These directly recorded transcription records and some of the Victor 24000 series are some of the best images of what was made in the early 1930s. The sound quality is nothing less than amazing and you are sure that no limiters or other rubbish equipment is used. It is just pure unadulterated music. Great internal balance, wonderful clarity, just pure bliss. Too bad that the average record player couldn't cope with it and that companies had to get back to lowfi again.
Yes, I think that was exactly the issue -- those 1932 Hi-Fi groove walls were so detailed and fragile that they broke up with only one play. They just couldn't handle the heavy tone arms and nasty steel needles. The record and player technologies were not in sync -- owing to the depression and poor sales. By mid '33, RCA changed the EQ , dulling the sound and creating a beefier groove wall -- and a happier customer!
grandes orchestras famosas no mundo uma mais linda que a outra todos os canais de orchestras da googlo estão de parabéns são orquestras imortais sou da 6 geração que gostamos
Actually, RCA's 1932 Hi-Fi sound is attributed to the newly developed RCA Photophone PB-17 and PB-31 ribbon microphones from 1931. By 1932, the new RCA 44-A production ribbon mic was universally acclaimed and used by most of the majors. This transforming ribbon and magnet technology producing extended frequencies and new realism can also be heard on many Brunswicks from this period. RCA quickly dominated the microphone market that had been owned by W.E.
"You'll Get By" has great fidelity - For years I've had a 78rpm pressing of this Waring performance on the T-series "for theatre use" (which is the identical performance: non-vocal, solos are the same, etc.) but it's obviously DUBBED. Now after hearing this I see that it's dubbed from the 33 1/3 rpm pressing! Thanks so much for this posting.
If you're still looking in, John, what do you think explains the undermicing on the trumpet solo bits on "Fit As A Fiddle"? Are we perhaps looking at half a stereo master here?
Yes, these were recorded on October 25, 1932 (with the vocal versions recorded first), and released "for theater use". RCA dubbed them into this "long playing" disc.
@suaveoo, it's possible that your 78 disc was cut simultaneously with the 33 1/3 program transcription. Victor experimented during this time with mic/mixing techniques, often cutting 2 or more simultaneous, yet differently mixed, discs. Sometimes they mastered the different discs and used them both for stampers. Later, a few sharp-eared collectors noticed sonic differences in discs of identical performances, and when they synched them together on L-R channels they re-created true stereo!
Duke Ellington's PT was remixed to stereo this way. Unfortunately the rest are rare enough that no one is really interested in remixing, or indeed, reissuing them.
Yes... and they did a lovely job substituting "vocal-like" sounds from those muted horns here, in "Fit as a Fiddle": 4:00 . They imitate the vocal version of this song to a tee! I prefer instrumental / non-vocals. I often creatively pull the vocals out of songs...
Those are voices imitating horns - not the other way around. (If you've ever played a horn, you know how difficult it would be to imitate a human voice!) The quartet sings wordlessly into some kind of mutes - perhaps metal derby mutes, combs/tissue paper, or even just cupped hands.
It's still possible, isn't it?, that the Photophones put out more fidelity than the shellac medium could handle. After mid-1933, I hear less high range and clarity in Victor pressings. The EQ curve may have changed. The shellac mix may also have been made grittier - perhaps for economy, perhaps to help the needle stay sharp. "Industrial Archeology: It's Nobody's Business!"
This is, indeed, the best sounding transcription disc I've ever heard - certainly better than mine, some of which look unplayed. The other comments make sense. However, I have a 1932 comparison review of a Stokowski symphony issued in both formats and they claimed that the 78 version sounded a bit better (presumably new copies were used).
Most PTs - but not all - were pressed on Victrolac, which may have been PVC based. It wouldn't break or chip if mishandled, but it wore rapidly and might not have sounded as good even when brand new.
I used to think that the only equipment available to play these was not attainable by the average consumer from '31-'33, but, somewhere along the way, I was told that there was indeed an affordable (as if anything was truly affordable then) version. Not exactly the best time to be trying things out, like the Columbia Double Tracks, EP 78's etc.
I don't believe RCA offered 2 speed phonos on any but the high-end models. The point of the PT program was to drive sales of radio-phono combos, not really the records as such. With the depression, recorded music actually went out of style. Well-to-do households would spend just as much or more for a radio-only set as for a combo, a trend that had RCA all but cutting phonographs out of their advertising. (Apologies for misreading you in my old reply here. I somehow thought you meant records generally, not the PTs.)
@@RatPfink66 You are mistaken. Rca Victor offered a full range of machines with 33RPM capability in 1932 including a table model (actually a mantle set like an R-7Radiolette with a turntable in the lid), a five tube consolette which listed at $69.95, a record player attachment in a small end table for $37.50, and a two speed turntable and spindle which could be fitted to any single play Electrola with an Induction Disc motor for $19.95. I have one of these on a Borgia II. I cannot but think that the 1926 would have made rather short work of those lovely Victrolac pressings
All of Waring's 1932 Victor recordings were high~fidelity.
These directly recorded transcription records and some of the Victor 24000 series are some of the best images of what was made in the early 1930s. The sound quality is nothing less than amazing and you are sure that no limiters or other rubbish equipment is used. It is just pure unadulterated music. Great internal balance, wonderful clarity, just pure bliss. Too bad that the average record player couldn't cope with it and that companies had to get back to lowfi again.
Yes, I think that was exactly the issue -- those 1932 Hi-Fi groove walls were so detailed and fragile that they broke up with only one play. They just couldn't handle the heavy tone arms and nasty steel needles. The record and player technologies were not in sync -- owing to the depression and poor sales. By mid '33, RCA changed the EQ , dulling the sound and creating a beefier groove wall -- and a happier customer!
