They did not have than beliefs and fashions that are accepted as "best engineering practice" today.
That, and the fact that at the time everything they knew about tape recording they learnt from Telefunken which invented tape recording, but Telefunken never told all they knew about it.
1944 was NOT a good year for exchanging information with Germany. Their information had a nice caliber attached to it.
In the early days of CD a man came into my shop who wanted to buy a Sansui SR222 turntable . I did what I never would today and stopped him from buying it . Perhaps it was out of stock . I asked as to what hi-fi he had . If I recall Quad and BMW 801's . I said for a modest upgrade in budget a Rega Planar 2 might be better . A Thorens TD160 ideal . It turns out the equipment was on loan from his work , the turntable he had to buy himself . He worked for EMI . Out of nowhere I said " how do you explain the worsening standards in recording " . He nearly jumped out of his skin . Patiently he asked me to define what I meant . I would say almost brushing away a tear he said to me to name recordings that supported that . His next comment was " I recorded that , I was technical director in 1959 " . The next bit confirmed my feelings and I quote him as I remember " . " When I went to EMI I had to pass the same test as a conductor of music . I had to sight read music and play four instruments . I was asked if I minded learning the technical side of splicing and machine maintenance . Gradually technicians took over who were asked if they liked music " . He went on to say liking music is not the same as understanding music . He also said how he could insist Maria Callas record something she disliked ( eg Macbeth ) . Now she would say no . His belief was that given the opportunity the music needed recording , making money was not considered of prime importance . The 1953 recording of Callas of Tosca is a masterpiece , original Vinyl especially . I heard it once via a Lyra Helikon Mono .
Callas !!!! Alas if only ( It is possible the man I met did recorded it for real . He promised never to release anything she felt unworthy . Maybe a 50 year rule on that ? ) .
https://www.youtube.com/watch?v=alrBe2XF0IA&feature=fvwrel
https://www.youtube.com/watch?v=alrBe2XF0IA&feature=fvwrel
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Like it or not, I think we need to realize that just as the appearence of mass pop music in the 60ies was a revolution in all senses of the word, it also made the music business more lucrative than ever. Suddenly, there were hundreds of millions to be made, because now, purchasing of LPs was no longer limited to a small band of affictionados.
Technology in general also promoted this, as music devices started being made in much larger numbers thus cutting costs of single units, and more affordable models started to appear (I will not discuss their general musical qualities, but more people DID buy them). All of which spawned the music industry, encompassing both software and hardware.
Suddenly, many groups became hot, as their singles and later LPs started to be sold by the million. In the 50ies, you got a golden LP for selling 100,000 LPs, in the 60ies this limit was raised to 1 million.
And recording standards started to first slide, and then drop appreciably. It had to be so, when the latest hit by so-and-so was recorded in a hotel room, on a portable low cost machine, when the artists were stoned out of their minds. Also, small, independent studio started mushrooming all around, and they had highly questionable technical and musical standards.
All of which had a negative effect on recording, mastering and LP stamping practices. Now it was no longer about quality, it was all about how fast can you get it out to the market.
Look at the pop charts of the late 60ies and early 70ies - note how many new groups appeared out of nowhere, had one huge hit, and then disappeared (e.g Zager & Evans, "In the year 2525"). SOMEBODY had to cater for all those wannabes, and it sure wasn't the big time music industry, given the costs of their studios per hour. That was a luxury you had stay on top for a time to earn.
If all this wasn't so, then where did the "super LP" companies come from? And who would they cater for, if not for the infinite minority of us who were not prepared to accept just any old ecoding so long as it was hot on the charts?
It is my contention that most of those "super LP" companies were simply people who believed in doing things RIGHT, who didn't cut corners to save up on costs. Of course, a few of them tried to advance the state of the art as well, people like Mobile, Decca, etc. In many ways, they succeeded, but the CD more or less put an end to that. The new gadget was here, and very few indeed though about how to get the maximum out of the new and promising technology, most saw it as a still better sales vehicle.
Quality audio was brought down by hit-and-run economics.
Technology in general also promoted this, as music devices started being made in much larger numbers thus cutting costs of single units, and more affordable models started to appear (I will not discuss their general musical qualities, but more people DID buy them). All of which spawned the music industry, encompassing both software and hardware.
