Видео

library card no. related without a doubt - city's slave trade crazy for its history to say helped them grow but its a post georgian city - you couldn;t make it up - works for Liverpool Dublin etc but Glasgow can't use that excuse andf must start instead honouring the industrialists that instead made it happen!! FILTHY even the polished clean cut lives every night as the pavementys sho the next morming - Suchiehall streets even started to tattoo its kerbs to masked the clean-cut' culture's traces of bringing the MacDonald's creche to the adult environment once they grow up - god pls free us from thisbolloocks

that point being manipulation to the nth degree - you have your own bodies and souls - pls stop slithering over others' and stop impeding nice people that are enriching your library (no more biting the hand pls - centuries can change) go on, get well soon.

1934 in early October at the Leeds Music Festival. Apparently during afternoons without audiences on rough memory. I may be wrong!

@@kevintoner1 Thats nice, ive been to leeds so its strange to think this was recorded almost 90 years ago and i was there recently where it was recorded

@Wolfganger glad you've resolved that. It's something that's always crossed my mind too until relying more on actual 78s. I almost forgot that was something of an issue! When it comes to play along with hopefully the 78s will be set to A=440, but I'll need to check in due course. THANKS for bringing to light here!

Intriguing - thanks so much. I imagine this explains why the commercial variant transfer in the much later digital age is of such a surprisingly high standard. I am less surprised with any of the transfers from tape when that also ran parallel with 78s (and by then 33s and 45s), but a little further on than the 33 mastering you speak of. Indeed electrical transcription sessions from. 33s 16" masters are always a joy to hear and one has to wonder sometimes (depending date) which is which as tape eventually subsumed even the electrical mastering of 33s as well as 78s. It was radio station preference of course to favour 33 rpm over 78s hence the humble 16" transcription discs as alternatives to broadcast. These ETs do predate 1939, but will have ran in parallel thereafter with everything till eventual acceptance of tape onto LP & 45 come by the end of 78s or during the 1950s. Trad. 78s do have something: it's at least the extra surface noise to expect or ignore and if not something else, that's rather special but hard to explain, which compares well with a noiseless competitor such as tape or from the early vinyl 16" format mastering age slightly beforehand. I imagine that with the correct dedicated needles and players etc. that hearing actual live playback of especially 78s as the most developed medium and technology offers the most unbeatable conveyance, but it's something that can't be transferred or digitised with this being rather heard by the naked ear if you will! I'm guessing that from you tubers that host a great deal of players and not so much what can be digitally extracted from a format: I've been quite taken aback at times with some of these demonstrations marrying grooves with stylus with player to bring out things even decent digital transfers will have missed. It's quality that we've eventually had to give up on because it can't be broadcast simply experienced - so the follow up stage has been to make do with as best a noiseless format as possible, hence the LP taking over as the newest experiential format because of being more broadcast-able not necessarily better to hear than 78s at their best! I'd presume such from what I've seen to date, but above all it's a most wild guess in the wilderness of recording techniques and instrumentation etc. all swinging in roundabouts as cultures shift from one trend to another; ergo all we can do is guess what'd really have been the most superior format for what age. I don't think it's simply the latest that's best, in getting there through having to concede on arriving at 'what was best heard yet not best broadcast' (e.g. 78s), (ps apostrophies & commas added 😮) all the while recording what (musically) and with-what (technologically) diversifying beyond having to care as much... Some thoughts on the format battle that we can have now, but couldn't while fomats and times were in transition on whatever age!

@@kevintoner1 I believe that Columbia may have switched over to tape in 1948. Not sure. What is extracted from their 33 rpm masters is often quite stunning, almost like you're in the room with the orchestra. All Through the Night by Kostelanetz is one example of such stunning fidelity. Like you say, though, properly recorded 78s can have a certain powerfulness and rawness that other formats can lack. I'm not sure if it's lack of automatic compression, something that RCA started employing in the late 40s, or just the speed at which the undulations are rammed at the stylus. Columbia engineers seem to not have always been so careful with over modulation, though, and so you come across records where the loud passages get quite raspy even on clean copies.

Record dating guide is available via archive.org - it has REX, but it is approximate. That's what I'd use generally, but good luck in finding out in any other way too. British Newspaper Archive can often verify the month of a new release, much like Billboard magazine can do for US releases. Happy searching!

Thanks for very kind remarks. It's indeed the artists' performance to thank, for what was a tough digitisation. The commercial mp3s of this are indeed fabulous, which is explained well by you regarding the masters for the LPs ttansferred a few years later than the 78s - so a level handicap for 78 Vs 33 in which case I wonder if the Lps will have had the edge if transferring like for like rpm (?): and if so then perhaps the 78s here have indeed fared quite well. Very Interesting!

