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The time has come to do a survey of the machines brought out from Germany
and what tendrills extended from them.

We know Jack Mullen had one.

Another showed up the hands of Ralph Ranger, according to a son of John
Jacob Niles, who was present at a recording session at his house as a little
boy.  He told me he recalls Ranger's machine had a swastika on it.  Did that
of Mullen have one also?

Others must have been brought out by the Russians and by others on or near
the continent.  Perhaps Canada also.  Not to mention any surviving in
Germany and the conquered countries.    

Was there a cache of tape found?  Were old recordings erased and reused?  

Each macine that survived the war has a story to tell.  The pre-history of
postwar recording is encapsulated in their histories.  

I hope someone (not me, alas) can consider this as a project.  

Steve Smolian

    


 

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Richard L. Hess
Sent: Thursday, July 31, 2014 1:11 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Columbia tape adoption

Hi, Carl,

I believe the first Model 200A machines from Ampex were delivered in 1948,
so I'm agreeing with Ted.

Mullin still used his two modified Magnetophon machines (his electronics,
AEG's transport and tape) for the shows in the fall of 1947. The 1947-10-01
season opener was the first show on a U.S. national network which was
recorded to and edited on tape, although it was aired from ETs because the
network did not trust the splices to hold for air.

At some point in this, Crosby gave Ampex $50,000 to build the production
machines, and I think he got the first ten.

Cheers,

Richard



On 2014-07-31 10:18 AM, Ted Kendall wrote:
> Mid-48 sounds much more plausible - the first use of tape at Abbey 
> Road was in '48, at Decca mid-'49, for the launch of London LPs. 
> According to Pawley (BBC), there were three prototype EMI BTR-1s by 
> February '48. The
> 47-48 season of Crosby shows was done on the Magnetophons with the IG 
> Farben stock used over and over again, so the story goes.
>
>
>
>
> On 31/07/2014 12:45, Carl Pultz wrote:
>> The question of Columbia Records' adoption of new technologies came 
>> up here recently. By coincidence, I came across a memoir of the 
>> development of LP by Edward Wallerstein. According to this, the 
>> company had started recording to 33rpm 16" vinyl discs in the late 
>> 30s, which later helped them to create quiet masters for LP. But, 
>> additionally, they were early into tape:
>>
>>
>> "Columbia also had an advantage in that we were the first people in 
>> the U.S.
>> to use tape for master recording. [Adrian] Murphy was one of the 
>> first to see a German Magnetophon tape recorder in newly liberated 
>> Luxemburg after the war. He quickly packed it up and shipped it back 
>> to CBS. Not long thereafter both EMI and Ampex came out with 
>> machines, and we immediately placed an order for both. By mid-1947, 
>> we were using them and had discontinued direct disc cutting. The 
>> Ampex proved to be the better machine, so we sent the EMI machines 
>> back. Of the originally issued LPs about 40% were from tape 
>> originals."
>>
>>
>> Interesting essay, though how reliable I'm not sure. (For instance, 
>> how much mag tape was available in mid-47? I think Mullin was still 
>> hording scraps of BASF at that time.) It has probably appeared 
>> elsewhere, but I found it
>> here:
>>
>>
>> http://www.musicinthemail.com/audiohistoryLP.html via 
>> http://wallyheider.com/wordpress/
>>
>>
>>
>> Carl Pultz
>>
>> Alembic Productions
>>
>
-- 
Richard L. Hess                   email: [log in to unmask]
Aurora, Ontario, Canada                             647 479 2800
http://www.richardhess.com/tape/contact.htm
Quality tape transfers -- even from hard-to-play tapes.