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.

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.  

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?

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? 

Mark (Jihoon) Suk.