Suddenly, many groups became hot, as their singles and later LPs started to be sold by the million. In the 50ies, you got a golden LP for selling 100,000 LPs, in the 60ies this limit was raised to 1 million.
And recording standards started to first slide, and then drop appreciably. It had to be so, when the latest hit by so-and-so was recorded in a hotel room, on a portable low cost machine, when the artists were stoned out of their minds. Also, small, independent studio started mushrooming all around, and they had highly questionable technical and musical standards.
All of which had a negative effect on recording, mastering and LP stamping practices. Now it was no longer about quality, it was all about how fast can you get it out to the market.
Look at the pop charts of the late 60ies and early 70ies - note how many new groups appeared out of nowhere, had one huge hit, and then disappeared (e.g Zager & Evans, "In the year 2525"). SOMEBODY had to cater for all those wannabes, and it sure wasn't the big time music industry, given the costs of their studios per hour. That was a luxury you had stay on top for a time to earn.
If all this wasn't so, then where did the "super LP" companies come from? And who would they cater for, if not for the infinite minority of us who were not prepared to accept just any old ecoding so long as it was hot on the charts?
It is my contention that most of those "super LP" companies were simply people who believed in doing things RIGHT, who didn't cut corners to save up on costs. Of course, a few of them tried to advance the state of the art as well, people like Mobile, Decca, etc. In many ways, they succeeded, but the CD more or less put an end to that. The new gadget was here, and very few indeed though about how to get the maximum out of the new and promising technology, most saw it as a still better sales vehicle.
Quality audio was brought down by hit-and-run economics.
One must remember George Martin was classically trained . I have always thought especially Pink Floyd were created by their engineers understanding everything about music and recording .
If food it is like we all converted to junk food by preference now . Given a little thought perhaps it's a sign of the times and I am obsolete .
If food it is like we all converted to junk food by preference now . Given a little thought perhaps it's a sign of the times and I am obsolete .
I never had the courage to ask his name . So sad I had to validate him ( I had and I could tell ) . It must be a well known man . Anyone who tells Maria Callas what to do must be . His words as best as I rememeber " Maria I know you don't sing that , however your voice has never been better suited and may be at it's peak . Lets do it and you decided later . If you hate it , it will never be released . " .
I told him of how I disliked digital and said EMI digital to be better than most ( own recording device ) . He agreed . I said I preferred EMI vinyl of digital origin to EMI CD . I asked was it possible that the Vinyl was closer to the master-tape ? He looked very puzzled and said they would not deliberately cut Vinyl worse than they could . He accepted in going to 44.1 kHz it might suffer . He did say the master-tape was better than CD it I remember accurately ?
I met Germany's Ortofon man 1939-45 , never asked his name either . He shock my hand behind my back ( ? ) .
Curiously I'd planned that the Sansui SR222 Mk2 would be my first 'serious' TT. I'd dreamed of having a Rega 2 but from reading the hifi press at the time, they were hard to get hold of - this was 1979, a few years before CD. In the end I was surprised that the shop (Radlett Audio) offered to sell me one as they didn't stock Sansui. I jumped at the chance, even though the price was close to double that of the Sansui. I went for an Ortofon VMS20e cartridge, my amp was NAD3020 and the speakers Celef Domestic II. That system served me very well through my student years and beyond
I had every turntable I could sell . I loved them and still do . I seriously plan to have that shop again . If the stock could be loaned I would do it tomorrow ( or would I ) .
Someone told me I am the world expert on this . I am not . Many of my friends know far more . I probably know more about amplifiers and that's not much . I know how to make a turntable perhaps ?
Linn were a bit unhappy with me . I sold loads , however I wouldn't become a zealot . I sold loads of TD160 also . My best ever seller in early days was Trio KD1033 . It was very good and cheap . Still prefer it to most CD players .
Would have liked to have sold Platine Verdier .
Someone told me I am the world expert on this . I am not . Many of my friends know far more . I probably know more about amplifiers and that's not much . I know how to make a turntable perhaps ?
Linn were a bit unhappy with me . I sold loads , however I wouldn't become a zealot . I sold loads of TD160 also . My best ever seller in early days was Trio KD1033 . It was very good and cheap . Still prefer it to most CD players .
