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Was Mary Howard the same person as Mary Howe?

Peace,

Paul


On 7/1/2019 6:38 PM, Thomas Stern wrote:
> AUDIO RECORD  February, 1948
> VOL. 4, NO. 2
> Published monthly by Audio Devices, Inc.,
> 444 Madison Avenue, New York City, in the
> interests of better sound recording.
>
> Don Plunkett, Chief Engineer of Mary Howard Recordings, adjusts one of the mikes in the
> spacious New York studio while an artist sits at the piano waiting patiently for Mary Howard's
> cue to begin. Inset: Recording's own, Mary Howard. Photos by Murniy Laden and Kdward O'zera
>
> The War Gave Mary Howard Her Big Chance to
> Make Good in Recording; She Did ??? And How!
>
> Before the War, many jobs in American industry were con-
> sidered "man-sized" positions and therefore . . . for men only. But
> the War and its tremendous drain on manpower soon gave the female
>
> a chance to "strut her scuff." And one such
> lady, who took full advantage of this op-
> portunity to prove that it wasn't strictly a
> man's world after all, was Miss Mary
> Howard, daughter of a well-to-do New
> England family.
>
> Mary Howard had a flair for good music
> and records particularly intrigued her. To
> satisfy her curiosity, she bought a record-
> ing machine and started on her own trial-
> and-error course in record cutting. Miss
> Howard's interest in recording steadily
> grew ??? and so did her recording equip-
> ment. And then . . .
>
> Mary Howard came to New York in
> 1940 and immediately applied for an engi-
> neer's job at NBC. As girls weren't being
> hired for that sort of an assignment, Mary
> Howard had to be content with a secre-
> tary's position in the engineering depart-
> ment. Then, her big break came. NBC, los-
> ing man after man to the armed forces,
> (Continued on Page 4)
> War Gave Mary Howard Chance to
> Make Good in Recording; She Did
>
> (Continued from Page 1 )
>
> decided the comely secretary deserved a
> chance to cut a disc and be paid for doing
> it. Mary was a big leaguer from thi" start
> and in no time at all, the trade looi J on
> her as a master recording engineer.
>
> Her work at NBC gave Mary Hc-vard
> ideas ??? big ideas of opening her jwn
> recording studio. And just to prove shc
> wasn't day dreaming, Mary Hov^ard in-
> vites you to visit her studio (Mary Howard
> Recordings) at 37 East 49th Street in New
> York any day you wish.
>
> Since Miss Howard set up her own
> "shop", a little over two years ago, many
> of the biggest names in radio have used her
> facilities. Such outstanding personalities as
> Alex Templeton, Eddie Duchin, Ethel
> Waters, Fred 'waring, and many others,
> have come to Mary Howard Recordings be-
> cause they knew that this Howard woman,
> when it came to making recordings, was
> "perfection on parade."
>
> Mary Howard Recordings functions
> primarily as a recording service and its
> operations, besides cutting instantaneous
> masters, includes line and air checks of all
> descriptions, studio recording and slidefilm
> work. In the last year Mary Howard
> Recordings released their own commercial
> records. The Herman Chittison Trio, Ethel
> Waters, Lucille Turner and Dale Belmont
> are a few of the artists who made recordings
> under the MHR label. And, like the thou-
> sands of other recording companies, Mary
> Howard Recordings is waiting patiently
> for the Petrillo ban to be lifted so they can
> 'get going' again.
>
> Cutting equipment in Mary Howard
> Recordings, according to Chief Engineer
> Don Plunkett, Mary Howard's able assis-
> tant, consists of: 'Van Eps and Allied Cut-
> ting Lathes, Presto 1-D Heads driven by
> Langevin 101 -A Amplifiers. "Our mixing
> equipm.ent," Mr. Plunkett explained, "is
> interchangeable by means of patching. Our
> Preamps and Our Program Amps arc
> Langevin. Re-recording equipment at
> MHR," Mr. Plunkett said, "consists of
> Allied Transcription Tables and Picker-
> ing Reproducing Equipment, which have
> served us most efficiently of all pickups we
> have tried. This combination ??? Allied TT's
> and Pickering Pickups ??? we find the most
> flexible for composite recording."
>
> Audio Record asked both Miss Howard
> and Mr. Plunkett what their particular
