This implies that lacquers were in use before Pailey acquired what became
Columbia Records in 1938. It has been my impression that the change-over
occurred early in his tenure and that the new studios at 799 7th Ave were
equiped specifically for this purpose. Is there more deail on this?
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Dennis Rooney
Sent: Thursday, June 07, 2012 11:33 AM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Who needs vinyl?
Almost invariably, , and always after 1940, is the answer to your first
question. EMI Columbia continued to master on beeswax until the introduction
of magnetic tape.
On Thu, Jun 7, 2012 at 11:03 AM, Steve Smolian <[log in to unmask]> wrote:
> Hi, Dennis at al,
> Does this imply that all US Columbia 78s after they began using
> lacquers were dubs?
> Was this process used in Europe as well and, if so, any idea when?
> Steve Smolian
> -----Original Message----- From: Dennis Rooney
> Sent: Thursday, June 07, 2012 10:35 AM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Who needs vinyl?
> That was likely the case for the BSO recordings made after the
> Petrillo Ban, i.e. 1944-1950.
> On Thu, Jun 7, 2012 at 10:02 AM, Karl Miller
> <[log in to unmask]>**
> --- On Thu, 6/7/12, Dennis Rooney <[log in to unmask]> wrote:
>> > Columbia first employed lacquer discs (referred to as
>> > "instantotiles") in lieu of beeswax in 1936. Victor seems to have
>> > used them as of 1940 although not consistently.
>> As an aside, I was told (by someone who should know) that the early
>> Victor LP transfers of things like the Boston Symphony were made from
>> the lacquers. Hence, the sound quality on those first transfers
>> (subject to the quality of the vinyl) could be somewhat better than
>> subsequent transfers made from either the 78 pressings or metal
>> Does anyone know more about this?
> Dennis D. Rooney
> 303 W. 66th Street, 9HE
> New York, NY 10023
Dennis D. Rooney
303 W. 66th Street, 9HE
New York, NY 10023