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

[David Lennick]

Victor used the Republic studios for a lot of classical recordings in 
Hollywood. As for the Decca processes described in the Billie Holiday notes, 
I'm looking at the booklet..it implies that they were cutting simultaneous 
78RPM masters and 33RPM safeties, but I don't know if that's actually true. The 
sound on most post-ban Deccas for the first year or so is very dull, whereas 
Decca made nice full loud original recordings prior to August 1942, and later 
issues of many of these same recordings (such as Oklahoma!) are superior 
transfers and can be identified as such by numbers and letters after the matrix 
and take numbers.

dl

On 4/21/2012 9:01 PM, Jeff Sultanof wrote:
> The information about Decca's recording methods comes (I believe) from a
> Billie Holiday 2 CD set where some of this was explained (I no longer have
> the set, so I don't remember exactly).
>
> It is also my opinion based on what I've heard that the Hollywood Victor
> studios was far superior to the New York Victor studios during the 1944-49
> period. Compare Tommy Dorsey records vs. the Hollywood Artie Shaws. A major
> difference. That New York studio was incredibly dry compared to the
> beautiful ambiance of the Shaw recordings.
>
> Jeff Sultanof
>
>
>
> On Sat, Apr 21, 2012 at 6:02 PM, David Lennick<dlennick at sympatico.ca>wrote:
>
>> My theory for years was that Victor and Columbia equalized their records
>> in the
>> mid 40s so that each one would sound terrible on the competitor's player.
>> There
>> certainly is a unique sound to those things. Oddly enough, I heard Freddy
>> Martin's "Managua, Nicaragua" played on 1946 Victor machine and it actually
>> sounded like music. Studios make a difference as well..listen to anything
>> recorded at the Lotos Club.
>>
>> dl
>>
>>
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