Re: [ARSCLIST] Lacquer disc storage conditions

[George Brock-Nannestad <pattac@xxxxxxxx>]

From: Patent Tactics, George Brock-Nannestad

Hello, I would like to tell you about my most exciting find of a proof that 
an Audiodisc had been used in mastering and how it was used.

But first of all I would mention that there were two kinds of lacquers: those 
used for mastering and those used for demos, called "playback lacquers". The 
latter were slightly tougher and noisier. The discerning cutting engineer 
would also know the difference between a "spring lacquer" and an "autumn 
lacquer". 

Now, in my constant quest for secondary or ancillary information I cannot see 
a 78rpm label whithout looking also at the "below the label" information. 
This will tell you about the type of press used, and e.g. Victor ca. 1930s 
recordings issued on Electrola will often reveal most of the original 
American writing at the centre of the wax (or metal, as the case may be).

Now, the Danish pressing by the local EMI branch of the black Pathé 10" 
record (matrix CPT.9407) PT1005 is Liebeslied (Valse) by Kreisler, arr. A 
Bernard, performed by Armand Bernard et son orchestre á cordes (a string 
orchestra). I have not had sufficient interest in the primary information 
(the music!) to check the date, but it looks like mid-1950s. Below the label 
there is a very slight relief showing the make of the original laquer, and - 
surprisingly - it is not a Pyral, it is an AudioDisc. Those who know what 
these look like in the raw will know how I can tell..

However, the most intriguing thing is that on a circle of the same radius as 
the name, there is the statement "USE OTHER SIDE"! Obviously they did not 
heed the instruction, and my excitement comes from speculating how this can 
be. Did the cutting engineer not read English? Did he say (in French), "what 
the heck, it is only for a 78 - they won't notice the difference", or was it 
the last available unrecorded side after innumerable attempts to get a good 
cut?

At any rate, in addition to the quality factors mentioned above, there was 
obviously also an awareness at AudioDisc that there was a preferential side 
to the laquer. And as one sign of a good lacquer was that it had a continuous 
lacquer layer around the edge of the aluminum plate, you could not make 
single-sided lacquers that had any chance of longevity.

How did I make this under-label information visible, you may ask. I used the 
old detective's pencil trick used on notepads near hotel telephones: brass 
rubbing. 

Kind regards,



George


Roger Kulp wrote:
> ................................
> 
> Audiodisc was a label that was used by both home recordists,and
> professionals.I have seen Bing Crosby lacquers  from the 40s,recorded by
> Decca with their own labels plastered over the Audiodisc ones,as well as
> homemade records of little Johnny saying Merry Christmas to grandmaw on
> Audiodisc.It was also used for a lot of professional quality recordings made
> by radio stations back in the day.
> 
> 
>                                                  Roger
> 
> 
> 
> 
> --- On Wed, 11/19/08, Jeffrey Martin <jjm332@xxxxxxx> wrote:
> From: Jeffrey Martin <jjm332@xxxxxxx>
> Subject: [ARSCLIST] Lacquer disc storage conditions
> To: ARSCLIST@xxxxxxxxxxxxxxxx
> Date: Wednesday, November 19, 2008, 1:09 PM
> 
> I'm trying to advise a colleague who has recently discovered some
> 1960s-era
> lacquer discs in her collection. (They're recorded on Audio Devices
> Audiodiscs.)  What are the preferred conditions for storing lacquer discs?
> She
> has access to cold storage (40 degrees F), cool storage (55 degrees F) and
> obviously standard office HVAC storage.
> 
> Many thanks,
> 
> Jeff Martin
> Chicago, IL
> 
> 
> 
>