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Re: [ARSCLIST] Dynadoodoo Re: [ARSCLIST] Exactly how many labels did RCA press records for in the 50s/60s ?
The way this thread has deteriorated,is just another sorry example of why I often regret joining this list.
If anyone knows of a better one,devoted entirely to dry,boring detailed discussion of an historical and discographical nature,of all times of music,from all different eras,from people who know more than I do,I would like to know.
Roger
David Lennick <dlennick@xxxxxxxxxxxx> wrote: Just when I was enjoying my Kraft.
dl
phillip holmes wrote:
> I'm out of my league here. You win.
>
> David Lennick wrote:
>> Courtesy of their Italian affiliate, La Dolce Velveeta.
>>
>> dl
>>
>> phillip holmes wrote:
>>> Avec pimento?
>>>
>>> David Lennick wrote:
>>>> From "Les Editions Fromage", sans doute.
>>>>
>>>> dl
>>>>
>>>> phillip holmes wrote:
>>>>> What kind of cheese? I might have a rare original manuscript
>>>>> around here somewhere.
>>>>>
>>>>> David Lennick wrote:
>>>>>> Don Cox wrote:
>>>>>>> Hello phillip
>>>>>>>
>>>>>>> On 16/03/08, phillip holmes wrote:
>>>>>>>> I seek out UK "dynagroove" pressings since the English just
>>>>>>>> mastered
>>>>>>>> them the same as the rest of their records (IE really well). I
>>>>>>>> don't
>>>>>>>> think that RCA sent them the dynagroove processed tapes. I
>>>>>>>> believe the
>>>>>>>> tapes sent to the US RCA cutting guys were pre-distored. In other
>>>>>>>> words, the guys doing the cutting weren't integral to the
>>>>>>>> dynagroove
>>>>>>>> process. That's my understanding. I've been told by more than once
>>>>>>>> source that the dynagroove process occurred at HQ where
>>>>>>>> different EQ
>>>>>>>> and distortion was added to a subsequent master to be used for
>>>>>>>> cutting. The distortion and EQ would change the further into the
>>>>>>>> side
>>>>>>>> you got.
>>>>>>>>
>>>>>>>> I have quite a few RCA pop and jazz records that sound good. It's
>>>>>>>> funny that RCA decided to follow Columbia's lead in producing good
>>>>>>>> sounding jazz/pop and bad sounding classical. By the early '70s,
>>>>>>>> most
>>>>>>>> good sounding classical was coming from England. It's a shame that
>>>>>>>> they changed anything from the early '60s. They may have had
>>>>>>>> access to
>>>>>>>> better microphones and tape decks, but the bad production values
>>>>>>>> more
>>>>>>>> than eliminated any gains in the quality of equipment available
>>>>>>>> to the
>>>>>>>> engineers. Hell, I'd take tape hiss and saturation with a simple
>>>>>>>> microphone setup any day (as opposed to 1,000 microphones, a
>>>>>>>> team of
>>>>>>>> guys in lab coats, and lots of monkey business).
>>>>>>>>
>>>>>>> Some of the worst sound in the 70s came from Deutsche Grammofon, who
>>>>>>> went overboard on the multi-mic approach.
>>>>>>>
>>>>>>> Regards
>>>>>>
>>>>>> I think I ran into two of the worst recorded LPs ever last night,
>>>>>> both by Stokowski and His Symphony Orchestra from 1950: Fire Bird
>>>>>> Suite and Petruchka. Both suffer from what is obviously Stoky's
>>>>>> heavy hand on the controls in post production (plus some truly
>>>>>> weird re-orchestration..you find me a xylophone in the "original"
>>>>>> Petruchka score and I'll buy you a cheese sandwich).
>>>>>>
>>>>>> dl
>>>>>>
>>>>>
>>>>>
>>>>
>>>
>>>
>>
>
>
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