[78-L] Hello and a question [FWD]

[Mike Harkin]

--- On Fri, 11/14/08, Malcolm Rockwell <malcolm at 78data.com> wrote:

> From: Malcolm Rockwell <malcolm at 78data.com>
> Subject: Re: [78-L] Hello and a question
> To: "78-L Mail List" <78-l at klickitat.78online.com>
> Date: Friday, November 14, 2008, 1:25 PM
> 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

There was a period -- don't know when it started or ended, but if memory
serves there are a number of Stokowski sets from 1934 -- when Victor did
exactly that:  fade out and in between sides.

Mike in Plovdiv
> 
> *******
> 
> 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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