[78-L] Decca Specialty Series (DAU-x)

[Michael Biel]

DL wrote:
>The U in the prefix almost always indicates "unbreakable".

From: agp <agp2176 at verizon.net>
> So -- I guess that means that DAU stands for D-ecca A-lbum U-nbreakable?

The A originally stood for "Automatic" sequence.  By the mid-40s many
pop Decca albums did not have side numbers.  Although dramatic albums
needed to be played in strict sequence and were numbered and were
usually in auto sequence, pop albums of separate songs didn't need a
strict sequence, so the D and DA prefixes were sometimes ambiguous on
regular pop albums.  

>Deccalite pressings are translucent at that time (not Canadian pressings
>though). Don't know if these would be by World Transcription or Vogue.

> Ah -- so what was Deccalite --plastic, vinyl, left over to
> hard raspberry gelatin? I'm sure this is answer somewhere,
> but just thought I'd ask.

It is vinyl, more properly known as vinylite, hence the lite suffix in
Deccalite.  In its purest form it is transparent or translucent, think
of the clear Ruby Red Victor pressings.  Colorings are added to make
different colors, including black.  Black records cover up inperfections
in the mix, and are also easier for DJs to cue up, especially
multi-track LPs.

> If such and similar stuff was available and used for promo
> records by the likes of RCA and Capitol, then why didn't
> the industry switch to it away from shellac.

It was initially more expensive then shellac, and companies that offered
both initially charged more for vinyl pressings.  And until the record
buyers switched away from heavy tone arms and steel needles, vinyl 78s
wore out almost immediately.  But it had already taken over the
broadcast transcription market by the mid-30s where the postage savings
for lighter weight would counteract the added cost. Plus with broadcast
recordings it was important to have a quiet recordings but often not
important to have discs that would stand up to heavy wear.  Many were to
be played only once, and even when used for music library purposes the
wear from the higher quality equipment used in radio stations would not
wear them out quickly.

> Naturally one can guess that they didn't want to make a
> better 78 to compete with the 45 and lp. 

No, that is exactly when more vinyl 78s were being offered to the
public!  It is also when RCA introduced its VERY quiet shellac compound.
 But despite vinyl being more expensive than shellac, the vinyl LP was
possible because one vinyl pressing cost the manufacturer less in
manufacturing and shipping costs than the equivalent 78 album of 4 to 7
shellac discs.  The vinyl 45 was also possible because relatively little
of the expensive vinyl was used in the small thin pressings that also
cost so much less to ship.  These cost factors were major points in the
corporate discussions while the formats were being developed. 

> I do note thought that late 50s Pye 78s in the UK are vinyl,
> and sound great, so obviously the situation was different there.

Absolutely not. It was when most consumers, even in the U.K. had already
switched over to lightweight arms because the players were 3-speed. 
Vinyl pop 78s were appearing in the U.S. as well, but the 78 format in
the U.S. disappeared in the U.S. at a faster rate.  An added factor
might also have been the cost of vinyl had decreased because of
increased production, and quite possibly shellac was becoming more
expensive due to lowered use.    

Mike Biel  mbiel at mbiel.com