[78-L] Speaking of cuing transcriptions..wuz Re: Edward VIII Abdication on records

[Sammy Jones]

Slight correction to my comments below...

I should have said, "They were pioneered by sound on DISC editors," and not 
"sound on FILM."

Whoops!

Sammy Jones


----- Original Message ----- 
From: "Sammy Jones" <sjones69 at bellsouth.net>
To: <78-l at klickitat.78online.com>
Sent: Monday, July 02, 2012 7:54 PM
Subject: [78-L] Speaking of cuing transcriptions..wuz Re: Edward VIII 
Abdication on records


>I thought tape was available in the U.S. as early as about 1946 or '47. 
>Wasn't the second season of Crosby's Philco Radio Time edited on tape (as 
>opposed to disc to disc like the AFRS did)?
>
> I don't know specifically about Columbia's early LPs, but I have the 
> impression that methods of disc to disc editing (dubbing from  several 
> source discs to a new master disc) were pretty refined by the late '40s. 
> They were pionered by sound on film editors (early Vitaphone, etc.) and 
> perfected by the Armed Forces Radio Service which edited dozens, if not 
> hundreds, of radio programs every week to remove whole commercials and 
> sometimes single words.
>
> I have an AFRS Fibber McGee show where the quality drops tremendously and 
> then returns to normal quality during one section within a 15-minute side, 
> but the edit is otherwise imperceptible.  That says to me that the section 
> in bad sound may have been edited down to a sub-master disc because of 
> complications, then played back in to the new master disc at precisely the 
> right time.  Very complicated stuff...
>
> That being said, I don't know how they did it!  I imagine there were 
> turntables that were mechanically linked together and some sort of counter 
> to count revolutions, or parts of revolutions.  This is a fascinating 
> topic...
>
> Sammy Jones
>
> David Lennick wrote:
> Hijacking the thread, thank you.
>
> On 7/2/2012 7:01 PM, Michael Biel wrote:
>>
>> That (arrow) is what you find on soundtrack
>> discs so that they can be cued up without backspinning them.  It doesn't
>> point to the beginning of the groove, but to the point in the disc where
>> the sound begins.
>
> When Columbia began cutting 33rpm microgroove masters for the new Lp 
> format,
> they dubbed from 16-inch lacquers that had previously been used as source
> material for 78s. Classical works consisted of movements in 4 minute 
> chunks
> spread over several 16-inch sides (contrary to what people have written, 
> they
> did NOT record the works non-stop). The dubbing team had to be right on 
> the
> note to make the side joins, and they usually got it right, but how did 
> they
> cue to music without back-cuing and ruining the original? Did they work 
> from
> safeties? Did they carefully note the number of turns and cross their 
> fingers?
> Remember, this was all before tape. I've heard one 78 issue (not on 
> Columbia,
> but on Mercury) where the music is preceded by an entire rev of cue 
> scratch.
>
> dl
>
>