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PUBLISHED BY AUDIO DEVICES, INC.
Vol. I No. I
444 Madison Ave.. N. Y. C.
July, 1945
A NEW DIGEST ON RECORDING
NBC's Recording Division Is Carrying Big Load
For Many Government Services And Civilians
The Engineering Department of NBC's Radio Recording Division
teems with activity. A super-trained staff, including recording engineers,
studio engineers and clerks work with some of the finest, most delicate
hiijh fidelity recording equipment in the
world today. An apprentice in the en
Uineering room is not even allowed to
touch a recording machine until he has
been trained to handle it.
Research Is Continuous
Improved record quality is the con-
stant aim at NBC. Research and devel-
opment is continuous and the results are
evident in the latest recordings. The
tull benefit of this experimental work
will be felt after the war when more
improved equipment becomes available.
Big expansion of studio, technical, and
manufacturing facilities is planned, for
post-war, according to Recording Super-
visor, George E. Stewert. Right now,
the recording division is one of the most
fascinating places in New York City, and
the stream of visitors who ga;e through
the huge plate glass windows into the
engineering room never ends.
(Continued on page 3)
Schirmer's Has Doubled
Its Recording Business
Audiodiscs Used Exclusively
"Anything can happen — and does — in
a recording studio," says engineer. Bob
Hyndman, recording chief for the famed
house of G. Schirmer, Inc., in New York.
Known the world over as a leader in
the Sheet music field, Schirmer has ad-
ded to that an enviable reputation in
recording. Many stellar lights from the
theater, movies and radio record their
personalities. As a result Schirmer's are
scheduling twice as many appointments
this year. The main reason for the big
increase is the desire of "just plain folks"'
to make recordings.
"But," went on Mr. Hyndman, "we
(Continued on page 2 J
Audio Headquarters Now
Your N. Y. Listening Post
The art of making fine quality disc
recordings is one of constant change
and improvement, one where the cor-
rect technique must be combined with a
best quality recording blank if true fi-
delity is to be achieved. With the idea
of increasing your enjoyment or profit.
Audio Devices is going to send you this
digest on recording — approximately
monthly.
National Chains Interviewed
To get the most out of your recording
blanks, you should know what the ex-
perts are doing. For that reason your
Audio Record reporter is busily inter-
viewing radio stations, networks, and
recording companies. We will show
pictures of various plants, pass along
advice and "tips of the trade" that you
will find interesting and helpful.
Many News Sources
Many surprising sources have stories
that will point out new uses for record-
ings and new and better methods of
using them.
For instance, the Office of War In-
formation his a wealth of stories per-
taining to ciilciLdiiimeiit, education, and
morale building in our armed forces that
we will pass along to you. There are
schools and colleges with articles of how
recordings are aiding education and wi'.h
post-war, we will have lots to tell you
about family heirloom recordings, family
parties and home sound movies.
All Users Considered
We plan to print articles by engineers
giving you information on the use and
handling of records. Colleges and school
educators will give you reports of uses
they have made of recording blanks.
The dealer angle is also important and
will be more so, once priorities are lifted
for civilian and private home use. Per-
haps you've had an experience others
will find helpful — if so, send it along
with pictures that will help explain it.
AUDIO RECORD
July, 1945
AMPHIBIOUS OPERATION?— Seaman Gerard Grandmont of the Navy and T/5
Maurice Hogan of the Army make a free recording at "99 Park," headquarters of the New
Vork City Defense Recreation Committee, Inc. The booth is sponsored by Gem Razor Com-
pany. The hostess mails the record home, morale is upped, and another future civdian
knows how to make recordings.
Office of War Information Now Using Recordings
To Counteract Totalitarian Propaganda Effects
The task of de-Nasi-ing the many
years of German propaganda imposed on
French people is beginning to reach its
stride in the OWI's Voice of America
radio broadcasts. The half-hour radio
dramatizations in French of American
movies and the 15 -minute news stories
of American institutions and day-by-day
American life arc already two outstand-
ing successes. The latter programs are
broadcast by short-wave, recorded in
Paris and re-broadcast nightly at 11:00
PM Paris time over the French national
network (RadiodifFusion Francaise) .
They are also broadcast directly from
OWI's transmitters in New York and
London and beamed at France. Both
sources are used because the French net-
work was left so crippled by the Ger-
mans that it alone is unable to reach
many parts of France.
French Cooperation
In exchange for the French network
broadcasting OWTs informational pro-
grams, the OWI is broadcasting over its
own transmitters in New York, London
and Europe, a 15-minute French pro-
gram to these same inaccessible areas.
This is the "Ce Soir en France" (This
Evening in Paris) show which reports
on French political and editorial trends.
Both countries are pleased with the re-
sults of such an arrangement.
Portugal — Italy
Another program of a similar nature
began March 25th to Portugal, called
"Answering the Portuguese People," and
is sent weekly. This was started because
of the interest and curiosity about the
United States prevailing in Portugal.
Leading educators and writers partici-
pate, and recordings are made of the
discussions. The subjects discussed range
from such queries as to whether Ameri-
can women have the same opportunities
as men, to how much information is
available on prefabricated houses.
The success of this Portuguese pro-
gram augurs well because of the "Fan-
mail" received from Italy and Spain, two
other countries receiving such programs,
is mounting steadily.
The OWI Italian show has been so
popular that is was recently requested
for re-broadcast over the Italian national
networks.
Schirmer's Business Doubled
(Continued from page 1)
manage to get a lot of laughs too. Like
the quiet little man who had arranged
lor an appointment two weeks in ad-
vance. When all was set, the platter
spinning and the signal given, he said
not a word but just sat gazing into the
mike. Half-a-minute, a full minute — the
engineers were going mad, but the little
fellow just smiled. After a disc was cut
he waved his hand and the same perfor-
mance was repeated. Three records were
cut to this vast silence. Then he asked
for a play-back and the entire staff
gathered in growing mystification. The
little man nodded and moved toward the
desk. He paid his fee and smiled hap-
pily. Tm recording my thoughts,' he
said.
A Junior Genius
"Recently, a woman came in with a
reluctant looking seven year old boy in
firm tow. In demanding tones she asked
to try the piano and was seated at the
Baldwin in Studio A where she rippled
over the keyboard. 'No tone,' she de-
clared coldly. She was patiently led to
Studio B where she tried the Steinway.
'No soul,' declared milady. "Finally,"
said Mr. Hyndman, "I took her into our
large studio to another Steinway. Here
let me say that Walter Damroch, Ernest
Hutchinson, the concert pianist, and
Harold Bauer, head of Julliard Music
School, all think our pianos are pretty
good. Anyway, I was relieved when our
customer announced that the third piano
would do. After all, an artist is an artist.
'Come Junior,' she ordered. Junior came
and plunked down at the Steinway
grand. He's going to play 'Anchors
Away,' the lady condescended to explain.
And tinkle it out he did!"
An Audio Booster!
Mr. Hyndman was enthusiastic about
the qualities of Audiodiscs. "You'll be
glad to know," he said, "We use Audi-
disc exclusively at Schirmer. This after
having tried every disc on the market.
We have sound business reasons tor
this choice. Frankly, we have fewer com-
plaints, cleaner grooves, and clearer
sound with Audiodisc. And we find,
after keeping careful check, that Audi-
discs have a longer life."
The 'World on Records
"We do a lot of the colleges. Yale's
'Wiffenpoof's. The Harvard Show. Vas-
sar. Smith, Hunter. About thirty-five of
the independent recording companies.
As for languages and folk music, you
couldn't name one we haven't caught
for posterity, from three of the leading
Russian groups, down through Arabian,
Serbian and many others.
July, 1945
AUDIO RECORD
me t\£ayulut
Handling Recording Discs
By E. Franck, Research Engineer
The problem of handling and storing
recording disks is easily answered. Don't
touch the surface and leave fingermarks,
cither before or after recording. See
picture at right. Recording discs must
he handled with respect. But don't be
like some people who seem afraid to
touch one. Easy does it! Pick up the
disc carefully with both hands and hold
firmly. You can turn and twist it to any
angle that way, and I've yet to see one
dropped when held right. That's the
method our own inspectors follow and
they handle thousands daily.
While the storage of recording discs
is simple some recordists take fancy
precautions which are not necessary and
sometimes even harmful.
Store new blanks convenient to the
recording room. For a moderate stock,
a single tier of strong shelves along an
inside wall is satisfactory. For larger
stocks, double tiers with access from
both sides is best. Select a spot with
even temperature. Avoid sunny win-
dows or windows where rain could blow
in. It is a good plan when taking a box of
blanks from stock to the recording room
to open the box in the storage room.
This keeps box dust or dirt out of the
recording room.
Recorded discs are best stored on
edge in individual paper envelopes. A
filing number should appear on both
disc and envelope. A metal cabinet is
the best container but not essential. And
don't crowd the shelves. There should
be room enough to take discs out with-
out bending or scratching. Avoid put-
ting more than one record in an en-
velope— the grooves of one may impress
marks on the other, if under pressure.
In fact, there are only three rules to
follow. Keep away from dust, don't
crowd, and store in a place of average
temperature and humidity. We definitely
do not recommend any type of coating
or special cellophane envelopes.
The method of storage we have sug-
gested is based on our own experience
for a number of years and that of some
of our customers, who find that Audio-
discs produced and recorded in our first
year of manufacture still give perfect
reproductions.
Close-up of NBC engineer operating re-
cording machine. Abo illustrates correct
method of handling record.
NBC's Recording Division
(Continued from page 1)
Among the many programs originating
from NBC is the oflicial program of the
U. S. Army Recruiting Publicity Bureau,
"The Voice of the Army," now being
broadcast on more than 800 stations and
in its sixth year.
V-Discs
Under the auspices of the Special
Services Division of the U. S. Army
250,000 records of the latest songs and
arrangements by top bands, orchestras
and singers go overseas every month.
NBC Radio-Recording Division and
RCA Victor Division are proud of their
contribution to this. tremendous morale-
building program. Lt. Col. Howard C.
Bronson and Capt. Robert Vincent are
in charge of V-disc production for the
Army. The U. S. Navy also uses V-discs
on board ships and at Naval stations.
Many Government Departments Served
In addition to V-discs, NBC notes in-
creasing recording activity for the U. S.
Navy, Naval Air Stations, the Radio
Section of the Bureau of Public Rela-
tions, U. S. Marine Corps, Office of War
Information, Coordinator o f Inter-
American Affairs, U. S. Treasury Dept.,
War Loan Drives, U. S. Dept. of Agri-
culture, U. S. Dept. of Interior and U. S.
Public Health Service.
Recordings For Independents
National independent organizations
using NBC recorded programs include
the American Red Cross, National Tu-
berculosis Association, National Founda-
tion for Infantile Paralysis, "The March
of Dimes," and the YMCA, and the
NBC Thesaurus service.
ATTENTION READERS!
To be sure you ahv:eys receive a free
copy of Audio Record, fill out the en-
closed card— no cost—no obligation and
mail it to AUDIO RECORD, 444 Madi-
scn Ave., New York 22. N. Y.
This Is Your Publication
You Are invited To Use 1+
And Shape It To Your Needs
We want this paper to bring you
news and information. We also want it
to be a friendly little sheet where you
will see articles and pictures of yourself
— your friends — your customers — and
men who are in the same type of busi-
ness as yourself.
You Are Invited To Help
The sources and interest of any publi-
cation depend largely upon the infor-
mation sent in from its readers. You
can help give it the "Personal Touch"
we want. Have you had an interesting
experience in recording? Have you dis-
covered a new use for recording blanks?
A new technique? Have you had an in-
teresting sales experience, or do you
know the story of a friend or customer
who has? If so, send it in — pictures too.
Mail your letters or photos to:
Audio Record Editor, 444 Madison Ave
nuc. New York 22, N. Y.
"Who-Dun-lts" Use Recordings
The mystery was solved by a record-
ing machine! Two of the recent Charlie
Chan pictures, "The Jade Mask" and
"The Scarlet Clue," produced by Mono-
gram, featured recordings and recording
machines. Photo is scene from "The
Scarlet Clue" showing Sidney Toler as
"Charlie Chan" with Robert Homans.
AUDIO RECORD
July, 1945
m
m.ifi
letter recori
And thejr are better!
Radio experts can-
not be sure wbetber
thej' are listening
to a 'Mive" show or
an cuicUoclIsc trans-
cription. For high
fidelit)'^ minimum
surface noise, low
distortion and max-
imum frequency
range^ there is
nothing finer than
an Audiodisc.
AUDIO DEVICES, IIMC, 444
Madiaon Ave., New York
fill[fitfy
PUBLISHED BY AUDIO DEVICES, INC
Vol. I No. 2
444 Madison Ave., N. Y. C.
August, 1945
Library of Congress
Brings Folldore l\Ausic
To American Public
10,000 Recordings Available
For the first time the folk music of
America, a true expression of American
life from romantic cowboy to negro
spiritual, is now available to all. For
many years the Music Division of the
Library of Congress has been collecting
American folk music. Mr. John Lomax,
Honorary Curator of the Library,
through a grant from the Carnegie Cor-
poration, has travelled all over the
country with portable machinery and
has accumulated a collection of more
than 10,000 songs on discs. This collec-
tion, one of the largest of its kind in
the world, was for a time available only
to students who were free to come to
the library, or to people who could
afford expensive copies. Now, with a
complete sound laboratory for duplicat-
ing phonographic recordings and for
making master recordings which can be
pressed and distributed, the National
Library is able to bring directly to
schools, colleges and the pubHc its
wealth of cultural materials.
Field Recordings Excellent
These recordings, made in the field
amongst such varied groups as mountain
ballad singers, negro prisoners, cowboys,
work gangs as they lay the railroad
tracks, and sailors as they chant their
ballads of the seas and canals, are as
acoustically good as the commercial re-
cordings of classical music and drama
now available to the public.
Portable Recorders Provided
Six portable field recorders provided
in the Carnegie grant will be loaned to
quahfied students of folklore who wish
to record and study the music of their
own regions.
Naval Veterans Learning Radio Production
While Convalescing at St. Albans Hospital
Out on Long Island, the staff of St. Albans Hospital for wounded
naval personnel is doing an inspiring job of morale building. In addition
to being provided with excellent medical care, men are, in many cases,
■ regaining lost confidence and are being
New York University
Pioneers in Recording
Audiodiscs Aid Speech Class
Audiodiscs are used extensively in the
speech department of New York Uni-
versity's Washington Square College.
Prof. Arleigh Williamson, head of the
speech department, has been using re-
cordings as an integral part of his pro-
gram for over thirteen years and is en-
thusiastic and keenly interested in its
further development in teaching tech-
niques.
Permits Careful Analysis
His department was, Prof. Williamson
believes, the first to make use of record-
ing and also the first to use its facilities
in ways differing from the more stereo-
typed. For example, instead of the usual
private session in which a student makes
a recording to chart improvement in
speech, the student actually talks to the
class while recording. This gives both
instructor and student a chance to ana-
lyze the psychological eifect of an audi-
ence on the speaker's breath control,
enunciation, voice timbre, tone, etc.
(Continued on Page 4)
fitted for post-war jobs in fields they
never could have entered but for the
opportunities offered while they were
convalescing.
Becoming Professionals
One of the most successful programs
was organized five months ago when the
Educational Services Dept. started its
first "Radio — Dramatic" class under the
very able direction of Wave Lt. Mari-
anne Heaney, USNR. Attendance to
this class is entirely voluntary and is or-
ganized on the basis of a workshop.
Anyone who wishes to learn or to
contribute is welcomed. Among its
members are boys with or without ex-
perience, but all are interested in the
radio aspects of writing, announcing, di-
recting, acting or producing.
Jobs Being Offered
Much of the knowledge the class is
gaining is through its more experienced
members. For among these "profes-
sionals" which the class has been lucky
in having at different times — are experi-
enced producers, singers, and recordists.
Tremendous advances have been made
during the four months the "workshop"
(Continued on Page 4)
AUDIO RECORD
August, 1945
Two American Broadcasting ace newscasters at their mikes .
,H. R. Baukhage (left).
George Hicks (riglit) and
American Broadcasting Co. Finds Recordings
Essential Aid To Foreign News Service
The American Broadcasting Company
relies heavily on the use of records in
transmitting its overseas pick-ups to the
network. An important reason for this
is the fact that atmospheric conditions
change sharply without warning — even
during a fifteen minute program. An
important news story, coming from over-
seas, can be completely lost to American
listeners due to a change in atmospherics
at the time of reception.
Saves Circuit Time
Another vital factor is the time ele-
ment which can by no means be ignored
in these days when other networks, the
Army, Navy and Allied Military govern-
ments need the overseas circuit. By
using recordings, transcribed here in
New York at Musak, the American Net-
work can pick up its overseas corres-
pondents on the circuit at a time when
the demand is not too heavy. Thus,
during the early morning hours, or late
at night, American correspondents can
broadcast direct to the New York news-
room with a minimum of delay and
difficulty. The recordings of these pick-
ups arc quickly made and can be played
over the air while the news is still fresh.
Full Public Acceptance
The management of the American
Broadcasting Company's newsroom does
not feel that a "transcription" in any
way lessens the effect or the importance
to the listening public. The average
listener does not snap the radio dial
button or twist it to another station if
he is told that the broadcasting coming
up from abroad is a transcription. Fur-
ther, American officials hold that by
judicious use of recordings they can
comb out the unnewsworthy reports and
keep the broadcasts more interesting.
Whole Nation Heard Hicks
Even those networks who have firm
rulings against the use of recordings
have been known in many cases to em-
ploy news transcriptions. For e.xample,
the memorable D-Day broadcast from
the Normandy beachhead by American
correspondent, George Hicks, was used
as a "pool" broadcast by all networks
and though the broadcast was not "live,"
the news certainly was.
Special Broadcasts Repeated
Equally important in the operation of
the American newsroom are the record-
ings made of the "special feature" type
of broadcast, as distinguished from
regular news broadcasts. A classic ex-
ample of special feature or special event
broadcasting came during the few days
following the death of the late President
Roosevelt. Recordings were made of all
tributes and special programs in honor
of our departed leader. Some of these
tributes were worthy of repeating, and,
in the case of H. R. Baukhage's famed
broadcast of Roosevelt's funeral, the
record was repeated four times that
Sunday.
The American Broadcasting Company
has placed an increasing reliance on the
use of recordings of its overseas news
shows. New York and San Francisco
newsroom edition and the correspond-
ents in the field all feel that by careful
use of recordings, news dissemination by
the American Network can be kept at its
high level.
me t\mfidut
Controlling the Thread
By E. Franck, Research Engineer
When a person first sees a recording blank
cut, he is usually fascinated by the thread re-
moved by the stylus. In fact, his interest is
often entirely centered on the purple thread
spinning from the disc. But for the recordist,
whether amateur or professional, ths thread
action is much more than a matter of curiosity.
A recording machine in steady use for one
hour will produce more than a mile of thread
and the way this thread behaves is of real im-
portance.
Thread Action Indicates Quality
In a good recording blank, the thread has
a tendency to "kick" strongly toward the cen-
ter, thus minimizing the chance of it tangling
against the stylus. Equally, in a good blank,
the thread, is relatively free of static electricity
and thus can be easily controlled.
When cutting from the inside out, insuffi-
cient thread throw is not so noticeable. If
there is static charge in the thread, however,
there is danger that a loop will jump to the
recording head and cause a disastrous snarl.
When the record is started from the outside,
good thread behavior is much more important.
If the thread throws in from the stylus evenly,
then the cutter, as it reaches the piled up circle
of thread, will urge it gently inward and only
occasional attention is required to brush the
accumulated pile toward the center of the disc.
If the throw is uneven, the stylus may hit the
corner of the pile closest to the grooves and
cause a snarl.
Thread Controls Not Foolproof
There are a number of thread control de-
vices which help free the recordist of thread
removal worries. But all of these, including
the vacuum system used in most professional
installations, need good thread action for best
results. For example, in the vacuum system,
static charge in the thread can cause sticking
either at the nozzle or inside the suction hose.
If more air is applied to overcome this diffi-
culty, an annoyrng noise results which prevents
good monitoring close to the recording table.
The flow of too much air past the stylus into
the suction nozzle will also modulate the
grooves and result in a high background noise
level.
In the early days of lacquer discs, proper
thread action was difficult to obtain. Now, the
art of recording lacquer formulation has greatly
improved and the right thread behavior can
be built into the recording blank.
August, 1945
AUDIO RECORD
Recording Hobby Wins
Friends and Business
New York Executive
Points Out Many Uses
Anyone who considers himself busy
should meet Jack Schaflein. president of
Stone Wright Studios. Inc. His is one
of the biggest art concerns in the United
States, where dozens of artists and
photographers turn out hundreds of
catalog pages for such firms as Spiegels.
Montgomery Ward and Chicago Mail
Order.
Man of Many Hobbies
In addition to running a business,
where working until ten o'clock at night
is not unusual, Mr. Schaflein finds time
to develop new designs and materials in
ceramics. In his home and office are
paintings of his own creation that have
won many awards, including that of the
Royal Academy of Canada. Another
hobby is his piano, but while he wasn't
asked to admit it, it is evident that the
hobby he devotes most time to is re-
cording.
Service Men Head List
Stone Wright has many employees in
the armed forces, and to them Mr.
Schaflein is constantly sending records.
He calls in their friends and cuts records
that serve as group messages. When any
of the boys are back on furlough, he
lets them make recordings to send home.
Office Use
Mr. Schaflein finds that most visiting
clients enjoy making recordings more
than other forms of entertainment.
When friends or clients have birthdays
or are away on vacation, he will fre-
quently surprise them by sending his
greetings in the form of a record.
Home Entertainment
During quiet business seasons at the
office, Mr. Schaflein's portable recorder
and playback machine makes many trips
to his suburban home, where he has
amassed a library of personal recordings.
In this library is a complete record of
the voice development of his four little
daughters. Records of neighbors' chil-
dren have added to the collection, as
have those of parties and special occa-
sions among neighbors and friends.
Most interesting is Mr. Schaflein's nature
study recordings of wild birds that in-
clude the thrush, bobolink and robin.
Mosquitoes Lured to
Death With Recordings
High Fidelity Discs Disclose
Secrets of Insect World
Scientists have long sought an effec-
tive means of eradicating disease-carry-
ing mosquitoes. At last Dr. Morton C.
Kahn, Associate professor of public
health and preventive medicine at Cor-
nell University College, has found a
revolutionary method of ridding us of
these pests. Dr. Kahn has made use of
the age-old lure of the "mate-call" in
enticing these insects to their death.
He has successfully recorded mos-
quito sounds, some of which were com-
pletely inaudible, others only faintly
audible to the human ear, and is able to
transmit these sounds in order to call
specific varieties of mosquitoes to a
destroying mechanism. The electrical
apparatus which was used in these ex-
periments was I 1) a microphone, (2) an
amplifier of considerably more than usual
power, (3) suitable band pass filters and
(4) a conventional high quality disc-
recorder.
Males Are Sopranos!
The variety of these sounds seem to
indicate they may be mating calls or
calls warning of danger or anger. The
tones of each species, however, are so
individual that it is possible to distin-
guish the difi^crent species, and the male
and female of the same specie. The
sounds recorded to date are in the fre-
quency range of human hearing but far
below the energy level required for that
purpose. Male "voices" so far recorded
are higher pitched than the females.
Only One Voice Needed
The most astonishing observation of
this experiment is that the noise of only
a single female will cause the males of
the same species to burst into an answer-
ing chorus. As far as can be determined
these sounds are produced in three ways
— (1) noises made when the mosquitoes
are in flight, (2) the rubbing of the
Tarsi against the wing and also certain
pure bird-like sounds, the origin of
which has not yet been determined. To
make these experiments, colonies of the
insects are kept in the laboratory and
when the recordings are made, the mos-
quitoes are placed in a soundproof test
chamber under conditions of proper
temperature and humidity in order to
obtain sensitive recordings under a
natural environment.
Additional Possibilities
Dr. Kahn hopes that this method may
prove useful in the destruction of other
insects as well as rats and rodents con-
cerned in disease transmission. A great
scientific step forward has been achieved
together with new potential uses for the
recording disc.
A group of Mr. Schaflein's friends enjoying an "Oklafioma
Party." Making recordings was the highlight of the party.
AUDIO RECORD
August, 1945
New York University
(Continued from Page 1)
In the speech correction classes, re-
cordings are frequently made of student
and teacher speaking together, or two or
more students in natural conversation.
This encourages self-confidence and al-
lows for a study in comparison.
Aids Radio Training
In the radio course at Washington
Square College, which leads to the de-
gree of Bachelor of Arts, recordings are
also of great value to both student and
instructor. Professor H. M. Partridge
makes full use of recording methods in
his course in technical problems in
broadcasting. Voice recordings for self-
criticism are used in the production
classes.
Shortens Apprenticeships
Students at New York University
have the advantage of the greatest city
in the world as their "campus." At
Radio City Music Hall, the "Met," and
in the legitimate theaters they find un-
ending productions to spur them on to
further studies in the fields they hope to
enter. Happily the faculty who channel
the ability of these young people arc
awake to the vast potentialities of re-
cordings as a means of acquiring confi-
dence, poise and balanced personalities,
qualities which pay big dividends in the
highly competitive world of today.
This Is Your Publication
You Are Invited To Use It
And Shape It To Your Needs
We want this paper to bring you
news and information. We also want it
to be a friendly little sheet where you
will see articles and pictures of yourself
— your friends — your customers — and
men who are in the same type of busi-
ness as yourself.
You Are Invited To Help
The sources and interest of any publi-
cation depend largely upon the infor-
mation sent in from its readers. You
can help give it the "Personal Touch"
we want. Have you had an interesting
ATTENTION READERS!
To be sure you alwa)ys receive a free
copy of Audio Record, fill out the en-
closed card — no cost — no obligation and
inail it to AUDIO RECORD. 44i Madi-
son Ave., New York 22, N. Y.
Navy Veterans
(Continued from Page 1)
has been operating. Already some of
these boys show real ability, and one of
them has been promised an announcer's
job with a major network.
Helping Red Cross
Recordings are playing a leading role
in giving the boys "mike" experience
and in helping with speech correction.
The first big project of this group was a
Red Cross show completely put on by
the patients, recorded at the hospital and
broadcast over WQXR in New York
City.
Active on War Loans
Much of the fine writing of these boys
has come out of relating their actual war
experiences. They were active in work'
ing on a contest for the best script for
the last war loan appeal. And they have
the huge satisfaction of knowing that
even though wounded they can still con-
tribute to the war effort. It augurs well
for the fields of recording and radio that
after the war there will be so many in-
terested and capable young men avail-
able for them.
expenence in recording? Have you dis-
covered a new use for recording blanks?
A new technique? Have you had an in-
teresting sales experience, or do you
know the story of a friend or customer
who has? If so, send it in — pictures too.
Mail your letters or photos to:
Audio Record Editor, 444 Madison Ave-
nue, New York 22, N. Y.
There are no finer recordings than those transcribed on
\^^ AUDIO DEVICES INC. • 444 MADISON AVE., N. Y.
^^e^^A^a/^^ /iemdeA^ed CLUCLUJCLUCS
fl^ll^fiiqr
record
PUBLISHED BY AUDIO DEVICES, INC
Vol. I No. 4
444 Madison Ave., N. Y. C.
November, 1945
The show is recorded as it "goes on the air" at Hunter College. Student assistants are responsible
for timing and giving "cues" to cast. (Dr. Callahan, instructress, at recorder.)
Hunter College Students Prepare for Radio Careers
Popular Courses Given
In Modern Radio Technique
Radio Broadcasting is receiving major
attention these days at Hunter College of
the City of New York. This famous
woman's college, located in the swank-
iest section of New York's swank Park
Avenue, is looking ahead, and according
to the head of the Speech and Dramat-
ics Department, Professor Marguerite E.
Jones, students are eagerly exploring
every department of radio, from en-
ineering to acting.
Audiodiscs play an important role in
this educational program; original scripts
are recorded; classes in radio dramatics
record their plays; and the records arc
then played back for class criticism.
Students in the technical courses handle
the production of all transcriptions and
thus a dual purpose is served.
A complete broadcasting studio is lo-
cated in the college building, and the
control room is a model of efficiency with
(Continued on Page 4)
It Was Cool in Chicago!
The mellow, soothing baritone
voice of Harry Cool had been heard
over several network shows, and had
been recorded on audition transcrip-
tions for submission to several pros-
pective sponsors. Finally a well known
manufacturer of a certain famous
brand of cigarettes was interested.
Seated around a certain advertising
agency's loud speaker while the discs
were being played, representatives of
the agency, the network and execu-
tives of the cigarette company were
enjoying themselves — until the presi'
dent of the sponsoring firm asked the
name of the singer.
"Cool. Harry Cool," said the
agency man, smugly.
"What!" The president yelled,
"have a fellow named Cool on our
show? Why we'd sell more cigarettes
for Kool than we would for our-
selves!"
The lad must be good!
NBC Doubles Staff
of Recording Division
Plans Promotional Program on
Lateral Recording Superiority
Throughout the war the Radio-Record-
ing Division of the National Broadcasting
Company worked unceasingly with the
War, Navy and Treasury Departments,
the Red Cross, the OWI, OIAA and
other Government agencies in the pro-
duction of thousands of records for re-
broadcast both on the home front and all
over the world. It was expected that
when the war was over, the staff replace-
ments for those called into military serv-
ice would surrender their jobs when the
boys came back — however, activity on
the seventh floor of NBC in New York
has been stepped up to such an extent
that in addition to more than doubUng
its wartime engineering facilities, the re-
cording division next month will have
increased its sajes staff by more than
100%.
While operations are being increased
in all branch offices the greatest activity
is taking place in New York where all
productions emanate. The most im-
portant technical improvement the divi-
sion will have achieved will be having its
own processing department, hitherto
taken care of by RCA's Camden, N. J.,
production department.
The syndicated programs now total 2 1
and the NBC Thesaurus recording li-
brary numbers 5,000 selections; the
department is presently programming
several new syndicated shows.
Many Radio Recording Division en-
gineers are currently calling on station
engineers throughout the country, prov-
ing by actual tests the superiority of
lateral recording over the vertical; they
are demonstrating that the lateral system
is less prone to produce distortion, claim-
ing a range up to 15,000 cycles. The
Columbia Broadcasting System, Standard
Radio and other producers of transcrip-
tions are joining NBC in this extensive
educational program, and it is felt that
the change to lateral recording will
greatly improve the quality of transmis-
sion, particularly over Frequency Modu-
lation transmitters.
AUDIO RECORD
November, 1945
Sumner Welles to
Record New Program
Much interest is currently being dis-
played across the country in the forth-
coming series of transcribed weekly talks
by the former Undersecretary of State
Sumner Welles. Welles has long been
known as a stormy petrel, and his dis-
missal from his post by then Secretary
Cordell Hull, is attributed to his pen-
chant for speaking his mind. By record-
ing his weekly talk, Welles hopes to
avoid the censorship which he believes
his talks may be subject to if delivered
in person.
According to the William Morris
agency, which made the deal, Welles will
transcribe his comments on current af-
fairs from wherever he may be each
week, and the recordings will immedi-
ately be airmailed to subscribing stations.
Welles has had several previous offers
to be heard on the air but has refused
them heretofore as he felt that his com-
ments might necessarily be such as to
inspire censorship, and for this reason he
would not be able to express himself.
It was felt that transcriptions offered the
best way of avoiding that possibility.
ttie r^coldlU
Measuring Wear in
Recording Blanks
By E. Franck, Research Engineer
Wear in recording blanks, like inebria-
tion, is largely a matter of definition and
both subjects are controversial.
Wear means different things to dif-
ferent people. A professional recordist
will consider a recording worn beyond
use as soon as he can notice an increase
in noise level, a loss of high frequency
response, or any form of distortion audi-
ble to his trained car. A non-critical
home recordist, with his less exacting
equipment, would not be conscious of
wear that would make a recording worth-
less professionally.
Test Equipment Available
High frequency loss with repeated
playing is perhaps the easiest way to at-
tack the wear problem. A high frequency
of substantial level is cut, preferably at
the smallest groove diameter to be used.
This groove is played back repeatedly
and the level watched on a meter, the
number of playings required for a given
decrease being an index of wear. This
method is good for comparative measure-
ments but cannot be used over a long
period unless the cutting and the play-
back stylii are standardized. One advan-
tage of this method is that the equipment
required is usually available anywhere
that blanks are cut.
Measure Noise Level
Increase of noise level on repeated
playings is another method of measure-
ment. This requires a set-up capable of
measuring noise level as described in our
■ column last month. Unmodulated grooves
are cut, the noise level is measured, and
the grooves played repeatedly until the
noise level increases an arbitrary amount.
6 db is a convenient increase. The num-
ber of playings required is reduced by
weighting the pickup and we find that
with 2V4-02. weight at the playback point
from 100 to 200 playings are required
to "wear" a good lacquer. When many
measurements must be made, it is a time
saver to position the pickup so there is
no side pull, at the testing diameter so
that when the end of a groove is reached,
the pickup will slip back into the adjacent
groove and repeat over and over in the
last groove. A slight tilt to the turntable
may be needed. Of course, when the
pickup climbs over the wall there will be
a terrific noise produced and the output
meter needs to be protected at this in-
stant. A telegraph key short circuiting
the meter is a convenient way of doing
this and with a little practice the noise
can be measured over almost a complete
revolution day after day with only an
occasional accident to the meter.
Another Method
One logical objection to the above
method is the use of unmodulated
grooves, although any rise in noise level
is first detected where there is no modu-
lation. A different method of measuring
wear employs modulated grooves. A full
level tone of from 70 to 90 cycles is cut,
and played back through a high pass
filter. The filter, if it is a very good one,
will take out the fundamental and all the
various harmonies, leaving the noise
which can be measured. Wear is again
taken as the number of playings which
produces a 6 db increase. Tests made
this way usually give readings from 60'
to 80% of the unmodulated readings.
Temperature is a big factor in wear
measurements, wear going down or up
with temperature, except in the high fre-
quency loss method where the loss may
be faster at higher temperature.
Most lacquers have a good progressive
wear characteristic but some will be
found where the grooves become sud-
denly useless, as though they were break-
ing down completely instead of wearing
gradually.
Our general experience has been that
whatever method is used, the results are
about the same. Five different lacquers
measured by any of the three methods
would keep their same relative positions.
AUDIO RECORD
ATC Vet Returns
To Audio Devices
The manufacturers of AUDIODISCS,
Audio Devices, Inc., 444 Madison Ave-
nue, New York, proudly announce the
return of Captain C. C. Pell, Jr., to their
organization as national sales manager.
Captain Pell, during four years of ser-
vice as an Army Transport Command
pilot, completed fifty-five Atlantic and
four Pacific crossings. Other flights car-
ried him to South America, Africa, India,
and the Middle East.
