpful.

While it is not my intent to flood this list with emails, I am curious if any of you out there have suggestions as to covers to include. My preference is for LPs not already featured in books or websites. To give you an idea of my thoughts, some of the titles being considered are Buddy Cole's "Have Organ Will Swing" (featuring an attractive woman on a swing) Rick Segall's "I love you because you are fat," Paddy Roberts' "Music for Gay Dogs," "Charles Burpo Sings Hymns," etc. Some will be featured for their song titles: from the Album "Poor and Lower-Middle Peasants Love Chairman Mao Most," we have the hit song, "Girls in our Village are really capable."

In the words of Anna Russell, "I'm not making this up."

Feel free to ping off list.

Karl



--- On Wed, 4/18/12, Jim Long <[log in to unmask]> wrote:

> From: Jim Long <[log in to unmask]>
> Subject: [ARSCLIST] Crepitation Contest Steinweiss
> To: [log in to unmask]
> Date: Wednesday, April 18, 2012, 7:19 AM
> If anyone is interested in seeing the
> cover and getting more dets on the
> album mentioned in the David Hall - ARSC Past President Obit
> thread:
>
> http://randsesotericotr.podbean.com/2008/05/14/the-great-crepitation-contest
> -of-1946
>
> Jim Long
> Baroda, MI
>

------------------------------

Date:    Wed, 18 Apr 2012 10:02:09 -0500
From:    "[log in to unmask]" <[log in to unmask]>
Subject: Re: David Hall

I have seen it twice, yesterday and this morning.

joe salerno


On 4/18/2012 9:17 AM, sara velez wrote:
> I sent a message regarding David Hall late last night, and it appeared in my
> "sent" box but I don't see it in my" in" box.  Is it possible for someone to
> find out why this happened?
>
>
>
> Thanks.
>
>
>
> Sara Velez
>

--
Joe Salerno

------------------------------

Date:    Wed, 18 Apr 2012 09:56:08 -0500
From:    "[log in to unmask]" <[log in to unmask]>
Subject: Re: Crepitation Contest Steinweiss

Who designed the label for the 78s as pictured on Rand's OTR blog? Did
Steinweiss?

joe salerno

------------------------------

Date:    Wed, 18 Apr 2012 10:45:43 -0400
From:    Steven Smolian <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

Yes.  There were some on Livingston and Concerttapes.  Others as well.

Steve Smolian

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Yasuhiro Fujioka
Sent: Wednesday, April 18, 2012 9:21 AM
To: [log in to unmask]
Subject: [ARSCLIST] reel-to-reel tape mono

May I have one question?
My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
single track/mono or 2 tracks/mono (but not 4 tracks/stereo.) We only know
jazz reel-to-reel tape 4 tracks/stereo but never seen single/mono or 2
tracks/mono.
Have you ever seen that?


Fuji
********************************************
Yasuhiro "Fuji" Fujioka
Coltrane House of Osaka
3-7-4, Kozu, Chuo-ku, Osaka, 542-0072, Japan
+81-66-632-2889 (phone & fax)
+81-901-028-8280 (mobile phone)
E-mail/ [log in to unmask]
E-mail/ [log in to unmask]
Blog: http://blog.livedoor.jp/coltranehouse
Facebook$B!'(Bhttp://www.facebook.com/#!/profile.php?id=1646240019
********************************************

------------------------------

Date:    Wed, 18 Apr 2012 10:38:53 -0500
From:    Kate Elgayeva <[log in to unmask]>
Subject: Celebrate Preservation Week 2012 - Society of American Archivists Preservation Section Resource Page

Pass it On! Preservation Week is April 22nd-28th.

The Preservation Section of the Society of American Archivists offers
a Resource
Page<http://www2.archivists.org/groups/preservation-section/preservation-we=
ek-2012>to
promote institutional activities during Preservation Week and provide
useful resources related to preservation.

Please visit the page and download the Preservation Week E-Poster =96 we
encourage you to share the poster with staff and the general public.



SAA Preservation Section

Outreach Committee

Section Website<http://www2.archivists.org/groups/preservation-section/pres=
ervation-week-2012>

------------------------------

Date:    Thu, 19 Apr 2012 01:46:21 +0900
From:    Yasuhiro Fujioka <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

Dear Mr. Steve,
Could you show me pictures of those? If not available, at least I want to
know discographical data.
Thanks in advance.
Fuji

-----Original Message-----
From: Steven Smolian
Sent: Wednesday, April 18, 2012 11:45 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] reel-to-reel tape mono

Yes.  There were some on Livingston and Concerttapes.  Others as well.

Steve Smolian

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Yasuhiro Fujioka
Sent: Wednesday, April 18, 2012 9:21 AM
To: [log in to unmask]
Subject: [ARSCLIST] reel-to-reel tape mono

May I have one question?
My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
single track/mono or 2 tracks/mono (but not 4 tracks/stereo.) We only know
jazz reel-to-reel tape 4 tracks/stereo but never seen single/mono or 2
tracks/mono.
Have you ever seen that?


Fuji
********************************************
Yasuhiro "Fuji" Fujioka
Coltrane House of Osaka
3-7-4, Kozu, Chuo-ku, Osaka, 542-0072, Japan
+81-66-632-2889 (phone & fax)
+81-901-028-8280 (mobile phone)
E-mail/ [log in to unmask]
E-mail/ [log in to unmask]
Blog: http://blog.livedoor.jp/coltranehouse
Facebook$B!'(Bhttp://www.facebook.com/#!/profile.php?id=1646240019
********************************************

------------------------------

Date:    Wed, 18 Apr 2012 12:49:35 -0400
From:    "Richard L. Hess" <[log in to unmask]>
Subject: Acetate 1" tape ? ? ?

Hi, All,

For some reason, I found a bit of cognitive dissonance when I worked on
a reel of 1" wide tape that appeared to be acetate.

This dissonance probably stems from the fact that in 1956,
PET-film-based ("Mylar(tm)") tape was produced for video recording and
almost all wide-width tape I've seen has been PET-based. I suspect this
is something like 3M 201 "Dynarange". Was this common? I would have
suspected 202 would have been the more likely choice.

These three tapes have been abused and are in horrid shape, warped,
severe edge damage, and aren't behaving at all!

I'm just checking -- I can do more tests to confirm, but I'm wondering
what others' experiences are. I'm pretty certain I've seen 1/2-inch
acetate...

Cheers,

Richard

--
Richard L. Hess                   email: [log in to unmask]
Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
http://www.richardhess.com/tape/contact.htm
Quality tape transfers -- even from hard-to-play tapes.

