[78-L] Hello and a question

[Pablo Varela]

Thank you! I hearded that were made in that way but I someone told me about a Brunswick machine that have some kind of automatition in the process.
I have Mahler Ninth only in CD, but I have 1947 Tchaikowsky Pathetique by Toscanini in LP and I asume that was made as you said, and I have a Columbia box with Berg's Wozzeck by Mitropoulos in 33 RPM wich offer a list of complete operas in 33, 45 and 78 RPM.
I suppose that those operas were mastered in 78 and then joint in LPs.
Thanks again.
Pablo.
 
Date: Wed, 12 Nov 2008 15:52:01 -0500
From: David Lennick <dlennick at sympatico.ca>
Subject: Re: [78-L] Hello and a question
To: 78-L Mail List <78-l at klickitat.78online.com>
Message-ID: <491B41F1.1040005 at sympatico.ca>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

This was done on many recordings, such as most of Toscanini's in the 1930s,
by 
feeding the audio to one cutter and having a second one ready when the 
engineers were getting near where the record should end. Then they switched the

audio feed to the second cutter. Sometimes this was a very abrupt change and 
there would be a lot of blank grooves at the beginning of the second side while

they waited for an appropriate place to make the change (and sometimes they 
were almost too late).

Some recordings were made at 33RPM on long-playing sixteen-inch discs and 
transferred later to 78.

dl

Pablo Varela wrote:
> Hello all :)
> I have a big doubt about history of recording of live events in 78's
era.
> For example, what kind of machine was used for recording Mahler's
Ninth by Bruno Walter in Viena 1938. Common shellacs have 4 minutes playback by
side. How was recording this performance without a break?
> I hope I was clear because I usually speak in spanish.
> Thank you in advance.
> Pablo Varela.



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