An outstanding athlete. Pell gained
national fame by teaming with Bobby
Grant to win the U. S. Amateur Rac-
quets Doubles Championship in 1936.
The pair retained the title through 1941.
No tournaments have been held during
the war years.
Mr. Pell's duties with Audio Devices
.^fill also include flying. Using his own
Diane, he will contact representatives and
distributors in over 200 cities throughout
;he United States and Canada. Cus-
;omers, such as radio stations, motion
picture studios, professional recording
studios, phonograph record manufac-
;urers, schools and colleges, also, will be
ncluded in these cross-country jaunts.
Zero Audition
Gets Warm Greeting
Audiodisc Lacquer Saves Day
It gets hot down there in New Orleans
— it gets cold up there in Chicago; but
neither heat nor cold can destroy the
efficiency of Audiodiscs according to a
story told by J. D, Bloom, who is chief
engineer of New Orleans' popular
WWL.
Last winter the station's commercial
manager, Larry Baird, developed a local
program which he believed would be
successful for a certain product he had
in mind. Since the product was repre-
sented by a Chicago advertising agency,
an audition recording of the show was
made on a glass-base Auriodisc. Un-
willing to trust the transcription to the
mails or to the express company, Mr.
Raird tucked his record under his arm
,ind off he went to Chicago to deliver
It personally.
Brrrr
It happened however that Chicago
was enjoying one of the bitterest cold
waves of the winter, so on his way to
keep his audition appointment, Mr. Baird
rode in a heated cab; but when he
reached his destination, stepped out into
the zero temperature and paid his fare,
he was horrified to hear an ominous
cracking sound in the box he had nursed
so carefully under his arm, a sound that
could mean only one thing.
The Show Goes On
Nevertheless the appointment must be
kept and entering the agency he rue-
fully informed them that his trip was in
vain; the sudden change in temperature
between the heated cab and the side-
walk had caused the record to crack.
After some discussion of the program,
they decided to attempt to play the
record anyway, and to everyone's sur-
prise the reproduction was unharmed!
The lacquer coating on the record had
remained undamaged even though the
glass-base had broken,
Mr. Bloom reports that WWL has
been using Audiodiscs exclusively for
about four years.
P. S. Mr. Baird sold his program!
Editor's Note: Yes, glass-base discs
can crack and sometimes the story does
not have the good ending Mr. Baird
experienced. Yet, glass has proven a
marvelous substitute for aluminum dur-
ing the war. Now, many recording en-
gineers tell us they prefer the glass-base
to aluminum. We should be glad tc
hear from others on this subject. What
type of base do you want, and why?
Name Stars Record
Educational Dramas
Stations and Schools
Welcome Program
The tenth series of broadcasts to be
offered by the Institute for Democratic
Education is now being made available
to independent broadcasting stations
throughout the United States, Alaska,
Hawaii and Puerto Rico. The institute,
which is a non-profit organization dedi-
cated to the promotion of racial and re-
hgious unity, loans the transcribed series
free to stations for broadcasting on a
public service basis.
Thirteen programs have been recorded
in this series, entitled "Lest We Forget
These Great Americans," and based
upon the success of the nine series which
preceded it, this should be accorded an
overwhelming reception. Featured on
the series are Melvyn Douglas, Wendy
Barrie, Myron McCormick, Sam Jaffe,
and others. Personages whose lives are
dramatized for the series include Frank-
lin D. Roosevelt, Woodrow Wilson,
Wendell WiUkie, Alfred E. Smith, Jane
Addams, and the late Justices Brandies
and Holmes.
Under the direction of Dr. Howard
M. Lesourd, Dean of the Boston Uni-
versity Graduate School, the Institute for
Democratic Education has done much
toward developing a higher appreciation
of the democratic heritage and a whole-
hearted support of free institutions.
Working steadily and tirelessly for the
past seven years, and realizing that radio
is primarily an entertainment medium, it
has presented its series of educational
transcriptions in dramatized forms, fea-
turing many of the most prominent stars
of radio, stage, and screen. Each series
of thirteen programs has been entitled
"LEST WE FORGET," and more than
four hundred stations throughout the
country and its possessions have already
broadcast the shows.
Schools throughout the nation have
been quick to see the advantages of these
programs, and at the present time over
1500 schools and school systems are us-
ing them in history and current events
classes. They find that the dramatizi'
tions give added reality and meaning to
historical episodes and periods, arousing
interest and stimulating discussion among
pupils. An eight page booklet "Portfolio
of Freedom" is distributed without cost
to schools for classroom distribution.
Records and booklets are supplied with-
out .cost, to schools owning public ad-
dress systems or playback machines.
Financial support for the institute is
obtained through private contributions
from liberal educational and civic or-
ganizations.
AUDIO RECORD
Novembar, 1945
(Continued from Page 1)
RCA equipment throughout. Classes in
radio dramatics are held under the in'
structorship of Mrs. Harvey, Mrs. Cal-
lahan, and Mrs. Landeck, all of whom
have had practical experience in radio
in addition to a thorough grounding in
educational theory.
Kids Get Big Chance
One of the most ambitious courses
which will be included in the Spring
curriculum is Radio for Children, a
course designed for students interested
in children's radio programs; it includes
the adaptation of scripts for children;
the casting, directing and producing of
programs with child actors. Students in
this course will also be given instruction
in control room technique and the syn-
During preliminary
practice, this young
actor, taking his pan
very seriously, studies
the new personality.
chronizing of sound effects. Children
from Hunter College Elementary School
will comprise the repertory group of
child actors.
Grads Make Good
Graduates of the existing courses have
been singularly successful since leaving
school. Advertising agencies, radio sta-
tions, recording studios and other schools
and colleges have been quick to recognize
their talents.
Professor Jones is especially pleased
with the use of transcriptions in many
other ways in the College — in speech
correction classes; in public speaking and
oral interpretation courses; in voice and
phonetics exercises; in the music depart-
ment.
Speech Handicaps Aided
Stammerers, and others with speech
impediments are given corrective exer-
cises with the use of both the "voice
mirror" and recordings and a more rapid
advancement has been noted when stu-
dents are able to follow their own prog-
ress. The same is true of the other
courses in the Speech department. In the
music department of the College, under
the direction of Dr. Walter Heifer, ex-
tensive use is made of the recording
machines. The radio studio is also used
by the Music Department for a course
in broadcasting for singers.
Professor Jones predicts that an even
broader use will be made of transcribing
facilities at Hunter College in the very
near future not only by the Speech
and the Music Department, but by the
many other departments that have
already discovered its value.
Reporters Wanted
You Can Qualify For
This Exciting Position
The current issue of AUDIO REC-
ORD is Volume I, Number 4 — we hope
it has brought you a measure of enter-
tainment, that some of the information
we have been able to bring you has been
interesting and useful to you. We want
this paper to be of even greater use, and
this can be made possible through your
own cooperation.
An exchange of information can be
of mutual assistance in these times of
rapidly changing techniques in all lines
of endeavour, and this is particularly true
of the recording field. AUDIO REC-
ORD can be a medium of such exchange
and we will be only too happy to keep
our columns open to our readers. The
daily life of a recording engineer is filled
with many incidents, some of them amus-
ing— such incidents often make interest-
ing reading. Perhaps you have a success
story to tell which may be an inspiration
to others.
In other words, AUDIO RECORD
needs reporters; it can continue to be in-
teresting only if you wish it to be. Send
your letters to: THE EDITOR. AUDIO
RECORD, 444 MADISON AVENUE,
NEW YORK 22, N. Y. If you have in-
teresting photographs, send them along,
too! We'll print "em!
So<ut More Audiodiscs For Schools
Yellow Label and Blue Label Audiodiscs, 6I/2", 8", 10" and 12" diameters,
are made of exactly the same materials used in the manufacture of pro-
fessional Audiodiscs for radio broadcasting.
Soon, with our increased production facilities, more of these superior
blanks will be available.
If there is any question as to what recording blank will give you the best
results, why not consult the recording engineer in your local radio station?
He knows Audiodiscs.
AUDIO DEVICES, INC. . 444 MADISON AVE.,N.Y.
/Aen^^frA ^p^ /nent^e^^ed CLLLCLlOCLlSCX
fl^ll[fl^lff
record
PUBLISHED 8Y AUDIO DEVICES, INC.
ol. I No. 5
444 Madison Ave., N. Y. C.
December, 1945
OVEL RECORDING SHOW-BROADWAY HIT!
Da+e With A Disc
ifOR Recording Studios— Second to None
New York's Mutual Outlet Handling Tremendous Recording Load
Taking their place as one of the major
rganizations in the business, the WOR
ecording Studios are now doing a large
jreent of all commercial recording in
le New York area. Located on the
3th floor of 1440 Broadway, the WOR
ecording Studios facilities are used by
QSiness concerns from as far west as
hicago. Over 50 percent of the studios'
ork is handling commercial transcrip-
ons for most all of the major advertis-
ig agencies in New York City.
Program Popularity Checked
The WOR Recording Studios also
aintain a reference recording room
)r the. purpose of making air checks for
Ivertising agencies. One third of the
ork of the reference recording room
insists of making discs for rebroad-
ist — for WOR as well as for other
ations in New York City.
"The Sealed Book," syndicated radio
rogram series produced by WOR's
ommercial Program Sales division, is
xorded at the 1440 Broadway studios
)r transcription use all over the United
St.ites as well as in Canada and Hawaii,
Package shows, information and in-
dustrial series, propaganda messages and
programs for governments in exile dur-
ing the war, commercial transcriptions,
special sound effects records — all have
been recorded in the WOR studios.
Best Equipment Available
The WOR Recording Studios, which
were opened in June. 1942, represent
the latest word in recording facilities.
The studios are modern in design and
offer the latest in acoustical properties,
lighting installations and recording
equipment. The entire division is air-
conditioned providing favorable working
conditions regardless of outside tem-
perature, and assuring uniformity of
recording equipment operation.
The studios were designed under the
supervision of sound control experts.
The walls are built with obtuse angles
which control reverberation and help
eliminate sound reflections without the
loss of desirable brilliance so necessary
(Continued on Page 2)
Packs 'Em I
n
"Date With A Disc, the new and
different audience ' participation show,
now appearing at the Loew's State The-
.itre in Nev.^ York, will uncover the
Crosby, Sinatra, Shore and McDonald
of tomorrow," says genial, music master
Enoch Light, creator of the disc show
that promises to keep Broadway "record-
ing conscious" for many months to
come. "Not only does Date With A
Disc tickle your funny bone but it offers
a real opportunity for the young fellow
or girl with talent," Enoch relates.
Hit From The Start
Date With A Disc was first intro-
duced to the public in the Bowman
Room of New York's fashionable Bilt-
more in December 1944. It was received
with such great enthusiasm that maestro
Light decided to take it along with the
band to test its appeal in Philadelphia,
Providence and other eastern cities. It
vv'as the same, everywhere. Date With
.1 Disc was a hit! And today, one year
later. Date With A Disc is "in solid"
with the Light musical aggregation. As
the boys in the band put it: "Let there
be Light and there is Date With A
Disc."
Mutual May Air Show
Soon it is hoped that Date With A
Disc will be aired for the first time over
WOR, New York's Mutual outlet. If
it is, radio listeners are in for a real
listening treat and will no doubt make
Date With A Disc a "must" on their
radio schedule.
As explained by Mr. Light, Date With
A Disc is not a quiz show, but, it pre-
sents the same all-out appeal as the
toughest sixty-four dollar question. The
old familiar "no coaching from the
audience, please," "isn't heard. Prin-
cipally, because it isn't needed. In this
game you're strictly on your own!
Contestants Drawn From Audience
The contestants for Date With A
Disc are chosen from applications pre-
viously filled-out by the individual upon
entering the theatre. The application
(Continued on Page 3 J
AUDIO RECORD
December, 1945]
J
WOR Recording Studio
(Continued from Page 1)
to the production of high fidchty record-
ings.
The control rooms have specially de-
signed Holophane lighting installations
providing the ultimate in visual aid; the
vision panels are set at angles which re-
duce glare, and each control room i"
equipped with a three-way talk-back
microphone.
The recording machines themselves
are the finest available — Scully Record-
ing Lathes. Two of these are located in
each of the two recording rooms; im-
mediately adjacent to the control rooms
of the studios. They are so arranged
that a vision panel enables the recording
engineer to look directly into the studio.
Eighteen Channels
The studios have eighteen channels
available at all times; twelve of these
are located in the reference recording
room. These channels are chiefly used
for recording programs "off the line" or
"off the air." All eighteen channels arc
quickly interchangeable.
Re-Recording Equipment Set Apart
The re-recording equipment is in-
stalled in a specially designed and
acoustically treated room which is iso-
lated from the rest of the studios. The
equipment consists of four dual speed,
constant velocity, turntables and repro-
duction is achieved through the use of
four high fidelity lateral-vertical repro-
ducers.
For master re-recording a special
(Continued on Page 4)
What!! 1:30 A. M.
The Scene: The offices of the recording
studios of PHOTO &' SOUND,
INC., San Francisco, Calif. John
Wolfe, manager of the recording
division, is at his desk.
The Time: Around 6:30 in the evening
a day or so after Pearl Harbor.
The telephone rings, and a voice says,
"This is the COL We'd like to make a
recording at 1 :30 A. M. Can you handle
it?" Wolfe, at first a little annoyed at
what appears to be a practical joke, ex-
plodes, "What!! 1:30 A. M.! Who"s
trying to kid who? Whoever heard of
making a recording at 1:30 in the morn-
ing! Our technicians have all gone
home!" The reply comes quickly, "I
assure you, nobody's kidding anybody.
I am speaking for the Coordinator of
Information, and it is absolutely es-
sential that we make a highly confi-
dential recording tonight. Can you do
it?"
And so, in the dead of night, with the
representative of a government agency
so new few people had heard of it, with
a school teacher, and two Japanese stu-
dents from the University of California
as talent, and with the manager of the
recording division at the cutting lathe,
PHOTO 6? SOUND, INC., made the
first transcription to be used in our
short-wave propaganda battle with the
Japanese Empire. This was the first of
a long line of transcriptions prepared
for use by the COI, later to become the
Office of War Information. During the
ensuing year, the OWI utilized Photo
& Sound's recording studios to the hilt.
Twenty to 24-hour days were nothing
(Continued on Page 4)
Hearing Is Believing
Discs Aid Voice Coach
"To point out the shortcomings of a
singer is one thing, but to convince him
of those shortcomings is another," says
Kenneth Hieber, New York voice coach
and accompanist. "To tell a student that
his diction is weak or that there are
"wobbles" in his voice isn't easy, be-
cause the average student must have his
voice recorded and played back to him
before he fully realizes the importance
and seriousness of his mistakes. One
play-back does the work of many hap-
.less hours of lecture," Mr. Hiebcr re-
lates.
Juilliard Graduate
At present, Mr. Hieber, who attendei
the Longy School of Music and has bee:
graduated from the Juilliard Institute ot
Musical Art, occupies a modest little
studio in Greenwich Village where he
tutors fourteen anxious and hopeful
singers.
Busy Week
Aside from hi?
studio work, Mr
Hieber spends
two days of every
week with his
students at the
world renown
Juilliard School,
serving as piano
accompanist to
faculty member
Evan Evans, well-
known Gotham
voice teacher; and
one evening. Monday, with one of his
proteges in the forty-third street record'
ing studios of G. Schrimer.
Errors Isolated In Play-Back
During these Monday evening ap'
pointments, for which the student has
prepared several selections that will,
most cases, be presented in a forthcomj
ing examination or public appearance
four to six sides are cut and played bact
The student is counseled after each pla)
back and the merits of the recording
are discussed in length before the next
disc is cut. In this way. the student
may concentrate on weaknesses in die
tion. individual vocal problems (wob'
hies, lack of line, lack of sufficient color),
or lack of rhythmic flexibility. Also, Mr.
Hieber uses the pupil's recorded per-
formance as a measuring guide for their
progress over a period of time.
After the discs have served their pur-
pose to the individual, they are usu.illy
given to proud parents or admiring^
friends as souvenirs. And, confides Mr.
Hieber, "they're AUDIODISCS."
Mr. Hiebcr prepares
Mary Agnes Davis for
her March 2i Town
Hall concert.
December, 1945
AUDIO RECORD
Date With A Disc
(Continued from Page 1)
form merely asks for the contestant's
name .ind whether he or she will sing,
yodel or give an oratory piece if called
to the stage by program M. C, Enoch
Light. Three applications are drawn
from a ballot box and the lucky se-
lectees are brought to the stage. They
are first introduced to the audience and
briefly interviewed by Light, then, pro-
gram engineer Fitz Herbert signals that
his equipment is ready to record the ap-
plicant's efforts. If the contestant is a
singer (most of them are), the orchestra
begins the introduction and the vocalist
is on his own. After all three contest-
ants have finished their performance,
engineer Herbert sets up his equipment
for the play-back, and the lun starts.
One by one each hopeful listens intently
as the disc starts on its merry way.
With each revtilutiim it is clear to see
that the anxious
fellow is think-
ing: "that ain"'-
me." Ater the
p 1 a y - b a c k is
completed, the
audience, by ap-
plause (recorded
In There Pitching — on the applause
Elderly contestant gives meter), selects
forth with his Sunday
Best." the winner.
Everyone Wins
Unlike quiz; shows, all contestants win
prizes. For example; the second and
third place performers receive either a
bottle of perfume or a handsome leather
billfold. The winner: a fifth of Man-
hattan's best champagne. In addition,
the recorded discs are given to the "'also-
rans" as souvenirs of their Date WitJi
A Disc. The winning contestant's disc
is retained by a board of four judges
along with those of other show winners.
As Date With A Disc is now being
presented five times daily, to capacity
audiences, each day brings five new
winners to the fore. At the end of a
week's engagement, thirty-five indi-
vidual show winners have entered the
"choice company" class and their discs
are again replayed by the hoard of
judges, headed by the well known radio
personality, Martin Block, to determine
'"the best of the lot." This selection
results in the winner receiving an ele-
gant gold wrist watch. But, that isn't all!
His or her disc will be retained for a
period of three months, at the end of
which the board selects the best disc
recording made during that time. The
(Continued on Page 4)
In Braille and Talking Book Library of New York Institute For The Education Of The Blind,
Robert Lovejoy. 12-year old student, is shown operating the Talking Book machine and listen-
ing through the privacy of his own ear-phones to a recorded copy of the Readers" Digest, while
Jenny Lamanna, right, rea.ds from her Braille copy, and Marie Gasperino, left, is being read to
by the librarian. Miss Marjorie Schweitzer, from the regular ink-print copy.
Talking-Book Long S+ep Toward
Brighter Future For Blind
"The 'talking book' (educational text
recorded on 16" discs) and recordings
in general bring a new approach and
new methods of teaching through
sound," says Dr. Merle E. Frampton,
Principal of the 114 year old New York
Institute For The Education of the
Blind, The Bronx, New York.
"With the advent of the Talking
Book has come a broadening of the
educational and entertainment oppor-
tunities for the blind. Although, still in
its infancy with many possibilities for
its perfection and use yet to be explored
and developed, the Talking Book has
already become a potent force in the
schools and homes of the blind across
the country. Second only to radio as a
medium of enlightenment and recrea-
tion, the Talking Book marks a golden
mile-stone on the road to greater free-
dom from dependence upon others; for,
with a flick of a switch, its magical turn-
table will spin a story drawn from the
literary masterpieces of history or from
the current best seller now on the
shelves of the corner book-store. Add-
ing to the enjoyment of the Talking
Book is its voice, a professional story-
teller, often the author himself — an ex-
perience denied the ordinary reader.
"Recordings which have captured the
sounds of wild life in their natural
habitats contribute a realism to courses
in nature study and other kindred sub-
jects heightening their interest and
efi^ectiveness. Through the recording, the
listener can be a witness to great mo-
ments of history and science and can
learn first-hand of the audible attributes
of the natural wonders of the world.
The wide range of possibilities for the
educational and classroom use of record-
ings is challenging to the imagination
and a stimulating subject for study and
research.
"The ever-lengthening Talking Book
shelves in libraries for the blind guar-
antee new sources of knowledge and
entertainment to light and lighten the
lives of the blind everywhere."
With the help of congressional ap-
propriations, the Talking Book is re-
corded for the New York institute by
the American Foundation For the Blind
in New York City.
As Old As Methusela Maybe?
Recording of sound is not as recent
a phenomenon as most people believe.
Just how old recording actually is, prob-
ably, will never be determined. How-
ever, Plato, 500 years B. C, in his
"Republic" mentioned having heard re-
corded sound. Also, the memoirs of
Luigi La Blache (1794-1858), greatest
basso of all time, hinted that he had
heard his own voice through recordings
made many years before.
Rock-A-Bye Baby
Working late in Columbia's forth-
coming "Gilda," Rita Hayworth, glam-
orous screen star, hasn't had time to
sing to her baby, so she's recorded
lullabies for her nurse to play at the
child's bed-time.
AUDIO RECORD
December, 1945
Engineer Jack Hawkins monitors a program
in the main studio of Photo & Sound, pioneer
San Francisco recording studio.
What!! 1:30 A. M.!!
(Continued from Page 2)
out of the ordinary, and for a time.
120 sides a day were being turned out.
Nearly all of this was prepared for
short-wave transmission to the Orient—
in dozens of languages and for hundreds
of different purposes.
When the Office of War Information
found it feasible to go into recording
for itself, its program at Photo fe? Sound
was curtailed, but other recording, asso-
ciated with the war effort, continued to
consume much of the available studio
time — transcriptions for the Army, for
the Navy, and for the training films be-
ing produced by the Film Production
Division of the company. As the war
effort has tapered off, more and more
time has been available for peacetime
effort — agency transcriptions for broad-
cast purposes, personal recordings, and
commercial recordings for public release.
Now that the war is over, Mr. Wolfe
looks forward to a greatly expanded
program along these lines.
The recording division takes a justifi-
able pride in its record of past accom
plishments, and looks forward to a
bright future. With a staff of topnotch
technicians, and the latest in modern re-
cording equipment plus the unfailing
quality of AUDIODISCS, which are
used exclusively, it is in position to
handle everything from, "Hello, mama,
this is Joey. I'll be home for Christ-
mas" to symphony recordings or the
many-sided problems of sound effects,
narration and dialogue arising in motion
picture productions.
WOR Recording Studio
(Continued from Page 2)
studio has been built containing two
Scully recording lathes. The studio in-
cludes an audio control console with
vertical and lateral reproducing chan-
nels with associated equalizing systems.
One of the most important factors in
present day recording practice is the
blank disc itself. In WOR'S studios
these discs are kept in specially con-
structed cabinets until required for use.
The temperature is kept constant, thus
insuring a uniform cutting medium at
all times. Henry B. Lockwood manages
the WOR Recording Studios.
Date With A Disc
(Continued from Page 3)
winner is awarded a contract with Guild
Records. Results of the pressing may
mean the start of a brilliant career for
the lucky boy or girl. Only recently,
Miss Dorothy Malone of Collingswood,
New Jersey, was adjudged the best per-
former heard during the previous three
month period and was given a contract
as featured vocalist with Mr. Light's
orchestra.
AUDIODISCS are used exclusively
in the presentation of Date With A
Disc, and Mr. Light advises, "they never
let us down."
AUDIODISCS have all of the feolurei essential to high fidelity recording.
A superior lacquer is applied by a unique process that gives a flawless
surface. In cutting, the thread throws well and there is no static. In play-
bock, whether ot once or in the future, there is low surface noise. Their
playback life is unequolled. There are six types of AUDIODISCS:
iED lABEL topt alt accepted quality itottdortj
lor prof.iiiattal aie Doubl.-iided it, 6">", 8'
10". H" and 16" dlatt..t.r.
cute, filing and reference recaril
tided in 10". 1}" and It" diame
ing> Double.
BENT SHANK NO 154. for heev.
lITpplc""."'!, ""?.'.'"„'„'. "d". *ir"°."
MASTERS far choice copie. (pr
electroplating Double or tingle
13'," and 17'." diametert.
eiiingt] offer
foce in 1}".
STRAIGHT SHANK STEEl NO
131. lor l.ghr p.ckup.
Audio's reshorpening ond
VEUOW lABEL. Daoble.tld.d blank, a) un
form qwaltty and ■wide latitude " EKtro-fii,
ad|u>t,..«nt. unn.c.tta.y S,i.. at Red Label
All AUDIODISCS o.e mnnulaitured an
la, the 6">" and Blue label type.
BlUE lABEl bett d.tc, at lo,« co
num bate, tome recording locq
lionol AUDIODISCS tW. 8" o
aluminum boie-ond glait bote too.
t Ihin olumi-
er at prole-
id 10':
repolishing services give
real economy in The use of
AUDIOPOINTS, Nos. M,
34 ond 113. Consult your
locot dealer.
AUDIO DEVICES. INC.. 144 MADISON AVE., N. Y. C.
/neu yd^eiiA ^^ /AetHdeA/ed CLUCLLcJCIIsCX
fl^lttl^lfy
record
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 2 No. I
444 Madison Ave., N. Y. C.
January, 1946
"G.I. Journal" cast — Left to right — Mel Blanc (Pvt. Sad Sack), Rita Hayworth, Charlie
McCarthy and Edgar Bergsn.
Armed Forces Radio Service Expands Networks
Info Areas of Occupation for '46 Operation
The Armed Forces Radio Service will continue as a military operation of the
War and Navy Departments into 1946. Thus, armed forces overseas are assured a
continuous supply of APRS programs via shortwave beams originating from San
Franc'sco and New York City, Armed Forces
Radio Stations located in the immediate
cinity of troops, and via AFRS transcriptions
for playback aboard ship and over landbased
sound systems.
Webs on Peacetime Standard
The global broadcast outlets of the AFRS
are still in daily operation overseas meeting
the increased needs of soldiers, sailors, and
marines for information and entertainment
through radio. GI networks have been con-
verted into peacetime status by expansion into
areas of occupation. The "Far Eastern Net-
work," under General MacArthur, extends
from New Guinea through the Philippines
into Japan. The "American Forces Network"
formerly servicing troops in the British Isles
and France has expanded its outlets into
Austria, Germany, and Italy, Down in the
South Pacific the "Mosquito Network" still
has stations in operation from Guadalcanal to
Samoa. Other AFRS Stations continue to
function in the Middle East, the Aleutians,
Panama, South America, Iceland, Greenland,
India, Burma, and China.
L. A. Headquarters Maintains Pace
To meet the needs of such AFRS outlets,
the Armed Forces Radio Service plans to con-
tinue its production of broadcast material at
(Continued on Page 3J
Church Women Plead
For Enduring Peace
Recordings Heard by Thousands
The first Friday in November was observed
nationally as World Community Day by the
United Council of Church Women, an or-
ganization representing 10,000,000 Protestant
women of all denominations. Their theme
which they went at in earnest was "The Price
of An Enduring Peace."
Program materials for the day went into
11,000 communities in the United States.
Local groups in these communities put in
weeks of study and preparation. These women
knew they had to begin building world peace
by getting understanding and tolerance for all
peoples in their own communities.
National Leader SFPC Representative
To penetrate hearts and homes with the
respon.sibilir/ upon every ind vidual for mak-
ing the United Nations Charter live in a real
United Nations Organization these women
went on the air. Mrs. Harper Sibley, their
national president, had been one of their rep-
resentatives at the San Francisco Conference.
(Continued on Page 4)
World's Future Dependent
Upon Modern Education
Students Point Way to
Better, Easier Learning
Today, scientists tell us, we're living in the
"atomic age." We're living at a time when
the future of the world depends on sincere,
successful thinking, and modern foresight by
leaders of all nations. Modern foresight re-
quires men with modern ideas. And, modern
ideas, in turn, are the result of modern edu-
cation.
As the reputation of the United States has
long been without peer in the field of educa-
tion, it is not difficult to understand why
modern educators are tirelessly planning new
ways of educating the American boy and girl.
No doubt, your Mary or my Bill, will learn
their ABC's as you and I, but, chances are,
the alphabet will be presented to them in a
new, streamlined way, a modern way. In
other words, the youngsters of tomorrow will
find school far more interesting and less ardu-
ous than was the case when we attended the
little red school house on the hill. He or she
might even find school to be "fun." At least
that's the hope of the modern educator.
Better Citizenship Training Mapped
An example of what is now being done to
make "going to school" a pleasure, is told in
a report received from Mr. W. Howard Bate-
son, instructor in American Citizenship and
in charge of Visual and Audio aids at Jefferson
Junior High School in Dubuque, Iowa. Mr.
Bateson, associated with audio-visual education
in schools and commercial theaters for over
twenty years, believes audio-visual equipment
to be one of the prime factors in education's
progress. "I am firmly convinced that this
country is now to go forward into a new and
greater field," Mr. Bateson exclaims. "This
field, it seems to me, will be directly related
to the school, the church and the local thea-
tre. These institutions will provide the means
for integrating all of the resources of the
community for better citizenship training.
"Recently," the professor continues, "the
students of my classes exchanged scrapbooks
with the pupils of a junior high school in
Georgia. In acknowledging receipt of the
Georgia school's scrapbook, our students de-
cided to send a recorded 'thank you' note. In
the recording, they further explained many
of the things in the Iowa scrapbook in order
to give the Georgia pupils a better under-
standing of the history and resources of our
city and state.
Streamlined Education
"Not only did this single recorded disc bring
more information, pleasure and enjoyment to
the Georgia group but it served to introduce
them personally to the boys and girls who had
prepared the Iowa scrapbook and whose photo-
graphs appeared in its pages.
"I know of no better way to teach history,
geography and human relations than through
a well planned recorded disc exchange project,
supplemented by sixteen millimeter motion
(Continued on Page 4)
AUDIO RECORD
January, 1946
"Hi, Dad De!" — William Hillyer McDonald, with Mom, send greeting to Capt. McDonald,
overseas.
USO Recording Service Proven Morale Builder
War Record Unparalleled
Popularity of "live letters" made on voice
records at USO clubs is attested by the fact
that USO Central Purchasing Department has
sent out 301,059 discs for records in the last
two years, and that this figure is exclusive of
those purchased locally or through other chan-
nels.
All discs purchased by USO are donated to
service men and ma'led out by individual
clubs. Some 350 USO clubs in large cities
are equipped with voice-recorders, and men en
route overseas during the war years or return-
ing today have used these machines to send
messages to the r families.
But sheer statistics do not tell the human
story behind this USO service.
Nation-wide reports indicate some of the
companionship and warmth behind the making
of these recordings.
Many Languages Recorded
A USO club director in Tacoma, Washing-
ton, wrote during the height of the war:
"Made recordings tonight for men of five
nations. A choir boy from Russia chanted a
message to relatives in New York City. A
soldier from Free France who'd escaped to
the United States and joined up here made a
recording for his uncle in California. A
Christian Arab sent one to his aunt in San
Francisco — a Jewish boy from Palestine ever
so shyly said a few lines to his sister in El
Paso, Texas. An Irish lad from County Cork,
Ireland, sang an Irish ditty to his grandfather
in Wisconsin — and a chap from Corsica did
one with an Italian flavor."
The voice records are usually made in a
large room, so that there is always an inter-
(Continued
ested crowd of kibitzers around. But any man
wanting privacy for a special message may
take the machine into the club director's office
and make it without having a crowd listening
to him.
Dan Cupid Given Hand
This is especially important in such in-
stances, for example, as the time when a man
proposed to his girl by voice record. In fact,
sweethearts and wives receive a fair share of
all these messages. Somet mes a man will
sing a love song to his girl. And in a USO
club in Ozark, Alabama, a red-haired Texan
stopped in to say that his girl had turned him
down. He made a voice record, singing
"You've gone and left me all alone," and
sent it to her fam'ly. Evidently his appeal was
moving, for he became engaged to the girl
soon after that.
Mom Not Forgotten
Thousands of men have made USO vorce
records "to Mom." Use of the recording-
machines was especially in demand when men
were leaving for combat zones overseas. For
security reasons they could not say that they
were "shipping out," but they usually man-
aged by innuendo to put so much appeal in
a letter that no one could fail to understand
their meaning. Today, men returning and un-
able to go home immediately — and particu-
larly the convalescent wounded who visit USO
clubs — send "live letters" of greetings to their
families.
From a USO club in the South came the
story of a man who made a special record for
his family. His mother wrote back that when
Iris pet dog heard the boy's voice he sent up
071 Page 4)
me t\myidUt
Record Industry Depends
on Master Recording Discs
By E. Franck, Research Engineer
Disc recordings played a vital part in the
war, spreading information, propaganda and
entertainment. They were also used in train-
ing and in morale bulding.
Great Demand On Industry
Some recordings were considered so im-
portant that air priorities were given to over-
'^eas shipments of vinylite pressings. To meet
the greatly increased demand for pressings,
the industry was expanded and production
multiplied many fold. (Note the article in
this same issue on the record'ng work of the
."Krmed Forces Radio Service.)
For the most part, the production of all
these pressings depends on Master size lacquer
discs for the original recording. Discs for this
type serv'ce must meet many requirements in
addition to good cutting and playback quali-
ties.
Uniformity in Quality Needed
We can understand these additional require-
ments best by following the Master disc
through the steps of process'ng. First, the re-
corded surface must be rendered conductive
to electricity so it can be electroplated. This
is usually done either by a silvering process or
by a gold sputtering method. The silvering
process consists of deposif'ng silver from a
chemical solution, and requires all the care
and control of mirror manufacture. If every-
thing is not right, such as solution strengths,
purity, work-room temperature and condition
of the recorded surface, the deposit may be
weak or splotchy and the results very erratic.
In general, the technique of silvering needs to
be adjusted to the particular recording disc
used. Of course, once the technique has been
adjusted to give good results, the recording
discs must be uniform in quality in order to
g-'ve consistent results. In the sputtering pro-
cess, the Master disc is subjected to worse
tortures. It is placed in a vacuum chamber
and positioned next to a sheet of gold. The
gold sheet is made a cathode of an electrical
gaseous discharge and some of the gold is
"splashed" off onto the disc.
Masters Copper Plated
After being coated with silver or gold, the
lacquer Master d'sc is plated with copper to
give a strong metal plate, and then stripped
away from the disc. This gives a metal plate
with ridges in place cf the grooves in the
recording and is used to press out "pressings"
or records.
Lacquer Must Be Good
If the record'ng lacquer of the Master disc
is net good, the silver or gold may adhere too
strongly to the lacquer coating and make the
stripping troublesome or impossible. With a
good lacquer Master disc, on the other hand,
the stripping process is easy and the disc may
be put either through the silvering or the gold
sputtering process more than once if required.
