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

David Lennick dlennick at sympatico.ca
Sat Apr 21 19:56:38 PDT 2012

Matter of fact, most of the Connecticut Yankee album appeared on a World 
Transcription. Not all of it, but several of the sides, so that could have 
served as a clean source if they'd had a copy.


On 4/21/2012 10:36 PM, djwein wrote:
> The notes on the Broadway Decca CD reissue of the 1943 cast album of A
> CONNECTICUT YANKEE mention how the album was mastered from the original
> glass session lacquers (actually, a studio tape of the lacquers which had
> been broken some years earlier).
> Dave Weiner
> -----Original Message-----
> From: 78-l-bounces at klickitat.78online.com
> [mailto:78-l-bounces at klickitat.78online.com] On Behalf Of David Lennick
> Sent: Saturday, April 21, 2012 10:21 PM
> To: 78-L Mail List
> Subject: Re: [78-L] recording sessions on lacquers began . . . ?
> 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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