[78-L] Question 1812 Overture

Sun Apr 3 07:55:42 PDT 2011

Sounds like home. Plus a few storage units in my case.

dl

On 4/3/2011 9:16 AM, Robert M. Bratcher Jr. wrote:
> David, my Weingartner Columbia green label Beethoven 9 symphonies might be on
> Entre (as a reissue) instead of the regular Columbia blue label but I haven't
> played it in a good year so I'd have to go digging though my classical LP's to
> find it one day if I ever decide to look for it. Didn't think he'd be on Entre
> but I guess he was at least for this set anyway. My other Entre record (a single
> disc of a symphony, orchestra&  conductor I can't think of without looking for
> the album) is on the grey label. I've got so many 78's, 45's&  LP's that I
> honestly can't remember all of them without digging through the collection, some
> of which I've never played since I aquired them in one way or another though the
> 35 years that I've been a record collector a.k.a vinyl jumkie. I really don't
> think that it's my 52 years of age but rather the huge size of it. A rough guess
> might be a hundred thousand discs (with duplicates included) but I might have
> more than that. I honestly don't know how many records I've got. Just that it
> fills up 2 bedrooms, part of the living room, some of the hallways (yes it's all
> on shelves) plus all of a 2 car garage. In other words my 1999 Toyota pickup
> truck is parked outside in the driveway. Thats why my acummulating (to call it
> that) of new (to me) listening treasures has slowed way down from what it used
> to be. Yes I still go to the Austin&  Houston record collector shows but must of
> my other tracking down (or hunting for records) has almost stopped with the
> exception of buys on Ebay from time to time. Other than visiting Black Dog
> Records one time last year (a collector shop on Shepherd close to hwy 59&  they
> never have 78's) I haven't tried to visit whats left of the Houston record
> collector shops in several years. Nor do I go for record hauls of any size like
> I used to do in the past as I honestly don't have room unless I wanted to rent
> climate controlled space on west 34th street which I've thought about but it can
> get expensive if I rented more than one 10x10 or a 20x20 space every month to
> store more rocords so I haven't done that&  don't intend to anytime soon at
> least not for another year or two. Still have some space in my bedroom (the one
> I sleep in) at least. The dining area is full of records on shelves&  I'm not
> putting them in the bathroom, kitchen or the attic!! However the living room has
> some space for a few shelves but then I'd only have a path to walk through plus
> a place for my computer.....
>
>
>
>
> ________________________________
> From: David Lennick<dlennick at sympatico.ca>
> To: 78-L Mail List<78-l at klickitat.78online.com>
> Sent: Sat, April 2, 2011 6:39:32 PM
> Subject: Re: [78-L] Question 1812 Overture
>
> Oh..one odd thing Remington did was turn out a full price "prestige" label
> called Masterseal. The recordings were no better at $6 than they were at $2 and
> in at least one instance, it was exactly the same LP (Fritz Busch conducting a
> couple of symphonies). The Masterseals were pressed by RCA and came in a padded
> gatefold album, but with no inner sleeve or raised edges, so they always turn
> up scratched and dusty.
>
> dl
>
> On 4/2/2011 7:16 PM, David Lennick wrote:
>> Odd about the Weingartners being on green label, since the ones I've seen have
>> all been the regular blue label. Or were they "Columbia Entre" which started
>> out as grey label and then were green by the mid 50s? Entre and Bluebird
>> coexisted as budget and reissue labels for Columbia and Victor. When RCA
>> brought out Camden late in 1953, that may be when Entre's price dropped to $2.
>> And both labels were probably in answer to Remington and all the other budget
>> labels. By 1953, Remington was recording American orchestras and modern
>> American music (under a grant, of course) and had begun to outgrow the shlock
>> reputation they'd started out with. Does anyone know why they stopped making
>> new recordings after this point and just kept grinding out the same old stuff
>> on Remington, Plymouth, Palace, Webster and on and on?
>>
>> dl
>>
>> On 4/2/2011 6:10 PM, Robert M. Bratcher Jr. wrote:
>>> That green label Columbia LP set of the Beethoven 9 symphonies I have is by
>>> Felix Weingartner with whatever orchestra he was conducting at the time. Why
>> it
>>> was on green label instead of blue label was always a mystery to me. Oh&
>> David
>>> since you know more about Columbia than I do can you tell me more about the
>>> Entre label? I have one in my collection (can't tell you offhand what the
>>> actual
>>> recording is as I'd have to go dig it up) that seems to sound fairly good
>>> similer to what the dark blue classical LP's sounded like. All I know is that
>>> it
>>> was a lower priced budget line of classical music. A quick Google search
> tells
>>> me that they came out in 1952&   sold for $2.95 each.
>>>
>>>
>>>
>>>
>>> ________________________________
>>> From: David Lennick<dlennick at sympatico.ca>
>>> To: 78-L Mail List<78-l at klickitat.78online.com>
>>> Sent: Sat, April 2, 2011 4:32:50 PM
>>> Subject: Re: [78-L] Question 1812 Overture
>>>
>>> Columbia began recording 16-inch lacquers in late 1939, initially as safeties
>>> but before long as source material for 78 issues and later for lps. However,
>>> English and European Columbia didn't go near tape or 33rpm for a long time so
>>> those early Columbia LPs issued from England were dubbed from 78s, usually
>> very
>>> poorly. Columbia eventually relegated these to their Entre label, unless the
>>> recordings were of historical importance (Szigeti, Weingartner et al). And
>> yes,
>>> I've always felt that the 78 transfers sounded far superior and made a
>>> deliberate point of using them when I was doing reissues for Pearl and Dante.
>>> There are those who grew up with the early lps and preferred them. Note that
>>> echo was often added during the lp transfers. Note also that a lot of
>>> Columbia's early lps were dubbed direct from the lacquers, since they were
>>> working on the format well before 1948 and tape hadn't been introduced, so
> the
>>> engineers had to be pretty quick in accomplishing side joins LIVE. Nothing
> any
>>> competent radio operator of the 40s and 50s didn't know how to do in his
>> sleep.
>>>
>>> dl
>>>
>>> On 4/2/2011 4:31 PM, Robert M. Bratcher Jr. wrote:
>>>> Part of your horrible sound quality experience with LP's made by Varsity,
>>>> Royal,
>>>> Plymouth&     other budget labels was the cheap low quality vinyl they all
>> used
>>>> plus the equilization wasn't RIAA but something else entirely. You have to
>>>> remember that prior to 1955 many different recording curves were used such
> as
>>>> AES&     others I can't think of at the moment. Most of those early curves
>>> don't
>>>> sound great when played on a modern system. Columbia's LP curve for example
>>> has
>>>> weak bass when played on RIAA.
>>>>
>>>> The first Columbia classical LP's came out around 1948 or 1949&     were all
>>>> dubbed
>>>> from the 16 inch masters that the original 78's were made from or they may
>>> have
>>>> been dubbed from the 78 rpm stampers. I don't have the exact answer on the
>>>> dubbing sources for these. Even if you the have a preamp that is able to
>>>> reproduce the LP curve I don't think those early Columbia LP's sound as good
>>> as
>>>> the 78 RPM issues as I've managed to find a few 78 sets for some of my early
>>>> dark blue label Columbia LP's&     the 78's sound better to my ears.
>>>>
>>>> Oh&     I've got a green label Columbia Beethoven set of the 9 symphonies
> that
>>>> sounds ok however the dark blue label 78's (of the exact same recordings)
>>> sound
>>>> much better.
>
>
>
>
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