------------------------------

Date:    Wed, 18 Apr 2012 10:01:24 -0700
From:    Roderic G Stephens <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

Hello Fuji,
I have two tape recordings by the World Record Club LTD., Surrey, U.K. whic=
h are the types you mention, half track mono at 3 3/4" IPS. =C2=A0TT 545 "C=
lose to You" - Frank Sinatra and TT 745 "Peggy Lee". =C2=A0So, these are ex=
amples of the British recordings that Randy described. =C2=A0Then, I also h=
ave a series of "easy listening" tapes from Bel Canto and one=C2=A0"monopho=
nic"=C2=A0=C2=A0half track demo tape from Command at 7 1/2 IPS =C2=A0labele=
d "Channel Master Demonstration Tape" =C2=A0with two excerpts from Command =
albums by "Enoch Light and His Orchestra".
I would guess that the two World Record Club recordings are the closest to =
being Jazz, but I would call them "Pop".
Rod Stephens

--- On Wed, 4/18/12, Randy Riddle <[log in to unmask]> wrote:

From: Randy Riddle <[log in to unmask]>
Subject: Re: [ARSCLIST] reel-to-reel tape mono
To: [log in to unmask]
Date: Wednesday, April 18, 2012, 7:02 AM

Are your jazz half-track mono tapes from England?

Pre-recorded mono half-track tapes seem to be more common from
England, particularly through the early 60s.=C2=A0 I've got examples that
are on 5" reels recorded at 3.75 ips - one is classical and one is
pop.=C2=A0 Releases of the Beatles albums in mono in this format aren't
uncommon.

I'm not sure, but I think it may be because small portable mono reel
to reel tape recorders using 5" reels were fashionable there with
young people at the time.=C2=A0 They pop up in some British films of the
period, like "Peeping Tom", as accessories for 20-somethings "on the
go".=C2=A0 Reel to reels here in the states were more entrenched with the
home-based hi-fi crowd.

Randy

On Wed, Apr 18, 2012 at 9:50 AM, Tom Fine <[log in to unmask]> wro=
te:
> Hello Fuji:
>
> As far as a commercially-duplicated format, half-track mono was very
> short-lived. I don't know if full-track mono was ever a
> commercially-duplicated format.
>
> Here are two articles from Radio & Television News ...
>
> 1. from March 1952 is an editorial by Oliver Read describing two duplicat=
ing
> operations known to exist at that time. My assumption is that both were
> duplicating half-track mono reels, probably 7.5IPS. Both would have used =
DIY
> duplicating systems because Ampex did not release the first 3200 duplicat=
or
> system until 1954.
> https://rcpt.yousendit.com/1469297401/50703fa972a9cb9c8cd70c5996259528?ci=
d=3Dtx-02002207350200000000&s=3D19104
> (paste full link into your browser, someone else feel free to give this a
> permanent home)
>
> 2. from April 1952 is an article by Leon Wortman (later an Ampex executiv=
e)
> describes on of the two operations mentioned by Read.
> https://rcpt.yousendit.com/1469293697/b9e851fae34bf0bc6a1583ee14f63b8b?ci=
d=3Dtx-02002207350200000000&s=3D19104
> (again, make sure to copy the full link into your browser)
>
> From these two sources, you might gather some facts as to what material w=
as
> being duplicated in those days.
>
> There were definitely plenty of jazz albums issued in the 1956-58 timefra=
me
> on 2-track STEREO tapes. I know for a fact that Mercury issued a bunch of
> jazz albums, as did Atlantic and others. I presume RCA and Columbia did t=
oo,
> although I haven't seen any of those 2-track tapes. Grand Award also issu=
ed
> their "20's" and "30's" series on 2-track reels in that timeframe.
>
> As soon as the quarter-track format came along, mass-duped 2-tracks died =
out
> quickly.
>
> It's also worth noting that in the very early days of 2-track stereo tape=
s,
> a few titles were issued in staggered-head (Magnecorder) format. ConcerTa=
pes
> and Livingston and perhaps others issued in this format. Ampex put a heav=
y
> foot down in favor of the in-line head standard we know and use today, an=
d
> that was a good thing.
>
> Please let us know if you find out about any jazz half-track duped tapes.=
 I
> have quite a few examples of early duped tapes, but few half-tracks and n=
o
> jazz half-tracks.
>
> -- Tom Fine
>
> ----- Original Message ----- From: "Yasuhiro Fujioka"
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Wednesday, April 18, 2012 9:21 AM
> Subject: [ARSCLIST] reel-to-reel tape mono
>
>
>> May I have one question?
>> My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
>> single track/mono or 2 tracks/mono (but not 4 tracks/stereo.)
>> We only know jazz reel-to-reel tape 4 tracks/stereo but never seen
>> single/mono or 2 tracks/mono.
>> Have you ever seen that?
>>
>>
>> Fuji
>> ********************************************
>> Yasuhiro "Fuji" Fujioka
>> Coltrane House of Osaka
>> 3-7-4, Kozu, Chuo-ku, Osaka, 542-0072, Japan
>> +81-66-632-2889=C2=A0(phone & fax)
>> +81-901-028-8280=C2=A0(mobile phone)
>> E-mail/ [log in to unmask]
>> E-mail/ [log in to unmask]
>> Blog: http://blog.livedoor.jp/coltranehouse
>> Facebook=EF=BC=9Ahttp://www.facebook.com/#!/profile.php?id=3D1646240019
>> ********************************************

------------------------------

Date:    Wed, 18 Apr 2012 13:16:16 -0400
From:    Mark Donahue <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

Richard,
I came across a fair bit of 1/2" acetate in the Living Stereo
remastering project, but it all disappeared around 1958 or so. After
that it was all Mylar except for the odd roll of 1/4".

All the best,
-mark

On Wed, Apr 18, 2012 at 12:49 PM, Richard L. Hess
<[log in to unmask]> wrote:
> Hi, All,
>
> For some reason, I found a bit of cognitive dissonance when I worked on a
> reel of 1" wide tape that appeared to be acetate.
>
> This dissonance probably stems from the fact that in 1956, PET-film-based
> ("Mylar(tm)") tape was produced for video recording and almost all
> wide-width tape I've seen has been PET-based. I suspect this is something
> like 3M 201 "Dynarange". Was this common? I would have suspected 202 woul=
d
> have been the more likely choice.
>
> These three tapes have been abused and are in horrid shape, warped, sever=
e
> edge damage, and aren't behaving at all!
>
> I'm just checking -- I can do more tests to confirm, but I'm wondering wh=
at
> others' experiences are. I'm pretty certain I've seen 1/2-inch acetate...
>
> Cheers,
>
> Richard
>
> --
> Richard L. Hess =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 =A0 email: richard@richar=
dhess.com
> Aurora, Ontario, Canada =A0 =A0 =A0 =A0 =A0 (905) 713 6733 =A0 =A0 1-877-=
TAPE-FIX
> http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.

------------------------------

Date:    Wed, 18 Apr 2012 13:30:11 -0400
From:    "Don Tait  ([log in to unmask])" <[log in to unmask]>
Subject: Fwd: [ARSCLIST] David Hall

-------------------------------1334770211
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Hello Sara,

  Like Joe Salerno, I received your message about David. It's a lovely  one.

  Don Tait
-------------------------------1334770211
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

I sent a message regarding David Hall late last night, and it appeared in my
"sent" box but I don't see it in my" in" box.  Is it possible for someone to
find out why this happened?



