[78-L] Hello and a question

[Malcolm Rockwell]

I don't understand this.
Back in the 30's and earlier, sound engineers for film knew about and 
used the segue, cross-fading and other basic tools of the trade. Why the 
hell did the major labels chop, dice and rice material that was longer 
than 3 or 4 minutes, especially on album sets or 2 sided records? Why 
not start the second disc cutter before the first cutter was finished 
and then fade out/in so there was just a little overlap, and thereby no 
missing notes, bars, movements, etc.?
Makes no sense... unless they were worried about automatic players. Even 
so, it still makes no sense.
I guess you don't have to have brains to be a butcher.
M

*******

David Lennick wrote:
>
> Toscanini was notorious for refusing to start and stop for record sides, so 
> even in the studio, most of his recordings were made in continuous mode. You 
> can hear chopped notes at the beginnings and ends of sides in such works as the 
> William Tell Overture and Beethoven's 5th Symphony (and of course the 7th, with 
> its long blank gaps, and the Eroica, taken from a broadcast).
>
> dl
>
>