Could they have chained the tape recorders? That is to say they recorded directly into the stereo deck but then also took a feed from that deck that fed a mono deck running at the same time but obviously not synced? Of course the mono deck would have a bit of higher noise floor but it does seem like it could have been done. Does that sound plausible given what you know about Fine at the time if the recordings
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On Sep 24, 2012, at 9:48 PM, Tom Fine <[log in to unmask]> wrote:
> Hi Kohji-san:
> Thank you for checking that. In 1958, a session at Fine Recording studio would likely be done in 2-track stereo and full-track mono at the same time. However, it's possible that some of these pop sessions weren't recorded in stereo. In those early days of the studio, the Gates Dualux console was only set up for 2-channel output for stereo. I'm still not exactly sure how they did mono and stereo at the same time. The late Bob Eberenz told me that mono masters were made from a dub that combined the two stereo tracks, sometimes just cutting a master playing the 2-track tape on a full-track head and usually doing some dynamics compression and EQ directly to the single master so as to make it jump out of the speakers more on AM radios. But, given the use of a mono master for the CD and LP, I guess that's what's in the vaults. Like I said, it's possible the session was ordered up in mono. The Gates board was perfectly capable of mixing any or all of the 12 input channels to a single output channel.
> Do you know if these tracks ended up on a Sarah Vaughn LP, and if so which one? If there's an SR version of it, then there was at one time a stereo master.
> By the way, I've seen this happen in a few cases with old Mercury records. A case in point is the Charlie Rich stuff from Smash. Some songs ended up on CD only from mono singles masters, whereas I have stereo LPs that contain all stereo versions of all songs. The same is true of at least some Cannonball Adderley stuff and I think some Dinah Washington stuff. We may have discussed the Cannonball material on-list and now that I think about it I might have been wrong about whatever I initially said. There is also some Mercury pop material that was released on 2-track tape in stereo but then never later released on stereo LP. For instance Pete Rugolo "Music for Hi-Fi Bugs" on Emarcy, never seen a stereo LP of those songs.
> -- Tom Fine
> ----- Original Message ----- From: "MATSUBAYASHI 'Shaolin' Kohji" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Monday, September 24, 2012 9:15 PM
> Subject: Re: [ARSCLIST] Sarah Vaughn on Mercury question
>> Hi Tom-san,
>> I confirmed that the following tracks (from the Sep. 26, 1958 session with
>> Hal Mooney Orchestra)
>> are included in monaural on "The Complete Sarah Vaughan on Mercury Vol. 3"
>> (Nippon Phonogram 18PJ-1041/46, 826 333-1).
>> My copy is 6LP edition, which I believe is equivalent to 6CD edition.
>> 17990-7 Cool Baby
>> 18018-10 Everything I Do
>> 18019-14 I Ain't Hurtin'
>> 18020-6 Disillusioned Heart
>> That five volume discography by Ruppli mentions the master number of "Cool
>> Baby" as
>> 17990-7 (PB 4374), so at least the "Cool Baby" was mastered both in mono
>> and stereo
>> at that time. Not sure for other three tracks. I guess three-track stereo
>> master tapes might
>> exist still in the vaults (but AFAIK not mastered to two tracks nor
>> released yet in the past).
>> On Tue, Sep 25, 2012 at 3:31 AM, Tom Fine <[log in to unmask]>wrote:
>>> Does anyone have this CD set:
>>> (The Complete Sarah Vaughan On Mercury Vol.3)
>>> If so, can you confirm that "I Ain't Hurtin'" and "Disillusioned Heart" on
>>> disc 5 are indeed released in mono as are these online samples?
>>> If they are in mono, I wonder what happened to the stereo masters??? I
>>> have a copy of the Fine Recording take sheet for that session (looks like
>>> it was 9/26/58) and all indications are that the session was recorded in
>>> both stereo and mono. Maybe they only went with mono singles masters for
>>> this box set?
>>> -- Tom Fine