Thanks.



Sara Velez

-------------------------------1334770211--

------------------------------

Date:    Wed, 18 Apr 2012 13:33:04 -0400
From:    Tom Fine <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

I've definitely seen 1/2" acetate tape, not 1" though. However, was 1" used in instrumentation
purposes in the early and mid 50's? If not, someone made tape for Les Paul and Atlantic Records, the
first two 1" 8-track machines.

-- Tom Fine

----- Original Message -----
From: "Mark Donahue" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, April 18, 2012 1:16 PM
Subject: Re: [ARSCLIST] Acetate 1" tape ? ? ?


Richard,
I came across a fair bit of 1/2" acetate in the Living Stereo
remastering project, but it all disappeared around 1958 or so. After
that it was all Mylar except for the odd roll of 1/4".

All the best,
-mark

On Wed, Apr 18, 2012 at 12:49 PM, Richard L. Hess
<[log in to unmask]> wrote:
> Hi, All,
>
> For some reason, I found a bit of cognitive dissonance when I worked on a
> reel of 1" wide tape that appeared to be acetate.
>
> This dissonance probably stems from the fact that in 1956, PET-film-based
> ("Mylar(tm)") tape was produced for video recording and almost all
> wide-width tape I've seen has been PET-based. I suspect this is something
> like 3M 201 "Dynarange". Was this common? I would have suspected 202 would
> have been the more likely choice.
>
> These three tapes have been abused and are in horrid shape, warped, severe
> edge damage, and aren't behaving at all!
>
> I'm just checking -- I can do more tests to confirm, but I'm wondering what
> others' experiences are. I'm pretty certain I've seen 1/2-inch acetate...
>
> Cheers,
>
> Richard
>
> --
> Richard L. Hess email: [log in to unmask]
> Aurora, Ontario, Canada (905) 713 6733 1-877-TAPE-FIX
> http://www.richardhess.com/tape/contact.htm
> Quality tape transfers -- even from hard-to-play tapes.

------------------------------

Date:    Wed, 18 Apr 2012 13:34:19 -0400
From:    Dennis Rooney <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

3M 190 (red oxide) was acetate. 3M's Type 201-203 (later renamed Dynarange)
was introduced in 1962-3. I have boxes of it labelled "Developmental
Product 1273" The NYPO/Berstein Mahler Third was mastered on 1/2" 190 and
those tapes were so warped when I worked on them that a chamois was used to
flatten the tape long enough for it to pass across the pb head.

DDR

On Wed, Apr 18, 2012 at 12:49 PM, Richard L. Hess
<[log in to unmask]>wrote:

> Hi, All,
>
> For some reason, I found a bit of cognitive dissonance when I worked on a
> reel of 1" wide tape that appeared to be acetate.
>
> This dissonance probably stems from the fact that in 1956, PET-film-based
> ("Mylar(tm)") tape was produced for video recording and almost all
> wide-width tape I've seen has been PET-based. I suspect this is something
> like 3M 201 "Dynarange". Was this common? I would have suspected 202 would
> have been the more likely choice.
>
> These three tapes have been abused and are in horrid shape, warped, severe
> edge damage, and aren't behaving at all!
>
> I'm just checking -- I can do more tests to confirm, but I'm wondering
> what others' experiences are. I'm pretty certain I've seen 1/2-inch
> acetate...
>
> Cheers,
>
> Richard
>
> --
> Richard L. Hess                   email: [log in to unmask]
> Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
> http://www.richardhess.com/**tape/contact.htm<http://www.richardhess.com/tape/contact.htm>
> Quality tape transfers -- even from hard-to-play tapes.
>



--
Dennis D. Rooney
303 W. 66th Street, 9HE
New York, NY 10023
212.874.9626

------------------------------

Date:    Wed, 18 Apr 2012 13:57:51 -0400
From:    Tom Fine <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

I think 3M and Audio Devices (AudioTape) were making acetate tape into the 60's. I've dubbed many
quarter-track duped tapes that are "see through", which I think always means acetate backing. Known
production dates up to the 1963-64 timeframe. I do think Ampex in Illinois started using 1-mil
polyester tape earlier than most duplicators. Columbia duped tapes that I've seen from the early
60's have a reddish color and are see-through so I think they might be 3M 190. RCA used its own
brand of tape (not sure if it was contract-manufactured by 3M or someone else), which was also
see-through up to the mid-60's.

My point is, acetate tape was made into the time period that 1" tape would have been manufactured
because there were 1" 8-track recorders out in the field.

-- Tom Fine

----- Original Message -----
From: "Dennis Rooney" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, April 18, 2012 1:34 PM
Subject: Re: [ARSCLIST] Acetate 1" tape ? ? ?


> 3M 190 (red oxide) was acetate. 3M's Type 201-203 (later renamed Dynarange)
> was introduced in 1962-3. I have boxes of it labelled "Developmental
> Product 1273" The NYPO/Berstein Mahler Third was mastered on 1/2" 190 and
> those tapes were so warped when I worked on them that a chamois was used to
> flatten the tape long enough for it to pass across the pb head.
>
> DDR
>
> On Wed, Apr 18, 2012 at 12:49 PM, Richard L. Hess
> <[log in to unmask]>wrote:
>
>> Hi, All,
>>
>> For some reason, I found a bit of cognitive dissonance when I worked on a
>> reel of 1" wide tape that appeared to be acetate.
>>
>> This dissonance probably stems from the fact that in 1956, PET-film-based
>> ("Mylar(tm)") tape was produced for video recording and almost all
>> wide-width tape I've seen has been PET-based. I suspect this is something
>> like 3M 201 "Dynarange". Was this common? I would have suspected 202 would
>> have been the more likely choice.
>>
>> These three tapes have been abused and are in horrid shape, warped, severe
>> edge damage, and aren't behaving at all!
>>
>> I'm just checking -- I can do more tests to confirm, but I'm wondering
>> what others' experiences are. I'm pretty certain I've seen 1/2-inch
>> acetate...
>>
>> Cheers,
>>
>> Richard
>>
>> --
>> Richard L. Hess                   email: [log in to unmask]
>> Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
>> http://www.richardhess.com/**tape/contact.htm<http://www.richardhess.com/tape/contact.htm>
>> Quality tape transfers -- even from hard-to-play tapes.
>>
>
>
>
> --
> Dennis D. Rooney
> 303 W. 66th Street, 9HE
> New York, NY 10023
> 212.874.9626
>

------------------------------

Date:    Thu, 19 Apr 2012 03:12:34 +0900
From:    Yasuhiro Fujioka <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

Hello Rod Stephens, Randy Riddle and Tom Fine,
Many thanks for your information in detail which are very useful and fine
with my friend Miyamoto.
I will forward these to him who will be very happy to know about this.
Best - Fuji

-----Original Message-----
From: Roderic G Stephens
Sent: Thursday, April 19, 2012 2:01 AM
To: [log in to unmask]
Subject: Re: [ARSCLIST] reel-to-reel tape mono

Hello Fuji,
I have two tape recordings by the World Record Club LTD., Surrey, U.K. which
are the types you mention, half track mono at 3 3/4" IPS.  TT 545 "Close to
You" - Frank Sinatra and TT 745 "Peggy Lee".  So, these are examples of the
British recordings that Randy described.  Then, I also have a series of
"easy listening" tapes from Bel Canto and one "monophonic"  half track demo
tape from Command at 7 1/2 IPS  labeled "Channel Master Demonstration Tape"
with two excerpts from Command albums by "Enoch Light and His Orchestra".
I would guess that the two World Record Club recordings are the closest to
being Jazz, but I would call them "Pop".
Rod Stephens

--- On Wed, 4/18/12, Randy Riddle <[log in to unmask]> wrote:

From: Randy Riddle <[log in to unmask]>
Subject: Re: [ARSCLIST] reel-to-reel tape mono
To: [log in to unmask]
Date: Wednesday, April 18, 2012, 7:02 AM

Are your jazz half-track mono tapes from England?

