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a cylinder OF its day, I meant. UD On Wed, Aug 15, 2012 at 2:04 AM, David Lewis <[log in to unmask]> wrote: > DDR wrote: > > Someone must have already treated the subject so there will be more > information soon to appear. > > >>> > > Alas, DDR, not all such treatment is created equally. Ergo: > > A musically talented youngster, [Gaisberg] encountered the fledgling > recording technology in the early 1890s and got a job working for the > Graphophone <http://en.wikipedia.org/wiki/Graphophone> company in > America. Poor sound quality and short playing time, however, meant that > recordings were more of an amusing novelty than a serious means of > reproducing music. In this decade the first of the recording industry's > format wars was taking place, with the original cylinder recordings<http://en.wikipedia.org/wiki/Cylinder_recording>gradually being ousted by the superior and more convenient Berliner flat > disc. Gaisberg played an important role in this war, helping to establish > 78 revolutions per minute as the standard playing speed and shellac as the > standard material for making discs. [From the Wikipedia article on Fred > Gaisberg.] > > >>> > > If a Berliner is superior to a cylinder to its day than that is news to > me, and certainly the ousting of the cylinder took much longer than this > implies. I thought that 78 rpm wasn't established until about 1930, and > with some > companies, never. I don't know about Gaisberg's role in establishing > shellac as the main medium for manufacturing records, though I thought that > too was somewhat evolutionary, though earlier. Companies that manufactured > poker chips also pressed early records because they similar kinds of > products from a manufacturing point of view. > > What I'm getting at is that there is an awful lot of confusion and malarky > concerning such matters still. While someone can be an A&R man and a > producer they are not quite the same hat to wear, but these terms are used > interchangeably to mean one or the other. A lot of factors determine the > job description of such a person; whether a person is working for a large > company, or running a small one, is coming from an engineering aspect or > handlng talent. Meaning Tommy Rockwell and Nesuhi Ertegun and Mo Ostin all > did not do quite the same job, even though all can qualify as either "A&R" > or "producer" or both. > > I remember dipping into the "Encyclopedia of Record Producers" at AMG and > being disappointed that I couldn't seem to find the really old guys like > Gaisberg; just rock people. But it was a short look, and I just ordered one > for a quarter, so I will try again. > > Dave Lewis > Lebanon, OH > > On Wed, Aug 15, 2012 at 1:28 AM, Dan Nelson <[log in to unmask]> wrote: > >> Rosario Bourdon in addition to being an "operative" for Victor >> conducted salon orchestras for transcription companies. Here is one of >> those multi talented men in the music business. >> d nelson ward >> >> Beautiful Music you will never forget, at; >> http://www.americanbeautiful.podbean.com/ >> >> >> >> >> ________________________________ >> From: Dennis Rooney <[log in to unmask]> >> To: [log in to unmask] >> Sent: Monday, August 13, 2012 8:55 PM >> Subject: Re: [ARSCLIST] Does anybody know when the various recording >> companies realized that they needed an Artist and Repertoire administrator? >> >> A&R wasn't always called such, but the job was around since the dawn of >> the >> commercial phonograph industry. Usually, someone with musical training was >> spotted and developed. Fred Gaisberg began as a teenager in Washington, >> D.C. before he moved to London. Columbia had Charles Adams Prince when >> Walter B. Rogers performed the same function at Victor. "Recording >> Directors", they were called. They often had relationships with orchestras >> and bands, which made them useful for engaging personnel. Later Victor >> operatives included Calvin Child, Joseph Pasternack, Rosario Bourdon and >> Charles O'Connell. Someone must have already treated the subject so there >> will be more information soon to appear. >> >> DDR >> >> On Mon, Aug 13, 2012 at 2:40 PM, Eric <[log in to unmask]> wrote: >> >> > Does anybody know when the various recording companies realized that >> they >> > needed an Artist and Repertoire administrator? Is it possible to obtain >> > from some archives the requirements for the position? Any help would be >> > greatly appreciated. >> > >> >> >> >> -- >> Dennis D. Rooney >> 303 W. 66th Street, 9HE >> New York, NY 10023 >> 212.874.9626 >> > >