@td3993 I wonder if these masters for the eventual 33 1/3rpm were entirely independent of and additional to the 78s mastering, as perhaps dubbing from one speed to the other may've been to large a concession. That said, I did wonder during the digitisation of this: if it was of a dub (disc to disc of course).

@@kevintoner1 Read about Peter Goldmark. He came over from RCA after being ordered to pull their failed 33 rpm record off the market. He immediately ordered those at Columbia to start mastering at both 78 rpm and on 16 inch 33 rpm discs simultaneously, and for engineers to get to work on producing a better long playing record product. Through careful refinements such as heated cutting styli, microgrooves, closer groove spacing, variable groove spacing that spaced narrower for quiet passages, which saved space, vinyl pressings, and lighter more compliant playback pickups, they redefined what the LP could be, and with a backup of amazing masters, were able to release a ton of material immediately in 1948. Unfortunately, not so much care seems to be put into their 78 masters, which are sometimes poorly recorded with muffled sound, massive distortion on loud passages, and overuse of stampers. A prime example of the superp difference between the 78s and the LPs is Andre Kostelanetz's Musical Comedy Favorites album, which was recorded in October and November of 1940 in Liederkranz Hall. The very first pressings of this sound pretty decent. You'll find that Falling in Love With Love in particular starts to sound swishy and horrible with newer pressings. Sometime in the mid to late 40s they remastered the 78 rpm album with V grooves, which are more forgiving and quiet, but the sound is harsh, groaning at times. I have to ask what the engineers were thinking when they were spinning their equalization dials. All the Things You Are has terrible distortion toward the end. Now, get yourself an LP copy, or just listen to what Sony Music has put on RUclips. Absolutely superb fidelity with no distortion from 1940! Rumba with Cugat is another album that you'll find early pressings of that sound great, but later pressings were obviously pressed from worn stampers, likely with the bottoms of the grooves rounded off, and so the stylus won't sit properly. It'll swish a lot unless you use a fatter stylus. Some better examples fidelity-wise might be Andre Kostelanetz's Cole Porter album, a 3 record album from 1948. The 78s sound brilliant, spectacular. The LP version is even better. They may have switched to tape masters by this time. Grand Canyon Suite from 1942 by Kostelanetz is mastered well. Sounds incredible. I actually transferred the whole album to digital file, but never posted it here, and I should. It's a treat to listen to.

My pleasure! Absolutely no problem - I'm enjoying it all too, tremendously. Nice to read your very kind comments 😊 thanks

@@kevintoner1I’m actually obsessed with this song now! I have it on repeat while I’m reading my book for English class.

Hee hee 😊

Glen Gray's band did a recording of it in the early 30s. The vocalist makes for a rather annoying listen. The disc presented here is far more enjoyable.

You're welcome

Nice. I've noticed those types before!

I hope I can find more of these delightful Brisson 78s (Little White Lies; & On the Sunny Side of the Street - both of interest) - then will indeed publish here.

omg jeztik my ohio home guy

I imagined this! I played the actual music and couldn't find that catch at the imagined points; possibly because composition 'Smile' also regularly uses this motif (not alone, and much more than Duke actually does on performing his own score here - these are indeed at the end of the lines - to open the following ones, except the bridge's at "nonchalant" that starts such a bar, on the bridge) including another from Sophisticated Lady too (the descending bars); either this &/or the fact that Duke embeds the motif quickly on piano (maybe and compoundedly in the opening bar) and then its easy to imagine from there (despite his band's soloists dispensing with it so much or slowing it - excepting the bridge's). Another historic classic that makes regular use of that "nonchalant" motif is of course the highly memorable 'Moonlight Serenade' by Glenn Miller - who uses it doubly as I imagined it on the 3rd and 7th bars (Chaplin's 'Smile' doubles it on the first lines from bars 5 to 8 albeit not in 4/4 but 2/4 time) for the same effect.

Thanks Stuart, My playlist doesn't date this I see. Lang-Worth discs are undated. I'll be checking discogs to help narrow down the date - once looked at I'll update the playlist then with a possible circa date as close as I can. Anyone, please feel free to add any other date sources or leads.

@@kevintoner1 👍

probably 1944 - I found a quicker route: another LP showed another almost identical performance, but for AFRS rather than commercial radio. Now uploaded. The date for that was August 5, 1944. It sounded extremely similar so I'd think so should be roughly the dates too.

I'll have a check through my LPs, info etc., but if you can't find it - it maybe doesn't exist anywhere! I guess should always be assuming that earlier takes (and later for that matter) than published are extant till proven otherwise ;) GOOD LUCK! 🙂

@@kevintoner1 It has been said that take A, B & C were all released under the same catalogue number.

@@alternateunreleasedshellac505 great to know - thank you so much. I'll definitely keep a look out! Thanks again.