Pre-recorded mono half-track tapes seem to be more common from
England, particularly through the early 60s.  I've got examples that
are on 5" reels recorded at 3.75 ips - one is classical and one is
pop.  Releases of the Beatles albums in mono in this format aren't
uncommon.

I'm not sure, but I think it may be because small portable mono reel
to reel tape recorders using 5" reels were fashionable there with
young people at the time.  They pop up in some British films of the
period, like "Peeping Tom", as accessories for 20-somethings "on the
go".  Reel to reels here in the states were more entrenched with the
home-based hi-fi crowd.

Randy

On Wed, Apr 18, 2012 at 9:50 AM, Tom Fine <[log in to unmask]>
wrote:
> Hello Fuji:
>
> As far as a commercially-duplicated format, half-track mono was very
> short-lived. I don't know if full-track mono was ever a
> commercially-duplicated format.
>
> Here are two articles from Radio & Television News ...
>
> 1. from March 1952 is an editorial by Oliver Read describing two
> duplicating
> operations known to exist at that time. My assumption is that both were
> duplicating half-track mono reels, probably 7.5IPS. Both would have used
> DIY
> duplicating systems because Ampex did not release the first 3200
> duplicator
> system until 1954.
> https://rcpt.yousendit.com/1469297401/50703fa972a9cb9c8cd70c5996259528?cid=tx-02002207350200000000&s=19104
> (paste full link into your browser, someone else feel free to give this a
> permanent home)
>
> 2. from April 1952 is an article by Leon Wortman (later an Ampex
> executive)
> describes on of the two operations mentioned by Read.
> https://rcpt.yousendit.com/1469293697/b9e851fae34bf0bc6a1583ee14f63b8b?cid=tx-02002207350200000000&s=19104
> (again, make sure to copy the full link into your browser)
>
> From these two sources, you might gather some facts as to what material
> was
> being duplicated in those days.
>
> There were definitely plenty of jazz albums issued in the 1956-58
> timeframe
> on 2-track STEREO tapes. I know for a fact that Mercury issued a bunch of
> jazz albums, as did Atlantic and others. I presume RCA and Columbia did
> too,
> although I haven't seen any of those 2-track tapes. Grand Award also
> issued
> their "20's" and "30's" series on 2-track reels in that timeframe.
>
> As soon as the quarter-track format came along, mass-duped 2-tracks died
> out
> quickly.
>
> It's also worth noting that in the very early days of 2-track stereo
> tapes,
> a few titles were issued in staggered-head (Magnecorder) format.
> ConcerTapes
> and Livingston and perhaps others issued in this format. Ampex put a heavy
> foot down in favor of the in-line head standard we know and use today, and
> that was a good thing.
>
> Please let us know if you find out about any jazz half-track duped tapes.
> I
> have quite a few examples of early duped tapes, but few half-tracks and no
> jazz half-tracks.
>
> -- Tom Fine
>
> ----- Original Message ----- From: "Yasuhiro Fujioka"
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Wednesday, April 18, 2012 9:21 AM
> Subject: [ARSCLIST] reel-to-reel tape mono
>
>
>> May I have one question?
>> My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
>> single track/mono or 2 tracks/mono (but not 4 tracks/stereo.)
>> We only know jazz reel-to-reel tape 4 tracks/stereo but never seen
>> single/mono or 2 tracks/mono.
>> Have you ever seen that?
>>
>>
>> Fuji
>> ********************************************
>> Yasuhiro "Fuji" Fujioka
>> Coltrane House of Osaka
>> 3-7-4, Kozu, Chuo-ku, Osaka, 542-0072, Japan
>> +81-66-632-2889 (phone & fax)
>> +81-901-028-8280 (mobile phone)
>> E-mail/ [log in to unmask]
>> E-mail/ [log in to unmask]
>> Blog: http://blog.livedoor.jp/coltranehouse
>> Facebook:http://www.facebook.com/#!/profile.php?id=1646240019
>> ********************************************

------------------------------

Date:    Wed, 18 Apr 2012 14:15:12 -0400
From:    "Richard L. Hess" <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

On 2012-04-18 1:16 PM, Mark Donahue wrote:
> Richard,
> I came across a fair bit of 1/2" acetate in the Living Stereo
> remastering project, but it all disappeared around 1958 or so. After
> that it was all Mylar except for the odd roll of 1/4".
Thanks, Mark, that was my impression as well, but at least in 1/4-inch,
3M kept 111 around until 1972 or 1973 because broadcasters wanted
acetate tape.

On 2012-04-18 1:34 PM, Dennis Rooney wrote:
> 3M 190 (red oxide) was acetate. 3M's Type 201-203 (later renamed Dynarange)
> was introduced in 1962-3. I have boxes of it labelled "Developmental
> Product 1273" The NYPO/Berstein Mahler Third was mastered on 1/2" 190 and
> those tapes were so warped when I worked on them that a chamois was used to
> flatten the tape long enough for it to pass across the pb head.
Thanks, Dennis, I'm heading the velour route on this 1" tape independent
of what basefilm it is, it seems the only logical option. I tried
increased tension and a tighter wrap around the repro head to no avail,
still nasty. It seems that the track one edge of the tape is slightly
longer than the track 8 edge and it flops around in the breeze.

On 2012-04-18 1:57 PM, Tom Fine wrote:
> My point is, acetate tape was made into the time period that 1" tape
> would have been manufactured because there were 1" 8-track recorders
> out in the field.
Right, Tom, I agree with you that it's possible because of the timing
overlap, but what I wanted to know was if anyone had seen 1" acetate.
I'm not 100% certain yet and the see-through is unreliable on this due
to the width and the edge damage and poor storage conditions (damp
basements not in boxes, raw pancakes)

These are important as they represent the first album (from 1968) of a
major Cape Breton artist and he never liked the mix in his lifetime. The
studio had just taken delivery of three new Ampex machines 2T 1/4", 4T
1/2", and 8T 1". I'm assuming they are all AG-440s at the time...but not
certain. There were horrid clicks between songs on the 1" tape.

