Hello, all. Because of some personal issues and technical problems (my ARSClist subscription has been suspended, for an unknown reason), I could not manage to see the replies I have got before. It has been a while since I have posted my last email concerning my progresses of the research I had worked on. I am now back in Korea, still doing the research. So far, my research has been quite fruitful, thanks to the help that numerous collectors, researchers, and record collectors gave me with the various information. I have managed to discover 9 previously unknown titles (each a unique copy) of Korean Victor recordings in various institutes and collections in several countries, which was very helpful for my research. Now, here are some more big questions regarding these recordings. 1. As far as I know, Victor and Gramophone company made an agreement regarding the market division in the "Far East". I believe that around 1904, the two companies made an agreement that the Victor would have China, and the Gramophone company would have Japan. However, as far as I know, by 1906-7, Victor got the Japanese market as well. I know this by firsthand experience since I have seen copies of the exact same recordings of Japanese music on both Victor and G&T pressing. Is there any documentations or other correspondences in the Victor Archives or EMI Archive, or even anywhere in the world that at least partially explains the reason for this? I was not able to recover any documentation about this matter. Also, I know almost nothing about the involvement of Zonophone regarding the Asian foreign market; so I was wondering if there's any information about the reason for their involvement for handling Victor products in Asia. 2. As for the newly discovered records that I have found, all of the records carries the big capital letter "M" on the blank side. I believe this is a factory marking; and can anyone tell me the meaning of this? 3. This is a relevant question regarding the Victor (or Zonophone)'s foreign recording sessions in general. Did Victor pay the recording fees to the artist directly for their efforts, or did they pay to the talent scout or any "mediator/negotiator" figure that was involved between them? If so, how much did they generally pay for them? Is there any documentary evidence regarding this practice in Victor archives? Sincerely, Mark (Jihoon) Suk.