Thank you for the further info, Doug. From what Marc wrote, it was unclear
how much of the project was in stereo. But just considering the date,
circumstances, and the tech of that day, I was impressed by how good the
samples sound. The oboe is distant but the strings can be heard well. Even
for a casual Parker fan like me, it's astonishing to hear. Thanks for
helping to make it possible.

That link was from Lani Spahr's post, August 5th. It works for me - here it
is from the browser:

Interesting discussion, folks. 

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Doug Pomeroy
Sent: Sunday, August 31, 2014 6:22 PM
To: [log in to unmask]
Subject: [ARSCLIST] FW: [ARSCLIST] Accidental stereo (again)

Hi Carl,

I couldn't find the item you referenced at, but I contacted Marc
Myers and he sent me this link:

This 2-CD set is not a recent release, but one which I created in 1996 for
Jazz Classics Records.  It has only one performance in "stereo" (which the
album cover does not make clear!), and the effect is not very convincing due
to the considerable distance between the two non-pro recorders and the very
poor audio quality of one of them, especially with regard to speed

Even Capstan would not be able to synchronize these two tracks!  (I chopped
the recording into many successively smaller parts and changed the
durations, and pitch where necessary, to synchronize the segments between
points where the same musical event could be clearly seen in the waveforms
of both recordings.
This was the best I could do with what I had back in 1996.

Part of this track was played at the recent meeting of the New York Chapter
of ARSC, at which I appeared in a panel discussion with other engineers.

BTW, the link you provide for the Keith Hardwicke's comments
did not work on my computer.  Have I got it wrong, or has it expired?

Doug Pomeroy
Audio Restoration and Mastering Services
193 Baltic St   
Brooklyn, NY  11201-6173
(718) 855-2650
[log in to unmask]

> Date:    Sat, 30 Aug 2014 13:19:29 -0400
> From:    Carl Pultz <[log in to unmask]>
> Subject: FW: [ARSCLIST] Accidental stereo (again)
> According to The Elgar Edition, EMI's 1992 CD reissue box, both 
> sessions = had balance engineers A. S. Clarke and Edward Fowler 
> working for Fred = Gaisberg.
> Both are also credited with the live Gerontius at Albert Hall 2/27. = 
> Clarke also was on the team for Sym 2, Queen's Hall 4,7/27 (with 
> Douglas = Larter), as well as the Sym 1 sessions at Kingsway 11/30.
> Yes, matrix 2B. I only have Volume 1 of that set, so that's all the 
> info = I got. Chronologically, Falstaff is where it leaves off.
> BTW, an interesting example of incidental stereo is a recent 
> "reconstruction" of a live Charlie Parker With Strings date. 
> featured it earlier this week.
> -----Original Message-----
> From: Association for Recorded Sound Discussion List 
> [mailto:[log in to unmask]] On Behalf Of Lani Spahr
> Sent: Tuesday, August 05, 2014 12:19 PM
> To: [log in to unmask]
> Subject: [ARSCLIST] Accidental stereo (again)
> Hello All - I'm sure you're all familiar with the YouTube clip of 
> Keith Hardwicke throwing cold water on the "Californian idea" that 
> there were =
> 2
> independent cutters working at HMV from which it's possible to create "
> Accidental Stereo" ..In case you're not 
> -=A0
> =A0
> My question is, does anyone know the name of the engineer who Keith = 
> refuses to name? He said this man made the very first recordings at 
> Abbey Road.
> We know that the first recording made was on 11 November 1931. It was 
> = Elgar conducting his Falstaff. The famous official "Opening" in the 
> Pathe = Newsreel was from the next day, 12 November.
> The matrix #s for this session have a prefix (indicating the engineer) 
> = of 2B, and in fact all of Elgar's subsequent recordings in Abbey 
> Road were = done by the same engineer, 2B. (see Elgar on Record, JN 
> Moore) I found a file 
> online=A0
> f=A0=
> that
> gives prefix #s for almost everyone (pg 4) except 2B.
> I know this might open a can of worms but I'd like to know who this 
> was. = In Elgar on Record on there is a picture (facing pg 161) of 
> Edward "Chick"
> Fowler at the lathe. In the Pathe clip there is another, different = 
> engineer at the lathe. Fowler had a matrix ID of 0F or 2F, so it 
> wasn't him.
> Thanks in advance
> Lani Spahr