Tom Fine wrote:

> It's ironic that once tape came along, it became standard practice among
> anyone who could afford it to run two machines at expensive recording
> sessions (like orchestras or pricey pop musicians or complex film-scoring,
> etc).

I don't know about the classical or show music field's but the reason they
used two mixing boards and recorders in pop recordings after the advent of
stereo LPs was because of the musicians union. In the late 50s and early
60s it was not allowed to "overdub."  Likewise I understand that if you
created a mono master from a stereo tape you had to repay the musicians
over for the session again. Therefore since companies wanted separate mono
and stereo mastertapes for album production, they would mix and create both
versions at the same session. They did not use duplicate mics, they just
fed them to two boards.

This may not have been nation wide,  but I liked to read the excellent
liner notes Shelby Singleton would write for his Mercury pop releases. He
would usually name the studio, the types of mikes used and engineering
staff. I remember one phrase was something like (engineers name) was at the
stereo board and (engineers name) was at the mono board. Those were the
engineers doing the audio mix at the session.

Even though the rule was relaxed in the mid 60s sometime, Columbia Studios
were all union and I understand they created separate mono and stereo
masters (and mixes) until the late 60s. That's why hit Columbia singles
always seem to sound more exciting than the same song issued on  stereo
albums. The hit singles were EQd and sweetened for airplay and therefore

Paul Urbahns
Radcliff, Ky