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Re: [ARSCLIST] Early digital in Europe



Yes, but they still had separate production arms and I am sure that they all entered the world of digital differently. Decca built their own equipment in their famous research lab. I'm still trying to find out exactly how Philips and DG entered the digital world.

By the time CD's came along, the three labels were centralized enough that all their early CD's were done in the Hanover plant. Titles with enough orders in the American markets would also be manufactured in the North Carolina plant once that was built. I just borrowed a stack of Solti CD's from the library and the very earliest were all done in Germany but anything with a copyright date after about 1988 was made in USA (North Carolina). And of course some Polygram titles were licensed to the BMG/RCA classical music club and manufactured for those customers in Indiana.

-- Tom Fine

----- Original Message ----- From: "Roger and Allison Kulp" <thorenstd124@xxxxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxxxxxx>
Sent: Saturday, December 08, 2007 2:16 AM
Subject: Re: [ARSCLIST] Early digital in Europe



By 1979,all three labels were under the (then) Polygram umbrella,and had all but standardized their recording/pressing quality companywide.I used to think that the crummy sound of the London/Philips Lps of the period,was due mostly to the nature of the early digital recording.Then I heard a couple of Japanese FFSS label pressings of these Lps,and while they ain't Kinsgway Hall Bluebacks,there ia a world of difference here.


Roger


Tom Fine <tflists@xxxxxxxxxxxxxxxxxxx> wrote: Hi Goran:

I apologize for any "gotcha" tone I might have had in my followup. I very much appreciate your
reaching out to those guys, and I agree that first-hand history is usually extremely helpful, as has
been proven to me during this research.


The Decca presentation made at the February 1980 AES convention in London indicates that
experimental recordings were made throughout 1978 and "in December 1978 and January 1979
non-experiemental recordings of the Vienna Philharmonic Orchestra were made and edited." So there is
some discrepancy, but it may simply be that Boskovsky's concert started New Year's EVE 1978 and then
went into New Year's DAY 1979. However, there also might have been an earlier recording of other
material sometime between December 1 and December 31, 1978.


Now, expanding this out, what did DG and Philips do? I am pretty sure Philips did some digital
recordings in 1979. I know they were making digital recordings in 1980 because I have a couple LPs.
DG was definitely making digital recordings by 1980, too.


-- Tom Fine

----- Original Message ----- From: "Goran Finnberg"
To:
Sent: Saturday, December 01, 2007 3:22 PM
Subject: Re: [ARSCLIST] Early digital in Europe



Mike Richter:

There seem to me to be three possible explanations for the acrimony:
1. Dispute for the sake of disagreement
2. A minor error propagated by both participants
3. A calendar with unique disrespect for dates

One poster cites an earliest date of 1 January 1979. The other cites
three subsequent dates - perhaps misreading them as earlier. Then we
return to the originator for a challenge which suggests that his
calendar also runs backward.

My bad.


As I am in the middle of some intense editing of a soon to be released
CD disk my brain isn´t at its best.

But I distinctly recall having at least two CD´s in my collection that
is earlier than the "New Year´s Day Concert"

Is no one reading these posts before writing? Is a Fingerfehler or a
moment of confusion a capital offense here - or may it be punished with
only forty lashes?

I have emailed former DECCA producer Morten Winding to hear what he John Dunkerly and Simon Eadon at ABBA´s records remembers from those days when they were DECCA recording engineers to put me straight.

BTW, the official viewpoint of Universal records is one thing and my
recollections are another.

Having visited the DECCA recording centre many times during the 80´s I
have talked many times with DECCA recording engineer John Dunkerly and I
have been recording engineer with DECCA producer Morten Winding
producing many times.

The ability to talk directly to the horses mouth makes for an
exceedingly refreshing experience instead of hearing the claims after
the propaganda machine have distorted the facts as they happened.

So I can be wrong indeed, wouldn´t be the first time, but let´s hear
what my sources from DECCA days back then remembers.

--
Best,

Goran Finnberg
The Mastering Room AB
Goteborg
Sweden

E-mail: mastering@xxxxxxxxx

Learn from the mistakes of others, you can never live long enough to
make them all yourself.    -   John Luther




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