[78-L] Interesting article about remastering and sound restoration for the Mosaic's Artie Shaw Box Set

[fnarf at comcast.net]

I remember reading in a book about Gennett (or maybe Hoagy Carmichael) that they often had the opposite problem in the summertime in their Indiana studio -- keeping the wax blanks from melting, even when they were stored in a refrigerator. The studio was apparently hotter than blazes. They had to wait until everyone was ready to start the take, then get the blank and slap it on the turntable and HIT IT, and then carefully get the already-soft master back in the fridge. If the master got too soft, it wouldn't hold the groove, and the stylus would dig ever-deeper into the spinning disc.



----- Original Message -----
From: "Martha" <MLK402 at verizon.net>
To: "78-L Mail List" <78-l at klickitat.78online.com>
Sent: Friday, November 20, 2009 5:19:09 PM GMT -08:00 US/Canada Pacific
Subject: Re: [78-L] Interesting article about remastering and sound	restoration for the Mosaic's Artie Shaw Box Set

You answered your own question #1 -  they didn't use a hot stylus, so when 
the wax cooled, the "dog whistle" began.

In remote locations,  a simple box with a couple of light bulbs kept the wax 
blanks warm.  Even before 1930, it would have been rare to hold a recording 
session any place that didn't have some form of electric light .


----- Original Message ----- 
>
> Two questions regarding wax master discs:
>
> - if they didn't use warm stylus while cutting the wax masters, how come
> "dog whistle" problem (strongly connected with delayed beginning of
> recording session and cutting needle/tool getting colder and colder);
> - how did they heat wax blanks while on location, many acoustical records
> were made in various halls, etc. with no oven or electrical lamp?

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