Processing Often Delayed
Frequently, there may be a delay between
the time of recording and processing. This
places an additional requiiement on the Master
disc, that is, that the recorded grooves shall
not change shape during this period and that
there shall be no increase in noise level.
January, 1946
AUDIO RECORD
APRS to Stay In '46
(Continued from Page 1)
its headquarters in Los Angeles at a pace equal
to that established during war time. This
means APRS headquarters will continue to
produce 151 separate radio programs weekly,
the equivalent of 60 transcribed hours of en-
tertainment. Weekly air shipments will con
tinue to key distribut on points of clusters ot
APRS outlets with each shipment offering .i
fresh issue of 120 plastic transcriptions, 5' ;
hours of script material, new selections for
basic mus'c libraries, and special educational
and informational programs.
In addition, APRS will maintain its short-
wave operation offices in New York City and
San Prancisco. One thousand five hundred
hours of APRS programs a week are now be-
ing beamed overseas from 19 powerful short-
wave transmrtters ranging from 20,000 to
100,000 watts in power.
New Recording Tricks Saved Day
Approximately one and one-half million
APRS transcriptions have been shipped over-
seas since World War II began and ended.
It is the general consensus of APRS head-
quarters that the enormous task of bringing
radio entertainment programs of the highest
techn-'cal quality and talent performance from
T.os Angeles to American Forces throughout
the world would have been greatly impaired
without the development of new transcription
techniques given impetus by war time require-
ments.
Col. Thorn. H. A.
Lewis, former
APRS Comman-
dant, receives mil-
lionth plastic trans-
cription from Jo-
seph Cousins, Los
Angeles pressing
plant employe.
The demands Armed Forces Radio Service
made on the transcription industry were un-
precedented. In many instances APRS reached
out into overseas theaters and brought back
recording experts who had been drafted from
pressing plants earlier in the war. Pressing
processes were streamlined. And plant per-
sonnel worked on a 24 hour basis. In some
cases pressing plants increased their transcrip-
tion output thirteen hundred per cent to meet
demands of the APRS for more and more
pressings!
New Year Plans Outlined
Today the transcription industry as a whole
is turning out over 100,000 pressings per
month for Armed Forces Radio Service. Sixty
per cent of all APRS transcriptions are ship-
ped to overseas broadcast outlets and to ships
of the U. S. fleet. Forty per cent are ds-
tributed to hospital sound systems operated by
the APRS in this country for wounded war
veterans.
The outline of special APRS shows for
1946 follows the same pattern of programs
carried throughout the war. Included on the
1946 production list are its four major pro-
ductions: "Command Performance," "Ivlail
Call," "0. I. Journal." and "Jubilee." In-
cluded among other original APRS shows
slated for "46 are "Hymns From Home,"
"Concert Hall," "Downbeat," "G.I. Jive,"
and "Jill's Juke Box."
Producer-Director Robt. Lewis Shayon, Act-
ress Wendy Barrie and Actor Victor Jory
discuss "CRISIS IN OUR TOWN" script.
Nation Brought Closer
to Human Problems
Work of Community
Chests Aired to Public
A better understanding of human beings,
their problems and the tangles they get out
of, with the help of social agencies, is result-
ing from the widespread use cf an annual
series of recorded dramatizations being dis-
tributed by the non-profit organization. Com-
munity Chests and Councils, Inc.
These open-end recordings of fifteen-minute
dramatizations are superbly produced and di-
rected, and enacted by leading artists of stage,
screen, radio and music.
The organization already has a third of its
new series of scripts ready for 1946 production
and distribution throughout the country for
broadcast over leading stations.
Given Best Air Hours
With the exception of New York City,
Commun'ty Chests exist in every city of more
than 25,000 population, and distribution is
made through the local Community Chests
which are thereby made responsible for audi-
ence building and promotion. Use of open-
end recordings permits complete identification
of the program with the local Chest and work
of the agencies it supports. During the last
two years, the choice broadcasting hours al-
located by local stations to these public service
programs is a barometer of their excellence,
and, according to a recent poll, the welcome
mat is out for the new series when it comes
along, thanks to the care with which scripts.
production, casting and music are handled.
Rh Factor Discussed
Timely and provocative, the series each year
includes some highly scientific material, such
as the Rh factor, newest discovery in blood
chemistry, which was dramatized in the 1945
series. The story, "MARVELOUS UN-
KNOWN," was written to dramatize some of
the work done in hospitals supported by Com-
munity Chests. But its popularity with Dr.
Alexander S. Wiener, a co-discoverer of the
Rh factor, has been so great that he now uses
the recording to highlight and illustrate his
lectures on the subject to doctors and scien-
tists!
Scripts are under the direction of Eloise
Walton of Community Chests and Councils.
Inc., and production and direction are in the
capable hands of Robert Lewis Shayon, of the
Columbia Broadcasting System.
Special music was written and directed by
Jon Cart, and some of the talented stars en-
acting these stories arc Victor Jory, narrator
for the 1945 series, "CRISIS IN OUR
TOWN," Mady Christians, Celeste Holm,
and Ralph Bellamy.
Top Stars Featured
In NTA Series
Hu Chain to Direct
New Year Productions
A series of 1 3 radio dramatizations, playing
up varous aspects of tuberculosis control, has
been produced by the National Tuberculosis
Association under the title of "The Constant
Invader." The transcriptions are for use by
the National Association's aflihated associa-
tions throughout the country, which have
ordered 270 sets.
The shows were wr'tten and directed by
Hu Chain, with Dr. A. J. Cronin, well known
author, as the narrator, and professional actors
as the cast. Original music by Ben Ludlow
was used. Another series of 13 will be pro-
duced by the Association in 1946.
In connection with the annual Christmas
Seal Sale, the Association, as usual; produced
three radio transcriptions which were placed
by affiliated associations on local stations
throughout the country.
One was a fifteen-minute dramatic show
commemorating the 50th anniversary of the
discovery of the X-ray and starred Walter
Huston. It was called "The Light That Saves
Lives."
A musical show, also fifteen minutes and
entitled "Christmas Seal — • Christmas Music,"
featured Richard Crooks, the tenor, and How-
ard Barlow and his orchestra from the "Voice
of Firestone" program. Milton Cross was
master of ceremonies. The third was a series
of spot announcements made by such persons
as Roland Young, Herbert Marshall, Victor
Moore, Lou Costello, Ray Milland, Capt.
Eddie Rickenbacker and Edward Everett
Horton. Orders were placed for 425 of each
transcription in the set. Hu Chain was
producer.
Most Beautiful Harpist?
21 -year-old blond Elaine Vito, harpist with
fhe Music of Manhattan orchestra currently
being heard on many stations throughout the
country on transcriptions. Norman Cloutier,
director of the orchestra which comprises some
of America's best known musicians, is con-
vinced that Elaine is the world's most beau-
tiful harpist.
AUDIO RECORD
January, 1946
JJHS students broadcas: round-table discussion
over school sound system. (Presentation was
recorded for future play-back and reference.)
World's Future Dependent
On Modern Education
(Continued from Page 1)
pictures and snapshots taken by pupils to go
with the recordings they make. These pictures
can be shown on a screen by using an opaque
projector, or made up into slide films and
synchronized with the recordings. But, if this
equipment is not available, then a scrapbook
of recordings and snapshots is excellent. A
well organized use of audio-visual aids will
save from thirty-five to fifty percent of the
time usually required to teach a given lesson.
But more important than this is the fact that
students have a wonderful opportunity for the
mutual exchange of ideas, that to them are
real and full of meaning.
Children Correct Voice Problems
"Recording discs, alone, serve many useful
purposes. They can be integrated as a part
of a round-table discussion and broadcast over
the local school sound system or aired over a
local radio station. For example; last year wc
made recordings of a series of eleven seasonal
programs for our music department in eleven
elementary schools, to be broadcast over two
local radio stations. The children enjoyed
hearing themselves before they went on the
air and their teachers were given the oppor-
tunity to make necessary corrections in their
style and delivery.
"With this type of procedure, ch'ldren will
find their citizenship training a functional,
practical, aid in understanding many com-
munity and national problems."
Church Women Plead
For Enduring Peace
(Continued from. Page 1)
Mrs. Sibley recorded her forceful message and
one hundred cities across the nation bought
and used the 100 recordings made.
Golden Rule Emphasized
By means of this recorded appeal thousands
of homes in nearly every state in our union
heard the earnest voice of Mrs. Harper Sib-
ley, American Mother of 1945, saying:
"We must accept the Price of Enduring
Peace — we who have paid so dearly in lives
and blood for this war. And the price of
Enduring peace is based on willingness to take
seriously the Golden Rule — wherever we may
happen to live, hour by hour and day by day
' — -"to do unto others as wc would they should
do unto us." It demands that we cast aside
prejudice and old concepts of human relation-
ships and recognize our kinship, as children
of the one God, with peoples of all races, all
creeds, all nationalities, everywhere on earth,
but beginning in our own home town. If we
want peace for ourselves, we must be prepared
to share it with the other members of the
world family; for peace today, like war is in-
divisible."
USO Recording Service
(Continued from Page 2)
great bays of delight. So the soldier went
back to the USO club and made a whole re-
cording just for his dog Fido.
Even a Will Recorded
The stories behind these recordings are end-
less. A composer made a record of piano music
at the USO club in Hempstead, L. I., N. Y.
One man once made his will, and its legality
would be an interest ng question. Again a tall
soldier visited a Long Island USO and recited
to a record a poem he had written for a shut-
in invalid boy.
The system, however, works two ways. Fre-
quently USO junior hostesses have made voice
records for men who had visited the clubs
and who had been transferred to other camps.
And often mothers have come into the clubs
to make records for their sons. Many are the
instances ol young wives who have held a
child up to a microphone so that "daddy" far
away could hear for the first time his baby's
voice.
Many men welcome this method of greet-
ing, and at holiday-time send their thoughts
winging homeward on those little round discs.
Attention Readers
Audio Record is published monthly in
the interest of better disc recording. If
YOUR name is not on the Audio Record
mailing list, drop a penny post card to —
The Editor, Audio Record, 444 Madison
Avenue. New York 22, N. Y.
^^j,^^MEASMf Of
f^rfii REcoRomG v^'h
By putting a ruler to a recording disc, you can, in one sense, "measure"
recording quality — since the disc must reflect a true imag^e. But there must
be many other in-built qualities in addition to a flat, smooth, mirror-like
surface:
For recording and playback the disc must have split hair accuracy in thick-
ness of coating, easy cutting characteristics, positive ihread-throw, brilliant
high frequency response, no audible background scratch, no increase in
from time of
t not change— 1
I deterioration
irding to playba
lust last
-ith the y
processing
by any yardstick
Just look for the name AUDIODISC — because it assures you all the qualitit
named above — a combination you will not find in any other recording dis
AUDIODISCS— manufactured by a patented,
lacquer from a special foimula. arc consister
from raw materials to finished disc. No mat
AUDIODISC is, and will remain, the meas
precision machine process with
tly dependable. Fully controlled
ter what the purpose, the name
ire of a better recording disc.
AUDIO DEVICES, INC. • 444 MADISON AVE., N. Y.
M^^^trA ^i. ^4,emde^/ed CLUCLlOCIIsCS
nilft^iff
record
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 2 No. 2
444 Madison Ave., N. Y. C.
February, 1946
ABS Sets Sights
As Major Web
Recording "Saves Day" For Newscaster
A strcimlincd, miijor market network
reaching twenty-five of the country's
leadini; distributing centers thumbnails
the framework
of the Associ-
ated Broadcast-
ing System, the
nation's newest
radio chain
Off To Good
Start
ABS, boast-
ing a metropol-
itan coverage
of forty million
potential cus-
lohn B. Hughes ' , i
■" tomers, launch-
ed its sixteen-hour daily, coast to coast
schedule last September. In the web's
inaugural ceremonies, FCC Chairman
Paul Porter, principal speaker, hailed the
birth of Associated as a "symbol of the
American determination to face the post-
war period, not timidly, but with the
courage to push on to new goals of
achievement."
Net's Family Grows
With nineteen affiliates and four sta-
tions who cooperate in the clearance of
time, ABS offers its listeners a variety
of progr.ims. It takes particular pride in
the number of outstanding news pro-
grams currently being aired.
Travel Limitations Ignored
The imp(.)rtance of instantaneous re-
cordings in the new network's makeup
is told in a report received from Mr.
Tom Dunn, ABS Publicity Director.
"Recently," Mr. Dunn relates, "John B.
Hughes, one of our chain's leading news-
casters, went on a lecture tour. Due to
uncertain travel conditions which might
have prevented him from reaching a net-
work station, his program was trans-
cribed and shipped to the nearest or-
iginating affiliate for a playback. This
arrangement, I'm happy to say, proved
highly successful."
Leonard Versluis, himself owner of a
Grand Rapids, Mich., radio station,
WLAV, and for many years identified
with the phonograph business in Michi-
gan, is president of ABS.
Student director, engineer and turnt.ible operator learn their duties at WNYE studios in
Brooklyn Technical High School.
WNYE Trains N. Y. Higli Scliool Engineers, Recordists
Radio Courses Offered by Board of Education
New York City high school students are currently being given in-
tensive training in all phases of radio production at the Board of Education
FM Station 'WNYE, located in the
Brooklyn Technical High School build-
WOR and AUDIODISCS
"On the Ball"
Only ten minutes after the conclu-
sion of ex-Prime Minister Churchill's
press interview with reporters and
newsrecl men upon his arrival a few
weeks ago on the Queen Elizabeth,
WOR (New York's Mutual Outlet)
was on the air with a 15-minute
transcribed broadcast of the occasion.
Dave Driscoll, News and Special
Features director, during the 30 min-
ute press interview, repeated reporters'
questions into a portable mike and
Churchill's replies were recorded.
Simultaneously, the entire proceed-
ings were being recorded on Audio-
discs at the WOR studios and thci
edited for broadcast.
Tele Instruction Also Given
In conjunction with helping to operate
FM Station and producing 20 broadcasts
a week for classroom listening, students
study theory of radio, broadcast station
operation, sound recording, script writ-
ing, radio acting and production. They
even study the rudiments of television
production by appearing at CBS Station
'WCB'W on "There Ought To Be a
Law."
Many Get First Class Licenses
While the courses in script writing,
radio acting, and radio production are
open to students from all of New York's
eighty high schools, engineering courses
are open only to boys from Brooklyn
Technical High School because of the
very intensive and thorough pre-requi-
site training which is required for ad-
mission to these advanced classes. The
(Continued on Page 4)
AUDIO RECORD
February, 1946
Raymond Mnssey and Canada Lee during a
recording of "Two Men On a Raft."
Recorded Skits Popular
"Y" Feature
Pressings Gain Favor
Over "Live" Shows
The Young Men's Christian Associa-
tion, largest user of electrical transcrip-
tions in the field of Youth-serving agen-
cies, also was first to utilize them on
large scale.
Only Quality Programs Given
According to Henriette K. Harrison,
National Radio Director for the Y. M.
C. A., a number of 'Y's' have weekly
live programs, but the majority of them
prefer the transcriptions because of a
large acceptance by radio stations who
by now are accustomed to the high
standard of recording, performance and
writing set by the organization. Ap-
proximately 359 'Y's' now feature re-
corded radio programs, locally.
Casts and Writers "Tops"
The best writers are used at .ill times
as well as the finest professional actors
and musicians available. Such personali-
ties as Raymond Massey, Frederick
March, Canada Lee, Paul Robson, Con-
stance Collier and Edmund Gwcnn have
appeared in dramatic roles.
Recordings Aid Public Forums
Miss Harrison also states that while
'Y' recorded programs always interpret
the aims of the organization, it is rec-
ognized that entertainment is a prime
requisite. Many of these recorded pro-
grams are used on playbacks and made
the basis for discussion and forums in
Y.M.C.A.'s having Public Affairs pro-
grams.
Miss Harrison says further that the
Y.M.C.A. is now planning a new series
of thirteen transcriptions for early re-
lease.
"DerBingle" Disc Booster
Recorded Shows Would
Permit "Time Off"
The recent court action of the Kraft
Food Co. against Bing Crosby for his
failure to appear on the Kraft Music
Hall radio program was highlighted by
the crooner's statement that he preferred
to do future programs by means of trans-
cription, making three or four in advance
so that he "can get away a htde bit."
APRS' Record Sighted
Bing contended that the Armed Forces
Radio Service with its thousands of
transcribed programs, more than proved
that discs are the coming thing, chiefly
because with them it is possible to edit,
change or revise a program before it hits
the air.
KFAB Farm Service Editor Bill MacDonald
in Chicago's Stevens Hotel "Studio."
Audiodiscs Aid KFAB
Scoop Neb. -Iowa Press
Highlights of 4-H Club
Congress Recorded
Audiodiscs brought the top stories
and "voices in the news" hack to the
midwest listeners of KFAB (Omaha-
Lincoln) when Farm Service Editor, Bill
MacDonald. covered the recent National
4-H Club Congress in Chicago.
Winners in the various classes and
the delegates were interviewed in the
"studio" set up in the Stevens Hotel,
center of activities for the 4-H Club
Congress.
"First"
All stories covered at the Congress
were put on Audiodiscs and expressed
to the Lincoln studios for "airing" each
morning on the regular farm hour and
play backs during the day. Thus, with
Audiodiscs and air express, KFAB beat
the daily presses in Nebraska-Iowa rural
area by several hours.
w ^ecoldUt
Tests Used in Recording
Lacquer Research
By E. Franck, Rtse.nrch Engineer
A good recording lacquer is one that has
been developed expressly for that purpose and
none other. Experimental development work
on this product includes a continuous process
of testing each production run and, more im-
portant, a thorough study of other types of
materials. This work requires careful tests of
many different factors.
Some requirements are quite obvious. A
smooth mirror-hke surface, strong color and
lack of unpleasant odor are basic essentials.
There must also be good permanent adherence
to the flat base material — usually aluminum or
glass.
Cutting qualities are next tested. The coat-
ing materia! should offer low resistance to the
cutting action of the stylus. At the same time,
the material must be tough enough to repro
duce the full range of audible sound frequen-
cies throughout many playings. As the grooves
are cut, there must also be a consistent, posi-
tive thread throw and the thread must be free
from any annoying static charge. The grooves
cut must be shiny and the material should not
cause undue wear of the stylus.
Playback tests are next in order. Good track-
ing, lov; noise level (background scratch) and
high frequency response, after many playings,
should be evident. While tests for noise level
and high frequency response can be made, to
seme extent, simply by listening, adequate re-
sults can only be obtained by precise measur-
ing equipment.
Another major item to be considered is that
the lacquer should "behave well" when pro-
cessed for making pressings — either by the
silver deposit or gold sputtering method.
For some apphcations of recording discs,
one of the slowest tests is of major importance.
That is the aging behavior of the grooves with
regard to noise level and distortion. No "short-
cuts" can be employed here. Careful, me-
thodical, routine testing over a long period of
time is required to see that initial noise level
and distortion do not climb with age.
Other factors are also considered such as
behavior with an advance ball, true groove
contours and grease resistance.
Finally a good recording lacquer must stand
up under varying degrees of temperature and
humidity. The importance of such qualities
was particularly emphasized during the war
when discs were subjected to sub-zero shipping
conditions and were used in the heat and
humidity of tropical areas.
February, 1946
AUDIO RECORD
Rickenbacker Records
"Air History" Series
Famed Avia+or Contributes Salary
to AAF Aid Society
A significant new trend toward trans-
cribed radio presentations featuring out-
standing name personalities is seen in the
new Longines' "World's Most Honored
Flights" series with Capt. Eddie Ricken-
backer as host and commentator.
The business
commi t m e n t s
against Capt.
Rickenbacker's
time were such
that it would be
impossible for
him to appear
on a live show
at a certain hour
on a certain day
every week for
several months.
He could how-
ever adjust him-
self to the more
iblc schedule of dramatized record-
Eddie Rickenbacker
America's Number One Voice of Avi-
ation will be heard weekly starting Feb-
ruary 2nd on a series of 13 coast-to-coast
half-hour programs. The plays are rich
in brand new dramatic personal-history
material about American air pioneers.
AAF Needy To Benefit
The sponsor, at the request of Captain
Rickenbacker, pays the fees he would
ordinarily get to the AAF Aid Societ>'
ti > swell the fund for needy AAF widows
,ind orphans as well as AAF men an-
women disabled in line of duty.
All recordings for the new series were
made by the Columbia Recording Corp
Martin Block's "Record Shop"
Gains Large Audience
Martin Block, creator of Radio's fa-
mous "Make Believe Ballroom" is hitting
the air "jack pot" again with his new
CBS transcribed program, "Martin
Block's Record Shop."
Block interviews the artists whose re-
cordings he plays on the program, and
each v.'eek gives back-stage information
about the leading figures in the world of
popular music.
Recordings for Insomnia Victinns
Recordings for helping people who
cannot sleep or who are under a nervous
strain were aired in New York recently
on WNEW's "Music Hall" program.
The recordings were from hypnotist
Ralph Slater's new DeLuxe Album.
A group of Wing Scouts visit a recording studii
Glossary of Disc-Recording
Ternns
(Editor's Note — We wish to thank the pub-
hfhers of "The Proceedings of the I. R. E."
for their cooperation in allowing us to re-print
"Glossary of Disc-Recordint; Terms" (pre-
pared by Recording and Reproducing Stand-
ards Committee of the National Association of
Broadcasters) in this, and subsequent issues of
Audio Record.)
Abrasive: The grinding material some-
times incorporated in record stock for
the purpose of shaping the needle
point to fit the groove properly.
Acetate disc: Various acetate compounds
used for solid and laminated (which
see) discs. The term is often errone-
ously used to describe cellulose-nitrate
discs (which see).
Advance ball: A rounded support (often
sapphire) attached to the recording
head which rides on the discs to main-
tain a uniform mean depth of cut by
correcting for small variations in the
plane of the disc surface.
Angle of Groove: The angle from wall
to wall of an unmodulated groove in
a radial plane perpendicular to the
surface of the disc.
Backed stampers: A thin, metal matrix
(which see) which is attached to a
backing material, generally a metal
sheet i/s irich to % inch thick.
Binder: A resinous material which causes
the various materials of a record com-
pound to adhere to one another.
Biscuit: A small slab of the stock ma-
terial, from which records are pressed,
as it is prepared for use in the presses.
Blank groove: A groove upon which no
modulation is inscribed.
Burnishing surface (of cutting stylus):
The portion of the cutting stylus di-
fContinued on Page ij
Girl Scouts li/lap
'46 Recording Plans
New Series To Be Cut Soon
The Girl Scout national organization,
which has used radio-recordings success-
fully in the past, has two other trans-
cription series on the books for 1946,
according to Mrs. Inez Kimball, radio
director. Cutting on both series will
start at an early date.
Radio and Screen Represented
One series — "The Girl Scouts Pre-
sent" — will consist of six Sy^'minute
"acts" by name stars of radio and screen,
three on each side of a 16-inch disc.
Each act will be strictly "entertaining,"
and will not be merely an appeal for
support of Girl Scouting by the artists.
All Troops To Receive Pressings
Vinylite pressings will be used and the
records distributed to local Girl Scout
councils throughout the country. The
scries is designed to give local radio
chairmen a better approach to their radio
stations, and to help improve local Girl
Scout radio shows.
Spots Flexible
Each one of the jVz'minute spots can
be used in many different ways — either
in a five-minute spot, with the local an-
nouncer giving the opening and closing,
with an advance build-up of the star be-
ing presented, or as a part of a 15-minute
program, featuring local Girl Scout ac-
tivities.
The other series will consist of a set
of four ten-minute recordings, produced
especially for educational radio stations.
These four will feature Girl Scout na-
tional leaders and Girl Scout promotional
material.
(Continued on Page 4)
AUDIO RECORD
February, 1946
Glossary of Disc Recording
Terms
^Continued from Page 3)
rectly behind the cutting edge which
smoothes the groove.
Burnishing tool: The stylus sometimes
used to smooth the groove of a re-
cordmg.
Cake Wax: A thick disc of wax (which
sec) upon which an original recording
is inscribed.
Capacitor pickup: A phonograph pick-
up which depends for its operation
upon the variation of its capacitance.
Carbon-contact pickup: A phonograph
pickup which depends for its opera-
tion upon the variation in the resist-
ance of carbon contacts.
Cellulose-nitrate Discs: See Lacquer
discs.
Center hold: The hole in the center of
the record, which fits the center pin
of the turntable.
Center pin: The shaft protruding from
the center of the turntable used for
centering the record.
Chip: The material removed from the
disc by the recording stylus in cutting
the groove.
Christmas-tree pattern: A term some-
times used in referring to the optical
pattern (which see).
Condenser Pickup: See Capacitor pickup.
(Glossary of Disc-Recording Terms will be
continued in the March issue of Audio Record.)
WNYE Trains Engineers,
Recordists
(Continued from Page 1)
boys take the FCC License for Radio
Telephone Operator, First Class, at the
conclusion of the term's work, and so
far an average of 90% of them qualify.
All of them secure the Second Class Li-
cense with apparent case.
Only Professional Work Accepted
Students in the class in sound record-
ing are trained to record every program
as it goes on the air, and these profes-
sional recordings are used for re-broad-
casts at a later date. The boys use a
Scully Recorder with an RCA cutting-
head and Audiodiscs. Their work must
be of professional quality since it is to
be used in actual broadcast. In addition
the recordings serve a valuable purpose
in the analysis of their own work by
student actors and writers, as well as in
providing models for study by elemen-
tary classes in radio techniques.
Equipment Maintenance Emphasized
The recording laboratory is conducted
by Mr. Lester Levy, of the Brooklyn
Technical High School faculty and the
WNYE staff, who insists upon holdmg
the boys to the highest possible level of
performance. Mr. Levy stresses that
they must not necessarily be able to op-
erate the equipment but must be a:ble to
maintain and repair it, conduct tests,
understand the theory and possibly con-
duct the measurements of the apparatus.
Recording Instruction Necessary
J. F. Macandrcw, Radio Coordinator
for the Board of Education, states that
recording is an indispensable part of the
operatitjn of an educational radio station.
Girl Scouts Map
'46 Recording Plans
(Continued from Page 3)
Radio Education Stressed
The Girl Scouts also recorded a Girl
Scout NBC program featuring Helen
Hayes, "Continued Story," and made
the records available for local Girl Scout
councils. Radio activities are stressed in
all Girl Scout age levels — from the 7-
year-old Brownies to the IS-year-old
Seniors.
cujxltopucrints
audlacliscs
However excellent a recording disc may he, the quaUty of sound obtainahle from it can be no
hetter than the points used in its cutting and playing. Thus, AUDIOPOINTS together with
AUDIODISCS combine to make truly fine sound recording possible.
Made by skilled crafhmen, AUDIOPOINTS are available
i)i three types of cutting styli and three types of playback points.
^ecoiciina &^€€ni^
una
SAPPHIRE -Produces the best possible recordinK. Each po
Low recording cost, since the point may be resharpentd lim
STEILITE— A favorite with many professional and non-profe
initial cost and may be repeatedly resharpencd.
STEEL— A diamond -lapped stylus particularly adapted for usi
shin>, ciuiet groove and gives from 1 3 to 30 minutes actual r
nt disc-tested oi
and time again,
sional recordist
a recording machine.
Also disc-tested. Low
professional recordists. Cuts a
&^/ayif6(tcA; &^chtli
.vli, the-
■iais, workn
inship and desixn make
pickups. 100% shadow-
SAPPHIRE -Perficll; m.itchccj lo Aud
this pl.i> h.ick point the %fry ilnt.■^t obt.iin.ibI(;.
SliEL-.Straishl-Sh.tnk for norm.il weicht pickups— Btnt-Siiank for h
graphed, i hcic .iru the nio>t pr.iLtiL.tl playback points for general use.
Coinuh your ilealcr or write
AUDIO DEVICES, INC., 444 Madison Avenue, New York 22, N. Y.
^^AiAetiA ^D^ lAeftUe^^ed CUICUOCUSCS
«llfflff
reccrrd
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 2 No. 4
444 Madison Ave., N. Y. C.
April, 1946
Technical Men Meet at
Frank L. Capps & Co.
Isabel Capps, Speaker
Fr.ink L. Capps 6? Co., Inc., 244 W.
49th St., New York City, recently played
host to a distinguished group of engin-
eers in the first of what will probably
become a series of meetings to consider
the lacquer cutting stylus in relation to
groove shape and to playback iit.
Miss Isabel Capps had arranged an
interesting exhibit to demonstrate the
incredibly small portion of the sapphire
actually employed in cutting a record and
the effect upon the groove of different
treatment in the manufacture of thc
stylus.
Sapphire Portion Made of Lucite
The first exhibit consisted of 25 to 1
scale models which were passed among
the audience. These models really looked
like the familiar lacquer stylus, since the
sapphire portion was made of lucite in-
serted into an aluminum shank. The
effect upon the audience was nothing
short of sensational because they revealed
with such a dramatic highlight the actual
priiportion of cutting area to the whole
stylus. On each model the effective por-
tion of stylus used in cutting 100 lines
to the inch at a 60/40 ratio had been
inked over. The included angles con-
tinued above this inked out area for
inches while the shank itself was over
a foot long. The usual assumption in
examining a stylus under a 2 OX glass is
that practically all of the angle thus
magnified is involved in the cut. These
models very effectively demonstrated
how small the tip portion of the sap-
phire is that must be controlled in manu-
facture.
Image Enlarged Many Times
Miss Capps went on then to show
cross sections of grooves cut with styli
of varied specification. These were
shown in shadowgraphs which enlarged
the image 500 times. With the aid of
scale charts she demonstrated how very
small the actual difference of 5 degrees
makes in the resultant groove and that
because of the microscopic amount of
the sapphire actually used in cutting, the
slightest deviation in shape immediately
above the radius gives a false picture of
the true included angle unless the cut is
deep.
(Continued on Page 4)
Audio Device's Press Luncheon field last month at New York's Hotel Lexington. INSET —
Dr. O. H. Caldwell, Editor, Electronics Industries and Mr. Wm. C. Speed, Audio President
(luncheon's principal speaker) discuss recording's history.
Audio Devices' President Sees Recording Boom;
Education — Entertainment — Business to Benefit
Recently, speaking at a press luncheon in the Florentine Room of
New York's Hotel Lexington, Mr. William C Speed, President of Audio
Devices, Inc., predicted a great expansion period for disc recording in the
entertainment and educational fields.
Speaking of the educational possibili'
ties of recording, Mr. Speed said, "Less
than 1% of all primary and secondary
educational institutions have recording
equipment, yet trends point to recorded
educational features in which the student
participates as a prime factor in child and
adult education. In addition, there is
promise of immense increase in the use
of recordings in our national school sys'
tem. Thirty- two states are now laying
plans for state-wide educational radio
networks in which recording will play an
important part.
"Dramatized education is still in its in-
fancy. Through the use of sound and
motion films, together with records and
transcriptions somewhat along the lines
followed in recorded speech instruction
courses, we shall be able to accelerate
greatly the education of our children and
add vastly to their store of knowledge."
f Continued on Page 2)
Multi-Cellular Speaker
Introduced
Sound Reproduction Methods
Revolutionized
The audio recording and reproducing
system like a chain "is no stronger than
it's weakest link." The fidelity of the
sound at the output, can be limited by
any one of the components in the system.
Thus, if a major improvement is made in
the cutter head or recording blank per-
formance, this improvement can not be
delivered to the ear unless every unit in
the series recording or reproducing
system is like-capable. Many of the
handicaps limiting the fidelity of sound
reproduction result from the six pri-
marily mechanical devices in the re-
(Continued on Page 3)
AUDIO RECORD
April, 1946
Iowa State College radio students ''on the air" in Workshop Studios of WOI — Ames, Iowa.
Iowa State College Radio Trainees Record For
Local Station — Gain Professional Experience
Student training in radio at Iowa State College, Ames, Iowa, is
carried out through course work and workshop activities. The courses,
set up in the English and Speech Department and the Department of
Technical Journalism and Vocational
Education, call for the use of numerous
recordings.
The Radio Workshop, headed by Ed
Wegener, Production Manager of WOI
— Ames, has produced many outstand'
ing transcribed shows.
Kids Laved Them
During the winter and sprmg of the
1944'45 school year, it presented a new
series of children's programs. Beginning
with eighteen episodes of "Tom Sawyer"
the series was followed by twenty-one
episodes of "Alice in Wonderland."
These two popular programs were pre-
sented three times a week but the re-
sponse from Iowa children was so en-
with eighteen episodes of "Tom Sawyer"
series ended the program director of
WOr, Dick Hull, requested that the ne.\t
series "The Wizard of Oz" he presented
five days a week for forty-seven episodes.
In the presentation of these stories the
Iowa State WOI Workshop used only
tried and proven radio dramatic tech-
niques. All means of holding an old
audience and bringing in a new were
used. For example, "The Wizard of Oz"
brought in seven hundred requests (with-
out a box top in the lot) for maps of
the wonderful land of Oz.
Two-Fold Piirpt>se
As a result of these programs, WOI
increased its public service to the peo-
ple of Iowa and the Iowa State students
(Continued on Page 4)
Recording Boom Predicted
(Continued jroni Page Ij
In discussing the status of present-day
recording methods, Mr. Speed, who pre-
sented historical high-lights of various
stages of progress in recording history
from 1890 to the present, demonstrated
that disc recording has now reached a
state of perfection undreamed of when
Thomas A. Edison recorded his own
voice in a recitation of "Mary Had a
Little Lamb." "Because of the fact that
the disc method now permits recording
and reproduction of almost the complete
tonal range audible to the human ear,"
Mr. Speed continued, "it now surpasses
any other form of recording.
Wire Lacks Fidelity of Disc
"The millions of phonographs now in
America's homes," he added, "will never
be made obsolete by wire or tape re-
cording. Wire and tape recording lack
the tonal fidelity and dynamic range
necessary for accurate recording and re-
production of musical selections.
"Undoubtedly," Mr. Speed concluded.
"each form of recording will find its own
place in radio, educational, business and
social fields."
me r<^ecoldUt
By E. Franck, Research Engineer
Improvement In
Lacquer Cutting Styll
At a gathering of Recording Engineers
iin March 7th, reported on page 1 of
this issue. Miss Isabelle Capps outlined
the results of research she has been do-
ing concerning lacquer cutting styli.
Her study of the actual shape of
grooves cut by styli of different forms
will result in a distinct technical improve-
ment in lacquer recording throughout the
industry.
Better Top Corners
One of the types of groove distortion
Miss Capps described, particularly inter-
esting to us from a lacquer viewpoint,
concerned the top corners. She found
that the burnishing surface must be very
small at a point corresponding to the top
of the groove, if clean corners are de-
sired, and has been able to get top cor-
ners that are almost perfectly clean
through control of the burnishing sur-
face. As far as actual groove shapes are
concerned, this corner distortion prob-
ably accounts for most of the difference
between wax and lacquer grooves.