Nice element of swing in these Fred Waring selections. Strong reproduction quality, thanks to the Hi-Fi format. Thanks for the upload.
i am lucky enough to have this as well....your sound is so very good...thanks for your wonderful post.
I love these instrumental versions of these songs!
Prozoot! This Is Beautiful! I Can`t Believe Your Awsome Record Collection, You are truly blessed.
grandes orchestras famosas no mundo uma mais linda que a outra todos os canais de orchestras da googlo estão de parabéns são orquestras imortais sou da 6 geração que gostamos
Actually, RCA's 1932 Hi-Fi sound is attributed to the newly developed RCA Photophone PB-17 and PB-31 ribbon microphones from 1931. By 1932, the new RCA 44-A production ribbon mic was universally acclaimed and used by most of the majors. This transforming ribbon and magnet technology producing extended frequencies and new realism can also be heard on many Brunswicks from this period. RCA quickly dominated the microphone market that had been owned by W.E.
"You'll Get By" has great fidelity - For years I've had a 78rpm pressing of this Waring performance on the T-series "for theatre use" (which is the identical performance: non-vocal, solos are the same, etc.) but it's obviously DUBBED. Now after hearing this I see that it's dubbed from the 33 1/3 rpm pressing! Thanks so much for this posting.
If you're still looking in, John, what do you think explains the undermicing on the trumpet solo bits on "Fit As A Fiddle"? Are we perhaps looking at half a stereo master here?
DAHR notes that 2 carbon microphones were used.
Yes, these were recorded on October 25, 1932 (with the vocal versions recorded first), and released "for theater use". RCA dubbed them into this "long playing" disc.
Thanks. Much appreciated your sharing these delights with us, and also for ensuring their posterity.
@suaveoo, it's possible that your 78 disc was cut simultaneously with the 33 1/3 program transcription. Victor experimented during this time with mic/mixing techniques, often cutting 2 or more simultaneous, yet differently mixed, discs. Sometimes they mastered the different discs and used them both for stampers. Later, a few sharp-eared collectors noticed sonic differences in discs of identical performances, and when they synched them together on L-R channels they re-created true stereo!
Duke Ellington's PT was remixed to stereo this way. Unfortunately the rest are rare enough that no one is really interested in remixing, or indeed, reissuing them.
You can hear the drummer softly tapping his brushes on the cymbals behind the piano solo!! On a record from 1932!!!
Nitpick: These are really "Non-Vocals" - instrumental redos of vocal selections. "Instrumentals" never had a vocal to begin with. ;-)
Super excellent
What is this issue? I have the PT with vocals (VI L-16015). Are these theatre records? Rust lists mx73863 & 73865 in this category
Yes... and they did a lovely job substituting "vocal-like" sounds from those muted horns here, in "Fit as a Fiddle": 4:00 . They imitate the vocal version of this song to a tee! I prefer instrumental / non-vocals. I often creatively pull the vocals out of songs...
Those are voices imitating horns - not the other way around. (If you've ever played a horn, you know how difficult it would be to imitate a human voice!)
The quartet sings wordlessly into some kind of mutes - perhaps metal derby mutes, combs/tissue paper, or even just cupped hands.
Excellent
It's still possible, isn't it?, that the Photophones put out more fidelity than the shellac medium could handle.
After mid-1933, I hear less high range and clarity in Victor pressings. The EQ curve may have changed. The shellac mix may also have been made grittier - perhaps for economy, perhaps to help the needle stay sharp.
"Industrial Archeology: It's Nobody's Business!"
This is, indeed, the best sounding transcription disc I've ever heard - certainly better than mine, some of which look unplayed. The other comments make sense. However, I have a 1932 comparison review of a Stokowski symphony issued in both formats and they claimed that the 78 version sounded a bit better (presumably new copies were used).
Most PTs - but not all - were pressed on Victrolac, which may have been PVC based. It wouldn't break or chip if mishandled, but it wore rapidly and might not have sounded as good even when brand new.
Where's "Sweet Muchacha"?
parabéns boas musicas
I used to think that the only equipment available to play these was not attainable by the average consumer from '31-'33, but, somewhere along the way, I was told that there was indeed an affordable (as if anything was truly affordable then) version. Not exactly the best time to be trying things out, like the Columbia Double Tracks, EP 78's etc.
I don't believe RCA offered 2 speed phonos on any but the high-end models. The point of the PT program was to drive sales of radio-phono combos, not really the records as such. With the depression, recorded music actually went out of style. Well-to-do households would spend just as much or more for a radio-only set as for a combo, a trend that had RCA all but cutting phonographs out of their advertising.
(Apologies for misreading you in my old reply here. I somehow thought you meant records generally, not the PTs.)
@@RatPfink66
You are mistaken. Rca Victor offered a full range of machines with 33RPM capability in 1932 including a table model (actually a mantle set like an R-7Radiolette with a turntable in the lid), a five tube consolette which listed at $69.95, a record player attachment in a small end table for $37.50, and a two speed turntable and spindle which could be fitted to any single play Electrola with an Induction Disc motor for $19.95. I have one of these on a Borgia II. I cannot but think that the 1926 would have made rather short work of those lovely Victrolac pressings
I take it from the increase in fidelity, and decrease in distortion, that the record plays from inside out?
Nope, PTs play outside start like any commercial recording. Maybe this one just had more overmodulation in the beginning.
3:38 - SLAP BASS, Audible slap bass! Hallelujah!!!!