As an historic note, the "Dynarange" series was introduced in 1962 (even
if it wasn't called that at the time). There were three tapes in the series:
   201 - acetate "1.5 mil" (2500' on 10.5" reel)
   202 - polyester/PET "1.5 mil" (2500' on 10.5" reel)
   203 - polyester/PET "1.0 mil" (3600' on 10.5" reel)

This tape was improved upon again in 1969 with 206/207. These were two
different thicknesses (same as 202/203) and both were polyester-based.

201 appears to have been the last acetate-based tape introduced by 3M. A
polyester version of 111 was introduced in 1953 as 111AM or 102 and that
looks like the first Polyester tape.

All this and more at
http://www.aes.org/aeshc/docs/3mtape/aorprod-cust.pdf
and for BASF/AGFA
http://www.aes.org/aeshc/docs/basftape/basftapes.html

Thanks, all...especially Dennis for the confirmation of the need to use
the pressure pad.

Cheers,

Richard

--
Richard L. Hess                   email: [log in to unmask]
Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
http://www.richardhess.com/tape/contact.htm
Quality tape transfers -- even from hard-to-play tapes.

------------------------------

Date:    Wed, 18 Apr 2012 15:16:30 -0400
From:    "Richard L. Hess" <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

On 2012-04-18 2:15 PM, Richard L. Hess wrote:
> Right, Tom, I agree with you that it's possible because of the timing
> overlap, but what I wanted to know was if anyone had seen 1" acetate.
> I'm not 100% certain yet and the see-through is unreliable on this due
> to the width and the edge damage and poor storage conditions (damp
> basements not in boxes, raw pancakes)
I am now convinced it is acetate. My usual test is to hold the tape up
to the ceiling lights in the studio (reflector flood) and I did not
really see anything. I took a bright LED flashlight and that came
through loud and clear...so it is acetate. That explains some of why
it's messy.

Dennis, did you try rehydrating the tapes if they were acetate? That has
smoothed out some acetate tapes in my experience, but has not been that
reliable.

Thanks!

Cheers,

Richard

--
Richard L. Hess                   email: [log in to unmask]
Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
http://www.richardhess.com/tape/contact.htm
Quality tape transfers -- even from hard-to-play tapes.

------------------------------

Date:    Wed, 18 Apr 2012 13:02:34 -0700
From:    Michael Biel <[log in to unmask]>
Subject: Re: Crepitation Contest Steinweiss

From: Karl Miller <[log in to unmask]>=0A> As to why this concerns m=
e, looking for projects in retirement, I decided to do a book (or perhaps a=
 website) of the covers of odd LP records I have acquired in shops over the=
 years.=0A=0AThere have been perhaps 25 books of album covers over the year=
s.  You=0Awould need to look at all of them to see if what you would have t=
o offer=0Awould be different and better.=0A=0A>  Having 4 LP incarnations o=
f the "contest," knowing about the source has been most helpful.=0A=0AUnles=
s the recording includes the closing announcement with the=0Aidentification=
 of the announcer as Sidney S. Brown, the recording is=0Aeither incomplete =
or fake.  If the recording does not include the=0Auncensored punch line "Oh=
, he sh--!!!" it is also either edited or fake.=0A =0A=0AGraham Newton once=
 discovered THE original 16-inch lacquer master and=0Amade a high quality d=
ub of it.  David Lennick also has that dub which is=0Ahigher quality than a=
ny other, plus isn't cut into four sections.=0A=0AMike Biel  [log in to unmask]
m=0A

------------------------------

Date:    Wed, 18 Apr 2012 13:23:07 -0700
From:    Dan Nelson <[log in to unmask]>
Subject: Re: was Acetate 1" tape /now  1/2" acetate by the ton

What memories of acetate tape ...... =A0I lived near the Lockheed Skunk Wor=
ks in Burbank ca and =A0would buy =A0a skid of 1/2" Univac 10" acetate brow=
n odixe =A0computer tape at salvage for =A025=A2 a roll. =A0Had a slitting =
jig and =A0turned out =A01/4" 1.5 mil 7" tapes for =A0all my friends and lo=
cal =A0discount store. =A0=0AFor the era =A0it sounded better than the =A0b=
lack oxide paper backed 3M =A0which was the bargain =A0tape in those days.=
=A0=0ACome to think of it i still have some of both in my archive. =A0The s=
tuff recorded =A0great on my Magnicord PT6, which i still have.=A0=0AThis l=
ist sure has =A0a lot of history that =A0makes for interesting =A0reading a=
nd research. =A0Keep it up.=0Ad nelson ward=A0=0A=A0=0ABeautiful Music you =
will never forget, at; http://www.americanbeautiful.podbean.com/

------------------------------

Date:    Wed, 18 Apr 2012 16:00:19 -0500
From:    sara velez <[log in to unmask]>
Subject: Re: Fwd: [ARSCLIST] David Hall

Thanks, Don.

I and Bryan Cornell are trying to find out what's wrong with my application.

Sara

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Don Tait
([log in to unmask])
Sent: Wednesday, April 18, 2012 12:30 PM
To: [log in to unmask]
Subject: [ARSCLIST] Fwd: [ARSCLIST] David Hall

Hello Sara,

  Like Joe Salerno, I received your message about David. It's a lovely  one.

  Don Tait

------------------------------

Date:    Wed, 18 Apr 2012 16:07:44 -0500
From:    Bob Olhsson <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

It was very common. 202 had huge stretching issues on 1" audio transports
and acetate edited much much cleaner.

Bob Olhsson Audio Mastery, Nashville TN
Mastering, Audio for Picture, Mix Evaluation and Quality Control
Over 40 years making people sound better than they ever imagined!
615.562.4346 http://www.bobolhsson.com http://audiomastery.com


-----Original Message-----
From Richard L. Hess:
"...I suspect this is something like 3M 201 "Dynarange". Was this common? I
would have suspected 202 would have been the more likely choice.

------------------------------

Date:    Wed, 18 Apr 2012 16:07:44 -0500
From:    Bob Olhsson <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

3M 206, introduced in 1969, was the first that didn't offer an acetate
version. It forced us all to buy much more expensive razor blades!

They told us acetate tape would all fall apart by the mid '70s...

Bob Olhsson Audio Mastery, Nashville TN
Mastering, Audio for Picture, Mix Evaluation and Quality Control
Over 40 years making people sound better than they ever imagined!
615.562.4346 http://www.bobolhsson.com http://audiomastery.com


-----Original Message-----
From Tom Fine: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Sent: Wednesday, April 18,
2012 12:58 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Acetate 1" tape ? ? ?

I think 3M and Audio Devices (AudioTape) were making acetate tape into the
60's. I've dubbed many quarter-track duped tapes that are "see through",
which I think always means acetate backing. Known production dates up to the
1963-64 timeframe


------------------------------

Date:    Wed, 18 Apr 2012 17:13:47 -0400
From:    Dennis Rooney <[log in to unmask]>
Subject: Re: Acetate 1" tape ? ? ?