Lacquer Formulation Also A Factor
In our own lacquer development work,
we have been conscious of this corner
effect and have found that lacquers them-
selves can vary in the amount of dis-
tortion produced even when cut with the
identical stylus. In general, the effect
is greater with a softer lacquer than a
hard one, although the controlling fac-
tors seem to be more than mere hardness.
No doubt, there is a tendency toward
instantaneous cold flow, which is greater
or less, depending on the particular lac-
quer formulation. We have always be-
lieved that a lacquer which has cold flow
and produces this type of deformation
is apt to flow back slowly after the
grooves are cut, thereby giving rise to
an ageing distortion. We find it heart-
ening that this particular trouble can be
attacked and progress made from two
different directions — stylus shape and
lacquer formulation.
April, 1946
AUDIO RECORD
Altec Lansing's Multi-
Cellular Two-Way
Speaker.
Mu+li-Cellular Speaker Introduced
(Continued from Page 1)
cording and reproducing system, name-
ly the recording disc, cutter head, sty-
lus, pick-up, turntable, and loudspeaker.
Engineering development are constantly
overcoming these mechanical bottlenecks.
The Duplex loudspeaker recently
brought out by Altec Lansing Corpora-
tion, 250 W. 57th St., New York City,
removes the bottleneck from this par-
ticular mechanical device. Faithful con-
version of electrical to acoustic power is
obtained with the Duplex because it is a
two-way loudspeaker incorporating a
separate lightweight aluminum dia-
phragm for reproduction of the frequen-
cies above 2000
cycles and a sep-
arate 1?" molded
cone diaphragm
for reproducing
those below 2000
cycles. Also in-
corporated in this
loudspeaker, is a
m u 1 1 i - cellular
horn V.' h i c h
spreads the sound
from the high
frequency portion
of the speaker
providing uniform quality distribution
over a horizontal angle of 60° and a
verticle angle of 40°.
No Cone Type Limitations
The design of the Duplex Loudspeaker
overcomes the several serious limitations
which conventional single unit cone type
loudspeakers have as follows:
(a) Inefficient reproduction of high
frequencies which require the use
of small diaphragms of extremely
small mass.
(b) The speed of propagation of
sound in ordinary paper cone does
not permit efficient radiation of
high frequencies.
(c) Non-uniform radiation of energy
due to the fact that the angle of
distribution decreases as the fre-
quency increases which limits the
size of the diaphragm.
(d) Distortion due to intermodulation
of low and high frequencies al-
ways present in single diaphragm
type of speakers.
More Atnpere Turns In Gap
The use of edgewise wound ribbon in
the voice coils of both the low and high
frequency diaphragms in the Duplex
loudspeaker provides 27% more ampere
turns in the gap, which almost alone ac-
counts for 22% increase in acoustic effi-
ciency. The compliance of the high fre-
In spite of the admitted flexibility of the wire recorder for "on the .spot" recording, it is
significant to note that Omaha's KFAB relies on their portable disc recorder for all such
occasions. Pictured above, KFAB's Lincoln Supervisor, "Wink" Wight is seated in the station's
Mobil Unit which houses a battery operated self-contained independent power plant. A real
of make cable is so constructed with commutator that it enables cable to be reeled out or in
while recording. The Mobil Unit is augmented with broadcast relay equipment mounted in
two wheeled trailer which can be attached for direct broadcasts.
quency daphragm is provided by a tan-
gential corrugation which allows three
times the excursion for the same stress
as is allowed by the ordinary annular
corrugation. The new Alnico No. 5 per-
manent magnets used in both the low
and high frequency units is also a very
important factor in the increased effi-
ciency of this speaker.
Recording Industry Enthusiastic
The Duplex loudspeaker which repre-
sents Altec Lansing's offering in the
non-theatrical field has been received
with enthusiasm by the radio and record-
ing industry. As mounted in several
models of ported cabinets it is rated to
give uniform reproduction thruout the
entire F. M. range of 50 to 15,000 cycles.
While this high frequency response is
far above the best of present disc re-
cordings, it is an engineering fact that
a sound reproducing system should be
capable of reproducing up to an octave
higher than that which it is actually
called upon to do.
In the recording field the Duplex loud-
speaker is ideally adaptable for monitor-
ing and for detecting high frequency
distortion and intermodulation which
may develop in the recording system. It
is also offered for use in client's and
audition rooms where it is imperative
that the best presentation be made.
I. U. Public Speaking Classes
Graduate Outstanding Orators
Recording Routine Proven Success
Indiana University is another one of
the many mid-western schools who de-
pend heavily on recording in their de-
partment of speech.
In the public speaking classes at the
Hoosier school, each student is required
to make a recording of his voice delivery
at the beginning of the semester. This
disc is analyzed by both the student and
the instructor, for the purpose of de-
termining defects which should be cor-
rected during the progress of the course.
Near the end of the semester, the stu-
dent again makes a recording to gauge
the degree of his improvement.
Such a recording routine has proven
very successful at Indiana and has given
the school many outstanding orators.
Quaker City Station Records
Interviews With Phils, A's
From the Florida baseball training
camps of the Philadelphia Phillies and
Athletics, WFIL — Philadelphia is bring-
ing its listeners recorded interviews with
players, managers and coaches of the two
big league clubs.
These transcribed interviews are rush-
ed from the Southland for rebroadcast
on Tom Moorehead's WFIL's sport show
at 6:30 P. M. daily.
AUDIO RECORD
April, 1946
Major Martin H. Work and Mr. V. T. Rupp.
Ninety Thousandth Audiodisc
Presented to APRS Commandant
Last month in Los Angeles, Mr. V. T.
Rupp, Audio Devices' Southern CaH-
fornia representative, presented the 90,'
000th Audiodisc produced for the Armed
Forces Radio Service, to Major Martin
H. Works. APRS Commandant.
Ahhough hostilities ceased eight
months ago and millions of victorious
servicemen have returned to civilian pur-
suits, the Armed Forces Radio Service
continues to present some 800 radio pro-
grams monthly to troops still overseas.
APRS uses Audiodiscs 24 hours a day
in transcribing continuously the top pro-
grams off the four major networks in this
country. Past Air Transport Command
planes carry these recordings to GI radio
outlets overseas.
Of the 90,000 Audiodiscs supplied
since the start of the war, over one third
have been Master discs used in the pro-
duction of a large part of the more than
1,500,000 vinylitc pressings made and
distributed by the APRS.
Technical Men Meet
(Continued from Page 1)
All the record strips used to reveal
these fractional effects were cut with
master styli personally developed by
Miss Capps and on which the included
.ingle and burnishing facet were con-
trolled. She demonstrated in connection
with the controlling of the burnishing
facet that this facet must be very small
,it a point corresponding to the top of
the groove if clean corners are 'to be
obtained.
She also showed record strips cut with
regular styli to show the normal error
in shape that must be present in styli
made on a mass production basis.
Finally, Miss Capps pointed out that
if the portion of the Sapphire involved
in cutting is incredibly small, the portion
of the playback sapphire reproducing the
cut is even smaller since it is expected
in most cases not to ride the bottom but
the side walls of the groove.
Orange Bowl Recordings
Given to Miami U. Prexy
Handsomely bound in a leather album,
.1 complete set of recordings of the 1946
Miami-Holy Cross Orange Bowl football
>j;amc. broadcast last New Years Day by
Ted Husing over CBS through WQAM
— Miami has been presented by the
Gator Station to Dr. Bowman Ash, Presi-
dent of Miami Universiay.
Highlights from the two-hour and 45
minute album will be featured once a
year hereafter at Miami's Midnight Vic-
tory Pep Rally held on the campus the
eve of the "Hurricanes" most important
[Tame.
College Radio Trainees Record
(Continued from Page 2)
who worked on the programs (all of the
work except direction was done by stu-
dents) learned more about radio than
they would in many classes or from in-
numerable lectures.
Iowa State College is but one of the
many schools, boasting outstanding radio
courses, who believes that there is no
better teaching device in speech than the
recording which allows one to hear their
own voice as it sounds to others.
Glossary of Disc Recording Terms Will
Be Continued in the May Issue of Audio
Record.
■q^Hf^Ify
record
PUBLISHED BY AUDIO DEVICES, INC
Vol. 2 No. 5
444 Madison Ave., N. Y. C.
May, 1946
Report: Audiodiscs Excell
At Colo.SpeechConference
Wabash College Recording Me+hods
Outlined by Speech Professor
Recently, at the Rocky Mount, im
Speech Conference in Denver, Colorado,
Dr. W. Norwood Brigance, Professor of
Speech at Wabash College, Crawfords-
ville, Indiana, had an occasion to make
several recordings on different types of
recording discs.
Just how well Audiodiscs fared in com-
petition with other discs is told in a letter
received from Dr. Brigance. He writes
in part: "I must confess, my opinions
were again confirmed. Audio recording
discs are the best made."
In his letter, Dr. Brigance further ex-
plained his school's particular application
of Audiodiscs: "Sometimes we have our
students give a radio speech from the
broadcasting studio and we make a re-
cording in the classroom while they arc
talking. At other times we have the
student speaking in the classroom with a
microphone five or six feet away, so the
audience situation is such that the micro-
phone is not the dominant feature. Then
from the recording room, one section of
the student's speech is recorded. Thus,
we catch a section of the speech while
the student is actually in action in front
of a live audience to enable him to hear
himself as he sounds to other people.
"This same procedure is followed in
panel discussions, where the panel mem-
bers are seated around a table in the
studio "broadcasting" their panel discus-
sion to the classroom. In the classroom
we record either all or part of this dis-
cussion so that students taking part in
the panel may, at their leisure, hear them-
selves as others heard them.
"Finally, in group or individual drills,
where a student has a speech inadequacy,
I will let him read a passage, I will read
it, then he will read it again, and, once
more, I will read it. This technique per-
mits the student to hear both recordings,
his own and the instructors', and develop
an ear for noting the difference in speech
standards.
"Our methods here at Wabash Col-
lege," Dr. Brigance continues, "have
been thoroughly tested and our success
in using them lies largely in efficiency of
appUcation."
Major Robert Vincent, chief sound engineer at United Nations meeting, seated at control
panel. Inset — A section view of the U. N. O. recording room, Hunter College, Bronx, New York.
"Twenty-Five Hundred Recording Discs Will Be
Used Before U. N. Sessions Close" — Vincent
The man with the responsibility of seeing that the proceedings of
the United Nations Security Council, now in session at Hunter College
in the Bronx — New York, are relayed to the outside world is Major
"^ Robert Vincent, chief of U. N.'s record-
ing section.
Major Vincent, temporarily detached
from the Army Signal Corps for the
purpose of wiring U. N. O. for sound,
admits the present installation is more
complex than the sound equipment he
used at the San Francisco Conference,
but far simpler to assemble and employ.
Eleven Miles of Wire
The system, comprising in part an in-
tricate network of eleven miles of wire
and 15,000 solder connections, makes
possible the simultaneous feeding of pro-
grams from the Security Council Cham-
ber to forty-eight radio, recording and
other outlets, and the distribution to
these points of sound from any one or
all of the twenty-four microphones.
Seventeen of these "mikes" are on the
Council table and four are at the in-
terpreters' table, with three in reserve.
Voices picked up by the microphones
(Continued on Page if)
Vet Uses Recordings In
Novei Promotional Stunt
Advertiser Tells 'Em He's Back
In Washington, D. C, a few weeks
ago, some 500 top business executives
received through the mail, at their homes
and offices, an innocent looking package
bearing the legend, "A record that speaks
for itself!" Inside, they found a 6y2'inch
recording with nothing to identify the
sender or to give an inkling of its mes-
sage save a phone number, and the in-
itials I. T. C. Their curiosity piqued by
the oddity of the situation, many of the
business men who received the package
at their office went to the nearest radio
or music store and played the record.
Those who received them at home sat
down at their own fireside with their
families and listened.
(Continued on Page 3)
AUDIO RECORD
May, 1946
Speaking for the first time on the same radio program are these five top commissioners of The
Salvation Army in the U. S. (left to right) — Donald McMillan, Ernest I. Pugmire, William C.
Arnold, John J. Allan and William H. Barrett. The broadcast was recorded.
Recording To Play Major Role In Publicizing
Salvation Arnny's Program of Aid To Mankind
Radio recordings by more than 30 of the nation's leading stars of
stage, screen, radio, music, and the literary world will play a major part
in publicizing the Salvation Army's expanded program of aid to mankind,
"Marching Forward to a Better World,"
the organization recently disclosed to
Audio Record. Most of the recordings
also are produced on phonograph records
as well as for radio.
Big Name Stars Record
The recordings will be in lengths from
15 minutes down to one-minute spots.
Among the more unusual uses will be
two and three minute recordings dc'
signed to be used by radio stations as
supplements to local talks by Salvation
Army or community leaders. The list of
celebrities includes among others: Jack
Benny, Edgar Bergen, Bob Burns, Burns
and Allen, Eddie Cantor, Jane Cowl,
Bing Crosby, Clifton Fadiman, Cary
Grant, Fannie Hurst, Kay Kyser, Frances
Langford, Raymond Massey, Fibber Mc-
Gce and Molly, and John Charles
Thomas.
The Salvation Army also is planning
to have prominent individuals from the
business world and the Army and Navy
to help tell the story of its program
through 1946 and into 1947.
Vet Aid Stressed
Fifteen-minute recordings have been
made on the West Coast dramatizing
specific objectives of the organization's
program, such as aid for veterans and
the extension of its work into smaller
communities. This work is done by set-
ting up committees or prominent indi-
viduals in such communities.
In addition to these recordings for the
Marching forward program. The Salva-
tion Army in conjunction with the USO,
of which it is a member, has prepared
four 15-minute recordings dramatizing its
work for service men and women during
the war and at the present time.
One of the most unusual features of
its extensive work was the transcribing
of a discussion on current problems fac-
ing America which was given by the five
Salvation Army leaders in the United
States over the Mutual Network on Jan-
uary 31st.
Recordings Available on Request
These recordings may be obtained
upon request from Salvation Army offi-
cers in more than 1,000 cities and towns
throughout the United States.
The WOR recording studios in New
York handled the recording work in the
East and the supplying of platters to
Salvation Army people throughout the
nation who do the placing with radio sta-
tions, service clubs, schools and colleges,
and community groups in their areas.
Our Apologies
The
Giossd
ry o
Disc-R
ecordi
nq
Terms,
or-
lqin.iliy publi
shed
in the
Move
Tib
er issue
of
thfi "P
roceed
ngs
of the
. R. E
appears
In
Audio
Recor
d w
th the
perm
ssi
on of
the
Inctitui
e of R
adio
Engineers, a
ac
which,
by
oversjg
ht, was omitted i
1 our
M
arch Iss
Glossary of Disc-Recording
Terms
Reprinted by permission of the Institute of
Radio Engineers
(Continued from Page 4 of the March issue
of Audio Record)
Dynamic pickup: A phonograph pickup
in which the electrical output results
from the motion of a conductor in a
magnetic field.
Eccentric circle: A blank, locked groove
(which see) whose center is other
than that of the record (generally used
in connection with mechanical control
of phonographs) .
Eccentricity: The eccentricity of the re-
cording spiral with respect to the rec-
(ird center hole.
Fast spiral: A blank, spiral groove hav-
ing a pitch that is much greater than
that of the recorded grooves.
Feedback cutter: A cutter provided with
a feedback circuit (separate from the
driving circuit) in which a voltage,
for inverse feedback to the driving
amplifier, is induced by the movement
of the cutting stylus.
Filler: The bulk material of a record
compound as distinguished from the
binder (which see).
Flowed-wax platter: Disk base (usu-
ally metal) upon which wax is flowed.
Flutter: Frequency modulation caused by
spurious variations in groove velocity.
t Continued on Page 3)
Mr. Disc-Jockey
One of radio's most original and energetic
personalities in the Disc-Jockey hemisphere is
Robert Q. Lewis, popular platter-chatter an-
nouncer of WHN — New York. As his sched-
ule will attest. Lewis is just about the busiest
man in radio. From 5:00 to 6:00 P. M., Mon-
day through Saturday and from 9:00 to 10:00
P. M., Monday through Friday, his recorded
programs, featuring a wide selection of musical
recordings are heard by WHN listeners. And,
unlike most ether artists, the Sabbath does not
mean a day of rest to Lewis for he is back
again on the airways with his 2:00 to 4:00
P. M. Sunday Disc-Digest.
May, !946
AUDIO RECORD
Electronic Equipment and Parts
Show In Chicago This Month
Large Attendance Forecast
The 1946 R,tdio Parts and Electron;,
Equipment Conference and Show will be
held May 13 through May 16 at the
Stevens Hotel in Chicago.
The first day of the Conference will
feature committee and organization meet-
ings and a special keynote dinner in the
Grand Ballroom. There are no meetings
scheduled for the remaining three show-
days and the Exhibition Hall will be open
from 10 A. M. to 6 P. M. each day.
An unusually large attendance is cer-
tain as this is the first post-war get-to-
gether of manufacturers and distributors.
No displays were permitted during the
war years.
Audio Devices will display it's prod-
ucts in Booth Ninety-six.
Vet Uses Recordings
(Continued from Page 1)
What they heard was the voice of
Russ Hodges, nationally known sports-
caster, announcing what was probably
the first spoken commercial ever written
by an advertising agency about itself.
Veteran
Only two months out of the Army,
I. T. C. who only a year ago had been
fighting with the 87th Infantry Division
in the Belgian Bulge, laid his plans per-
fectly, told them only to the few actually
involved in production of the recording.
When the bombshell struck, virtually
every business man in Washington knew
that the I. T. Cohen Advertising Agency,
after an army-enforced absence from the
field for 3'/2 years, was in business.
Some People Will Forget
Thus did I. T. Cohen, almost forgotten
by the business firm he had served for
some ten years before the war, answer
for himself the question of many return-
ing servicemen: How can I reestablish
myself in business after my competitors
have virtually monopolized the scene
through the war years?
And so today, every business firm in
Washington that uses radio or newspaper
advertising knows the story of I. T. C.
It is a story that Washington advertising
circles will remember for a long time to
Attention Readers
Audio Recurd is published monthly in
the interest of better disc recording. If
YOUR name is not on the Audio Record
maihng list, drop a penny post card to —
The Editor, Audio Record, 444 Madison
Avenue, New York 22, ,N. Y.
John Bubbers. engineering supervisor of Radio Station 'WO\' — New York. e.\amincs yellow
label .Audiodisc in control room of Replica Transcriptions. Inset — Bubbers and Ted Rossi
(seated) owner of Replica hear playback of recent program in the studio they themselves built.
Small — Hand Made Recording Studio a Success;
Many Shortages — Other Headaches Overcome
Building a recording studio in these days of material shortages is a
mean assignment. At least, John Bubbers, engineering supervisor of Radio
Station WOV— New York and designer of the new Replica Transcrip-
tion Studios, 29 West 57th St., New •
York City, found it so.
Last June, Mr. Bubbers and Ted Rossi,
young energetic owner of Replica, de-
cided to wait no longer and immediately
set out to find equipment and office space
for their proposed studio. This was only
the beginning of a venture that promptly
provided the two recording enthusiasts
with many headaches and sleepless
nights.
Equipment Hard To Find
First, they surveyed the recording field,
in the hope of finding usable equipment.
After a lengthy search, two used record-
ing tables were found. They were
quickly reconditioned and readied for
operation. Their cutting heads had to be
entirely rebuilt. New or used commercial
amplifiers were not to be had at any
price, so. without alternative, Messrs.
Bubbers and Rossi proceeded to build
their own. All other studio essentials
were likewise procured from used stock
sources or made by hand from spare
parts. When new commercial units are
again available, they will, of course, re-
place these home built equivalents.
There Was Always Something
Centrally located office space was fi-
nally found in October, but the two
enterprising recordists" troubles were just
(Continued on Page 4)
Glossary of Disc-Recording Terms
^Continued from Page 2)
Frequency record: A record upon which
have been recorded various frequen-
cies throughout the desired frequency
spectrum.
Groove: The track cut in the record by
the stylus.
Groove contour: The shape of the
groove in a radial plane perpendicular
to the surface of the record.
Groove speed: See groove velocity.
Groove velocity: The linear velocity of
the groo\e with respect to the stylus.
Grouping: Nonuniform spacing between
grooves.
Guard circle: An inner concentric groove
inscribed on a record to prevent re-
producer from being damaged by be-
ing thrown to the center of the record.
Hill-and-dale recording: See vertical re-
cording.
Hot plate: A heated table used for (a)
softening the biscuits of record ma-
terial prior to placing them in the press
or (b) making flowed waxes.
Hill-and-dale recording: See vertical re-
cording.
(Glossary of Disc-Recording Terms will be
continued in the June issue of Audio Record.)
AUDIO RECORD
May, 1946
Roosevelt Record
Album Released
"Rendezvous with Destiny," a two-
volume record album of significant ex-
cerpts from the speeches of the late
Franklin Delano Roosevelt was recently
released by the National Broadcasting
Company.
The album, compiled by Cesar Search-
inger, noted author, historian, lecturer
and news analyst, provides a permanent
word picture of the years preceding and
during the Second World War, high-
lighted by memorable utterances of
America's Chief Executive, broadcast by
NBC and recorded at the time.
Highlighting the significant events
leading up to and during World War II,
"Rendezvous with Destiny" is a complete
two hour production. It constitutes a
dramatic re-cap of current history and is
the first in a scries of NBC Documentary
Recordings, designed especially for edu-
cational use.
Hand Made Studio A Success
(Continued from Page 3)
beginning. Footsteps, singing and various
other noises from the floor above were
readily transmitted through the ceiling.
The only possible solution to this prob-
lem was to hang a second ceiling on the
walls below the original ceiling and the
space between the two filled with insula-
tion material. The walls were then sound
treated with one of the new war-found
materials. The doors were made airtight
and a modern control room was con-
structed.
In December, the installation was com-
pleted except for the decorating. This,
of course, proved to be a spiritual uplift-
ing task. Colorful drapes and streamlined
furniture soon provided the necessary
encouragement for the pair to finish their
commendable job.
Justly proud of their efforts, Mr. Bub-
bers and Rossi opened Replica Transcrip-
tions around the first of the year and
judging from the few months of opera-
tion, the project is a financial success and
plans are now being made for expansion.
Recording At U. N. O.
(Continued from Page 1)
enter a control booth, where an engineer
at a mixer panel monitors them. The
sound IS then piped to the public-address
system; to ten control rooms used by
American and Canadian networks and
radio stations; to another control room,
operated jointly by several international
agencies which are beaming short-wave
broadcasts of the meetings overseas; to
television and movie booths; to inter-
preters' earphones; and, by six sepa-
rate channels, to the recording room.
Here, the proceedings of the Council are
recorded on high-fidelity Audiodiscs and
other recording blanks for reference and
documentary purposes. More than 2,500
such discs are expected to be used during
the current session.
More Time This Time
Happy over the fact that he was given
two whole weeks to get things in shape
for the peace meet. Major Vincent re-
called that at San Francisco the entire
installation had to be set up and ready
for action in two days.
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The educational possibilities of recording has attracted the attention of educational leaders everywhere, and today, its presence in the Speech,
Language and Music Departments of colleges and universities is practically a necessity. Not restricted to the higher institutions of learning,
the recording machine and the recording disc are coming into common use in secondary and elementary schools. Some of their numerous
and diversified applications are suggested in the chart above which was prepared by the Sound Equipment Division of the Fairchild Aviation
Corporation, Jamaica, New York. It is with their permission that we re-print it here.
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PUBLISHED BY AUDIO DEVICES, INC.
Vol. 2 No. 6
444 Madison Ave., N. Y. C.
June, 1946
Audio's French Associates
Recent Arrivals In U. S.
Ravel and St. Hilaire Here;
Old Acquainfances Renewed
Monsieur Lucicn Ravel, managing di-
rector of "La Societe des Vernis Pyro-
lac," Audio Devices' associate in France,
Wm C. Speed greets Lucien Ravel upon his
arrival from Paris.
and his partner, production manager and
engineer. Monsieur Albert St. Hilaire
arrived a few weeks ago in the United
States from Paris.
Present at La Guardia Field to meet
their French contemporaries were Wil-
liam C. Speed, Audio Devices' president,
and other Audio representatives as well
as members of the press.
Monsieur Ravel, who, during the lat-
ter part of the European war, sheltered
eighteen American airmen in the woods
on his estate in the little town of Por-
cheux, outside Paris, until they were lib-
erated by advanc-
ing Allied forces, S. /™»k
and Monsieur St ■ '
Hilaire, own con-
trolling interest in
La Societe des
Vernis Pyrolac. .i
large paint
varnish company ,
located at 51, rue
de L'Echat, Cre-
teil (Seine), a su-
burb of Paris.
Their connection with the recording
industry dates back to 1929 when they
(Continued on Page 4)
Albert St. Hilaire in the
New York offices of
Audio Devices.
Milton Berle, famous comic of stage, screen and radio recording another Cue-In broadcast.
(Note earphones worn by Berle.)
Cue-In — Press Assn's New Recording Technique
Localizes, Personalizes Transcribed Progranns
After four years of experimental production, Press Association, Inc.
radio subsidiary of the Associated Press, 50 Rockefeller Plaza, New York
City, has introduced to radio a new recording technique that localizes and
' personalizes the transcribed broadcast.
Appropriately called "Cue-In", the
new technique brings "big names" right
into the smallest towns in America to
talk with the communities' most popular
announcer.
Only Replies Recorded
"Cue-In" works this way: In one of
the four major recording studios used
by the Press Assn. in New York, a
famous personality in the news is inter-
viewed by a Gotham announcer. The
interviewed party stands alone in the
studio before a microphone, with a
pair of earphones draped over his or her
ears, while in an adjoining glass enclosed
control room, the announcer proceeds
with his interview, which is heard by
the noted guest through the earphones.
The star answers each question and this
reply is recorded. As only the replies
are recorded, the disc naturally has a few
skips or blank spots. These blanks, of
course, represent the questions which,
(Continued on Fage 4)
Incorrect Handling Fails to
Alter Fidelity of "41 Discs
Upon his discharge from the Navy,
after four years of service as a pho-
tographer's mate, Leo Kraus, record-
ing enthusiast of New York City,
learned that several of his prise
Audiodisc recordings, that a friend
had stored in a Manhattan warehouse,
had been incorrectly and roughly
stowed during his absence. He held
little hope that such treatment did not
materially damage the discs. How-
ever, to his amazement, when he
played them back, they were as good
as ever — the quality was indistinguish-
able from that of 1941, despite the
fact that they had been stowed flat,
under heavy weight, for more than
four years.
AUDIO RECORD
June, 1946
WHOM Staff announcer Tom Murray assists Dolores Craeg during the recording of her daily
broadcast "Highlight Special." Geo. Ellis, supervising engineer, is at the controls while Harold
McCambridge, recording engineer, attentively watches his recording apparatus. Inset — Steve
Hollis announces actual recorded broadcast of "Highlight Special."
WHOM-New York-Jersey City Finds Recording
A Necessity For Successful Station Operation
Like other independent radio operators, Atlantic Broadcasting CxDm-
pany finds considerable and varied use for disc recording. In addition to
the well-known commercial electrical transcription, Station WHOM —
New York and Jersey City uses record-
U. of Neb. Radio Division
Operates Recording Lab
Facilities Available To All Depfs.
ing on a sustaining basis, employing the
Standard Transcription Library to round
out the musical portion of its shows,
notably on the WHOM Caravan, daily
from 2 p. m. to 6 p. m. and "Sunday
Midnight Moods."
From a public service angle, recording
serves a just purpose for relaying the
currently urgent messages of the Ameri-
can Red Cross, United States Treasury
Department, U. S. Army, March of
Dimes and similar national agencies.
War Bride Interviews Recorded
With facilities in the studios at
WHOM, recordings are made of special
events on the scene and rebroadcast
from the studios at a later time without
interfering with the regular schedule. A
case in point is a series of recordings
made aboard the bridal ship "Argentina"
when it arrived in New York. Inter-
views were conducted right on the ship
on lines direct from the studios with
brides of service men from the areas
served by other Cowles Radio Stations,
including WOL~Washington, WCOP
— Boston, WNAX — Yanktown and
KRNT Des Moines, as well as the New
York and New Jersey areas served by
(Continued on Page 4)
"The Recording Laboratory operated
by the University of Nebraska Radio
Division of the Department of Speech
and Dramatic Art records the voices and
instruments of university students, and
faculty, and operates on a non-profit
basis," writes Paul L. Bogen, Director of
Radio at the university.
"Upon entering speech courses at the
University," Mr. Bogen explains, "each
student pays a fee for a disc to be used
in his speech work. During the first six
weeks of his course, in the middle and at
the end of the semester, his voice is re-
corded. The student then has a perma-
nent record of his speech improvement.
"Our Recording Laboratory is also
used by other departments of the school
which desire its services. Recordings are
made for School of Music students to
evaluate progress made in vocal or in-
strumental lessons. The Extension Divi-
( Continued on Page 4)
^t^ ■^eco'idlU
By E. Franck, Research Engineer
FM and Recording
The prospective increase in number of FM
stations, with their goal of 15 kc channel
width, invites us to consider the technical prob-
lem involved in getting a signal of this wide
range into the listener's homes.
Every element of the broadcast system will
have to be considered, starting with the acous-
tical treatment at the studio and following
through the microphone, amplifier equipment,
telephone lines, transmitters, receivers and loud
speakers.
When this improved range is realized, re-
cording equipment will be called on to do as
well or better. Let's take a brief stock of
present day disc recording equipment and con-
sider what needs to be done to extend the
range to 15 kc.
Cutting heads which can handle 12 kc or
higher are available and we have no doubt
that this range can be extended easily. Loud
speakers going this high are already available.
Telephone lines can be made to handle it, but
we think distortion will need to be reduced
more. Receivers capable of this range, we are
sure, will soon be available.
This leaves for discussion the cutting and
playback styli, the lacquer disc and the pickup.
Present day cutting styli are already doing a
good job at 10,000 cycles and there should be
no particular trouble in going higher, although
some reduction in tip dimension may be re-
quired. Several experimenters have reported
to us no trouble in putting 15 kc on a lacquer
disc, as determined by optical pattern but none
is too happy about what he has been able to
take off.
Pickups almost get to 1 5 kc and there have
been recent improvements, particularly in the
direction of greater stylus freedom. More can
be made, we are certain.
There will be some temptation to go to
higher pitch, particularly if the styli's tip di-
mensions are reduced. By putting the grooves
closer together, the inside diameter could be
increased. An increase in the inner diameter
from 7" to 9" at 33-1/3 r.p.m. would mean
going from 1,000 wave lengths per groove inch
at 12,000 cycles to 775 wave length per groove
inch at 9" diameter. The unfavorable feature
of increasing the pitch to get larger minimum
diameter is the greater danger of tracking
failures and some slight increase in noise level.
On the whole, the problem is not very diffi-
cult and our own belief is that in a relatively
short time disc recording of 15 kc quality will
become commonplace.
June, 1946
AUDIO RECORD
Recording "Vital" To Success
of Foreign Language Students
Red Label Audiodiscs Used by
Vermont French School
"One of the greatest difficulties ni
teaching the correct pronunciation and
intonation of a foreign language to
American Students, lies in the fact that
they do not hear themselves speak," says
Mr. Stephen A. Freeman, Yice President
of Middlehury College, Middlehury,
Vermont. Mr. Freeman, who has
just recently returned to the Middlehury
French School after 8 months service in
the U. S. Army in France, as Chief of
the Liberal Arts section of Biarritz-
American University, advises the best
way to help students make rapid prog-
ress is to let them hear recordings of
their own speech in the foreign language
studied.
Middlehury Recording Procedure
Outlined
"For several years," Mr. Freeman re-
lates, "we at Middlehury have employed
the following procedure with excellent
results: The student studies an assigned
paragraph of French aided by the sug-
gestions and advice of his teacher. He
also listens to that same paragraph
spoken by a native French person and
recorded either commercially or at the
school. The student listens to this re-
cording over and over again, imitating it
as closely as possible. When he feels
that his imitation is perfect, he goes to
the recording machine and makes a disc
of his own rendition of this paragraph.
(Continued on Page 4)
A section view of the new Audio Devices research laboratory in Stamford, Conn.
New Research Laboratory In Stamford Conn.,
Equipped To Solve Many Recording Problenns
Opening of a new research laboratory, believed to be the only one
in the world devoted exclusively to sound recording and research in which
product developments may be placed immediately in pilot production,
then within a matter of a few hours sub-
One of the war's most carefully guarded sec-
rets, a night-sight device that made it possible
for U. S. Infantrymen and Marines to find and
kill the enemy in total darkness by means of
infra-red radiation was released from the
Army's secret list recently and demonstrated
at the 17th Regiment Armory in New York
City. Present with portable equipment to ob-
tain an Audiodisc-recorded report and inter-
view for their Saturday afternoon radio pro-
gram, "Around the Town," were John Cooper
(second from left), reporter and commentator
and Harold F. Schneider, recording engineer
pf NBC's Special Events Department.
Glossary of Disc-Recording
Terms
Reprinted by permission of the Institute of
Radio Engineers
I Continued from Page 3 of the May issue
of Audio Record)
Hot plate: A heated table used for (a)
softening the biscuits of record ma-
terial prior to placing them in the
press or (b) making flowed waxes.
Instantaneous recording: A recording
which may be used without further
processing.
Label: The identiiication markings on
paper or similar material, at the center
of the record.
Lacquer discs: Discs, usually of metal,
glass, or paper, which are coated with
a lacquer compound (often containing
cellulose nitrate) and used either for
"instantaneous" recordings or lacquer
masters.
Lacquer master: A term improperly ap-
plied to a "lacquer original" (which
see).
Lacquer original: An original recording
on a lacquer disc which is intended to
be used for the making of a metal
master.
(Continued on Page 4)
jectcd to rigorous performance tests, was
recently announced by William C.
Speed, Audio Devices" president.
Most Modern Equipment Available
The new laboratory, located at Stam-
ford, Conn,, is equipped with every
known modern piece of electrical, elec-
tronic and other scientific apparatus as
well as numerous specially designed in-
struments for the study of recording. It
will permit measurements of tone distor-
tion, record surface noise, wearing quali-
ties and other features with a precision
never before even attempted.
Exhaustive Tests Scheduled
Available facilities include provisions
for exhaustive tests of discs and record-
ings under varying temperatures and hu-
midity, as well as conditions of usage
with various cutting and playback equip-
ment.
"In the company's continuing studies
of untried lacquers and other composi-
tion materials," Mr. Speed explained,
"the laboratory is expected to develop
findings which will further improve re-
cording fidelity and broaden the field of
sound reproduction."