Would have liked to have sold Platine Verdier .
I'm reminded of this one-hit-wonder, a remake of a Zombies hit:
People - I LOVE YOU - YouTube
Maybe I should withhold my own comments until after a few others have said something. It was played on the "underground FM" WPLO back then - my 12-year-old ears liked it (actually I still do), but I didn't recognized the problems it had, clearly audible even on a clock radio.
People - I LOVE YOU - YouTube
Maybe I should withhold my own comments until after a few others have said something. It was played on the "underground FM" WPLO back then - my 12-year-old ears liked it (actually I still do), but I didn't recognized the problems it had, clearly audible even on a clock radio.
Gestapo - dey had vays of making people shpeak! Dey got stereo out of mono!
Just apply some electricity und vatch de birds sing!
But kidding aside, I think you're quite right, Wave. Besides, those were different times, people were much more thorough overall in those days.
I didn't give this link as I thought it too controversial . When discussed he had the perfect cover . Too busy making music to be naughty . When accused of belonging in 1935 he corrected the broadcaster and said 1933 . His boss who was just a musician seemed to take the blame ( Furtwangler ) . Worth a listen .
https://www.youtube.com/watch?v=CIbZs2W0mnQ
https://www.youtube.com/watch?v=_3YjxYzl8bk&feature=relmfu
https://www.youtube.com/watch?v=hFgn3Nr9WUI
This is what I grew up with . I doubt I will ever hear better music ? Someone said to him what a beautiful violin , he said " here , you play it " . If he had been in the right place at the wrong time no recording would have bean made .
https://www.youtube.com/watch?v=KrMtPuvNisA&feature=related
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There are always times in every field of science, technologies, art, when something new is done by people who know well what they do. They do all their best, especially when others oppose. But since it get's accepted profanation takes over, and new technologies become available for profanes who start leading.
Today it is easier and cheaper to make bad recordings.
Callas was a tough woman on the outside but inside she was the opposite.
That’s why there were very few people that she allowed to“approach” her.
If this man could influence her on the repertoire, I would like to know his name. Was he from EMI UK?
https://www.youtube.com/watch?feature=endscreen&v=AW_42EEWLHY&NR=1
George
Hi George . 90% of me is the same as when I was 10 years old . Sorry to say I was more gifted then . I sort of burnt out over the years ( 56 ) . However I have developed a new string to my bow . I have learned to like people . I was always friendly , however other people never were my fascination . Perhaps that is why so many talked to me ?
I was at a Garden party in Oxford just because my wife worked there . A lady came up to me and and asked who I was . I said an electronics engineer . She seemed most unhappy . At the party was Lady Briggs who's hi fi and video I kept going . She asks me to talk to her for 15 minutes . It turns out this was to avoid these people who want to know someone for advantage . Next a very attractive lady I knew and who I fancied like you can not imagine came to talk to me. I had fixed her hi fi when she returned from the rain forest of Brazil . Finally the original lady comes back and say " now tell the truth , who are you " ? Unknown to me the beautiful lady ( Miss Susan Hart , if you are free so am I now , if only ) was a big noise in the University .
I suspect if I had been able to ask who people they were I would never have had the conversations .
I just phoned EMI , if they can say who it was they will give us a name .
I was at a Garden party in Oxford just because my wife worked there . A lady came up to me and and asked who I was . I said an electronics engineer . She seemed most unhappy . At the party was Lady Briggs who's hi fi and video I kept going . She asks me to talk to her for 15 minutes . It turns out this was to avoid these people who want to know someone for advantage . Next a very attractive lady I knew and who I fancied like you can not imagine came to talk to me. I had fixed her hi fi when she returned from the rain forest of Brazil . Finally the original lady comes back and say " now tell the truth , who are you " ? Unknown to me the beautiful lady ( Miss Susan Hart , if you are free so am I now , if only ) was a big noise in the University .
I suspect if I had been able to ask who people they were I would never have had the conversations .
I just phoned EMI , if they can say who it was they will give us a name .
Thank God for that!
"Grownups" are soooo dull. And more often than not, most lacking in ideas. It's good to keep a part of that mischievous kid inside you, so long as you can control him. In return, he's inquisitive and makes you think of the untinkable.
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