Richard,

Rehydration was not explored. I found that a B wind worked best on
improving the pack but that requires a period of rest before re-use and, as
usual, I had to work the material immediately to meet a production deadline.

DDR

On Wed, Apr 18, 2012 at 3:16 PM, Richard L. Hess
<[log in to unmask]>wrote:

> On 2012-04-18 2:15 PM, Richard L. Hess wrote:
>
>> Right, Tom, I agree with you that it's possible because of the timing
>> overlap, but what I wanted to know was if anyone had seen 1" acetate. I'm
>> not 100% certain yet and the see-through is unreliable on this due to the
>> width and the edge damage and poor storage conditions (damp basements not
>> in boxes, raw pancakes)
>>
> I am now convinced it is acetate. My usual test is to hold the tape up to
> the ceiling lights in the studio (reflector flood) and I did not really see
> anything. I took a bright LED flashlight and that came through loud and
> clear...so it is acetate. That explains some of why it's messy.
>
> Dennis, did you try rehydrating the tapes if they were acetate? That has
> smoothed out some acetate tapes in my experience, but has not been that
> reliable.
>
> Thanks!
>
> Cheers,
>
> Richard
>
> --
> Richard L. Hess                   email: [log in to unmask]
> Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
> http://www.richardhess.com/**tape/contact.htm<http://www.richardhess.com/tape/contact.htm>
> Quality tape transfers -- even from hard-to-play tapes.
>



--
Dennis D. Rooney
303 W. 66th Street, 9HE
New York, NY 10023
212.874.9626

------------------------------

Date:    Wed, 18 Apr 2012 17:36:57 -0400
From:    Steven Smolian <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

I can't do the pictures, but have the following in my tape incentory, not
checked for quality:

Mercury MVS-2-32        Sarah Vaughan. After Hours
RCA     APS-105 Prez Prado
RCA     CPS-110 Tito Puente
Omega   ST-3020 Bernstein. Backgrouinds for Brando

I realize these are not jazz but give a brief idea of the lines that had
jazz titles as well.  I'm sure there were many such on Mercury.

I believe World Pacific had some 2-tracks as well.

These are 2 track, in-line.

Much of the answer depends of how one defines jazz.

Steve Smolian

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Yasuhiro Fujioka
Sent: Wednesday, April 18, 2012 12:46 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] reel-to-reel tape mono

Dear Mr. Steve,
Could you show me pictures of those? If not available, at least I want to
know discographical data.
Thanks in advance.
Fuji

-----Original Message-----
From: Steven Smolian
Sent: Wednesday, April 18, 2012 11:45 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] reel-to-reel tape mono

Yes.  There were some on Livingston and Concerttapes.  Others as well.

Steve Smolian

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Yasuhiro Fujioka
Sent: Wednesday, April 18, 2012 9:21 AM
To: [log in to unmask]
Subject: [ARSCLIST] reel-to-reel tape mono

May I have one question?
My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
single track/mono or 2 tracks/mono (but not 4 tracks/stereo.) We only know
jazz reel-to-reel tape 4 tracks/stereo but never seen single/mono or 2
tracks/mono.
Have you ever seen that?


Fuji
********************************************
Yasuhiro "Fuji" Fujioka
Coltrane House of Osaka
3-7-4, Kozu, Chuo-ku, Osaka, 542-0072, Japan
+81-66-632-2889 (phone & fax)
+81-901-028-8280 (mobile phone)
E-mail/ [log in to unmask]
E-mail/ [log in to unmask]
Blog: http://blog.livedoor.jp/coltranehouse
Facebook$B!'(Bhttp://www.facebook.com/#!/profile.php?id=1646240019
********************************************

------------------------------

Date:    Wed, 18 Apr 2012 16:01:23 -0700
From:    Garrett Bowles <[log in to unmask]>
Subject: Re: David Hall - ARSC Past President Obit

I was sad to hear of David's passing. I met him in 1974 when we
organized the Associated Audio Archives, and he was an important
source for us because of his extensive experiences with sound
recordings. I remember one evening after a meeting when David and his
wife invited us to his house for dinner. It was, I believe, on that
occasion that I first heard of, and heard, the Crepitation Contest.
It was an exceptionally enjoyable evening!
Garrett Bowles

------------------------------

Date:    Wed, 18 Apr 2012 19:54:51 -0400
From:    Daniel Langan <[log in to unmask]>
Subject: Re: David Hall - ARSC Past President Obit

I had several greatly informative talks about many aspects of music and
recordings with David during his tenure at NYPL. Occasionally our
conversations would end with him asking "Well, Dan, when are we going to get
your collection?" I would reply "When it's complete."

It still isn't.

David and some of his colleagues in those years -- Paul Myers (sp?) for one
-- always were genial and made certain I and others would get what we
needed.

I also recall walking out of the library onto the "campus" one cold day and
encountering the head of the recording division who asked why I was leaving
so early and without my briefcase. When I explained that I was just taking a
smoke break he said "Come up to my office and we'll have one together. Feel
free to use it anytime, even if I'm not around. I'll tell my staff."

Those were the days . . . and they were The Days when Giants like David were
among us.

Dan Langan


On 4/18/12 7:01 PM, "Garrett Bowles" <[log in to unmask]> wrote:

> I was sad to hear of David's passing. I met him in 1974 when we
> organized the Associated Audio Archives, and he was an important
> source for us because of his extensive experiences with sound
> recordings. I remember one evening after a meeting when David and his
> wife invited us to his house for dinner. It was, I believe, on that
> occasion that I first heard of, and heard, the Crepitation Contest.
> It was an exceptionally enjoyable evening!
> Garrett Bowles

------------------------------

Date:    Wed, 18 Apr 2012 19:12:26 -0500
From:    "Scott D. Smith" <[log in to unmask]>
Subject: Re: ye olde hi-fi history and eye candy

Tom:

Great post. Thanks for sharing. I remember those old Heathkit amps well!
First hi-fi my parents had, along with the matching WA-P2 preamp.

--Scott

Scott D. Smith CAS
Chicago Audio Works, Inc.