AUDIO RECORD
June, 1946
AMA Transcribes New Series
A new recorded series of thirteen
fifteen-minute programs, entitled "The
Melody of Life," are being cut for the
American Medical Association by the
NBC Chicago radio recording division,
it has been announced by Frank Chiz-
zini, manager of the division. The series,
produced under the direction of Harriet
Hester, will feature Dr. W. W. Bauer
and Dr. William Boulton of the AMA
as narrators on various medical subjects.
"Cue-In" New Recording Technique
(Continued from Page 1)
when the show arrives at its destination,
will be supplied by the station's local
announcer. Following the interview, a
recorded dramatisation featuring high'
lights in the star's life is presented.
Then, the disc is packed, along with the
program continuity, and sent to any of
the many radio stations throughout the
country.
Four Shows Now Available
"Cuc'ln" is not limited to interviews
only. It may be used in dramatic skits
with two or more persons, representing
local talent, participating. At present,
Press Assn. has made available to radio
stations four "Cue-In" shows — STAR
TIME, SPECIAL ASSIGNMENT,
THE CLIFF EDWARDS SHOW and
SPORTS STAR SPECIAL. These
shows may be obtained either indi-
vidually or as a package of four.
The "Cue-In" idea was created by
Paul Girard, former program director of
WBAL — Baltimore. The shows are
under the direction of Ale.xander Left-
wich, Jr. and are written by such well
known scripters as Louis Hayward, Mar-
garet Miller, Rafael Hayes, and James
Beach.
Recording "Vital" To Success
of Foreign Language Students
(Continued from Page 3)
The professor examines the recording,
makes further corrections and comments,
and then the student goes back to the
listening booth where he listens to the
original record and his own recording,
alternately, to study the difference be-
tween the two. In this way he holds up
a mirror to his own pronunciation and
he is able, objectively, to eliminate his
mistakes which, otherwise, he would
never know he made."
Mr. Freeman further related that Mid-
dlebury College uses Audio Red Label
Discs exclusively.
W. S. Morgan, Director of Radio (now on
leave of absence) in the U. of Neb. record-
ing lab.
Neb. Has Recording Lab
(Continued from Page 2)
sion of the University finds this service
most valuable in sending discs to stu-
dents and teachers for work in their
courses.
"Recordings made by radio students
at Nebraska," Mr. Bogen continues,
"have proved to be of great value as a
teaching aid. Various types of radio
scripts and radio techniques are recorded
for demonstration purposes. Students
record the best newscasts and dramatic
show of the semester and these are used
for demonstration in radio classes the
following year.
"In the Speech Improvement Clinic,
recordings are made at the beginning of
corrective lessons so comparison may be
made of the progress in overcoming or
correcting speech difficulties. The Clinic
serves not only our students, but also
people from the entire state and coop-
erates with the public schools of Ne-
braska in any speech correction work."
French Associates Arrive
(Continued from Page 1)
were approached by a customer who
asked whether they could put a lacquer
coating on a flat disc and thereby make
a recording blank. Being keenly in-
terested in various types of varnish
and lacquer, they were immediately in-
trigued by such a project and in a short
time, Mr. St. Hilaire developed a preci-
sion-machine method of coating which
greatly accelerated quality production
and Mr. Chadapaux, partner and chem-
ist, developed special lacquer formulas.
This method was later patented and
in 1938 Audio Devices made a contract
with the French firm by which they
were given exclusive rights to manufac-
ture recording discs under the Pyrolac
patent. And, so today, Audiodiscs are
still manufactured under these same
patents.
Glossary of Disc-Recording Terms
(Continued from Page 3)
Laminated record: A disc composed of
several layers of material. Normally
used with one thin facer on each side
of a core.
Land: The record surface between two
grooves.
Lateral compliance: The ability of a re-
producing stylus to move laterally
with respect to the record groove
while in the reproducing position in a
record.
Lateral recording: A recording in which
the groove modulation is in the plane
of the record and along a radius.
Lead screw: The threaded rod which
leads the cutter or reproducer across
the surface of the disc.
Lead-in spiral: A blank, spiral groove at
the beginning of a record, generally
having a pitch that is much greater
than that of the recorded grooves.
Locked groove: A concentric, blank
groove at the end of modulated
grooves whose function is to prevent
further travel of the reproducer.
Magnetic pickup: A reproducer employ-
ing an armature placed in a magnetic
field and coupled mechanically to the
reproducing stylus. An electric po-
tential is generated in a coil placed in
this field when the stylus is actuated
by the modulated groove of a record.
Mother: A positive produced directly
from the metal master or negative.
(Glossary of Disc-Recording Terms will be
continued in the July issue of Audio Record.)
WHOM — Recording a Necessity
(Continued from Page 2)
WHOM. Immediately upon completion,
the discs were air expressed to the radio
stations in those other cities, bringing
their listeners first-hand conversational
information about the people they know
and want to hear about.
As WHOM is a foreign language sta-
tion, it is sometimes necessary to make
recordings for spot-checking certain for-
eign language programs where there
might be some doubt as to the content
of the actual broadcast. Here again disc
recording comes into it own and gives
a true reproduction of what actually
took place.
Recordings, whether supplied by a
transcription company or cut in the
studios, form an integral part of the
broadcasting conducted by an indepen-
dent station, and especially is that true
of WHOM, broadcasting in Polish, Ital-
ian, Jewish, Russian and Greek as well
as in English and thus reaching a more
diversified audience of listeners than an
all-English radio station.
q^Uff^lff
record
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 2 No. 7
444 Madison Ave., N. Y. C.
July, 1946
Scenes from Audio Devices' movie "Audiodiscs — They Speak For Themselves." Above: Engineer
examining hygro-thermograph. Left Inset: Inspector testing aluminum bases for flatness with
mirrorgraph. Right Inset: Engineer operating machine which tests wearing qualities of discs.
Audio Devices' 16 m.m. Full-Color Sound Movie
"They Speak For Themselves" Recently Released
AUDIODISCS — THEY SPEAK FOR THEMSELVES is the title
of Audio Devices' new, full color, sound movie which depicts important
phases in the production of Audiodiscs as well as detailed information on the
proper method of handling and using
Audiodiscs and Audiopoints.
Many Educational Scenes
The movie, 17 minutes in length, was
produced by Pathescope Productions, New
York-Hollywood in Audio Devices' plant
and laboratories.
Among some of the interesting scenes in
the movie are : the automatic washer which
washes the aluminum blanks one by one to
remove every trace of dirt and grease; the
subsequent inspection of each base to in-
sure that it is perfectly flat ; the formulation
and mixing of recording lacquers: the well
equipped Audio laboratory where latest
scientific devices tell just how every Audio-
disc will behave today, tomorrow and every
day thereafter; the noise level check — done
by cutting a groove in the Audiodisc with
the cutter terminals open; the wear test —
where unmodulated grooves are cut and
(Continued on Page 4)
It's A Good Thing, Brother!
Some day I'm going to murder the bugler
Some day they're going to find him dead
That long- felt ambition of every
G.I. took a setback recently when it
was announced that the acute short-
age of experienced buglers in the
American occupation zone in Ger-
many had necessitated a rush order to
Army officials in the United States
for 5 50 sets of recorded bugle calls.
Seems that this distressing state of
affairs came to light when the Special
Service Section in Frankfurt became
swamped with requests from organi-
zations, minus buglers, who were
having trouble routing sleepy G.I.'s
from their warm bunks. The canned
calls will be distributed throughout
the European theatre as part of a new
campaign to emphasize military dis-
cipline.
Great Value of Recording
Stressed By Speech Head
Lectures on Theory Not Sufficient;
Students Must Hear Their Errors
The Speech Department at Northern
Illinois State Teachers College, De Kalb,
Illinois, has found that the use of the re-
cording machine is one of the most forceful
ways of teaching good speech.
"We realize," writes Mr. W. V. O'Con-
ncll. Chairman of the Department of
Speech, "after long experience, that lectur-
ing on theory is not sufficient. The student
seems to have a propensity for forgetting
rules on theory which is accompanied by a
comforting belief that his speech is not de-
fective in either quality or pronunciation.
His complacency is usually shaken when he
hears his first recording."
At Northern Illinois State Teachers Col-
lege where the beginning course in speech
is required of all students, a recording of
the speech of each is made at the beginning
and at the end of each quarter. After the
initial recording, each student has a private
conference with the speech clinician who
discusses his errors and makes suggestions
for improvement. This has proved to be one
of the most successful teaching devices,
since the student cannot hear himself as
others hear him until he has recorded his
speech and heard it played back. At the end
of the quarter the student makes another
recording. A comparison of the two record-
ings is made to check improvement.
Not only in the fundamentals class is the
recording machine used. The radio classes
record programs which are analyzed and
discussed by the instructor. Students in In-
terpretation and Dramatic Production also
make recordings.
"One of the most valuable uses of the re-
cording machine," Mr. O'Connell remarks,
"is the help which is gained by the students
playing a role in the college productions. At
this time a student is strongly motivated to
improve his speech and often spends a great
deal of time working on speech improve-
ment."
(Continued on Page 2)
AUDIO RECORD
July, 1946
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Wm. C. Speed, Audio Devices' president bids
good luck to Clarence C. Pell, Jr., company's
national sales manager, prior to initial hop
of air-borne service unit.
AudioDevicesCommissions
Air-Borne Service Unit
NaHonal Sales Manager EsHmates
Unit Will Cover 50,000 mi. This Year
Audio Devices' new air-borne service
unit, designed to implement a program of
accelerated customer contact and technical
educational service, was commissioned a
few weeks ago at La Guardia Field in New
York by the company's national sales mana-
ger, Clarence C. Pell, Jr.
The unit consists of a specially-
equipped, single-engined Waco cabin plane,
a technician when needed, and such sales
or service material as the occasion may war-
rant and will permit brief or extended
trips on short notice to all parts of the
country. " We plan," Mr. Pell said, "to
cover more than 50.000 miles this year
on service calls alone. Also, if necessary,
the unit may be pressed into service as
an emergency delivery device in the
event of sudden curtailment in freight
transportation."
Solving the disc problems encountered by
broadcasting stations; helping new FM
stations establish proper recording setups;
demonstrating techniques of sound record-
ing in audio-visual training at schools and
teachers' conventions and educating radio
parts distributors and radio service men in
recording technique are but a few of the
many applications to which the new air-
borne unit will be put.
"A service innovation in the recording
industry, the unit," Mr. Pell said, "will per-
mit Audio Devices to give many more times
the service than could be rendered through
use of other transportation methods."
New Technical Series
The first in a new scries of technical
articles, based on timely recording
subjects and written by men promi-
nent in the recording industry, ap-
pears in this issue of Audio Record.
('See Page 2, Col. 1)
Army Features "Duckworth Chant"
in Current Recruiting Drive
The U. S. Army Second Service Com-
mand, in an effort to stimulate recruiting
in the peacetime Army, recently for-
warded to all radio stations in New
York, New Jersey and Delaware a rC'
corded transcription of three versions of
the Army's famous Duckworth Chant,
one of the most infectious and interest'
ing drill chants developed in World
War II.
Requesting that these stations coop-
erate in the current recruiting drive by
using these transcriptions (2 min — 1 min
— and 50 sec spots) in whatever free time
they had available in the course of daily
broadcasting, the Army pointed out that
it was their belief that the Duckworth
Chant was a more entertaining way of
aiding the drive than the usual one and
two minute spot announcements of
straight dialogue.
The Chant was recorded in the NBC
Recording Studios in New York.
The Man With the Story
Mercer McLeod, world traveler, actor, writer
and master storyteller, brings his best talents to
the fore in the brilliant new NBC Recorded
Series— MERCER MCLEOD . . . THE MAN
WITH THE STORY. Recognized as one of
Canada's greatest actors, McLeod enacts the
parts of all male characters in his stories with
astounding voice changes and differences of
pacing. The strange, improbable but not im-
possible eerie tales are currently being heard
over radio stations throughout the United
Slates and Canada. Recorded in cooperation
with RCA Victor, Ltd. in Toronto, Canada,
MERCER MCLEOD . . . THE MAN WITH
THE STORY is produced under the super-
vision of the NBC Radio-Recording Division.
Great Value of Recording
Stressed By Speech Head
(Continued from Page 1)
In addition to the above work, the de-
partment also has an audiometer which
is not only used by the Speech Depart-
ment but also by the Health Clinic and the
Training School in order to ascertain pos-
sible hearing defects of students. The de-
partment likewise has a mirrorphonc
which is used extensively for drill pur-
poses and is considered a most valuable
aid to students.
^^tke ■^£coldUt
By E. Franck, Research Engineer
Overmodulation and Overload
The correction of some faults in recording
technique tends to be automatic, because the
bad result is obvious and the method of correc-
tion is simple. An example of this is overmodula-
tion. When too loud a signal is recorded, the
cutting stylus vibrates so far that the grooves
cut into one another. When the record is played
back, this is detected immediately by distortion
at the loud parts of the record, or advanced
echos or cross talk caused when a groove is cut
into or deformed by the ne.xt following groove.
In extreme cases, as in the diagram, there may
even be tracking failure. All these results are
easily recognized and the correction is a simple
matter of recording at a lower volume.
Overmodulation (use of too much volume)
results in one groove cutting into the next.
Occ.ision.ll absence of "land" permits the play-
ing needle, impelled by curving wave forms, to
follow such a course as is indicated by the
dotted line while normally it should follow the
broken line.
Another fault usually found in records cut on
portable machines is not so easily detected and
we see signs of it repeatedly in discs cut by con-
scientious recording fans who make otherwise
excellent records. We are referring to overload.
As a general practice, it is good to record close
to maximum possible loudness for loud pas-
sages of music. This results in the greatest
signal to noise ratio and minimizes scratch
noise. However, many people using portable
machines do not realize that their equipment
cannot record to full volume without con-
siderable distortion. This distortion is due
either to overload in the amplifier because it
cannot handle the necessary power or in the
cutting head. It can be in both places. The remedy
is the same as before, merely record at a lower
level even though the modulation never reaches
maximum at the loudest parts. The scratch level
with good cutting styli and blanks is low enough
to permit quiet records even though not recorded
to top level.
The best check for this kind of overload is to
record some music at top level and then again at
6 to 10 db lower. Both sets of grooves are then
played hack adjusting the volume control so that
they are equally loud. If there is overload present,
the portion recorded at a lower level will sound
better. On some machines it is astonishing how
much improvement there is when the recording
level is kept below the overload region.
July, 1946
AUDIO RECORD
Tips for Handling Discs
for Processing
By K. R. Smith, Vice-Pres.
MUZAK CORP., New-York-Chicago
(T/iis IS the first i-n a series of articles bv leading
figures m the recording field.)
A metal negative from your master disc
cannot be better than the master recording
supplied to Muzak. We are just as inter-
ested in helping our clients to supply ,i
better product as they are themselves.
A fine original product means a perfect
_____^ transcription, which
results in increased
sales for you and
more work for us.
We have a few tips
^^^y^flW y*^"^ ^ better tran-
^^^^^^k .W scription.
H^^^^^^l^^^ Cleanliness —
most impor-
K. R. Smith tant — assum-
ing of course, your actual recording
is good. Avoid dust, lint, finger marks
especially. We can remove most of
the free particles of dirt but iingcr
marks etch into the coating and in-
variably cause noise.
2. Package your discs correctly. Where
practical, use a glassine envelope.
Don't pack so tightly that corrugated
marks will be pressed into the surface
of the recording. Results are noise
and latticed appearance of finished
product.
3. Don't be, "penny wise and pound
foolish," about changing the stylus.
If there is the slightest doubt about
it being dull or chipped, replace it.
Generally speaking, a bright reflective
cut is an indication of a good stylus.
As a precaution, every so often play
back your test cut and listen for noise
— don't forget a slight noise in your
original is greatly increased on the
vinylite pressing.
4. Proper cut depth is important — 60%
for groove and 40% for wall — too
deep may cause you to lay down less
amplitude of modulation, too light —
poor tracking.
5. Lay down, with proper depth cut,
full modulation. This can be approxi-
mated by feeding your cutter with a
200 cycle frequency. Note VU meter
for reading at full modulation of cut.
You can see when this is attained by
means of your microscope. Ride gain
so that voice and middle low fre-
quencies do not drive your VU be-
yond this point.
The Madison College orchestra; Clifford T. Marshall, directing. (All orchestra programs are
recorded on Red Label Audiodiscs)
Recorded Discs Play Major Role In Obtaining
Jobs For Talented Madison College Students
"Our recording equipment is the greatest aid I could hope for in orches'
tral training," says Mr. CHfford T. Marshall, director of instrumental music
at Madison College, Harrisonburg, Virginia.
"Also," Mr. Marshall relates, "it is used
Glossary of Disc-Recording
Terms
Reprinted by permission of the Institute of
Radio Engineers
(Continued from Page 4 of the June
issue of Audio Record)
Needle: (reproducing needle): A replaceable
reproducing stylus (which see).
Needle drag: Same as stylus drag (which see).
Needle pressure: Same as stylus pressure (which
sec).
Optical pattern: The pattern which is observed
when the surface of a record is illuminated
by a beam of parallel light.
Orange peel: Mottled surface of a defective
disc having an appearance similar to the skin
of an orange.
Original reccrding: See lacquer original and
wax original.
Overcutting: Excessive level in recording to
an extent that one groove cuts through into
an adjacent one.
Pickup: A mechanicoelcctrical transducer
which is actuated by the undulations of the
record groove and transforms this mechani-
cal energy into electrical energy.
Pinch effect: A pinching, or in some cases a
hfting of the reproducing stylus, twice each
cycle in the reproduction of lateral record-
ings, caused by the recording stylus cutting
a narrower groove when moving across the
record while swinging from a negative to a
positive peak.
Playback: An expression used to denote the
immediate reproduction of a recording.
Poid: The curve that the center of a sphere
traces when the surface of the sphere is
rolling along a sine wave.
(Continued on Page 4)
for a great many purposes other than for
music. For example, the English department
uses it in connection with the Speech de-
partment. And here, like at many other
colleges throughout the country, students
record on one side of a disc at the beginning
of the fall term and the other side the fol-
lowing spring. As the same script is used
for both sides, progress is easily gauged by
the teacher who does not have to rely on
memory in estimating the student's grades.
For this work, only 10" Yellow Label Au-
diodiscs are used."
Discs — Employment Aids
Madison College has also found that a
recorded disc can play an important role in
obtaining a job for a talented student when
the distance does not permit a personal in-
terview with the prospective employer.
"For a matter of record." Mr. Marshall
says, "on all but one occasion our stu-
dent secured the position she applied for.
Audicxliscs for Speech and Music
"At Madison, we are very anxious to
attain the highest fidelity that it is possible
to obtain and we stress the faithful repro-
duction of the high frequencies. Our re-
cording equipment is tailor made and in-
cludes the best components available. After
trying every type and make of disc, we set-
tled on Yellow Label Audiodiscs for speech
recording and Red Label Audiodiscs for
music."
AUDIO RECORD
July, 1946
Chas. Baltin, WHOM program director, con-
ducting "Pulse of the People" interviews. Show
is recorded and rebroadcast at a later time.
New Transcribed Forum
Heard Over WHOM
Current Topics Discussed
A new type of recorded forum program
in which the man-on-the-street is given an
opportunity to voice his opinion on current
topics was launched recently on WHOM-
New York — Jersey City, when '"Pulse of
the People" made its debut.
Charles Baltin, WHOM Program Direc-
tor, discusses briefly the pros and cons of the
subject and then proceeds to interview men
and women on the street, seeking their
opinions. After a representative group of
passers-by have been interviewed, Baltin
analyzes and summarises the opinions ex-
pressed.
The show is recorded at noon on Thurs-
day and broadcast the following Sunday
evening from 5:05 to 5:30.
Audio Sound Movie Released
(Continued from Page 1)
subjected to several hundred playings as a
device measures increase in noise level ; the
controlled weather room where every kind
of climatic condition can easily be regulated
for rigid tests; the misuses of Audiodiscs —
scratching and scoring the recording sur-
face with the drive pin — finger marking
the disc — dropping the cutting head hap-
hazardly on the disc; the proper method
of inserting an Audiopoint — the correct
angle and depth of cut . . . and many
other educational scenes that will interest
every recordist.
Film Available For Local Showing
Audio Devices plans to show this educa-
tional film throughout the country to dis-
tributors, engineers of radio stations, motion
picture and commercial recording studios,
colleges and home recordists.
For information on when AUDIODISCS
—THEY SPEAK FOR THEMSELVES
can be shown in your city, write to Audio
Devices, Inc., 444 Madison Ave., New
Yorkl7,N.Y.
Glossary of Disc-Recording Terms
(Continued from Page 3)
Postemphasis: The complement in reproduc-
tion of pre-emphasis (which see).
Pre-emphasis: A method of recording whereby
the relative recorded level of some frequen-
cies is increased with respect to other fre-
quencies.
Pressing: A record produced in a record-
molding machine from a matrix or stamper.
Processing: Making the master, mother, and
matrix (which sec).
Recording head: Same as cutter (which see).
Re-recording: A recording made from the re-
production of a recording. (See also dub-
bing.)
Reference recording: Recording of a program
or other material made for the purpose of
checking same.
Reproducing stylus: The "needle" or jewel
which follows the undulations in the record
groove and transmits the mechanical motion
thus derived to the pickup mechanism.
Rumble: Low-frequency vibration mechanically
transmitted to the recording or reproducing
turntable and superimposed on the repro-
duction.
Safety: A second recording, made simultane-
ously with the original, to be used for dupli-
cation should the original be damaged.
Shaving: Process of removing material from a
wax disc of recording material to obtain a
plane surface.
Shell or shell stamper: A thin metal matrix
(generally 0.015 to 0.020 inch thick).
Spew: The excess record material which is
ejected from the record press in the manu-
facture of pressed records.
Spread groove: A groove, with greater than
normal pitch, cut between recordings of
short-time duration, thus separating the re-
corded material into bands while still en-
abling the reproducing stylus to travel from
one band to the next.
Sputtering: A process sometimes used in the
production of the metal master, wherein the
wax or lacquer original is coated with an
electrical conducting layer by means of an
electrical discharge in a vacuum. Sometimes
called cathode sputtering.
Stamper: A negative (generally made of metal)
produced from the mother (which see) and
from which the finished pressings arc mold-
ed. (See also matrix.)
Stylus drag: The expression used to denote
the eifea of the friction between the record
surface and the reproducing stylus.
Stylus force: Effective weight of reproducer
or force in vertical direction on stylus when
it is in operating position.
Stylus pressure: Term sometimes erroneously
used to denote effective weight of reproducer
or stylus force (which see).
Stylus weight: Actually stylus force (which
sec ).
Surface noise: The noise reproduced in play-
ing a record due to rough particles in the
record material and/or irregularities in the
walls of the groove left by the cutting stylus.
Throw-out spiral: A blank spiral groove at
the end of a recording, generally at a pitch
that is much greater than that of the re-
corded grooves.
Throw-out tail: End of throw-out spiral (which
see).
Tracing distortion: A harmonic distortion in-
troduced in the reproduction of records
because of the fact that the curve traced by
the center of the tip of the reproducing
stylus is not an exact replica of the modu-
lated groove. For example, in the case of
a sine-wave modulation in vertical record-
ing, the curve traced by the center of the
tip of a stylus is a "poid" (which see).
Tracking error: The angle (in a lateral re-
cording) between the vertical plane contain-
ing the vibration axis of the mechanical
system of the reproducer and a vertical
plane containing the tangent to the record
groove-
Transition frequency: The frequency at which
the change-over from constant-amplitude re-
cording to constant-velocity recording takes
place.
Translation loss: The loss in high-frequency
reproduction which occurs as the groove
velocity decreases.
Turnover frequency: Same as transition fre-
quency (which see).
Vertical compliance: The ability of a repro-
ducing stylus to move in a vertical direction
while in the reproducing position on a
record.
Vertical recording (hill-and-dale recording):
A recording wherein the groove modulation
is in a plane tangent to the groove and
normal to the surface of the record.
Vertical stylus force: See stylus force.
Wax: A blend of waxes with metallic soaps
(also see cake wax).
Wax master: A term improperly applied to a
"wax original" (which see).
Wax master: A term improperly applied to a
"wax original" (which see),
master.
William (or willy): A negative produced from
a mother to produce still another mother.
Wow: A low-frequency flutter (which see).
Parts Show Huge Success
The 1946 Radio Parts & Electronic
Equipment Conference ii Show, held a few
weeks ago in Chicago, was the most out-
standing event in the history of the radio
industry, according to figures released by
Kenneth C. Prince, General Manager of
the Show. More than 7,500 individuals
registered for admission, and of these almost
2,500 were affiliated with distributing firms.
The largest previous attendance at any trade
show in this industry was 4,400, exclusive
of radio servicemen and amateurs. 169 man-
ufacturing lines and 14 publications occu-
pied booths. Audio Devices" booth at the
show is pictured above. This had four dis-
play cases showing steps in the manufacture
of Aud'odiscs, production of phonograph
records from master discs by the gold sput-
tering process, the various types of Audio-
discs and the complete line of Audiopoints
for recording and playback.
q^Hfj[|<T
recorcL
PUBLISHED BY AUDIO DEVICES, INC
Vol. 2, No. 8
444 Madison Ave.. N. Y. C.
August, 1946
OPERATION CROSSROADS RECORDED
Atom Test Preparations
Recorded by Coast Outlet
Land, Sea and Air Recordings Made;
Many Technical Problems Encountered
One of the most interesting technic-
ally, and exciting of all radio broadcast
station operations is the special events
division. Fire, floods, wrecks, parades,
sports — all jam into this classification.
But the one to end them all probably
was the recently-completed 15,000 mile
trip by the special events department of
KSFO and the Universal Broadcasting
Company of San Francisco to the Mar-
shall Islands, some 5,000 miles out in the
Pacific, for a program giving a preview
to the atom-bomb tests.
To provide not only a glimpse of the
preliminary work being done for the
atom-bomb tests, but also word pictures
of the site of the test and other neigh-
boring Marshall Islands, the natives, their
customs and activities, and their reactions
to the preparations being made, it was
decided to make on-the-spot recordings.
With this in mind, our special events
department received permission from
Joint Task Force One to proceed to the
Bikini area to make recordings of these
preliminaries attendant to the atom-bomb
tests. The crew of three was made up of :
Ray V. Hamilton, e.xecutive vice presi-
dent; Austin Fenger, West Coast radio
reporter; and the writer.
It was the intent of the operation to
t.ike this basic program material recorded
on locale, and then fly them back to our
main studios in San Francisco. These
recordings were to be assembled, some
voicing added where necessary for sta-
tion and commercial tie-ins, timed, and
duplicate recordings cut from the master
assemblage. They were then shipped via
air to nearly 100 stations scattered all
over the United States, who were sub-
scribers to a series of 15 programs. While
such a system has been applied before
this was probably the largest and longest
of its type.
It was expected that all kinds of en-
gineering problems would be encount-
(Continued on Page 3)
A-Bomb Ccirespondents aboard the destroyer TOFFEY off Bikini. (Top Row L to R) Lt.
Wyman Riley, public relations; Fred Opper, ABC: Elton Fay, AP; Frsnk Allen, INS; Ralph
H. Peterson, NBC; Don Bell, Mutual; Jos. Myler, UP; Don Mozley. CBS; (Lower Row L to
R) V. Adm. W. H. P. Blandy, Comdr. Joint Task Force; Capt. C. H. Lyman, operations offi-
cer; Capt. W.C.Winn, Asst. operations officer; and unidentified navy chiel quartermaster;
Comdr. O. D. Waters, skipper of the TOFFEY. Photo courtesy Broadcasting
Complete Radio Coverage of Bikini Atom Tests
Made Possible With Recording — Networks Say
The value of recording to radio in presenting the greatest "special
event" in its history, the dropping of the world's fourth atomic bomb off
Bikini Atoll, Sunday, June 30, was divulged recently to Audio Record by
representatives of all four major net-
works.
As one network chieftain put it: "Re-
cording was virtually a 'must" to radio
because the various time changes and
schedule arrangements often made it im-
possible to bring in 'live' our correspon-
dents in the Pacific." Another chain offi-
cial was in agreement saying: "The prob-
lem of atmospherics had to be considered
carefully, making it far safer to pick up
our men at Bikini whenever these atmo-
spherics permitted the most suitable re-
ception." "And then to," pointed out a
third web representative, "recording
made it possible for us to present our
correspondent's views at a time most
convenient to our thousands of listeners."
(Continued on Page 4)
Disc Tragedy
After selling a big show to a spon-
sor, one of the networks, believing
that they could improve upon the
audition disc, decided to alter the
program here and there . . .
Later, at a gala celebration party
at the Waldorf, a recording of the
show was put on to entertain the
sponsor. As the disc began and the
revised edition of his purchase met
his ears, the angered sponsor rose to
his feet and shouted: "Did I buy that
show? Cancel the deal right away!"
AUDIO RECORD
August, 1946
Tom Slater presented with Hcadlincr's Award
for 1946 by Warren B. Francis, Prcs. Elect of
Natl. Press Club of Washington, D. C. Pres-
entation was made recently at Atlantic City.
Special Award to Slater
ForRadar-Moon Broadcast
Audiodrsc Recorded Feature Voted Best
"Special Events Broadcast" of Year
The 1946 National Headliners' Club
Award "for the best special events broad-
cast of the year" has been won by Tom
Slater, director of special events for Mu-
tual, in connection with the Mutual net-
work broadcast of the Army expcrmients
m which radar contact was established
with the moon.
The citation to Slater was one of the
20 prized Headliner Awards, plus a
special citation, which were announced
recently at national headquarters. The
awards, given annually in the field of
press, radio and photography, were pres-
ented at a dinner in Atlantic City, on
Saturday, June 22.
The MBS broadcast of radar contact
with our lunar satellite originated m the
Army laboratories at Belmar, N. J., and
included the actual sound of the radar
impluses as they were sped on their way
to the target, some 240,000 miles distant,
and the sound of the return echo ap-
proximately two-and-one-half seconds
later. The broadcast also included inter-
views with Col. Victor A. Conrad, com-
manding officer of the Signal Corps En-
gineering Laboratories at Bradley Beach,
and Lt. Col. John H. DeWitt, Jr., the
officer under whose guidance the ex-
periments were conducted.
The program was presented over Mu-
tual on Sunday, Jan. 27, and was emceed
by Mr. Slater. Through his efforts, a
master recording (if the broadcast is be-
ing presented by Audio Devices, Inc., to
(Continued on Page 4)
Audlodiscs Serve KDTH
In Reporting Holocaust
Iowa Station Commended by Nation;
Recorded Coverage of Fire Excellent
Station KDTH — Dubuque, Iowa, now
places more emphasis than ever before
on its recording department, especially
since the news "beat" which was scored
when Dubuque's Hotel Canfield burned
to the ground last June 9th, killing
twenty of the one hundred twenty-nine
guests. (It was the second major hotel
disaster in a week following the Chicago
Hotel La Salle fire.)
After being alerted within a short time
after the alarm was turned in, George
Freund, KDTH News Editor and Bob
Gribben, studio recording engineer, ar-
rived on the scene with the station's
portable recording unit and a supply of
Audiodiscs ready to go to work. An on-
the-spot, factual description of the fire
was recorded and rushed to the trans-
mitter which went back on the air at 2:40
A.M. to begin coverage of the hotel
holocaust.
The station's 1000 watt transmitter
gave across-country coverage through the
use of the Audiodisc recording and sup-
plied service equal to network coverage
without the aid of a network.
Letters congratulating the station for
putting its transmitter back on the air
with the early and factual news report
have poured into KDTH from distant
cities throughout the entire country.
THE HAUNTING HOUR, an NBC Record-
ed program, features 52 half-hour dramatiza-
tions of original mystery stories written by
radio's leading writers. The cast includes such
prominent stars of radio, stage .ind screen as
Berry Kroeger, Betty Furness, Frank Lovejoy,
Ncill O'Mailey (right above), Michael Fitz-
maurice (left above), and many other equally
well-known personalities. THE HAUNTING
HOUR satisfy 's every listener's taste for mys-
tery. It takes a panoramic view of the entire
mystery field, and during the series every type
of "creeper" is included . . . detective stories,
psychological studies, tales of excitement and
intrigue, stories of the supernatural and all
other categories of mystery. Heard on stations
throughout the United States and Canada, THE
HAUNTING HOUR is produced by the NBC
Radio-Recording Division,
Ernest W. Franck
^^^tfie t^ecoldUt
By Ernest W. Franck, Research Engineer
Enlarged View of Recording
The small dimensions of grooves and
recording and playback points are al-
ways a handicap when one tries to visual-
ize the exact me-
_-- chanics of disc re-
^^^^*^ cording. It is thus
m %\ helpful to imagine
M "^ mm. ^ dimensions in-
creased to the size
,,n^ of something famil-
^^^ ""t^^ iar in every day life.
^^H^ ?" Let's take a rcpro-
^^^^^^ sl^k ducing stylus and
^H^^BiKo^^ imagine the tip en-
larged to the size of
a pencil eraser. The
eraser end of a pencil is a good choice
since its tip will be roughly sperical just
as the end of a playback stylus. The pen-
cil eraser is about fifty times the size of
a playback point.
Now we can imagine a reproducing
point the size of a pencil eraser being
guided along a groove. We have a close
approximation to actual conditions if we
further imagine that this groove was
made with a recording point slightly
smaller than a pencil eraser, so that tan-
gential contact of the playback point is
made at the sides and slides along with-
out touching the bottom of the groove at
all. Even with this great enlargement,
the depth of the groove would be only
flightly more than one-tenth of an inch.
Now for the speed — and here is where
our enlargement is helpful. The grooves
of a typical transcription run about 100
feet per minute (12" diameter at 33-1/3
R.P.M.). Multiply this by our factor of
50 and we find our eraser size point
travelling along the grooves at a rate of
,i,000 feet or nearly a mile a minute.
When we get used to this speed, we
can modulate the groove and we find
how busy a life the playback stylus leads.
A groove fully modulated at 400 cycles
per second is twisting back and forth
five times every foot. The total amount
of this weaving approximates the full
width of the groove. The forward visi-
bility from the tip of the stylus is about
I'^/i inches. Imagine travelling along at
a mile a minute and not being able to
see 3 inches ahead! At higher frequencies
the turns will be sharper but will swing
less. A 4,000 cycle groove will bend
twice in '/i inches, even at this fifty
times enlargement.
August, 1946
AUDIO RECORD
Selecting and Training
Recordists
by John E. Holmes
Supervisor of Recording, NBC — New York
(This is the second in a series of articles
by leading figures in the recording
field.)
