[78-L] San Francisco Records, wuz (I forget)

[David Lennick]

Just steer clear of any reissues on Barbary Coast, which dropped tracks, had fake stereo and even overdubbed a freakin' ACCORDION on the first Albert White album (I don't know if I ever dared listen to the second one).

dl
 
> From: mbiel at mbiel.com
> To: 78-l at klickitat.78online.com
> Date: Wed, 30 Jun 2010 10:04:19 -0700
> Subject: Re: [78-L] San Francisco Records, wuz (I forget)
> 
> Like everything this label released, this is a great album.
> 
> Mike Biel mbiel at mbiel.com
> 
> -------- Original Message --------
> Subject: [78-L] San Francisco Records, wuz (I forget)
> From: David Lennick <dlennick at sympatico.ca>
> Date: Wed, June 30, 2010 12:48 pm
> To: <78-l at klickitat.78online.com>
> 
> 
> And now, because I don't have anything better to do, I'm going to post
> the entire "Technical Gibberish" note from San Francisco M-33009, "Hi-Fi
> Sounds for Hounds", a grab bag of "scraps taken from other albums that
> we didn't think were really necessary" and "sounds or music that we
> didn't think would have general commercial appeal..not that we want you
> to get the wrong idea about this album, but anyway...".
> 
> 
> 
> Ahem.
> 
> 
> 
> TECHNICAL GIBBERISH
> 
> 
> 
> The assembled recordings were produced over a period of approximately
> two years at various studios and halls and basements and gutters. No
> effort was spared to find suitable locations which would faithfully
> reproduce the sonic characteristics of the individual instruments or
> sounds. For example, it was discovered that the hall which best captured
> the dynamics of (Fred) Hage's one-man band was the hall between the
> bedroom and the bathroom in the home of Mr. and Mrs. Laertes "Groove"
> Joost. Unfortunately, the Joost home was demolished by the California
> State Highway Commission (J. D. Smith, Director) to make room for a
> freeway before the recordings could be finished. We are happy to report
> that Mr. Hage suffered only minor abrasions and a small scalp lesion.
> Texcel 36-B masking tape was used exclusively and an AJAX Corporation
> "Steno" wire recorder with a built-in telephone tap was employed for the
> master recording. Seventeen Brush crystal multi-directional microphones
> model nu
> mber 37-U23, set wherever a wall met a floor or ceiling were used for
> the major pick-up of the studio recordings. Field recordings were made
> on the newly developed ACME (ruggedly constructed) carbon microphone,
> which incidentally employ magnificent new low-hiss circuitry. All mixing
> was done separately on another channel using a Hamilton Beach duo-beater
> system. (Great for chocolate malts, by the way.)
> 
> 
> 
> San Francisco Records exclusive process F.E.-F.I.E. (Fidelity Eh?
> Fidelity Isn't Everything) specifies that absolutely no limiting of the
> signal be employed. This means that you have to purchase a complete new
> sound system utilizing a 70-watt power amplifier, two pre-amps and a
> special stroboscopic turntable with a viscous damped pickup and a
> variable reluctance arm using a supra-balanced head housing a thorium
> needle, and a four-channel speaker system with two fifteen-inch low end
> drivers, 21 ten-inch mid-range pushers, including seven multi-cellular
> pressure tweeters connected by a dual exhaust cross-over network hooked
> to your power amplifier.
> 
> 
> 
> In order to hear the recording satisfactorily, the greater dynamic range
> will be evidenced by the cracked plaster and the starboard list your
> house assumes as it resettles on its foundation.
> 
> 
> 
> Transfer from wire to disc was made on a Mergenthaler lino-type with
> heated ultra-dynamic feedback employing a Yankee cold chisel type lathe.
> 
> 
> 
> Pressings are pure custom reconditioned wax taken from old Edison
> cylinders. Frequency reponse from 1 to 1 million cycles. Use the new
> T.A.G.I.T.S.R. curve (Try and Get It To Sound Right).
> 
> 
> 
> Technical Data written on the typewriter at Feibush and Sons Hat
> Factory, 219 Kearny Street, next to the studios of San Francisco Records
> by Bob Ross.
> 
> 
> 
> ---------------------------------------------------------------------------------
> 
> > From: dlennick at sympatico.ca
> > To: 78-l at klickitat.78online.com
> > Date: Wed, 30 Jun 2010 12:18:49 -0400
> > Subject: Re: [78-L] Guckenheimer question, mein herr
> > 
> > 
> > Both are Capitol pressings. Same master (FB 2926-D1) on side one, both copies, but TM-5 Side 2 is FB 2927-D2 and has TM-5 in the land as well.
> > 
> > 
> > 
> > dl
> > 
> > > From: mbiel at mbiel.com
> > > To: 78-l at klickitat.78online.com
> > > Date: Wed, 30 Jun 2010 09:11:37 -0700
> > > Subject: Re: [78-L] Guckenheimer question, mein herr
> > > 
> > > I believe that other, perhaps all, San Francisco records also appeared
> > > on the Talking Machine label. I'm not sure if I have any examples like
> > > this on both labels, but I think I have several TM records that had
> > > earlier been on SF. Are both of your copies Capitol pressings using the
> > > same masters?
> > > 
> > > Mike Biel mbiel at mbiel.com
> > > 
> > > 
> > > -------- Original Message --------
> > > Date: Wed, June 30, 2010 11:56 am
> > > > Repeating the question.
> > > >> Date: Wed, 16 Jun 2010 00:48:06 -0400
> > > >> How come I have the Guckenheimer Sour Kraut Band's "Oom-Pah-Pah In Hi-Fi"
> > > >> on two different labels? Identical artwork and liner notes, but one is
> > > >> San Francisco M 33005 and the other is Talking Machine TM 5. Did any
> > > >> other of San Francisco's albums appear on this other label? (1900 in
> > > >> Hi Fi would have been a natural.) Different addresses shown as well..
> > > >> 562 Kearny Street and 217 Kearny Street. The TM release shows
> > > >> "Copyright 1957 San Francisco Record Corporation". dl
> > > 
> > > 
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