On 4/16/2012 8:01 PM, Tom Fine wrote:
> Apparently there is a limit to YouSendIt. Here's another link, but it
> probably won't work for too long. Someone feel free to host the file
> online.
>
> https://rcpt.yousendit.com/1466402249/9d2166e198b7c46200a720cbf5655c72?cid=tx-02002207350200000000&s=19104
>
> (make sure to paste complete link in your browser)
>
> -- Tom Fine
>
> ----- Original Message ----- From: "Michael Gillman"
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Monday, April 16, 2012 7:25 PM
> Subject: Re: [ARSCLIST] ye olde hi-fi history and eye candy
>
>
>> On Mon, Apr 16, 2012 at 5:52 AM, Tom Fine
>> <[log in to unmask]>wrote:
>>
>>> http://www.yousendit.com/**download/**M3BsSmJ3YTI1bmdLSk1UQw?cid=tx-**
>>> 02002207340200000000&s=19102<http://www.yousendit.com/download/M3BsSmJ3YTI1bmdLSk1UQw?cid=tx-02002207340200000000&s=19102>
>>>
>>>
>>> From High Fidelity Magazine, April 1966. "How It All Began,"
>>> chronicles 15
>>> years of gear and hi-fi news/trends. The guy whose 1951 playback
>>> system is
>>> pictured was obviously not married at the time! That setup has a WAF of
>>> ZERO.
>>>
>>> -- Tom Fine
>>>
>>
>>
>> "Sorry this file has expired and can not be downloaded. "
>>
>

------------------------------

Date:    Wed, 18 Apr 2012 20:45:08 -0400
From:    Steve Ramm <[log in to unmask]>
Subject: Re: ye olde hi-fi history and eye candy - a different take

When I first spotted this message thread a few days ago I thought that the
link that was originally posted would be - well - something completely
different  than it turned out to be. Today something like I had HOPED the p[ost
was about  popped up on ebay. It still fits the title of the thread but THIS
should be  interesting to those who read the title the way I did:

_http://tinyurl.com/czb58me_ (http://tinyurl.com/czb58me)

Steve Ramm

------------------------------

Date:    Wed, 18 Apr 2012 17:47:27 -0700
From:    Michael Biel <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

From: Steven Smolian <[log in to unmask]>=0A>> I can't do the pictures, but=
 have the following in my=0A>> tape incentory, not checked for quality:=0A=
=0A>> Mercury MVS-2-32 Sarah Vaughan. After Hours=0A>> RCA APS-105 Prez Pra=
do=0A>> RCA CPS-110 Tito Puente=0A>> Omega ST-3020 Bernstein. Backgrouinds =
for Brando=0A=0A>> I realize these are not jazz but give a brief idea of th=
e lines that=0A>> had jazz titles as well. I'm sure there were many such on=
 Mercury.=0A>> I believe World Pacific had some 2-tracks as well.=0A>> Thes=
e are 2 track, in-line. =0A>> Much of the answer depends of how one defines=
 jazz. =0A>> Steve Smolian =0A=0AThese four tapes are 2-track stereo.  I th=
ink they were looking for=0A2-track MONO or full-track mono.  RCA Victor di=
d issue about 16 mono=0Atapes between 1954 and 56 when they started issuing=
 2-track stereo=0Aincluding the two you show.  The first letter indicates t=
he length of=0Athe tape which determines the price.  The P is for Popular, =
and the S is=0Afor Stereo.  Mono tapes had only two letter prefixes.  =0A=
=0AUnfortunately I am not near my catalogs, otherwise I could list them=0Aa=
ll.  I have some of the tape manufacturers catalogs as well as several=0Aye=
ars worth of the Harrison Tape Catalog.=0A=0AMike Biel  [log in to unmask]
=0A=0A-----Original Message-----=0AFrom:  Yasuhiro Fujioka=0A> Dear Mr. Ste=
ve,=0A> Could you show me pictures of those? If not available, at least=0A>=
 I want to know discographical data. Thanks in advance. Fuji=0A=0A-----Orig=
inal Message-----=0AFrom: Steven Smolian=0AYes. There were some on Livingst=
on and Concerttapes. Others as well.=0ASteve Smolian=0A=0A-----Original Mes=
sage-----=0AFrom:  Yasuhiro Fujioka=0A=0AMay I have one question?=0AMy frie=
nd Miyamoto looks for commercial reel-to-reel tape of Jazz either=0Asingle =
track/mono or 2 tracks/mono (but not 4 tracks/stereo.) We only=0Aknow=0Ajaz=
z reel-to-reel tape 4 tracks/stereo but never seen single/mono or 2=0Atrack=
s/mono.  Have you ever seen that?  Fuji=0A

------------------------------

Date:    Thu, 19 Apr 2012 10:24:08 +0900
From:    Yasuhiro Fujioka <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

Many thanks Steve Smolian and Michel Biel,
Miyamoto is not in a hurry. Take your time and we look forward to hearing
from you again about your collection both the tape manufacturers catalogs
and the Harrison Tape Catalog.
Fuji

-----Original Message-----
From: Michael Biel
Sent: Thursday, April 19, 2012 9:47 AM
To: [log in to unmask]
Subject: Re: [ARSCLIST] reel-to-reel tape mono

From: Steven Smolian <[log in to unmask]>
>> I can't do the pictures, but have the following in my
>> tape incentory, not checked for quality:

>> Mercury MVS-2-32 Sarah Vaughan. After Hours
>> RCA APS-105 Prez Prado
>> RCA CPS-110 Tito Puente
>> Omega ST-3020 Bernstein. Backgrouinds for Brando

>> I realize these are not jazz but give a brief idea of the lines that
>> had jazz titles as well. I'm sure there were many such on Mercury.
>> I believe World Pacific had some 2-tracks as well.
>> These are 2 track, in-line.
>> Much of the answer depends of how one defines jazz.
>> Steve Smolian

These four tapes are 2-track stereo.  I think they were looking for
2-track MONO or full-track mono.  RCA Victor did issue about 16 mono
tapes between 1954 and 56 when they started issuing 2-track stereo
including the two you show.  The first letter indicates the length of
the tape which determines the price.  The P is for Popular, and the S is
for Stereo.  Mono tapes had only two letter prefixes.

Unfortunately I am not near my catalogs, otherwise I could list them
all.  I have some of the tape manufacturers catalogs as well as several
years worth of the Harrison Tape Catalog.

Mike Biel  [log in to unmask]


-----Original Message-----
From:  Yasuhiro Fujioka
> Dear Mr. Steve,
> Could you show me pictures of those? If not available, at least
> I want to know discographical data. Thanks in advance. Fuji

-----Original Message-----
From: Steven Smolian
Yes. There were some on Livingston and Concerttapes. Others as well.
Steve Smolian

-----Original Message-----
From:  Yasuhiro Fujioka

May I have one question?
My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
single track/mono or 2 tracks/mono (but not 4 tracks/stereo.) We only
know
jazz reel-to-reel tape 4 tracks/stereo but never seen single/mono or 2
tracks/mono.  Have you ever seen that?  Fuji

------------------------------

Date:    Wed, 18 Apr 2012 21:35:02 -0400
From:    Tom Fine <[log in to unmask]>
Subject: ARSC debut as covered by High Fidelity magazine 5/66

https://www.yousendit.com/download/M3BrbGtNQ1BxRTJjZDhUQw

the text is complete but photoshopped together out of several blocks spread over several pages.