The training of personnel in the engineerini;
department of the Radio-Recording Division
of the National Broadcasting Co., Inc., niiin he
divided into several catagories.
In New York the engineering department
of the Radio Recording Division has its own
group of studio engineers who "ride gain"
only on shows and musical productions for
recording. There is a
field group that do re-
cordings with portable
units. There is a group
that is responsible for
the electrical and me-
chanical maintenance
of the complete record-
ing plant. The final
^^^ group, and that group
^^^ whose training we will
John E. Holmes discuss is the recording
operating group, the people who arc respon-
sible for the finished product.
The recording art in all of its detail is very
highly specialized. Consequently there are few
engineers available with an adequate back-
ground in this art. During the recent war there
were no engineers available for the expanding
recording department at N.B.C. It was during
this period that women were iirst employed.
It was the experience of the National Broad-
casting Co. that the women thus employed in
the recording department did a very satisfac-
tory job.
The problem that first has to be met is to
choose the proper type of person from among
all people interviewed. It was found that it
is best to find people whose background is
somehow related and whose aptitudes can be
adapted to the recording work. A real in-
terest in recording is a prime requisite — for
through experience we have learned that a
person with the type of mind that can segre-
gate and actively think of several jobs at once
is particularly valuable.
The first step is to introduce the new em-
ployee to every type of recording un't and to
acquaint him with the standardized methods
of handling each. The second step is the
familiarization with recording stylus and its
particular function. Of course every possible
fault of the stylus is taught and the instant
recognition of these faults and their cure is
very important. The next step is the basic
electro-mechanical function of the recording
head. The limitations and variations of the
recording head is taught in easy stages as
there are many specialized cases involved. The
choosing and inspection of the recording
blanks in all of its possible combinations is
the next step.
(Continued on Page if)
More than one thous.md 1"' , .M.i-tir Audiodiscs being rushed from La Guardia Airport to
Los Angeles for the Armed Forces R,idio Service. Millions of radio listeners in this country
know about the work of APRS through the now familiar announcement: "This program is
being broadcast to our armed forces overseas through the world wide facilities of the Armed
Forces Radio Service."
Recording Invaluable to
Carnegie Drama Class
Speech Professor Praises Audiodiscs;
Terms Them "Accurate Mirrors of Sound"
Each student in the Drama Depart-
ment's Voice and Speech classes at Car-
negie Institute of Technology, Pittsburg,
Pa., makes an Audiodisc recording of his
or her voice at the very beginning of the
Freshman year. "And, after the indivi-
dual's errors in this recording have been
analyzed by his instructor," writes Miss
Edith Warman Skinner, Assistant Pro-
fessor of Speech, "corrective procedures
are immediately prescribed."
Two Carnegie Tech. drama students check a
recent Audiodisc recording.
"At the conclusion of the first year of
study," continues Miss Skinner, "the
student makes another recording — per-
mitting his improvement to be conve-
niently and accurately gauged. This pro-
cedure is followed in the Sophmore year.
The Junior year recording, however, is
made of the ten or more dialects studied.
"Perhaps you would be interested in
knowing," Miss Skinner relates, "that
William Eythe, the M.G.M. movie star
(Continued on Page 4)
Atom Test Preparations
Recorded by Coast Outlet
(Continued from Page 1)
ercd on a trip of this nature and they
were.
Much experience had been accumu-
lated on a recent, similar-style trip to
Hilo, Hawaii to cover the disastrous tidal
wave which struck there. Thus we had a
working knowledge of the type of equip-
ment that might be needed. Applying
this information we decided to take along
three 6- volt storage batteries, a 350-watt
rotary converter with adjustable speed
control, a portable disc recorder (112-
line feed), standard dynamic micro-
phones, special audio amplifiers, filters,
recording discs, etc. Total weight was
approximately 500 pounds.
Among the problems we encountered
were those caused by climatic conditions
,ind excessive vibration in planes. Be-
cause of high temperature, recording
levels had to be decreased by approxi-
mately 12 to 16 vu due to the recording
head damping, thinning, and softening of
the disc materials. Equipment had to be
continually wiped and oiled, microphones
protected from the moisture by Protep-
Sorb bags, equipment cases kept dry by
burning light globes in them, microphone
cable plugs enclosed in sacks made of
parachute silk, the recorder slung in a
cradle of rubber exerciser cord to over-
come plane vibration, high-pass filters
used to reduce motor roar, and an ad-
vance ball used to keep the recorder head
from skipping due to excessive vibration.
The crew isn't joking when they say,
"The equipment will be lighter, next
trip"!
(From a paper prepared by Allan Kees,
Chief of Audio Facilities, Station KSFO
and Universal Broadcasting System —
San Francisco for the July, 19^6 issue
of COMMUNICATIONS.)
AUDIO RECORD
August, 1946
Recording Helps In Atonn
Coverage
(Continued from Page 1)
During the week preceding the actual
dropping of the bomb on the seventy-
three ships jampacked in the Bikini la-
goon, three of the principal chains aired
many special broadcasts from the "Opera-
tion Crossroads" area. ABC, CBS and
Mutual brought in their correspondents
at regular intervals with the latest de-
velopments in the preparation for the
"big show". All of these programs as
well as special news bulletins from the
Bikini area were recorded.
"This Week Around the World", a
program devoted exclusively to the atom
test, was presented by American Broad-
casting Company on Sundays, June 23
and 30th. "Headline Edition", another
atomic bomb feature with Pacific pick-ups
was aired by the same net on Friday pre-
ceding the test. Mutual presented a
special pool show entitled "Eve of the
Atom Test" on Saturday, June 29 from
11:30 to 12:00 PMEDST featuring Sec-
retaries Patterson and Forrestal, Generals
Eisenhower and Spaatz. Vice Admiral
Blandy and Admiral Nimitz. This pro-
gram was recorded from the NBC Con-
trol Room in New York earlier in the
evening.
On Sunday, June 30, Able-day at
Bikini, American carried a special pro-
gram at 12:30 PMEDST on which all
ABC correspondents were heard. At
3:10, the same net aired the actual take-
off of "Dave's Dream" for the target area.
Later, on its National Hour, NBC pres-
ented Admiral Blandy from the Pacific
from 4:00 to 4:30 PMEDST. The pool
broadcast which was presented "live"
over all networks, with Bill Downs, ace
CBS correspondent on the scene, at 6:00
PMEDST, was rebroadcast by ABC at
11:15 Sunday evening. NBC's San Fran-
cisco outlet, KPO, also carried a rebroad-
cast of the event for its west cost audi-
ence.
When the stage is set for the dropping
of the second bomb, net chiefs agree that
they will again rely heavily on recording
for radio's coverage of this history-
making experiment.
Selecting-Training Recordists
(Continued from Page 3)
The normal training period is three
months. During this time the new operator
works with experienced personnel on the
normal day-time shift. The supervisor in
charge works with him or assign him to
work with an "old" hand. At the end of the
three month period the operator is allowed to
do a little more of the actual work each day
until such a time that complete confidence is
gained. Usually a man is able to stand watch
hy the end of the sixth month and from there
he learns that there is still much to learn
about the art.
Recording Invaluable To
Carnegie Drama Class
(Continued from Page 3)
and a former graduate of our Drama
Department, told me some months ago
that he played the first discs used in his
speech classes and checked them with a
recording of one of his recent movies.
He said he had many laughs over his
'first talking pictures'.
"Our students." the professor con-
cludes, "are fully aware of the invalu-
able aid of the Audiodisc in the study of
Voice and Speech. It is possibly the
actor's most important tool in the theatre
for it makes a true and accurate mirror
of sound."
Special Award To Slater
For Radar-Moon Broadcast
(Continued from Page 2)
the Script and Transcription Exchange
and by midsummer pressings will be
available for free loan distribution. It is
interesting to note that the Hayden Plan-
etarium, New York City, earlier this year
announced that a recording of the pro-
gram would be played at regular inter-
vals in their auditorium for a period of
one month. Actually the time had to be
extended a second month to meet popular
demands. (Audio Record readers will re-
call that a full account of this historic
event which was recorded on an Audio-
disc appeared in our March Issue.)
SILENT SENTINELS OF
CONTINUOUS RESEARCH
These bo(tl
which have
represents a part of
research— responsible for ;
the quality of Audiodiscs.
but a small portion of the 4,632
d through our laboratory. Each
eries of chemical
and maintaining
For the leadership of Audiodiscs is the result of
exhaustive experimental work, plus the most exact-
ing quality controls known to the recording industry.
* * •
Recently, to add still further to our research facili-
ties, we greatly expanded our laboratory. Today,
our research engineers are constantly exploring new
materials and methods, in order to further improve
recording fidelity and broaden the field of sound
reproduction.
Audiodiscs are maiiufMlmed in I he U.S.A. iiiidir Excliis
fHlfl-KTctlTCy
dts I'trnii Pyrolac— Prance.
[AUDIO DEVICES, INC., 444 Madison Ave., New York 22, N.Y. )
ff llff^lfy
recortl
PUBLISHED BY AUDIO DEVICES, IKC.
Vol 2 No. 10
444 Madiscn Ave., N. Y. C.
November, 1946
J. Allen Brown
bond campaign.
Transcribed
For
Broadcasting
By J. Allen Brown
Assistant Director, Broadcast Advertising
NATIONAL ASSN. OF BROADCASTERS
The radio industry did itself proud
through its many contributions in behalf
nf the national war effort. All trans-
mitters in the country (some 900 sta-
tions) broadcast dramatic war stories of
American heroes.
The civilian's role in
the war was told, and
every member of the
family was encour-
aged to buy War
Bonds to the tune of
hundreds of millions
ItJKl^^ '^•' °^ dollars.
I^|PP^^H| The Treasury De-
1 dm^ ^^^B partment's trans-
' Sb .^^^H cribed programs
proved of inestim-
able assistance in the
In fact, the success of
this gigantic program hinged in large
measure on the medium of recordmg.
The Treasury programs were of superb
quality; indeed, the best the industry had
to offer in direction, talent and reproduc-
tion. And they were heard not only on
the nation's most powerful stations but
also — owing to the fact that they were
tw^sftibed — on the hundreds of small
outlets which are so important in then-
respective areas.
In the field of special events and new.'?
coverage, recording facilities have made
it possible for all stations to broadcast
the most imaginative and colorful work
of the world's greatest radio reporters.
The networks have recorded some of
their memorable broadcasts so that affili-
ates might present them again, and in
order that they might be made available
to local clubs and institutions.
During the war, Edward R. Murrow,
then chief of CBS World News Bureau
in London, did an eye-witness report of
a bombing mission over enemy territory.
This spectacular broadcast was recorded
from the network by CBS and shipped
to affiliates. Under the title "Unorches-
trated Hell", it was given repeat per-
formances on many stations. In addition,
(Continued on Page 2)
The Hindenberg Disaster. At Lakehurst, New Jersey,
May 6, 1937, the giant German dirigible Hinden-
berg exploded killing thirty-six persons. On the spot, describing the most tragic accident in
commercial aviation's history, was a horror-stricken, half-crying radio announcer, sent from a
Chicago station to record the landing of the huge ship. These recordings, broadcast later,
shocked a spell-bound nation.
Veterans Adnninistration's Recorded Series
Features Outstanding Network Performers
Almost six hundred radio stations throughout the United States
have booked the Veterans Administration's top-flight network talent
transcribed series "Here's to Veterans."
Thirteen of the major web shows co-
operated in the production of the series,
making special recordings featuring in-
formation of vital concern to the nation's
e.x-servicemen and women.
Programs in the series are: Hit Parade,
Waltz Time, KoUege of Musical Know-
ledge, Stairway to the Stars, Hildegarde,
Supper Club, Great Moments in Music,
Kate Smith, Highways in Melody, Danny
Kaye, Saturday Night Serenade, Frank
Sinatra and Fred Waring.
The Veterans Administration, pro-
ducers of the series, worked in coopera-
tion with the Advertising Council. The
series was made under the direction of
Jos. L. Brechner, radio service direc-
tor for the VA, and Chas. E. Dillon,
who supervised the national coordination
of the series preparation.
Don Weiss, VA radio chief in New
(Continued on Page If)
Just A Dud
One day during the late president's
administration, a large mysterious
package arrived at the White House.
X-rays by government agents disclosed
a solid black mass interwoven with
wires. Baffled by this mystery parcel,
the agents took their problem bundle
to an isolated spot in the country — dug
themselves a protective foxhole — tied
a rope around the package — suspended
it from the branch of a tree and
cautiously pulled the other end of the
rope. Nothing happened. Only a
deep "thud". The package, it was
found, contained nothing more than
10 or 12 recorded discs — speeches of
Winston Churchill. The Prime Min-
ister had sent them as a gift to F.D.R.
•7 Guard F. D. Br^Sat. Evening Post
AUDIO RECORD
November, 1946
"VR-torious Living" — outstanding religious tduc.itional projji.ini. Ii itiiiing the dramatic nar-
ration of the Rev. E. Jerry Walker (at microphone), being recorded in the Chicago studios
of the World Broadcasting System. Howard Petersen lends effective background music at
the organ.
ICRE Transcribed Program
Heard Over 164 Stations
FCC Praises Educational Recordings
The International Council of Religious
Education and its forty constituent
Protestant denominations have found
the electrical transcription the answer to
a long-vexing problem. Realising that
"a pulpit, a minister and a microphone''
do not constitute effective religious
broadcasting, the ICRE sought ways and
means to serve individual communities
with professional-quality religious pro-
grams on a minimum budget. The
answer was lounJ in a Lransv.ribea scries
"Victorious Living" now nearing com-
pletion of its second year on the air with
164 outlets.
The series features the dramatic nar-
ration of the Rev. E. Jerry Walker,
trained commercial radio man, the ef-
fective organ ba^ckground of Howard
Petersen, occasional additional talent and
sound effects. The series is produced by
Bev Dean, Manager of International
Radio Productions, in fhe studios of
World Broadcasting System of Chicago.
The program content revolves around
true life stories in which rehgion is seen
at work. The series was cited to Con-
gress with praise by the FCC and was
given an award by the Ohio State In-
stitute for Education by Radio.
Realizing that the average local in-
terdenominational group is unable to af-
(Continued on Page if)
Tom Harmon Spurns "Live"
Offers for Recorded Show
Football-Movie Committments Practic-
ability of Discs Decides Issue
Tom Harmon, former Michigan foot-
ball great and winner of every important
pigskin award including the Heiscman
and Robert W. Maxwell Trophies, is
currently being heard over many sta-
tions on a new recorded footb.iU series
titled "Here Comes Harmon''.
Tom Harmon. ex-Michigan footb.ill star and
Vick Knight well known radio producer. Har-
mon's recorded football forecasts are heard
weekly over many stations throughout the
country.
Produced and transcribed by Vick
Knight, outstanding producer of many
"live" and recorded radio shows, and
Criterion Radio Features, Chicago, the
"Here Comes Harmon" stanza features
the ex-Wolverine star's gridiron pre-
dictions of all important games in the
country each Saturday. During the 1945
season, Harmon scored 87.5% correctly
in his prognostications. His Bowl game
(Continued on Page if)
Transcribed for Broadcasting
(Continued from Page 1)
a digest was published in booklet form.
George Hicks, ABC war correspon-
dent, covered another of the war's most
exciting stories by means of recording.
Stationed on an Allied warship, his re-
corded description of enemy planes at-
tacking the ship in the EngHsh Channel
during the Normandy invasion was an
outstanding news story, and was made a
"pool" broadcast for all networks, and
recorded for public sale throughout the
country.
During the early part of the war, the
Mutual Broadcasting System gave spot
news every ,iO minutes in which record-
ing facilities played a major part for
broadcasting and re-broadcasting big
news events.
A decade ago, one of the biggest news
stories of its day was the explosion of
the German Zeppelin Hindenburg as it
approached its New Jersey mooring sta-
tion after an Atlantic crossing. The pas-
sengers were caught like insects on burn-
ing fly paper. Many of them somehow
extricated themselves and jumped to
serious injury or death on the ground
below. All this was described by the
horror-stricken, half-crying radio an-
nouncer, as recording machines caught
every sound and reverberation. These
recordings, broadcast later, shocked a
spell-hound nation.
Transcribing for delayed broadcasts is
routine programming in radio. It is
especially heavy during the summer
months when time conflicts develop be-
cause of daylight savings time. The
American and Mutual networks present
a large number of delayed broadcasts in
keeping with the various time zones.
Many stations make a regular practice
of recording a network show which
comes down the line at the time occupied
by a permanent local program. The de-
l.iyed show is presented later in the day,
or perhaps the next day. Facilities for
recording in the studio offer a wide range
for more effective programming.
The finest talent in the world from
-•^uch entertainment centers as New York
and Hollywood are being made available
to every station in the nation today by
syndicated transcription companies. Top
skills in producing, directing, acting and
music, go into the creation of shows es-
pecially transcribed for broadcasting.
Perhaps the largest commercial tran-
scription network of its time was the
General Motors advertising campaign in
behalf of Chevrolet some ten years ago.
Over 400 large and small stations
throughout the nation broadcast this
series. Reports had it that no other com-
mercial program in broadcasting history
up to that time had been heard over as
(Continued on Page 3)
November, 1946
AUDIO RECORD
.!•,« m^%
Requirements For Good
Phonograph Recording
By Albert Pulley
Chief Recording Engineer
RCA VICTOR RECORD DEPT.
(This is the fourth in a series of articles
by leading fiigures in the recording
field.)
If I were asked to name the most im'
portant requirements for good phono-
graph recording in the order of their
importance I would Hst them as follows:
1. Fidelity and performance of the
electrical equipment used in the
recording channel.
2. Perfection of
mechanical equip-
ment with respect
to accuracy and
constancy of speed,
groove dimensions,
etc.
3. Studio acous-
tical properties and
microphone place-
ment.
^^ 4. Ability of
'* ^^" the recording en-
Albert Pulley gij^ggj. to ^Jj^3t the
equipment to give the proper "balance"
and other conditions necessary to ac-
complish a good recording.
These are the factors which are given
the most consideration before a recording
session takes place at the RCA Victor
Recording Studios.
They are not the only element that go
into the making of a technically good
master phonograph record, but they arc
the basic considerations. If any of these
factors is sub-standard, it follows that the
finished product will be below par.
There is an honest difference of
opinion among engineers, musicans, and
music lovers as to exactly what consti-
tutes the "perfect" recording and what
bearing it has on the above requirements.
This is particularly true with respect to
the third requirement — studio acoustical
properties and microphone placement, as
they determine the "quality" of the
finished record. It has long since been
established that what is required by one
or more acoustical engineers as a tech-
nically perfect studio may not always
provide a record performance satisfac-
tory to the greatest number of listeners.
Music critics have their own ideas about
what music should sound like. We can't
please everyone so we think in terms of
pleasing the greatest majority of people
who listen to records in their homes.
To do that, we have to decide what
problems must be overcome before the
artist reaches the studio. We must select
the proper microphones for the type of
instrumental or vocal recording being
Broadcasting exercises and dances is nothing new for a radio station but to broadcast into
thirty-two different physical education classes in Tacoma. Wash., public schools took some in-
genuity on the part of KTBI-Tacoma. When classes in the old-time Western square dances
grew so large that Bob Hagar, physical education director, could make it around to only a
tenth of the schools a semester, KTBI devised a system where a '*prize" dance class is selected
each month and the dances to be used on the regular Wednesday morning broadcast are re-
corded ahead of time. Now, over 5,000 school children dance to the broadcast every week in
what officials call one of the most successful school broadcast ideas ever developed.
made. We decide upon the proper
microphone placement, as determined by
the composition of the group making the
recording. The correct choice of micro-
phones and their proper ratio or "bal-
ance" between the several voices of the
orchestra that is essential to the perfect
recording.
Aside from attending to purely tech-
nical considerations, such as fidelity of
the electrical components of the record-
ing system and the perfection of the
mechanical devices used, which permit
of a true relation between vvhat is heard
on the monitor speaker system and the
finished record, the recording engineer
must be constantly alert to detect ex-
traneous noises that will mar the quality
of the finished recording.
The fourth requirement listed — "the
ability of the recording engineer to ad-
just the equipment to give the proper
musical balance and other conditions
necessary to accomplish a good record-
ing" is a vital one. In addition to adjust-
ing the microphone pick-up for the
proper "balance", the engineer must
make sure that the volume range result-
ing amplitude of cut is within prescribed
limits during the recording, in order that
the record may be played on all phono-
graphs with maximum fidelity.
If these requirement are satisfied, what
is generally considered as a "perfect" re-
cording should be obtained.
Transcribed for Broadcasting
I Continued from Page 2)
many stations for a single sponsor. This
was possible only through the medium
of recording.
In the national spot field, the tran-
scribed announcement not only conveyed
its messages and sold products, but set
the nation to singing the "Pepsi-Cola
song", the "Chiquita Banana song" and
others. In recent months millions have
been educated by Chiquita not to put
bananas in the refrigerator. This ingra-
tiating one-minute singing commercial
told the banana story, assisted in the
"food for famine" campaign, and has
now become a contender for a bright
spot on the Hit Parade. Dance bands
over the networks, on platter shows and
in juke boxes, have the nation doing the
rhumba to its rhythm and singing its
catchy phrases.
The memorable fireside chats and
dramatic network speeches of the late
President Franklin D. Roosevelt were
recorded by the National Broadcasting
Company and made available in albums
to the government, to museums, and to
various historical and educational insti-
tutions.
Radio has progressed to the position
of "number one public servant", thanks
in part to those events and ideas which
were TRANSCRIBED FOR BROAD-
CASTING.
AUDIO RECORD
November, 1946
A few hours after being elected as the sixth
general of The Salvation Army in charge of
v/ork in 97 couniri^^s all ovei the globe, Gen.
Albert Orsborn (pictured above while broad-
casting over the BBC chain), was broadcasting
a message to the people of America over the
Columbia network. His talk was recorded and
is now being sent out by the Salvation Army
to its officers in the field as an addition to its
series stressing the Army's expanded program
of aid, "Marching Forward To A Better
World," N.B.C. and Mutual previously had
aided the organization in its recording work.
Top Stars In VA's Series
(Continued from Page 1)
York, and Lou Marks of the VA's Wash-
ing staff handled the production of ten
in the series — these shows originating
in New York. Dean McNcaly handled
the production and transcription of
other shows originating in Hollywood.
The series was recorded by NBC Re-
cording. Initial arrangements with agen-
cies and sponsors were made by Drew
Dudley of the Office of Mobilisation and
Reconversion, and George Ludlum of the
Advertising Council in New York.
Complete press brochures were sent
to all stations in the country, providing
press releases, promotional material and
full information on the series. Stations
then filled out an enclosed card, mailing
it to the VA's Central Office in "^Vash-
ington. Within a few days the set of
thirteen programs was in the hands of
the stations requesting the series.
Each of the programs in the transcrib-
ed series is a "capsule" edition of the
big network show making the transcrip-
tion. The stars themselves, or the regular
program announcers, read the helpful
informational spots (two on each pro-
gram) which took the place of the nor-
mal commercials. Each of the 14:30
shows end with a one-minute theme tag
over which the local station announcer
reads a brief message giving the address,
telephone number and location of the
nearest Veterans Administration office.
Production has already begun on a
second series of 13 programs.
ICRE Transcribed Programs
(Continued from Page 2)
ford big-time radio production and that
network broadcasts could not afford the
advantage of effective local tie-ins, the
International Council of Religious Educa-
tion turned to the transcription as the
answer. Local ministerial groups, coun-
cils of churches and religious education
are enabled to tie in their own local mes-
sages with the ET's, rented from the
ICRE. The production budget is under-
written by the 40 denominations and
their publishing houses. Thus through
the medium of transcription, a six-a-week
broadcast is possible under local spon-
sorship at minimum cost to the partici-
pating groups.
Harmon Spurns "Live" Show
(Continued from Page 2)
predictions were 100% correct.
Before signing his present recording
contract, Harmon, employed by WJR-
Detroit before his entrance into the serv-
ice, turned down "live" network offers
to do another sports feature, in favor of
transcriptions, in the expectation of
getting greater station representation and
more time for his many other activities.
Harmon, a member of the champion
Los Angeles Rams and husband of
movie actress, Elyse Knox, will soon
be seen in the forthcoming Monogram
musical "Sweetheart of Sigma Chi". It
will be his third movie appearance.
With These Three Outstanding Features
1 INOIVIDUALIY DISC-TESTED ON A RECOtDINO MACHINE.
• IXPERTLT OESIONED ID INSURE PROPEB THREAD THROW
• A PRODUCT Of THE MANUFACTURER OF AUDIODISCS -
AMERICA'S lEADINC PROFESSIONAL RECORDING BLANKS.
Professional recording engineers knov
ence. [Oat Sapphire hecording Audiopoinls
recording styli. Made by skilled craftsmen to
tions and individually tested in our laborati
le quality.
Agood recording stylus requires a perfectly matched playback
t. The Sapphire Audiopoint for playback fills tliis need com-
:ly. In materials, workmanship and design, it is the finest playback
point obtainable. (Should not be used on shellac pre
These Audiopoints are protectively packaged ir
phane covered cards-cards that are ideally suited for rel
to be resharpened.
OTHER POPULAR AUDIOPOINTS. that complete a full
ing and playback styli, are: Stellite Recording Audiopo
With many professional and non-professional recordis
Lapped Steel Audi.>point. a recording stylus particularly adapted for
nonprofessional recordists; Playback Steel Audiopoints (Straight
Shank and Bent Shank), thq most practical playback points for
general use. One hundred per cent shadowgraphed.
For further informnlioti, lee your Audiodiics
and Audiopoints distributor, or write
ing specilica-
i. these Audiopoints
sings.)
handy cell
irning poin
e of record-
a favorite
Diamond-
AUDIO DEVICES, INC.
444 Madison Ave.,
New York 22, N. Y.
fltiftlff
recoTCL
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 2, No. I I
444 Madison Ave., N. Y. C.
December, 1946
RCA MAKES BILLIONTH RECORD
Importance of Recordings
To Norwegians During the
Dark Days of War Told . .
American Radio Urged to Remember
"Ordinary People" of Other Lands
By Ghdys Pctch, Radio Consultant
NORWEGIAN INFORMATION CENTER
New York City
It's somewhat out of date nowadays to
talk about an enterprise born during the
war, and yet if this artiele is to be writ-
ten, one must start in 1941, for it was
then that the Royal Norwegian Infor-
mation Service, an agency of the Royal
Norwegian Government, started record-
ing the programs "The Spirit of the
Vikings" and "Norway Fights On."
Since 1929 the writer had been in the
habit of broadcasting from leading radio
stations from coast to coast, about "Nor-
way," its culture, its music, its people,
rnd its beauty. Then came the war, and
travelling having become almost an im-
possibility for civilians, the idea of re-
cording these programs was conceived.
Starting with one station in the middle
west, gradually the number of stations
was increased until in 1942 three hun-
dred and fifty stations throughout the
U. S. and Canada were carrying the
Norwegian programs weekly. Records
Tvere atso serrt to Australia., New Zea-
land, and Alaska. And so the story of
Norway's gallant fight against the Ger-
man invaders was told around the globe.
The programs were always quite sim-
ple, Norwegian airmen, sailors from the
Norwegian Merchant Marine, and mem-
bers of the Norwegian underground told
thrilling stories of their actual experi-
ences, told the facts as they had lived
through them, without any embellish-
ments, and it seems that these plain facts,
reached right into the hearts of listeners.
Many of these brave men have since
made the supreme sacrifice, for the ideals
for which they fought, but thanks to
the art of recording, their voices and
stories will live on, testimonies to the
brave men who gave their all.
Through our recorded programs it was
possible during the long war years to
(Continued on Page 3 J
Frank M. Folsoni, Vice President RCA Victor receives the Billionth Record from J. W. Murray,
Vice President in Charge of RCA Victor Record Activities at the RCA Victor Camden, N. J.
factory. NBC broadcast the presentation of the famous disc.
Milestone Reached In Company-Record History;
Record's Original Sound Made On An Audiodisc
A few weeks ago in Camden, N. J., where forty-eight years before
the Victor Talking Machine Company was founded, the one bilHonth
RCA Victor record was manufactured . . . thus marking a milestone in
the history of the company as well as
the record industry itself.
The original sound of the billionth
record — a performance of two Johii
Philip Sousa marches by the Boston
Symphony Orchestra under the direction
of Serge Koussevitzky — was cut on a
standard Red Label Audiodisc.
The historic disc, after being gold-
plated, was given to Major General A.
H. Turnage, Assistant Commandant of
the United States Marine Corps, who
accepted it in the name of the Corps,
for inclusion in the Marine Corps ar-
chives. The choice of the Marine Corps
as the recipient of the billionth record
has a historical significance which is di-
rectly related to the two compositions
performed by the Boston Symphony —
"Semper Fidelis" and "Stars and Stripes
Forever."
(Continued on Page 2)
Come West, Young Men
at our expense
In promoting a recent fashion show
in Hollywood, Foote, Cone fe? Belding,
on behalf of their client Cole of Cali-
fornia, nationally known fashion de-
signers, sent recorded invitations (8"
discs) to leading fashion experts and
dealers throughout the country.
The novel invitations, when received
by the prospective guests, were be-
lieved to be a gag, but after rushing
ofiF to the nearest play-back machine
and hearing the voice of Fred Cole
inviting them to a special showing of
his latest creations (at his expense),
the lucky designers dropped their
scissors and hustled out their suitcases
for a few peaceful days in sunny
California.
AUDIO RECORD
December, 1946
Pictured above with announcer William Cullen
(at left) are three featured players in the new
ABA recorded series now being offered to
banks throughout the country for local broad-
cast use. Left to Right — Abby Lewis, Scott
Tennyson and Walter Vaughn.
American Bankers Ass'n.
Offers New ETs To Banks
Recorded Dramatizations To Be Used
As "Core" of 15 Minute Program
As part of a new radio service for
banks, the American Bankers Associa-
tion recently announced a new series of
recorded dramatisations for local broad'
cast use. These recordings, all on bank
loan services, are about 4^/2 minutes in
length. They are intended for use as
the "core" of 15 minute programs, the
balance of each show being supplied by
the local station from its musical library.
According to John Mack, Deputy Man-
ager of the A. B. A. in charge of its ad-
vertising department: "This is the first
step in a new radio service. If these pro-
grams are well received, we will prepare
plenty more. As a second step, we hope
to progress to complete 15 -minute pro-
grams. Another angle we will pursue is
the gathering and disseminating of radio
data to banks to help them use radio
more effectively."
There are 30 programs in the new
series. Each presents a modern day loan
problem, such as a small business fi-
nancing situation, or a veteran home-
purchase transaction, and works out a
sensible solution, usually with the help
of credit. Thus the series is largely edu-
cational and has little if any commercial
flavor. Local tie-in is obtained by the
bank's own announcement, spoken by
the local announcer at beginning and end
of each show.
The transcriptions were written by
Frank Kane, supervised by the A, B. A.
and recorded by the National Broadcast-
ing Company in New York.
Announcements have been mailed to
all banks and free sample recordings have
either been supplied or offered to every
radio station in the United States ac-
cepting commercial programs. Banks
have been urged to contact their local
radio stations and arrange auditions.
RCA Produces Billionth Disc
(Continued from Page 1)
From 1880 to 1892 John Philip Sousa
was leader of the Marine Corps band.
In 1888 he composed "Semper Fidelis,"
which is the motto of the Corps. In
February, 1902, several years after he
had resigned from the Corps to form
his own band, he recorded the stirring
march tune for the Victor Talking Ma-
chine Company, which was then in its
infancy as a manufacturer of records and
phonographs. "Semper Fidelis" was so
successful that it was recorded again and
again by Sousa and his band, as well as
other bands that made records for the
Victor Company.
In the spring of 1946. when it became
apparent that the RCA Victor Record
Dept. was certain to manufacture its bil-
lionth record before the end of the year,
the Boston Symphony Orchestra — which
was the first full-sized symphony or-
chestra to record for Victor — was asked
to record some single records. Dr. Serge
Kousscvitzky chose the two marches by
John Philip Sousa as among the compo-
sitions he would like to record. Some
months later it was agreed that to this
particular recording would go the honor
of becoming the company's billionth disc.
Because "Semper Fidelis" is so closely
identified with the Marine Corps it was
quickly decided that the most logical re-
cipient of the milestone record would be
the Corps.
Aside from the historical aspects of
the record itself, the manufacture of the
billionth disc in 1946 is of particular sig-
nificance as a symbol of the revival of
an industry which several times in its
history had seemed to be giving way to
(Continued on Page If)
THE THREE SUNS AND A STARLET,
one of NBC's newest recorded musical pro-
grams, features Artie Dunn at the Hammond,
Al Nevins' electric guitar and Morty Nevins'
accordion. Added to this are the song stylings
of Nan Wynn, Irene Dayc and Dorothy Claire
(pictured above during program rehearsal),
three top vocalists of the day making this show
a real musical treat. A 15-minute program, it's
packed full of rhythm-bright melodies with
completely different improvizations by THE
THREE SUNS. An NBC Syndicated show of
network caliber, THREE SUNS AND A
STARLET is sold to stations throughout the
United States and Canada.
me i^eayidut
By Ernest W. Franck, Research Engineer
Magnetic Tape Recording
In recent years there has been considerable
activity in recording on magnetic wires or thin
metallic tapes. The recording process, which
is merely passing a
wire almost as fine
as a hair through a
varying magnetic field,
IS not disturbed by vi-
bration or movement
and, therefore, found
extensive military ap-
plication during the
war, such as recording
i n a moving tank.
Furthermore, the wire
can be wiped off and
a new recording made
at will.
Ernest W. Franck t> l 1
During the war the
Germans used a form
of magnetic recording wherein metallic wire
was replaced by a plastic tape with a very thin
coating of magnetic iron oxide. This was
used extensively in portable field models of
the "Tonschreiber". Considerable develop-
ment was also done of a high quality "Mag-
netophone" for radio broadcasting use, gen-
erally referred to as the studio model. Army
and Signal Corps men coming back from
Europe were loud in praise of the studio
model and their reports of its performance
placed it above any magnetic recording avail-
able here and actually in a class with lacquer
discs.
It was only recently that a studio model
"Magnetophone" was brought into this
country and, through the efforts of Mr. E. Y.
Webb, Department of Commerce, Communica-
tions Division (see page 3), a public demon-
stration was made.
The performance is nothing short of start-
ling. The volume range is great and under
ideal conditions may reach 60 db. The fre-
quency response is Uat to 10,000 cycles when
equalised. The motion is perfectly steady
with piano music, comparing favorably with
a high quality 35 mm. sound on motion pic-
ture film.
