Would 1953-54 be about the last that they were used?



 From: [Richard A  Kaplan] <[log in to unmask]>
To: [log in to unmask] 
Sent: Sunday, October 7, 2012 6:56 PM
Subject: Re: [ARSCLIST] Howard Scott Dies
Hi Dennis,

How long was it until tape rendered the 16-inch lacquers obsolete? For  
example, when the Philadelphia Orchestra resumed recording in April, 1949 after 
the strike, would those recordings have been mastered on tape, or was tape 
used  as a backup for the discs for some time? I believe that was the case 
in  Europe.

Rich Kaplan

In a message dated 10/7/2012 1:46:54 P.M. Central Daylight Time,  
[log in to unmask] writes:

Dear  Tom,

Of course Columbia and CBS engineers knew of developments in  magnetic tape;
however, in keeping with their general conservative attitude  about
innovations, they were not convinced that tape offered comparable  audio
quality to disc, as well as mechanical reliability. Dub-editing was  well
understood in broadcasting and the Columbia engineers were experienced  in
it. Tape waited until 1949 to begin to be used as a mastering medium  at
Columbia. That decision may seem perplexing to you but there it is.  In
1947-48 when Howard's team made the first 100 Lp masters  disc-to-disc,
their technique produced superior results, particularly  respecting s/n, to
what would have been achieved  disc-to-tape.


On Sun, Oct 7, 2012 at 1:18 PM, Tom  Fine 
<[log in to unmask]>wrote:

> I don't understand  something about the obit and the story of the LP dawn
> that it  told.
> Jack Mullin was out west in 1947 holding demonstrations  and using his
> Magnetophones with the Bing Crosby radio program. The  concept of magnetic
> tape was well known in the broadcast world. In  fact, the Edward R. Murrow
> album "I Can Hear It Now" was produced  using tape editing and the 78RPM
> album includes a lengthy production  note describing this newfangled (at 
> News) editing  technique.
> So none of this trickled over to Bridgeport CT?  They really were doing
> disk-to-disk dubs in 1948? Why??? The Ampex 200  came out that year, the
> 200A soon afterward. Surely Bill Paley's  empire could afford a few tape
> machines. Closer to Bridgeport,  Fairchild was making tape machines by 
> and perhaps earlier (I  don't have a clear timeframe as to when Fairchild
> first produced  magnetic recorders, but a 1948 article about Reeves 
> in NYC  shows Fairchild's "new" tape machines in service and one is 
>  on the magazine cover).
> So again, why the complex machinations  of disk-to-disk dubbing? BTW, RIP
> Howard Scott and he did indeed come  up with an ingenius if hardest way
> possible to solve the problem of  matching up the 78RPM sides.
> Ironically, the man who INVENTED  the magnetic tape splicing block, at
> least the US iteration of the  concept, was CBS News producer/editor Joel
> Tall  (EdiTall).
> -- Tom Fine
> PS -- Mullin wasn't the  only guy to bring a working Magnetophone home. 
> BBC captured some  of them and did detailed dissections, and Col. Ranger
> brought home at  least one. My bet is Fairchild's engineers got their 
> on one very  soon after the war or else how could their development keep a
> similar  pace to Mullin/Ampex? There were at least dozens of Magetophones
> made  during WWII, if not hundreds, perhaps more. The whole story of
>  disk-dubbing for the new LP medium would make more sense if Columbia  had
> been a little company not connected to a broadcast network and not  
> in what was then the East Coast industrial corridor. I'm not  doubting the
> disk-dubbing happened, I just have trouble believing no  one at Columbia
> knew about tape or had access to tape machines before  the dawn of the LP.
> And if they knew and had access, why would they do  a complex disk-to-disk
> dubbing method?
> ----- Original  Message ----- From: "Dennis Rooney" <
>  [log in to unmask]>
> To:  <[log in to unmask]>
> Sent: Sunday, October 07, 2012 11:43  AM
> Subject: Re: [ARSCLIST] Howard Scott  Dies
>  Howard's death is no surprise. He was  failing for some time. 
>> his contribution to the birth  of the Lp makes him one of the important
>> players in the success of  Columbia Masterworks and worthy of 
>> He liked to tell  the story of moving a cot into a studio where he could
>>  nap
>> in between supervising dub editing lacquer cuts into Lp  masters, and it
>> was
>> all true, including having to  re-make a majority of what had been 
>> after technical  problems in manufacturing caused them all to be 
>> Despite  that setback, he and his engineering team began again and met
>>  their
>> deadline in time for the spring 1948 launch of the new  format.
>> In the decade before 1961 he supervised many  of the Masterworks 
>> that allowed Columbia to lead the  U.S. market. I have a photo of Howard
>> auditioning a test pressing  sometime in the early fifties. He is young,
>> balding and clean  shaven, attired in a dress shirt and tie. Like his
>> mentor, Goddard  Lieberson, he set great store by dressing well. I worked
>>  on
>> many recordings that he supervised when they were reissued on  CD, and
>> admired his preparation and disciplined  approach.
>> What isn't mentioned in that NY TIMES obit  is that he was born Shapiro
>> but,
>> according to the  assimilationist impulse of his day, changed it to Scott
>>  in
>> the late forties. It was a privilege to have known him.  *Requiescat in
>> pace*
>> .
>>  DDR
>> On Sun, Oct 7, 2012 at 11:03 AM, David Lewis  <[log in to unmask]> wrote:
>>>  Funny, he was mentioned here not long ago.
>>>  Uncle Dave  Lewis
>>  --
>> Dennis D. Rooney
>> 303 W. 66th Street,  9HE
>> New York, NY 10023
>>  212.874.9626

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