-- Tom Fine

------------------------------

Date:    Wed, 18 Apr 2012 21:51:10 -0400
From:    Tom Fine <[log in to unmask]>
Subject: Re: ye olde hi-fi history and eye candy

Hi Scott:

I rebuilt one of those WA-P2 preamps and put nice Telefunken tubes in it (barely used, salvaged out
of a junker Ampex consumer reel deck), and it is a good listening-playback system for 78's and mono
LPs. One of these days I'm going to build a proper mono system with a corner horn speaker Williamson
power amp. As it is, the Heath preamp does very well feeding an Ampex amplified speaker, and 78
playback is quite nice because the speaker doesn't go low enough to reproduce rumble or high enough
to produce all the surface hash in the top octave of human hearing. Those familiar with the Ampex
speaker-amps know that they were designed for broadcasters and sound particularly good in the main
voice frequencies, which again makes them very euphonic (if not critical-accurate) for 78's. The
impedence match between the output of the preamp and the input grid of the power amp is also fine,
whereas some modern gear wants a lower source impedence.

With my WA-P2 rebuild, I rigged up a PSU out of two PowerOne blocks, one for B+ and one for 12VDC
heaters (you have to rewire the circuit for direct power of the heaters without doubling the 6.3
spec'd volts. The noise floor is probably a good bit lower than stock, since it was designed to take
power from the Williamson power amp. The high-voltage PowerOne bricks are getting harder to find on
eBay.

Those Heath power amps went through an evolution. The ones with the Peerless output transformers are
said to sound the best, I think those were the early or middle versions.

-- Tom Fine

----- Original Message -----
From: "Scott D. Smith" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, April 18, 2012 8:12 PM
Subject: Re: [ARSCLIST] ye olde hi-fi history and eye candy


> Tom:
>
> Great post. Thanks for sharing. I remember those old Heathkit amps well! First hi-fi my parents
> had, along with the matching WA-P2 preamp.
>
> --Scott
>
> Scott D. Smith CAS
> Chicago Audio Works, Inc.
>
> On 4/16/2012 8:01 PM, Tom Fine wrote:
>> Apparently there is a limit to YouSendIt. Here's another link, but it probably won't work for too
>> long. Someone feel free to host the file online.
>>
>> https://rcpt.yousendit.com/1466402249/9d2166e198b7c46200a720cbf5655c72?cid=tx-02002207350200000000&s=19104
>> (make sure to paste complete link in your browser)
>>
>> -- Tom Fine
>>
>> ----- Original Message ----- From: "Michael Gillman" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Monday, April 16, 2012 7:25 PM
>> Subject: Re: [ARSCLIST] ye olde hi-fi history and eye candy
>>
>>
>>> On Mon, Apr 16, 2012 at 5:52 AM, Tom Fine <[log in to unmask]>wrote:
>>>
>>>> http://www.yousendit.com/**download/**M3BsSmJ3YTI1bmdLSk1UQw?cid=tx-**
>>>> 02002207340200000000&s=19102<http://www.yousendit.com/download/M3BsSmJ3YTI1bmdLSk1UQw?cid=tx-02002207340200000000&s=19102>
>>>>
>>>> From High Fidelity Magazine, April 1966. "How It All Began," chronicles 15
>>>> years of gear and hi-fi news/trends. The guy whose 1951 playback system is
>>>> pictured was obviously not married at the time! That setup has a WAF of
>>>> ZERO.
>>>>
>>>> -- Tom Fine
>>>>
>>>
>>>
>>> "Sorry this file has expired and can not be downloaded. "
>>>
>>
>

------------------------------

Date:    Wed, 18 Apr 2012 19:01:35 -0700
From:    Roderic G Stephens <[log in to unmask]>
Subject: Re: reel-to-reel tape mono

Along the lines of reel-to-reel, I was stationed in the Army at Ft. Hood, T=
exas for a year and half during 1954-55. =A0I was a Hi-Fi nut, so when I sa=
w a review for a Crestwood 504 (I think that was the model number) that wou=
ld record and play back half track mono, I got really excited. =A0Since Ft.=
 Hood was in the middle of nowhere, and there was nothing else I wanted to =
spend my big "salary" on, =A0I was able to save up and buy one. =A0The spec=
s were somewhere between 50Hz to 15,000 Hz, unheard of until then. =A0I sti=
ll have the 7 1/2 IPS =A05" demo reel entitled, "A Crestwood Cruise" that c=
ame with it with selections from the Livingston tape library. =A0We were bl=
own away by the sounds that we could play and record. I had built a Heathki=
t FM tuner and amp that we could use for program sources and playing, so li=
fe was just a bit less boring. =A0I kept it, and in college recorded a play=
back that three of my buddies and I made for a quartet contest where
 we=A0lip-synced the opening of our song with=A0choreography to fit, and th=
en, moved up to the mike to sing the end, live.=A0=A0The audience loved it,=
 but we were disqualified, since it wasn't in true barbershop tradition.

--- On Wed, 4/18/12, Michael Biel <[log in to unmask]> wrote:

From: Michael Biel <[log in to unmask]>
Subject: Re: [ARSCLIST] reel-to-reel tape mono
To: [log in to unmask]
Date: Wednesday, April 18, 2012, 5:47 PM

From: Steven Smolian <[log in to unmask]>
>> I can't do the pictures, but have the following in my
>> tape incentory, not checked for quality:

>> Mercury MVS-2-32 Sarah Vaughan. After Hours
>> RCA APS-105 Prez Prado
>> RCA CPS-110 Tito Puente
>> Omega ST-3020 Bernstein. Backgrouinds for Brando

>> I realize these are not jazz but give a brief idea of the lines that
>> had jazz titles as well. I'm sure there were many such on Mercury.
>> I believe World Pacific had some 2-tracks as well.
>> These are 2 track, in-line.=20
>> Much of the answer depends of how one defines jazz.=20
>> Steve Smolian=20

These four tapes are 2-track stereo.=A0 I think they were looking for
2-track MONO or full-track mono.=A0 RCA Victor did issue about 16 mono
tapes between 1954 and 56 when they started issuing 2-track stereo
including the two you show.=A0 The first letter indicates the length of
the tape which determines the price.=A0 The P is for Popular, and the S is
for Stereo.=A0 Mono tapes had only two letter prefixes.=A0=20

Unfortunately I am not near my catalogs, otherwise I could list them
all.=A0 I have some of the tape manufacturers catalogs as well as several
years worth of the Harrison Tape Catalog.

Mike Biel=A0 [log in to unmask]


-----Original Message-----
From:=A0 Yasuhiro Fujioka
> Dear Mr. Steve,
> Could you show me pictures of those? If not available, at least
> I want to know discographical data. Thanks in advance. Fuji

-----Original Message-----
From: Steven Smolian
Yes. There were some on Livingston and Concerttapes. Others as well.
Steve Smolian

-----Original Message-----
From:=A0 Yasuhiro Fujioka

May I have one question?
My friend Miyamoto looks for commercial reel-to-reel tape of Jazz either
single track/mono or 2 tracks/mono (but not 4 tracks/stereo.) We only
know
jazz reel-to-reel tape 4 tracks/stereo but never seen single/mono or 2
tracks/mono.=A0 Have you ever seen that?=A0 Fuji

------------------------------

End of ARSCLIST Digest - 17 Apr 2012 to 18 Apr 2012 (#2012-105)
***************************************************************

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