Without question, this machine, which is
the first of its kind to approach lacquer discs
in performance, will find many applications,
hut it must first get over many hurdles. The
drive mechanism must continue to give steady
motion after long daily use, as in broadcast
work. Some means must be found to keep
playing time constant in spite of changes in
length due to tape stretching and slipping.
The tape may be too thin for sprocket holes,
hut many electronic means have been sug-
gested, and one may be feasible.
Besides a good machine, a good tape is
nceidcd and American manufacturers must
develop the equipment and technique of coat-
ing magnetic recording tape. This activity
would quite naturally devolve upon people
already in the field of making a sound record-
ing medium by a coating process, such for
example as Audio Devices. Actually this
work was undertaken jn this company some
time ago in anticipation of probable develop-
ments in this field.
December, 1946
AUDIO RECORD
OTS Making Available
To American Industry
Many Wartime Secrets
Edwin Webb Gives Demonstration of
Magnetophone Before IRE Gathering
One of the Government activities which is
most interesting to American business firms,
engineers, educational and research institu-
tions, is the Office of Technical Services, De-
partment of Commerce. The OTS, Mr. John
^^ C. Green, Director,
■V ^^^^^*^HIHI ^''^ assumed the
H| .^^^^^K^^^HhI functions perform-
H| ^^^KKK^^^P^ f^d ^y the Office of
^E I^^P^^^^B '''<^ Publication
V ^VT ^H B'lard. It also in-
W ^jf' „ ^J^f J I ides the Techni-
^ .1 1 Industrial In-
trlli|:;ence Branch,
tlic National Inven-
tor, Council and
•ho Production and
I Vvelopment Divi-
The OTS gath-
ers on-the-spot
technical informa-
tion in enemy
countries and pre-
pares reports based
o n comprehensive
studies of enemy
industries. It solic-
its and evaluates
ideas and inven-
nformcd
Edwin Y. Wpbb, Chief,
Communications Unit,
OTS
tions of value to industry, provide
advice on patents and inventions and serves
as a general information bureau on technical
data in the possession of the Government.
The OTS also sponsors industrial research
projects and negotiates and supervises the
execution of contracts with private non-profit
research laboratories for the development of
such projects. It acquires, abstracts and in-
dexes scientific and technical documents, both
American and foreign, and publishes the
Bibliography of Scientific and Industrial Re-
ports.
Readers of Audio Record will be particu-
larly interested in the Communications Unit
of the OTS under the direction of Mr. Edwin
Y. Webb. This Unit has investigated and
prepared reports on hundreds of machines,
equipments, components and materials con-
nected with the communications industry. It
has also arranged showings of these products
both in Washington and throughout the
country. Earlier in the year models of the
"Tonschreiber", the German field model
machine for recording sound on tape, were
received and shown to thousands of interested
engineers. More recently the studio model
"Magnetophone" was received and a demon-
stration given on November 5th at the
Department of Commerce Building, Washing-
ton, D. C, before the local chapter of the
Institute of Radio Engineers. This meeting
was also attended by Mr. William C. Speed,
President of Audio Devices, and Mr. E. W.
Franck, Research Engineer. (Note page 2 for
Mr. Franck's comments.)
Author Bob Hope meets the critics on WQXR — New York's ■'.Author Meets the Critics"
program when Hope's "So This Is Peace" came up for discussion. Shown above left to right
are Russell Maloney, contributor to The New Yorker; Bennett Cerf, author and editor; Hope,
and John K. M. McCaffery, moderator of the program.
Whether Presented Live or Recorded .. WQXR's
"Author Meets the Critics" . . Good Listening
Some of the liveliest wit and most informative debate to be oifered
the soap opera ridden radio public today is heard on "The Author Meets
the Critics" literary free-for-all, broadcast twice weekly (once live; repeat
broadcast recorded) by WQXR, The
New York Times radio station, and once
a week by the Mutual Broadcasting
System.
This half-hour program puts showman-
ship into book reviewing by pitting the
author of a currently popular book
against two well-known critics in a free-
swinging discussion appealing not only
to book lovers and to those who relish
argument over current problems but also
to the non-literary who enjoy seeing in-
tellectual celebrities humanized by sharp-
witted remarks by their peers.
During the first fifteen minutes of the
program, which is broadcast from the
Barbizon Plaza Radio Theater from 9:30
to 10 P. M. on Thursdays (live) and
rebroadcast (via transcription) on Sun-
days at 2:30 P. M., the two critics attack
or praise the book of the day, with few
holds barred. The second fifteen min-
utes are devoted to the author's fre-
quently indignant or irate response. A
moderator, John K. M. McCaffery, asso-
ciate editor of American Magazine, often
mentioned by radio reviewers as a likely
candidate for the diplomatic service,
urges the three to "disharmony" and at
the same time strives to keep them to
the point and to prevent the strong-
minded, violently opinionated celebrities
from mayhem. The reaction of those
(Continued on Page Jf)
Importance of Discs Told
(Continued from Page 1)
bring home to American listeners, in
fact to listeners in the whole free Eng-
lish-speaking world, the story of Nor-
way's fight against Nazi oppression at
home and the story of Norway's war
efforts. The story of a small country
which refused to give up her democratic
way of life no matter the cost.
There were other ways in which these
recorded programs were of value too.
There are approximately 2-3 million
Americans of Norwegian descent in the
U. S. A.; people with loved ones in
Norway, people who had no means of
communication with their mother coun-
try for five long years. To these, these
programs were probably a vital source
of information — in fact we have many
letters in our files confirming this. Here
for example is a quotation from one such
letter. This woman writes: "Your re-
corded programs are the strongest link
we have with Norway in these dreadful
days. Keep up the good work and thank
you."
Another interesting point was that
Norwegian communities were discovered
in states which are not usually associated
with Norwegian-Americans, as for ex-
ample Arizona. From stations in Arizona
(Continued on Page k)
AUDIO RECORD
December, 1946
Dr. Kershner
Recorded Talks of Noted
Relief Administrator Now
Available To Radio Stas.
A Child's Life In Northern Europe
Today Explained in Transcriptions
"Children of Northern Europe," an
authentic, interest-catching recorded ser-
ies, recently released by SAVE THE
CHILDREN FEDERATION, New York
City tells of the dramatic struggle of
these nations back
to peace-time living
. . . and the effect
of that struggle on
Scandinavian boys
and girls.
Four transcribed
l.'i-minue programs,
on two double-faced
16-inch discs, carry
eye-witness reports
of Dr. Howard E.
Kershner, noted
relief administrator,
during his current tour of Europe. Dr.
Kershncr's colorful talks were recorded
while scenes were vivid in his mind, in
modern radio studios in Helsinki, Fin-
land; Stockholm. Sweden, and Oslo,
Norway. Clear and sharp, free of usual
trans-Atlantic static and fading, the talks
were air-expressed to New York where
they were re-recorded with music and
explanatory announcements.
The four transcriptions (the first three
of which must be carried as a series; the
fourth is optional) titled "The Struggle
in Finland," "Child Refugees in Swe-
den," "Norway Recovers" and "Meeting
Child Needs in Northern Europe (a
round-table discussion in New York City
by outstanding relief administrators)
are being forwarded to radio stations
throughout the country for sustaining
broadcast use. There is no rental charge
for the recordings. Stations may order
the series for auditioning purposes by
addressing a post-card to SAVE THE
CHILDREN FEDERATION, 1 Madi-
son Avenue, New York City.
SAVE THE CHILDREN FEDERA-
TION is the U. S. member of the In-
ternational Save The Children Union,
which has headquarters in Geneva, Swit-
zerland, and member organizations in
J4 countries.
RCA Produces Billionfh Disc
(Continued from Page 2)
other forms of musical entertainment.
Today, record manufacturers estimate in
excess of 300,000,000 discs will be manu-
factured this year, the largest production
ever attained and from three to four
times the prewar output.
Importance of Discs Told
(Continued from Page 3)
many interesting letters from Norwegian
Americans were received. Norway de-
serves much credit for developing this
work, and there are 100 stations in the
U. S. and Canada who still regularly
carry Norwegian programs. Other coun-
tries have now followed Norway's lead,
and in closing this brief article, the
writer, a broadcaster of many years ex-
perience in Europe and the U. S. A.,
would like to make a suggestion. Now
when the United Nations needs the sup-
port of every citizen of every nationality,
could not every radio station of the
United States devote a certain length of
time to recorded programs of other
countries with whom we must get along
if we are to exist at all!
Not only should. there be broadcasts
of the proceedings of the U. N. Council
which are of course of vital interest, but
there should also be broadcasts about
the things ordinary men and women of
the world want to know about each
other, their problems, their home life,
their customs and opinions, for funda-
mentally human beings are the same the
world over, with the same fears, hopes
and ambitions.
What a chance American radio has
to correct this, and at no loss to them-
selves, for the voice of America would
become the voice of the ordinary people
of the world whose earnest desire is to be
understood, and to "keep the peace."
New York State Radio Bureau
Plans Extensive Use of ET's
In furthering their effort toward
stamping out juvenile delinquency in the
state of New York, the N. Y. State Radio
Bureau has prepared for the Dept. of
Correction and the Commission Against
Discrimination a series of recorded
dramatizations and pane! discussions for
broadcast use by the commercial stations
throughout the state.
The recorded dramatizations are cut
in the WOR — New York Recording
Studios; the discussion series in Albany,
the state capital.
According to Miles Hehercr, Director
of the N. Y. State Radio Bureau, present
plans call for the use of transcriptions
throughout the winter. Many of these
programs are now underway and others
will be developed in a few weeks.
Author Meets The Critics
(Continued from Page 3)
authors who dare submit to this ordeal
is as varied as the subject-matter covered
in a program of this scope.
Martin Stone, owner and producer of
"The Author Meets the Critics," and
an Albany, N. Y. newspaperman, Rich-
ard Lewis, conceived the idea for the
program in 1940. It was originally pro-
duced at Union College, Schenectady,
N. Y. and was broadcast locally in
Schenectady and Albany until it moved
to New York during the war.
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TED HUSLNG REFLRNS TO ALMA MATER
"Ted Husing's Bandst.ind," featuring the dean of the nation's sportscasters in a new role as a
disc jockey, is currently being heard Monday through Saturday from 10:00 A. M. to 12:00 noon
and from 5:00 P. M. to 6:30 P. M. over WHN— New York. (It was at WHN that Husing
first entered the "big time" as a sports announcer some 20 years ago.) Ted's individuality
and fluency at the microphone blends the "Bandstand" show into something out of the ordinary.
The man who has consistently picked the top sports figures through the years keeps right on
picking winners in the field of popular music.
q^Hfl^lff
record
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 3 No. I
444 Madison Ave., N. Y. C.
January, 1947
RECORDING-EDUCATIONAL MEDIUM
Birmingham, Ala. Salutes
Birmingham, England
W API — Birmingham — BBC E.xchange
Discs; Contrasts in Life There-Here Told
"Birmingham, Alabama Calling Birm
ingham, England!" What, something
new in lend-lease? Well no, not exactly.
A few weeks ago, WAPI— Birming-
ham, Alabama broadcast a special salute
from the people of its fair city to the
residents of Birmingham, England. And,
one week later, the English city retaliated
by airing a special program to then-
American neighbor of the same name.
The two broadcasts, both recorded,
tc;ld the story of the highlights in the
everyday life of the people of both
countries. For instance, in the Alabam.i
city, WAPI recording crews interviewed
a typical Birmingham resident while he
worked at his job in a local steel mill,
asking him many personal questions,
such as: how he liked his job; how much
money he made; how he spent it; what
he liked best in the way of entertain-
ment and many more such questions.
Knowing too, that the women of
Birmingham, England would want to
know the inside slants on how American
women raised their- children, the WAPI
A group of Chicago elementary
chool pupils listen to an educatic
classroom.
recording in thcjr
roving reporter interviewed a houscwile
with such inquiries as: how her children
were fed; what they were fed; what en-
tertainment she most enjoyed; how she
enjoyed cooking; her favorite dish, and
what was her recipe for cooking southern
fried chicken.
Ambling into the corner drugstore,
WAPFs inquiring microphone caves-
dropped on three typical Alabama youths
(two girls and a boy) while they were
passing along to each other the latest
American slang. The reporter ended his
stay by giving his British listeners a com-
plete description of an average American
drugstore, complete from toothpicks to
electric heaters, chocolate sundaes to
castor oil. And so it went on, one inter-
view after the other, until WAPI knew
more about Birmingham, Alabama, its
(Continued on Page 2)
Transcriptions — Recorders Supplement Other
Modern Teaching Aids In Today's Classroonns
By George Jennings, Director,
Radio Council— WBEZ Chicago Public Schools
There is hardly a teacher or school administrator today who does
not recogni2;e the value of radio in the classroom . . . but, many teachers
and administrators are not aware of the vast amount of teaching material
which is now available on transcriptions.
SOUR FATE
Recently, Urban Johnson, head of
the WBBM — Chicago sound depart-
ment, decided to make a recording
which would explain some of the diffi-
cult assignments radio sound techni-
cians often encounter in providing
realistic background for dramatic
shows. "Urb" asked Mort Hall of the
continuity department to write a trial
script, something full of drama, pathos
and intrigue. The result was a story
of a jealous husband, a nagging wife
and — the strangest sound on record— -
the sound of a man in a vinegar vat
being slowly pickled to death!
Radio Daily
This material has all the attributes of
nidio . . . the inherent dramatic quality,
the immediacy, the vitality . . . plus
many important attributes of its own.
These attributes are not so much in the
content of the transcribed programs as
they are in the medium of presentation
. . . namely, the recording itself. While
the techniques of using the transcription
are in many ways similar to those of
using the radio broadcast, the disc has
the great advantage of permanency and
of frequent re-usability. Also, the ma-
chine may be stopped at any time during
the course of the transcription, the head
lifted, put back and any part of the disc
replayed.
One of the greatest diiEculties of
scheduling radio broadcasts for schools
15 the seeming inflexibihty of school
(Continued on Page k)
AUDIO RECORD
Janu
ary,
1947
cuulla )i^ record
VOL. 3, NO. 1
JANUARY, 1947
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with'
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
Use of Top-Flight Talent
Key to I. D. E. Success
Outstanding Public Service Recorded
Programs Praised by Radio Industry
la its seven-year history the Institute
for Democfafic Education, a unique rion-
profit organisation has produced and dis-
tributed an impressive body of tran-
scribed radio shows which has earned it
top rank with radio stations and ether
critics. Devoted to the advancement of
American ideals, the Institute has utilised
the best professional talent — writers, ac
tors, musicians, directors — to turn out
transcriptions that have pioneered a
proud path in the realm of public service
programs. Each of its LEST WE FOR-
GET series of 13 or 26 recordings, all
genuine Americana, has been made avail-
able free to radio stations, bringing pow-
er-packed educational entertainment to
millions of Americans.
■si^
Harold Franklin, IDE program director and
Sam Levene, Hollywood motion picture star,
discuss merits of "Hey, Cabbie!" script, one
of the programs in the new IDE series — LEST
WE FORGET -THE AMERICAN DREAM.
IDE's tenth series LEST WE FOR-
GET—THESE GREAT AMERICANS
achieved unprecedented airing, afforded
more than $250,000 worth of free time.
Using big names to recreate dramatically
the big people of our nation, the series
features among others John Carradine as
Woodrow Wilson, Ralph Morgan as Jo-
seph Pulitzer, Quentin Reynolds as Wen-
dell Willkie and Melvyn Douglas in the
program on Franklin D. Roosevelt. This
latter show was played by 710 stations as
part of the regular series broadcast and
as a memorial tribute on the first anni-
versary of FDR's death. The entire ser-
ies has been given 1,700 hours on the
air by 622 stations. In 1946 there were
7,000 individual broadcasts with many
stations playing particular programs four
or five times for special occasions. IDE
shows were given 52% class "A" time
and among the stations using them were
100 of 5,000w and 10 of 50,000w
strength.
After radio broadcasts have been com-
pleted, the Institute makes recordings
available to schools through 25 distribu-
tion centers centrally spotted over the
country and previous series are being cir-
culated among 1,900 schools. During the
war, the Army and OWI used the pro-
grams which also reached an internation-
al audience via short-wave.
IDE was among the first to apply suc-
cessful advertising techniques to public
service programs, using dramatic spot an-
nouncement to carry its democratic mes-
sage.
Two new projects in the working stage
at the Institute promise good listening
and learning. One series, LEST WE
FORGET — THE AMERICAN
DREAM, dramatically probes the prob-
lems of prejudice and inter-group rela-
(Continued on Page Jf)
Recordings "Publicity Tool"
In Negro College Fund Appeal
Electrical transcriptions v.'crc used for
the first time in the short existence of
the United Negro College Fund during
the recent annual appeal for funds to
meet current expenses of thirty-three
Negro private colleges.
Under the direction of Bob Masse m,
who handled all radio activity for UNCF
lour five-minute transcriptions were
made, two on a side, each using the
volunteer services of an outstanding
Negro entertainer. They were: Kenneth
Spencer, currently featured baritone in
"Showboat"; Josh White, cafe-society
entertainer; Ella Fitzgerald, the "Tisket-
a-Tasket" girl; and the Mills Brothers.
Each recording included a short "pitch"
for the Fund.
One hundred sixty discs were made
and distributed to an equal number of
radio stations in fifty-four major cam-
paign cities. A final check has not as
yet been made as to the extent to which
these recordings were used, however,
preliminary reports indicate the United
Negro College Fund met with a reason-
able degree of success in having the
transcriptions played. A representative
of the Fund remarked that he felt UNCF
would continue to use recordings as a
regular part of their publicity program
in connection with their annual appeals.
Alabama Station Salutes
English Outlet In Disc Swap
(Continued from Page 1)
likes and its dislikes, than it had ever
hoped to know.
Each portion of the Alabama city's
salute was woven together with a musical
bridge and a narrator to tell the story
of Birmingham, and to weave the con-
tinuity around each interview. All in-
terviews were later redubbed onto regular
16" discs for air-shipment to England.
The Birmingham, England salute to
the people of Birmingham, Ala. told the
British side of the story and pointed out
the contrasts between life in England
and life in the United States.
Yes, this is something new in Icnd-
Icise.
MILTON CROSS
ORALEXICOGRAPHER!
ORALEXICON is the name given to a new
series of record albums, produced by NBC's
Radio Recording Division in New York, seek-
ing to standardize the pronunciation of diflfj-
cult words and foreign names that are so often
mispronounced on the air and in daily life.
(The first edition is devoted entirely to classi-
cal music nomenclature and terminology.)
As radio's oldest and most popular announcer j
and corrimentator of classical and operatic
music, Milton Cross was chosen to set up a
standard of pronunciation that could be fol-
lowed successfully by English speaking an-
noimcers and music lovers everywhere. Milton
Cross is, therefore, the world's first ORA-
LEXICOGRAPHER, and the ORALEXICON
the first Recorded Pronouncing Dictionary for
Classical Music.
The School of Radio Technique, situated in
Radio City and America's oldest school de-
voted exclusively to radio broadcasting, de-
signed the ORALEXICON specifically for an-
nouncers, commentators and students who have
long felt the need of a pronunciation standard
that could be learned easily by ear and fol-
lowed with confidence.
In addition to the names of the world's most
famous composers of cla.ssical and operatic
music, ORALEXICON gives Milton Cross'
pronunciation of: Popular Grand Operas, Con-
temporary Orchestral Conductors, Samples of
radio continuity for 0|>eratic .and Symphonic
Programs, and finally oft-used Musical Terms
with e.v.ict definitions. The album consists of
4-12 inch Vinylite records (8 sides), a 20
page Manual of Instructions and mimeo-
graphed copies of the continuity used.
January, 1947
AUDIO RECORD
Material Shortages and
Recording Under Adverse
Conditions Big Headache
By John Bubbers
Studio Engineering Supervisor
WOV— New York
(This is the fifth in a series of articles
by leading figures in the recording
field.)
During the war . . . and it's shortages,
many strange situations arose that often
called for quick action. More often,
"haywire" repairs had to be devised to
make things function in a "normal" sort
of way. Even the simplest of parts were
at various times impossible to get and
stocks were in some
instances nearly de'
/J^'ft^^ pm?a— Wfsre^he
A ^W'^/jBfcjk replacements came
* ^^P through,
i V The tube situa-
■^- JHh'^^^''^ t-ion became critical
during the latter
' 2. P^rt of '"^3 and after
taking careful study
of the demand, it
was found that a
certain type would
last only eight
weeks under operat'
Close analysis of the
problem showed cathode leaks in all of
the failures. This was attributed to in-
sufficient removal of heat from the area
surrounding the tubes. A few feet of
duct work connecting to our fresh air
supply from the air conditioning ap'
paratus reduced our losses to ten percent
of the original.
Problems of misaligned cutting heads
proved to be a severe headache since
time lost in their repair also had to be
■minimized and spacers and jigs were de-
vised to permit their alignment by un-
skilled personnel. A rather strange thing
occurred one hot afternoon when we
were transporting an old portable cutting
unit by car to a very isolated location.
Upon arriving, we found that the damp-
ening mechanism had lost its original
resiliency and would not function prop-
erly. This was rectified by locating the
nearest refrigerator and cooling it down.
The cutter then functioned normally.
Other precautions of supply were at
first unpredictable, but as we soon learn-
ed .. . our rule was "expect the worst."
The quality of recording discs, fortun-
ately, was maintained, even though the
supply at times was rather limited.
Looking back, our problems of the war
years have taught us ingenuity and fore-
sight and their memory is cherished only
because these problems are in the past.
John Bubbers
ing conditions.
A section view of the Kasper-Gordon recording studio with acoustical-correction diffuscrs
arranged in random oattcrn on one wall.
Fay Photo, Boston
Acoustical Properties of Recording Studio
Improved By Use of Semi-Spherical Diffusers
(From an
prepared by Forrest L. Bishop. Chief Engineer, Kasper-Gordon, Inc.,
for COMMUNICATIONS)
With high-fidelity reproduction a must characteristic of all types of
recording today, the studio has become a major fideUty factor. For it is
in the studio that many basic problems can originate. It has thus become
necessary to develop or redesign studios
that have a minimum of acoustical faults.
In our Boston studios we were faced
with a problem of boominess resulting
from phase distortion and reverberation.
Our early analysis of the acoustical prop-
erties of the studios indicated two major
factors contributed to the defect: the
small room dimensions and the construc-
tion of two walls, a long wall on the con-
trol-room side and a short wall meeting
the long one at right angles, both of
which were surfaced with painted wall-
board.
A series of test recordings were made
and measurements were taken at various
positions in the room with a sound level
meter at frequencies from 30 to 10,000
cycles. In all measurements, high peaks
appeared in varying degrees within the
range of 100 to 150 cycles together with
long hangovers of reverberation.
Since absorption had proved a failure,
we believed that diffusion might bring
about the desired effect. The conven-
tional treatment would have been poly-
cylindrical, but we decided to use semi-
spherical diffusers. We believed that we
w'ould have greater control over the
amount and quality of diffusion by the
addition, subtraction and placement of
the diffusing semi-spheres.
The spheres were made from a cement
and cellulose mixture, easily molded to
the desired size and shape. The semi-
spherical sections ranged in size from 12
to 36 inches across. When permanently
attached, they were bolted to the walls
by special steel brackets. In determining
the position of- the diffusers, they jwere
arranged in random pattern, more dif-
fusers being used at the end of the stu-
dio where less life was desired. To carry
out the principle of diffusion still further,
a convex pane of plexiglass was installed
in the control-room window.
The resulting acoustical improvement
was evident immediately. Those familiar
with the studio recognized it by ear
alone. The series of test recordings and
measurements which followed proved
that all boominess had been eliminated.
Both speech and music were recorded
with high-fidelity quality. Piano record-
ings, which formerly were made with
great difficulty, could be cut with fidelity
at all instrumental ampHtudes. A chorus
of 60 recorded in our small studio, a pro-
cedure that would have been impossible
in the old studio. And the disc repro-
duction was excellent.
AUDIO RECORD
January, 1947
Beauteous movie queen Betty Giable and young
daughter Vicki amble through some of daddy's
(band leader Harry James) latest recordings
in their Hollywood home.
Photo bij Kornmun as appeared in Photoptaij
Recording In Today's Classrooms
(Continued from Page 1)
schedules, particularly on the secondary
level . . . another difficulty is the course
ot study. Most teachers in high school
keep all their classes reasonably close to-
gether in their work. If one class listens
to a broadcast chances are it is the only
class so-doing, and no matter how much
the radio program may add to that class
it i; put behind the others whose sched-
ule did not fit the broadcast time. There's
no such difficulty with the transcriptions.
Every class in every course of study has
the opportunity to hear the same ma-
terial. All classes are kept on an equal
basis. Schools equipped with recorders
may, of course, record any "live" pro-
gram and re-broadcast it later over their
own p. a. systems at a time most conveni-
ent for classroom presentation.
The material that is now available on
discs astounds most educators when they
first become acquainted with it. The
great industrial companies, such as West-
inghouse. General Electric and others;
the airlines; the tiaue asoociatious — au
have material available, generally with-
out cost to the school. Frequently ma-
terial (which usually carries no other ad-
vertising material than that the disc i.s
presented by "the blank research labora-
tory") on discs becomes the permanent
property of the school.
In this connection, many schools have
contacted their local radio stations for
transcriptions which are no longer usable
on the airwaves but are extremely valu-
able in the classroom.
The United States Office of Education
publishes an extensive catalog of record-
ings and transcriptions which are avail-
able to schools on either a loan or a per-
manent basis. Many professional maga-
zines, such as the Journal of the Asso-
ciation for Education by Radio, present
reviews of current recorded material and
frequently list availabilities.
There is still another use of transcrip-
tiL'ns in the school that is equipped with
recording machines as well as playbacks.
The easiest way to learn a foreign lan-
guage is to listen to it; the easiest way
for a speech student to correct his mi.<-
takes is to listen to a recording of him-
self. Speech correction classes, public
speaking classes, dramatic groups all may
benefit by hearing playbacks of their ac-
tivities.
The progressive educator will not de-
pend upon discs and transcriptions to the
exclusion of all other teaching aids. He
will use them along with radio, motion
pictures, maps and charts, models, and in
some schools even television, as a further
means of making his teaching dynamic,
meaningful and vital to his students.
Fine Talent- Key To IDE Success
(Continued from Page ,2)
tions in terms of plain people — ordinary
Americans whose backgrounds make
them vivid story material. Employing a
striking new technique of listener identi-
fication, the programs achieve a maxi-
mum of personal projection of the hearer
into the situations of the average people
who are the heroes of the programs.
IDE IS run by men who know the job
of radio and democracy. Its Board of
Governors, headed by the Dean of Bos-
ton University, Howard M. LeSourd, in-
cludes such names as Norman Corwin,
Paul La;arsfeld, Lyman Bryson and Phil-
lips Carlin. .Harold Franklin is the In-
stitute's program director.
Onoj^at^zl IR.ccenduu^ ^<xt
Talking
ago. the
Recently in Camden. N.J.. where the Victo
Machine Company was founded some 48 year
biUionth RCA Victor Record was produt
marking a milestone in the history of the company,
well as the record industry.
For this history-making record, the Victor Di^
of the Radio Corporation of America chose two of John
Philip Sousa's stirring marches, "Semper Fidelis" and
"The Stars and Stnpes Forever," played by the Boston
Symphony Orchestra under the direction of Serge
Kousscvitsky. And for the discs, on which the original
sound recording was made, they chose Audiodiscs.
For the original sound recording in the phonograph
record and electrical transcription industries — for
master discs used in processing — for sound recording
and reproduction in radio broadcasting and motion
picture studios — Audiodiscs hold a place of eminent
leadership.
AUDIO DEVICES, INC., 444 Madison Avenue. New York 22. N.Y.
Export Department : Rocke International Corp.. 13 E. 40th Street. New York 16, N.Y.
Audiodiscs manufactured in the U. S. A. under exclusive license front PYRAL, Paris.
^Aeu jiAeeiA /^ ^nem^^elt/€d CLUCLlOCLiSCS
reccnxi
PUBirSHED BY AUDIO DEVICES, INC.
Vol. 3, No. 2
444 Madison Ave., N. Y. C.
February, 1947
ABC Network Follows Byrd
Expedition By Recordings
Lee Van Atta, INS Writer, Reports
For Web From Antarctic Task Force
By plentiful use and reliance on re-
cording, the American Broadcasting
Company has been able to air a series
of several interestintj and newsworthy
broadcasts direct from the Byrd Antarctic
Expedition on ^t?
news programs
throughout the last
month. Differences
m time plus uncer-
tainties of atmos-
pheric conditions
have made it neces-
• -y^ sary that the net-
mL — r~y work protect itself
^^^^^^ / against program
^^^^^■taf ^^ f.iilure by use
^^^^^^^^ cordings on these
Lee Van Atta spots.
Since the Byrd
Expedition sailed from Norfolk, Va.,
early in December, there have been eight
pick-ups broadcast over ABC. with Lee
Van Atta, International News Service
correspondent, representing the network.
Several of these broadcasts were in the
nature of regular newsc.ists, while others
might be classed as having definite enter-
tainment value. On Christmas Day, for
example, the American web played a
recording of a broadcast from Van Att.i
in which the Navy Choir was heard in
a program of carols and a benediction
by the Chaplain on board the U.S.S.
Mount Olympus, flagship of the Byrd
fleet, was also heard. These broadcasts,
picked up early in the morning of Christ-
mas Day, were played back to the na-
tionwide radio audience several hours
later, thus enabling the network to fit
this timely progr.im into a round-the-
world Christmas Day celebration show.
Van Atta's broadcasts have described
the departure from Norfolk, interviews
with Admiral Cruzen, an excellent word
picture of the arrival at Balboa, an inter- ,
view with Dr. Siple, former Eagle Scout
who accomp.inied Byrd on his iirst Ex-
pedition into Antartica, and other infor-
mative interviews with various experts
and crew members attached to the pres'
ent expedition.
A singularly colorful broadcast by the
(Continued on Page 2)
NOW, YOU TELL ONE
Ever heard of a sponsor who can-
celled his air time because his an-
nouncer had done such a good selling
lob that he couldn't satisfy the de-
mands of anxious customers? Well it
happened. Here's how: Maurice Hart,
KFWB's ultra smooth disc jockey, on
his "Start the Day Right" show,
played several recorded tunes, unan-
nounced. Those listeners who guessed
the correct title were to be awarded
a free portrait by the sponsor, Amos
Carr Photo Studios of Hollywood.
Within 24 hours over 500 letters had
poured into the station. At the end
of the week, the rather awesome
amount of 3,638 had piled up in the
KFWB mail room. Mr. Carr had had
enough. Expecting at the most a few
hundred leads, he was forced to can-
cel his 1 minute spot and his offer.
Here, NBC's new system of auditioning talent, a plan which makes extensive use of recordma,
is shown in ODeration. A group of the network's directors hear and make notes of a disc on
which a "staged" program had been cut. Called Actor's Audition Showcase, the new system
means a better opportunity for aspiring radio actors.
NBC Introduces New Auditioning Procedure;
Discs, Index To Talents of Radio Hopefuls
A file of recordings likely to determine the future of many a young
radio actor is being built up m the Radio City studios of the National
Broadcasting Company in New York— an ever-expanding index to the
talents of actors and singers who aspire
to fame on the air.
The file is the result of NBC's newly-
maugurated Actor's Audition Showcase,
m which auditioning actors are given
scripts, extensive direction and coaching
and finally — backed up by sound effects
and organ music for bridges in the script
— a record is cut as if the show were on
the air.
These sessions arc held each Tuesday
evening, and on Thursday afternoons
NBC's national production manager,
Robert K. Adams, calls the 25 directors
on his staff together to hear the produc-
tion of the week. The 30 minute record
is played, and when the final cue has
been given, the directors hold a round
table discussion of the actors on the
show. Some applicants are considered
good enough for parts on forthcoming
productions, and others are ruled out as
not yet ready for the air. The record is
(Continued on Page If)
AUDIO RECORD
Feb;
ruary,
1947
CLudla^ record
VOL. 3, NO. 2
FEBRUARY, 1947
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
Use of Classroom -Radio
Taught Capitol Teachers
Educational Importance of Recording
One of the Key Subjects in Course
Recently, through the cooperation of
WTOP — Washington. CBS and the
Washington, D. C, Public School Sys-
tem, a new course of study for teachers
in the use of radio in the classroom was
opened at Wilson Teachers College in
the capitol city.
Under the direc-
tum of Miss Hazel
Kenyon Markel. Di-
rector of Commu-
nity Service for
WTOP. the course,
open to teachers
and others interest-
ed in making use of
radio in education,
will give college
credit for the week-
ly two-hour lectures.
In a special letter
to Audio Record,
Miss Markel advised that since the ob-
jective of her classes was to train teach-
ers in the effective use of radio in the
classroom, recording will be taken up as
a closely allied aid in this field. "The
problem of transcription uses," Miss
Markel said, "will be treated from the
loliowing standpoints:
a. Brief history of the recording field.
b. Advantages of recordings for the
teacher.
c. Limitations in the use of recordings.
d. Available sources of information on
recordings for classroom use.
e. Methods of effective utilization in
the classroom.
f. Important developments in the re-
cording and transcription field."
"Under 'b' (advantages)", Miss Mar-
kel continued, "will be considered the
possible flexibility in use and lasting
quality of recordings, the ability to pre-
audit the program and therefore prepare
effectively for its use, the ability to re-
peat a program if desirable or to inter-
rupt it for discussion by the class, and the
ability to retain the program for use
from time to time.
Hazel Kenyon Markel
Harris & Ewing Photo
"Under 'c" (limitations) will be noted
lack of adequate equipment in schools,
the cost of such equipment, and the
limited life of recordings.
"Under "e' (methods) for effective use
will be suggested good equipment, cur-
rent and good quality recordings, careful
selection of the program and effective
preparation for its use, close correlation
with classroom work and with students"
previous experiences, immediate and care-
fully planned follow-up procedures. The
specific techniques, of course, depend on
the type of program and the teacher's
motives in its use, but good methods for
the use of classroom aids in general apply
to the use of recordings.
"Under 'f" (trends) we will consider
late types of recording equipment, wire
.md film recordings, possibility of schools
buying equipment with both transcrip-
tion and playback facilities, teachers be-
ing trained in the use of both audio and
\'isual aids and the possibility of trans-
cription services for education programs."
In announcing the special course. Dr.
Clyde M. Ruber, Wilson College Reg-
istrar, and also Chairman of the Radio
Committee for the public schools of the
District of Columbia, stated that it is the
first direct effort to acquaint teachers of
the Washington schools with the tech-
niques of utilizing radio as an educational
aid.
