[78-L] recording sessions on lacquers began . . . ?

djwein djwein at earthlink.net
Sat Apr 21 13:33:56 PDT 2012

There is a Johnny Hodges Bluebird date from 1940 on the big RCA Ellington
box that was transferred from rehearsal lacquers. 

Dave W.

-----Original Message-----
From: 78-l-bounces at klickitat.78online.com
[mailto:78-l-bounces at klickitat.78online.com] On Behalf Of Harold Aherne
Sent: Saturday, April 21, 2012 3:53 PM
To: 78-L Mail List
Subject: Re: [78-L] recording sessions on lacquers began . . . ?

I read on a message board (whose archives are not available at present) that
Decca cut 
simultaneously on 33 and 78 lacquers from 1943-46, with the 78 used for
mastering and
pressing; at some point in 1946 they began cutting at 33 only and used
dubbing for all
final releases. Don't know how correct that is, but it's one tidbit of
Victor was still using wax (both cast and flowed) at the time of Billy
Murray's Bluebird
sessions in 1940-41:
It looks like they chose the "flowed" master in the majority of cases for
these sessions,
anyway, so one wonders why they kept making cast wax blanks. Did the
compositions produce different results, either in sound quality or pressing?
This is one reason why I'm looking forward to the EDVR reaching the 40s--not
only has
a lot of post-1936 Victor data never been published, but we'll probably
learn a lot more 
about which recording techniques were used when.
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