> techniques were ??? what they did to insure
> good recordings. To this query. Miss
> Howard replied: "We are of the opinion
> that a compact, consolidated recording and
> control room, combined adjacent to and
> visible to the studio is the best method of
> recording. With this setup a recording tech-
> nician can actually 'ride gain' but what
> is more important can see what actual level
> is imposed on the disc. We feel," Miss
>
> Howard continued, "that the term 'riding
> gain' is a poor description of the operation
> involved. The more dynamics achieved in
> a fidelity recording, even if the frequency
> response is limited, the more the sound
> originating in the studio will be approxi-
> mated. We feel that too much emphasis
> can be put on the word 'fidelity' and that
> some of the pre-emphasized and over em-
> phasized high frequencies often result in a
> sound unpleasant to the ear, which after
> all is the final judge."
>
> "Dynamic fidelity of course," Mr. Plun-
>
>
>
> kett h sti^ned to add, "is closely allied with
> surface noise and care must be taken with
> selection of styli and discs so that low level
> prssag ????? v.'ill not 'ce marred by surface
> noise.
>
> "And then too," the chief engineer went
> on, "recording quality must be checked
> constantly and the best check is immediate
> playback. This is, unfortunately, quite
> often ignored by many studios, or discour-
> aged by companies as a waste of time."
>
> "Yes, and," Miss Howard, eager to get
> back into the discussion added, "recording
> information about cutting characteristics,
> recording head designs, styli and quality of
> response equipment is easily obtained.
> These all enter into the final results. Un-
> fortunately, the interest and ingenuity of
> the recordist has often been overlooked.
> Recording," she continued, "is not a dull
> craft at all if engaged in all its technical
> phases. There seems to be a prevalence in
> large organizations for specialization ???
> cutting technicians, studio technicians,
> maintenance, etc. ??? which often results in
> poor recording because of lack of interest
> or information in all phases of the record-
> ing operation. If interest and enthusiasm
> were carried all the way through the re-
> cording organization, and management,
> perhaps time might be found to raise the
> general recording standards in America.
>
> "We have tried," she concluded, "to
> incorporate these methods (?) in our opera-
> tion and have had success ... or some such
> thing."
>
> >From what Audio Record has been able 
> to learn, that 'some such thing,' Miss
> Howard refers to, spells success all right
>   . . and with a capital 'S'.
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Steven Smolian
> Sent: Monday, July 1, 2019 6:47 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Female producers?
>
> Probably the first was Mary Howe who also had her own record company and was a composer as well.  Her "Stars" was recorded on 78, Kindler, I believe.
>
> Steve Smolian
>
> -----Original Message-----
> From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Marie O'Connell
> Sent: Monday, July 01, 2019 6:32 PM
> To: [log in to unmask]
> Subject: Re: [ARSCLIST] Female producers?
>
> Tom Fine's mother - Wilma Cozart Fine might be in the list - http://www.theabsolutesound.com/articles/wilma-cozart-fine-the-muse-of-mercury/
> Marie
>
> On Tue, Jul 2, 2019 at 10:09 AM Donald Tait < [log in to unmask]> wrote:
>
>>     Perhaps Jane Friedman (or Friedmann) at Columbia/Epic? She helped
>> me at Columbia's New York headquarters in 1976 when I was doing some
>> research about Bruno Walter's Columbia records. But I could be wrong about it.
>>    Don Tait
>>
>>
>> -----Original Message-----
>> From: Paul Stamler <[log in to unmask]>
>> To: ARSCLIST <[log in to unmask]>
>> Sent: Mon, Jul 1, 2019 4:34 pm
>> Subject: [ARSCLIST] Female producers?
>>
>> Hi folks:
>>
>> Anyone know who the first female record producers were? I'm not aware
>> of anyone before classical producer Teresa Sterne at Nonesuch in the
>> 1960s, but if there was someone else (either in classical or
>> vernacular), I'd like to know about her.
>>
>> Peace,
>> Paul
>>
>> ---
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