[78-L] Hello and a question

[David Lennick]

Stokowski asked the same question, and his stuff in the early to mid 30s WAS 
faded. Often at the worst possible time, as in the Rachmaninoff Rhapsody where 
fades occur in mid-note, to say nothing of mid-variation, often with not enough 
of the overlapped note at full volume to permit a good join (believe me, I've 
dealt with this one a few times). HMV actually dubbed that entire album, very 
successfully, to get rid of those fades and end the sides at natural breaks. 
They were so successful you'd swear they had a master source to work from, and 
considering that Victor did try recording continuous works on film, that would 
have made sense (except that it definitely is dubbed from 78s, since they 
missed getting one join perfect).

dl

Malcolm Rockwell wrote:
> 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
>>
>>   
> 
> 
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