Dr. Hobart M. Corning, Washington's
Superintendent of Schools, also urged
teachers to take advantage of this op-
portunity for intensive study of a me-
dium from which children get a large
part of their education. "Teachers should
know how to use radio programs in their
classrooms, just as they are familiar with
the techniques of using visual aids such
as charts and motion pictures," Dr.
Corning emphasized. "Through hearing
good programs in school, experiments
have shown that children's out of school
listening habits can be greatly improved."
ABC Network Follows Byrd
Expeditions By Recordings
I Continued from Pik/c 1)
ace INS writer told the story of the cross-
ing of the Equator, with the customary
hazing of the "neophytes" by the vet-
eran "mossbacks" — those who have made
the crossing before. This broadcast was
even more colorful and remarkable in
that it contained an exclusive interview
with King Neptune himself, possibly the
first time that the omnipotent "Monarch"
has ever been heard by .in American
radio audience.
Throughout the course of the Expe-
dition, ABC will continue to record Van
Atta's stories, interviews and newscasts,
.md will replay them for radio listeners
on many of their news programs.
^the^coldUt
By Ernest W. Franck, Research Engineer
Tips On Increasing Disc Life
Lacquer discs are often used to record ma-
terial of sentimental or historical value, par-
ticularly personal or home recordings. It :s
usually desirable to plav these from time to
time without fear that too frequent use will
wear them out. With reasonable handling
lacquer discs can be
played hundreds of
times without any
marked wearing, but
with careless handling
or poor playback
equipment they may
■ffl^ be badly worn in a
^^^^'■j^^r do:en playings.
^^^^^/^% To get the greatest
^^^^^^ fl^^ ''^^'^ from lacquer rec-
^^^^^^k 1^^^^ ords, them after
^^^^^^^•^^^^ recording as if they
Ernest W. Franck we.est.ll new blanks,
rlandle them by the
edges to avoid making finger marks, and keep
them in envelopes or album. Remember, only
one to an envelope. This prevents scratching
one disc with another, and makes it easier
to find the one you want. Store them stand-
ing on edge in racks or on a shelf and be sure
no dust can get to them. Shelves close to the
floor are bad for dust unless they are en-
closed. Don't store records near a radiator.
If your turntable is velvet covered, brush
out the accumulated dust with a good clothes
brush or vacuum cleaner from time to time.
Make it a habit to keep the lid on the ma-
chine closed when not in use. This keeps dust
off the turntable. If there is no lid use a
cloth cover.
See that the pick-up arm moves freely. If
your pick-up is heavy, don't worry too much;
you can still get hundreds of good playings
from your records if you use a good playback
point. With lighter pick-ups the record life
will be even longer. If your pick-up does not
have a permanent point, always use a new
shadowgraphed needle when you play the first
lacquer disc. After that, as long as you arc
playing lacquer discs, the steel needle will be
good for about 30 mins. playing time, but
if you play even one pressing, then change to
a new needle before playing another lacquer
disc.
Many people like to use sapphire playback
points. They give good results and save the
worry about needle changing. However, if
you use a sapphire playback, and play a lot
of pressings, keep in mind that in time press-
ings will wear away the sapphire, sometimes
leaving sharp edges which could damage the
lacquer grooves. Be on guard for a graying
of the grooves or an accumulation of powder
on the tip of the needle. Careful broadcast
engineers who use pick-ups with permanent
sapphire points never play lacquers with the
same pick-up they use for pressings. This is
because the pressings are likely to damage the
sapphire stylus and the damaged stylus would
not fit the grooves properly.
When finger marks, dust, heavy needle pres-
sures and damaged styli are avoided, it is
amasing how a lacquer disc will stand up
after many repeated playings. A little atten-
tion to these points will pay dividends — you
can enjoy your records and have them too.
February, 1947
AUDIO RECORD
PLAYBACK SYSTEMS
for
DUBBING
By Harold J. McCanibridge
Supervisor of Audio Maintenance 8i
Construction, WHOM — New York
/This is the sixth in a series of articles
by leading figures in the recording
field J
Every rccordint; engineer m <in aeti\e
hro.ideast or rceording studio daily faee~
the problem of making "dubbed" or re
recorded dises that sound "as good as, or
better than" the original. This is a task
that requires all the
techniques of mak-
ing an original re
eording (with the
exception oi micro
phone handling),
plus a number of
new ones that
spring up when the
playback system is
brought into the re-
cording line.
Dubbing is now
Harold McCambridgc uscd SO extensively
in the production of
commercial records that it can be con-
sidered a regular part of the production
process in most of the industry. In a
broadcast studio its principal uses are as
follows :
1 . Preparation of transcribed pro-
gram material; using recorded music
from various sources for background or
primary material.
2. Assembly of interview-type ma-
terial from spot recordings made at the
convenience of the participants.
3. Furnishing to clients and artists of
permanent records of program material
by production of copies from the original
. program transcriptioii.
Obviously it is necessary to have good
recording equipment in order to make a
good dubbing. What is often overlooked
is that dubbing imposes very strict re-
quirements on the playback system. From
the point of view of the broadcast en-
gineer, the most essential characteristics
of a playback system for dubbing are
the following:
1. Harmonic distortion and. espec-
ially, intermodulation distortion, must be
at extremely low levels in every part of
the playback system, including the pick-
up, equalizer, and pre'amplifier. A dis-
tortion level that may be tolerable in the
reproduction of records can be quite
unallowable in a playback system used
for dubbing. The final product suffers
from the distortion of three main sources
added together: the original record, the
playback system, and the recording sys-
( Continued on Page J/)
"The smallest of the small." That's how many people have sized up Mr. J. T. Martin's
Hollywood Recording Studio in Los Angeles. And, from the picture above, most of us will
agree with that description.
"Space Isn't Everything In Recording" Proves
Proprietor of California's Snnallest Studio
What IS probably one ot the smallest recording studios in the world,
if not the smallest, is located at 350 North Main Street in downtown
Los Angeles. Owned and operated by Mr. J. T. Martin, this smallest
of small studios, known as the Hollywood
Recording Studio, is the home of the
Hollywood Recording and Music Pub-
lishers.
Measuring 9' x 9' overall, Mr. Martin's
workshop, strange as it may seem, is di-
vided into individual rooms; the control
room and business office, occupying a
6' ,x 9' portion of the precious space, and
the actual recording room, operating in
an area only 3' x 9' . . . hardly room
for half "n elbow.
Although small in structure, it has
never been said, that the Hollywood Re-
cording Studio is a small time proposi-
tion. No siree, for all the latest, up-to-
the-minute recording devices are in the
9' x 9' square.
Let's look inside Mr. Martin's haven
and see what all he has packed into this
king - sine Corona - Corona receptacle.
First of all. the recording room is equip-
ped with 2 crystal microphones and a
studio type bi-directional mike. There is
also a loud speaker in this room allow-
ing for a private playback of a finished
recording. Sometimes the loud speaker
is used to carry (recorded) music from
the control room to the microphones.
This music is used for background for
certain types of musical recordings. In
the control room, we see 2 Radiotoncs,
1 Federal. 1 Wilcox Gay; two of these
being 16" turntables. Three loud speak-
ers are in use. Over in one corner is a
small assorted file of commercial records
and a business desk. Somewhere (only
heaven knows . . . just where) Mr.
Martin finds space for the stock of blank
discs. Where do the customers stand or
sit? Well, if the number of patrons ex-
ceed the space, Mr. Martin ushers them
outside and they transact their business
through the structure's large windows.
Hollywood Recording Studio is the
third stage in Mr. Martin's rapidly grow-
ing business. Only three years ago he
entered the recording field with only one
12 " turntable recorder and a booth hardly
big enough to hold him, the machines,
a microphone and one customer. What's
more, two months later he bought an-
other machine and moved everything,
lock-stock-and-barrel, into more spacious
quarters; this time a 5' x 8' emporium.
And, then, after 6 months, as is always
the case, there comes a time when a
fellow just needs more room. So, Mr.
Martin, realizing the necessity for addi-
tional space, and a great believer in the
theory that good things come in small
packages, shifted his belongings to his
present site.
AUDIO RECORD
February, 1947
Andre B.iruch. noted announcer and his
singer-wife Bea Wain utilize original record-
ing techniques which give their "Mr. St Mrs.
Music" show (top recordings, pre-releases
and interviews with disc stars), an up-to-the-
minute live qualitv. The program is heard
daily over WMCA-New York.
Playback "Systems For DuHbmg
(Continued from Page 3)
tem. The playback distortion, therefore,
does not stand alone as m the reproduC'
tion of records but has a cumulative effect
with that of the other elements in the
dubbing system. Unless the playback
system distortion is rigidly controlled the
I'csult will be a transcription with high
intermodulation distortion. This is a vital
matter to a broadcast engineer since an
increase in intermodulation distortion is
soon reflected in loss of "ear accept-
ability" and listener approval.
2. The pickup used must cause negli-
gible record wear, since it is often neces-
sary to play "acetate" records many times
in preparing transcribed material. An
increase in surface noise or a loss of
definition between the first and last play-
mgs of an original acetate are highly in-
convenient, to say the least. Low record
v;ear means, in general, that the pickup
used must have high mechanical com-
pliance, both horizontal and vertical, with
the accompanying low stylus pressure.
One incidental advantage of using a
pickup of highly refined moving system
is that it makes possible "spot cueing"
on records used for program material or
dubbing, without ruining the records.
A heavier pickup, "spotted" on a still
record which is put in motion at the
proper cue, will produce a minute de-
pression in the record surface which is
heard as a "tick" the next time the rec-
ord is played. Records which have been
spot-cued a number of times develop so
many ticks that they are unplayable. A
truly low-wear pickup does not produce
an audible depression in the record
surface.
3. The adjustable equalizer system,
necessary in every modern broadcast
studio playback system, must introduce
no distortion, as mentioned above, and
in addition, must be stable in its char-
acteristics and accurately calibrated. To
achieve such an equalizer set-up, begin-
ning with a pickup which itself must be
equalized to produce a flat "starting"
characteristic, is difficult if not impos-
sible. By the time two or more of the
commoner varieties of equalizer have
been piled on top of each other, cali-
bration is easily lost, and more important,
a high level of distortion has been added
to the system. These difficulties can be
.ivoided by starting with a pickup which
is inherently flat, and adding an equalizer
system which has been carefully designed
as a single unit, to operate with the par-
ticular pickup chosen. A pickup with a
basic flat characteristic is highly desirable,
of course, for other reasons: it produces
less surface noise, and is free of the
distortion characteristic of transducers
which have serious peaks within the op-
erating range, a distortion which is not
removed by electrical equalization of the
peaks.
A satisf.ictory solution of the pickup
problem at WHOM was finally reached
after \vc had tested several commercial
pickups. It was found that the Pickering
Pickup and Equalizer for lateral play-
back, and the Western Electric Pickup
and Equalizer for vertical playback, gave
us all of the necessary dubbing char-
acteristics.
Other dubbing problems could be dis-
cussed but it is believed that the ones
outlined are those that need the most
emphasis from the point of view of the
broadcast engineer.
New NBC Auditioning Procedure
Fresh Hope For Radio Aspirants
(Continued from Page 1)
filed, and directors seeking a certain type
of voice or character for some later pro-
duction can run through a card file, get
the disc for a re-play, and choose the
p.u-ticul,ir type his show needs.
Before actors and actresses finally go
before the mike for their recording of
a program, they are interviewed and
"screened" by Edward King, NBC's di-
rector of dramatic auditions. King talks
to his callers, reviews their previous ex-
perience in radio, Broadw'ay shows, sum-
mer stock or college dramatics.
Each is told that only the best talent
will go on the air, yet every help is
given youngsters who hope to make radio
their career.
After the screening, they are told to
stand by for calls, and when a director
t.ikes his turn for the week's production,
he studies the card files and five-minute
records made of applicants' voices on
"mad, sad and glad" readings. A cast is
drawn to fit the script, calls are made,
and the show is on its way to the disc.
"These records are among our most
valuable files, and as the Actor's Audi-
tion Showcase goes on, they will become
increasingly important in our casting,"
Mr. Adams said.
Bob Hille, quizmaster of KXOK — St. Louis" popui.ir recorded progr.un "Food Store Quiz."
interviews a group of shoppers in one of the Missouri city's busy food centers. Hille conducts
the novel feature on Thursday and Ftiday of each week from three food stores in the St. Louis
,-irea. As the programs are not broadcast until Monday. Wednesday and Friday of the follow-
ing week, quiz participants are able to hear themselves. Sponsored by a local coffee inanu-
facturer, "Food Store Quiz" gives a cash award to shoppers who answer questions correctly;
to those who fail, a pound of coffee. Questions for the quiz arc contributed by the radio
audience; special prizes going to contributors of questions used.
OLUCitff
reccrrdr
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 3 No. 4
444 Madison Ave., N. Y. C.
April, 1947
William C. Speed
Audio Devices' President
In Europe; To Confer Witli
Top Pliono-Radio Heads
"1946 Record Sales Only Beginning;
Foreign Disc Demands Up Too" — Speed
William C. Speed, President of Audio
Devices, Inc., sailed recently on the
QUEEN ELIZABETH for Europe,
where he is scheduled to meet with lead-
ing recording and broadcasting officials
in England and France on market con-
ditions and techni-
cal advancements in
sound recording.
Prior to his de-
parture, Mr. Speed
related that, al-
though 1946 wit-
nessed the manufac-
ture of more than
300,000,000 phono-
graph records, plus
countless thousands
of other types of
transcribed recordings, the year 1947
promises even greater record production.
"We in the recording industry," Mr.
Speed emphasized, "definitely believe
that the popularity phonograph records
and recorded radio programs enjoyed
during the past year is only the begin-
ning of a trend that will soon see more
and more people enjoying recorded en-
tertainment in their homes.
"Phonograph record production and
sales alone last year," Mr. Speed pointed
out, "were three times as great as be-
fore the war. This has occurred," he said,
"in spite of the fact that comparatively
few new phonograph machines have yet
been produced. And, this large increase,"
Mr. Speed continued, "is not only seen
in this country, but abroad as well. Ex-
ports of recording discs have increased
rapidly and now amount to more than
10% of domestic sales. The production
of electrical transcriptions, the more ex-
pensive and better quality record, pri-
marily used for transcribed radio pro-
grams, was also far greater than in pre-
vious years," Mr. Speed explained. Prior
to 1941, this type of record was used
almost entirely for musical programs.
(Continued on Page 2)
Occupying an attractive corner in Li.ry Ruddell s living room (Larry is ABC s disc chief)
is this amplifier rack, which contains 6 channels of recording equipment and the master
control board. Other units in the room, piaured clockwise: New Garrard RC-60 record
changer atop a 16 record file cabinet; Match ply-wood cabinets housing test equipment and
recording lathes; Incompleted power supply and tuner rack; Inside view of recording tables,
which includes equalizers, transfer keys, VI meters, etc.
"Recording Is My Avocation and Vocation Too"
Says American Broadcasting's Recording Chief
By Larry A. Ruddell
Recording Supervisor
AMERICAN BROADCASTING COMPANY
Ever since the day my father brought home our first "gramaphone"
many years ago and said you can make music if you turn the crank
and push the switch, I have been interested in making music played by
other people sound good.
Since those days many changes have
taken place not only in the art of re-
cording but also in reproducing, and
during this interim I have tried many
ways and have had many disappoint-
ments in my quest for perfect recording
and playback. Actually the nearer I have
thought I was to this goal the further
away I have been from it. Recently, iii
my attempts to learn why, I have become
surrounded in my every day life by what
is actually a laboratory, consisting of the
latest equipment developed in the in-
dustry.
The accompanying pictures will show-
in part the equipment I have, and I will
(Continued on Page 2)
Oh, Yes He Was!
A contestant on Mutual's "Double
or Nothing" a few Sunday nights
ago was asked: "Was Enrico Caruso
one of the greatest voices ever to be
heard over the radio?" Promptly came
the answer: "Yes." Todd Russell, pro-
gram arbiter, just as promptly said:
"No." Unabashed the guest retorted:
"But I heard him over the air only
two weeks ago!" The contestant ex-
plained it was a recording. Russell
paid off!
AUDIO RECORD
April. 1947
cLudla^ record
VOL. 3, NO. 4
APRIL, 1947
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
Audio President In Europe
{Continued from Page 1)
Since that time, however, the use of
completely transcribed shows has in-
creased each year until today recorded
programs are being presented approxi-
mately half of the total time radio sta-
tions are on the air.
In addition to foreseeing an unpre-
cedented output in phonograph records
and electrical transcriptions, the Audio
official also explained that the demand
for the instantaneous disc is now more
than four-fold pre-war and with the con-
struction of many new radio stations,
coupled with the stepped-up manufacture
of recording machines, the 1947 demand
will reach even greater proportions.
When questioned on the practicability
of other types of recording devices, such
as wire and tape, and the '47 production
outlook for them, Mr. Speed answered
by saying: "It is our feeling in the re-
cording industry that in the not too
distant future delayed broadcasts, or-
iginal motion picture recording, and
conference recording will surely take ad-
vantage of some of the features offered
by these other devices, particularly iron
oxide coated vinyl tape. This method of
recording, which was brought to a high
degree of perfection by the Germans
during the war, is now well along the
road to mass production here. In fact,
our own company has done considerable
research on vinyl tape during the past
year and production is now under way.
However, he concluded, "any effort to
indicate that discs and oxide tape, for
instance, are competitive seems rather
futile at this time. Discs are still high
on the wave of popularity with every
indication of staying there if simplicity,
quality and price are to remain as gov-
erning factors."
Mr. Speed will remain in Europe for
approximately one month.
"SCHOOL SOUND SYSTEMS"
A splendid guide for those selecting and
utilizing sound equipment. School Sound
Systems, a comprehensive 31-page sum-
mary of basic standards for school sound
systems, is being offered (single copies
free) to educators and others working in
the field of Audio education by the Radio
Manufacturers Association, Washington,
D. C.
ABC Disc Chief Home Recordist
(Continued from Page 1)
try and describe to the reader what my
"home recording unit" consists of.
The first thing I had to do was to sell
my wife on the necessity of having it
and to reconcile the investment that was
necessary for the installation. Since this
was to be a "proving ground" for my
ideas it was essential that I have the tools
with which to work, so I proceeded by
"trial and error" to obtain the finest
speakers, amplifiers, cutters and other
components necessary for the construc-
tion of a recording and sound system.
I utilize practically every controversial
component that is discussed in the trade
today; triode and pentode amplifiers,
commercial, custom built and equipment
of my own design. Communication re-
ceivers, TRF and Superhet tuners, Jen-
sen and Altec speakers, special recording
equalizers, etc.
We all know that before we can hope
to cut a good "platter" we have to be
sure we have a good recording table,
cutter and blank on which to record. If
we haven't these basic requisites, regard-
less of what else we have, we cannot
hope to obtain the desired result.
For recording I use Allied tables. I
have mounted these on twenty-four inch
base panels and together with a few other
"tricks" the records arc free from any
visible pattern and there is no discern-
ible "rumble" on playback. For appear-
ance sake, the overheads have been
chrome-plated and the base plates are
stainless steel. The control panels are
mounted on bakelite and chrome trim-
med. The tables are lighted with over-
head lumaline fixtures.
I have tried all cutters that are inter-
changeable with my overheads including
RCA, Fairchild, Presto and others but
of all these I prefer the new Presto ID.
Due to lack of space, the rack consists
of 60 R-T-S jacks and the main cable
from the recording table to the rack con-
tains 50 pair of shielded leads and 10
additional pair run up from the auxiliary
block in the power supply cabinet. It
also contains 6 channels of equipment.
Two of the amplifiers use 6B4's, one
807's, one 6L6's and two 6V6"s in the
output. I use the new Super-Pro 400X
for communication work, the Hallicrafter
S36 for UHF work from 27..S to 143
megacycle and for comparative FM tests,
a Miller TRF tuner, the new AM-FM
Browning and last but not least the new
deluxe Fisher.
Also in the rack there are two four-
channel Pre-amps that are interchange-
able with any of the above equipment
(Continued on Page If)
^tfie ^sayidUt
By C. J. LeBel, Vice President
AUDIO DEVICES, Inc.
WOW
In the midst of the current widespread
interest in improved recording fidelity,
one factor has received little notice, the
question of stability of speed, or wow.
This is the more curious because the
public is quite conscious of such a fault.
Eve r y o n e , of
course, appreciates
the need for watch-
ing the condition of
the drive mechan-
ism of a recording
machine and play-
back table. On the
other hand, few
seem to remember
the role of excessive
clearance between
C. J. LeBel center pin and disc
hole. The result can be serious, regard-
less of the quality of the machine. In
fact, a very fine pre-war machine can
be the most erratic offender, due to pin
wear from the many discs recorded or
played.
The Problem
To simphfy this discussion, we disre-
gard the spiral nature of the groove and
consider the needle running at a fixed
distance from the center of the disc.
We ignore also whether we are record-
ing or reproducing — a disc miscentered
in recording and played back centered
will exhibit the same wow as a trans-
cription disc perfectly centered in record-
ing, and miscentered in playback. We
likewise neglect the distortion products
resulting from the frequency modulation
process (which wow is), and take only
the maximum range of pitch change.
This figure has been the one generally
discussed, being most easily measured.
Calculation
If a disc with a hole larger than the
center pin is placed with one edge of
the hole against the pin (as usually hap-
pens in a busy recording room), the disc
center is offset from the center of rota-
tion by half the difference of hole and
pin diameters, which we may call d .
2
This means that the distance from the
groove to the center will change, during
April. 1947
AUDIO RECORD
one revolution of the disc, from
R — d
R + d
2
where R is the distance from the center
of rotation to the groove spot which is
being played.
Obviously, the proportional change in
groove velocity as a result of the change
in radius will be
R + d
2
_ 1
In terms
becomes
R — d
2
jf diameter (D = 2R) this
D + d
— 1
D — d
In the range of variation wc arc con-
sidering, where d is very small compared
to D, this expression may be very ac-
curately simplified to change in groove
velocity = 2d
d"
This may easily be read in the follow-
ing figure:
2
1
i
i
^
5
!
y
/
^
1
^v
^
^
1
u- a
s
^
^'^
^
^■.
* 1
^
-^
sA-^
^
0
.^
--
002" nav aw COS' aae txtf 008' .009" oio"
HOLE DIAMETER -PtN DIAMETER
Of course, if this wow occurs in re-
cording, and if the reproducing pin is
the same size, the wow by fortuitous
placement on the pin may be doubled,
unchanged, or reduced to zero in repro-
duction.
Some Practical Observations
Obviously, some variation in disc hole
size must be allowed, to allow for a rea-
sonable amount of wear of punch and
die. Also, some variation of pin size is
necessary. On the other hand, the num-
ber of professional machines is limited,
whereas the discs are made by the mil-
lion. Hence, it is most economical to
allow a larger share of the permissible
variation for the disc hole.
In March 1942, the National Associa-
tion of Broadcasters set the following
dimensions as standard:
Disc hole .285 to .287" diameter
Pin hole .283 to .284" diameter
(Continued on Page Jf)
U. S. Savings Bond radio promotion for 1947 gets underway as Kenny Delmar (radio's Sena-
tor Claghorn) and Gladys Swarthout, lovely singing st.ir, present one of the first discs of the
new "Guest Star" series to Wm. A. Kielmann, Vice President of the New York State Bankers
Ass'n.
Over Eleven Hundred Stations Sign-Up To Air
Treasury Departnnent's "Guest Star" Records
With America's radio stations leading the way in promotion, the
U. S. Treasury Department chalked up a grand total of well over eight
billion dollars' worth of Savings Bonds sales during 1946. And, trans'
criptions were the most important and
widely-used medium of Savings Bonds
radio promotion. When the "Treasury
Salute" (fifteen minutes, twice each
week) transcribed series completed its
run the latter part of December, it was
being broadcast by one thousand and
four stations — probably the greatest num-
ber of stations in radio history ever to
carry a program for an extended period.
In addition to "Treasury Salute," the
Radio Section of the Savings Bonds Di-
vision produced during 1946 thirty-six
five-minute transcriptions featuring fa-
mous athletes and prominent women.
These discs were done with an interview
format, but only the interviewee's voice
was cut on the record. Carefully timed
pauses were spaced between answers, so
that local station sportscasters and women
commentators could ask the questions
from scripts which Vv-erc provided with
the transcriptions. This production twist
added a novel, local flavor to the pro-
grams and garnered for them wide and
enthusiastic acceptance. Approximately
seven hundred stations presented these
five-minute interview transcriptions.
Savings Bonds transcription production
for 1947 is well under way with this
year's fifteen-minute feature being "Guest
Star," a variety program starring many
of today's outstanding radio artists.
In addition to one or two top-name
guests, each "Guest Star" program fea-
tures as "host." Kenny Delmar. plus
music by the Savings Bonds Orchestra
and Singers under the direction of Denes
Agay. All of the shows feature original
material prepared especially for the
Treasury by writers Carroll Moore. Jr.,
Mort Freedman and Milt Surrey.
Eleven hundred and twelve stations
have placed written requests with the
Savings Bonds Division for the "Guest
Star" transcriptions. Program number
one was released for broadcast March
30th. The entire series will be accom-
panied by high-level promotion to build
the largest possible listening audience.
Not only during the war, but even
more so during the first peacetime year
of Savings Bonds activity, has trans-
cribed radio proved its value, so it's
only logical that the Treasury will con-
tinue to base its Savings Bonds radio
operation on transcriptions and the indi-
vidual radio stations during 1947.
AUDIO RECORD
April, 1947
"The transcribed announcement sched-
uled for this period will not be heard.''
ABC Disc Chief Home Recordist
I Continued from Page 2)
and which permit me to do all kinds of
mixing; each one consists of two low'
level and two high-level inputs.
I use the Western Electric 9A and 9B
pickups for playback of hill-and-dale and
lateral reproduction respectively. Each
pickup has its own booster and pre-amp
in its circuit.
There is a cutter-transfer key that
makes it possible to cross-over from one
cutter to the other through the same
recording channel but by the use of
cutter keys it is possible to record two
different fifteen minute programs simul-
taneously.
As level indicators I use the Weston
VU Meter on the control panel of the
recording table and on the amplifier con-
trol rack I have a DB Meter calibrated
with the one on the recording table for
the presetting of recording levels. All of
the recording amplifiers are flat from ap-
proximately 20 to 20,000 within plus or
minus 2DB with about one-half of one
percent distortion.
For the playback of commercial shellac
records I use the new Garrard RC60
record changer with the new GE, MPLI
crystal and the Garrard magnetic pickups
that are all interchangeable. For record-
ing I use discs from all of the "Big
Four" manufacturers but for overall de-
pendability and consistency it is the
Audio Red-Label two to one.
My test equipment consists of a Hew-
lett-Packard Oscillator, RCA Oscilla-
scope, Daven Gainset, Hewlett-Packard
distortion meters, RCA Volt-Ohmyst
tube tester, continuity meters and mis-
cellaneous check records. It is possible
by "throwing" a patch-eord in the rack
to feed tone to any channel, to "meter"
the output as well as put it on the scope
by the same simple procedure. I have
striven for simplicity of operation and
design and interchangeability of all com-
ponents of the system. All input and
output impedances are 5000hms which
greatly increases flexibility.
Always remember you cannot take out
of a system more than you put in and
if it is not Clean going in it will not be
Clean coming out. The human ear is
final criterion by which all reproduction
is judged and if it is not pleasant listen-
ing your efforts for perfect reproduction
have been in vain.
Disc-Data
(Continued from Page 3)
From the chart, these dimensions will
permit a fluctuation range, at 7" diam-
eter, of
Average .07%
Maximum .11%
Minimum .03%
These are not normally noticeable.
On the other hand, we have often en-
countered badly worn pins on otherwise
good machines, a typical case being .280"
With a .287" hole, this would produce
a range of .2%, which may be noticeable
when added to the natural wow of the
machine.
Actually, the NAB limit of range of
variation of recording machine speed is
■2% (_+ .1%), so it is reasonable to keep
other variations small by comparison.
Conclusion
Wow being such a variable, and so
hard to track down, it is the better part
of wisdom to minimize misfit as a cause.
Many machines now in use have pins as
small as .278". It would be wise to meas-
ure your own machines at intervals, and
if the size is beyond official limits, con-
sult the manufacturer. Do not use an
oversize pin — a hole of lower limit size
may fail to fit on. With many tables in
use for nine or ten years, this matter
deserves real attention.
Attention Readers
If YOUR name is not on the Audio Re-
cord mailing list, drop a penny post card
to — The Editor, Audio Record, 444 Madi-
son Avenue, New York 22, N. Y.
The 1947 National Convention and Show of the Institute of Radio Engineers, held March
3-6 in New York's Grand Central Palace and Hotel Commodore, saw the registration of 12,500
persons and was unquestionably the most successful event in the Institute's history, IRE officials
advise. During the four day meeting, 120 technical papers were presented, several of which
concerned latest developments in the recording field, and 170 e.xhibitors from every state in
the union and from every province of Canada displayed their products. The Audio Devices
display (above) showed the various types of discs, their applications, and each step necessary
in their production, from raw material to finished blank. Also, the process involved in making
phonograph records from Master discs. On the booth's sidcwalls, transcription labels, repre-
senting hundreds of radio stations and recording studios throughout the United States, Canada,
Alaska, Porto Rico and Hawaii using Audiodiscs, were displayed.
q^nrtify
record
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 3, No. 5
444 Madison Ave., N. Y. C.
May, 1947
Many Recorded Programs
Being Aired By Europe's
Few Commercial Stations
Discs Cut Here For Foreign Playback
European commercial radio com-
pletely inoperative during the War with
the exception of some forty lowpowered
stations in Spain and a high'powered
(60,000 watt) privately owned station in
the tiny republic of Andorra, perched
high atop the Pyrenees, has now re-
turned to normal peacetime operations.
"Radio Andorra" operated commercially
throutjhout the entire War.
The *'Speakerina," Europe's famous ciisc
jockey of Radio Andorra, who broadcasts
continuous music from twelve noon until
1 A. M. each day.
After the cessation of hostilities, sta-
tions which operated commercially be-
fore the war in France were not re-
issued their permits to operate com-
mercially. These stations were confis-
cated by the Germans at the time of the
Occupation and after the Liberation were
taken over by the French Provisional
Government. The Government still con-
trols them and has shown no indication
that they will return them to their former
owners to be operated commercially.
Today, the only radio stations operat-
ing commercially in Europe are the
twenty-six stations of the Italian Net-
work; the forty outlets in Spain; the
aforementioned Radio Andorra; Radio
Monte Carlo in Monaco and Radio Lux-
embourg. And, as is true with most
stations in America today, all are mak-
ing considerable use of transcribed pro-
grams in their daily schedules. The
Italian network, for instance, has recently
acquired an NBC Thesaurus library
to supplement other recorded programs
being aired to affiliates. And then too,
CETRA, a subsidiary of the Broadcast-
( Continued on Page 2)
Paul J. Miller, assistant managing director of \X \\ A .\ \X hcclint;, W. Va. Interviews two
members of the crew of the LST 753 on the transcribed broadcast of the "Incentive Inspection"
of the ship by employees of the Blaw-Kno,ic Company of Martins Ferry, Ohio. Edwin L. Keim,
WWVA's chief engineer, is shown at the controls of the recording equipment.
Cutting Discs Aboard Navy LST While Underway
Unusual Experience of WWVA Recording Staff
(Recentii/, the editors of Audio Record asked the fitudio engineers of several
50,000 watt stations to write a brief account of the circumstances surrounding
"the 'most interesting recording" they had ever made. Many replies were received,
hut it is believed that the experiences (related below) of Edwin L. Keim, Chief
Engineer, WWVA-Wheeling, W. Va. and his staff were among the most interesting
and most unusual.)
It was during the summer of 1945 that the recording staif of
WWVA was given possibly its most interesting and unusual assignment.
After months of planning, obtaining authorizations from the Secretary
of the Navy on down, plus countless
miles of other red tape, the Blaw-Knox
Company of Martins Ferry, Ohio (war-
time manufacturers of 40mm anti-air-
craft gun mounts) succeeded in arrang-
ing a stop-over of a few hours for one of
the Navy's LST's (landing ship-tanks),
enroute down the Ohio River to New
Orleans, for an "Incentive Inspection."
The plan was to permit Blaw-Knox em-
ployees to board the vessel and inspect
the gun mounts of the famous "fightin'
forties" that they themselves were build-
ing. Object, of course, was to increase
their interest in production. In connec-
(Continued on Page 2)
In The Flesh — No Less
A few Sunday nights ago on the
Jack Benny stanza, four of radio's top-
flight warblers occupied the guest slot
— Dick Haymes, Andy Russell, Den-
nis Day and the incomparable Crosby.
While the others were building up a
dramatic entrance, Bing sidled in, and,
seeing that Benny's expression regis-
tered surprise, and being a fellow who
can grasp such a situation, der Binglc
said a la Fred Allen's Mrs. Nussbaum:
"You are expecting a transcription,
maybe?"
AUDIO RECORD
May, 1947
CLudla^ record
VOL. 3, NO. 5 MAY, 1947
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
Transcribed Shows
Or Participation?
By Charles J. Basch, Jr., President
BASCH RADIO PRODUCTIONS
New York, N. Y.
"I'm - using a woman's participating
program," an account executive said to
me a few years back, "and I'm getting
fair results. For the same amount of
money, what else is there that will do
a better selling job?" "Something that
will give your client
'sponsor identifica-
tion', which he isn't
getting on the par-
ticipating program,"
was my reply.
The reasoning be-
hind purchasing a
spot on a participat-
ing program is that
a woman commen-
tator or other artist
enjoys a certain fol-
lowing and a 'rating'. The hope is to
try to hook in on this 'rating'. We be-
lieve this reasoning to be erroneous, and
it has been proven dozens of times. You
don't necessarily 'hook in' on a rating.
You merely get a spot announcement on
a program. There is no 'sponsor identifi-
cation' attached to that. A case in point:
Better Proof Than Hoped For
An agency man told me that he had
just bought a spot on a well-known New
York participation show for one of his
clients because it had a good rating, was
musical, and as the women in his home
did not like soap operas, they listened to
this program continually.
The women turned out to be his wife,
a nurse, and a maid. I told him that 1
thought they listened to the program and
recognized it as the show featuring 'Joe
Doakes', but that I did not believe they
knew too much about the spot announce-
ments or participations the program con-
tained. He disagreed. So, we called the
station and found that there were ten
participating sponsors on the show. In-
quiry disclosed that the women were able
(Continued on Page 6)
Chas. J. Basch, Jr.
European Stations Air Disc Shows
(Continued from Page 1)
ing Company SIPRA, has made some
excellent recordings of the best Italian
opera singers. An album of Ferruccio
Tagliavini made by this company is now
on sale in New York City.
Radio Andorra, because of its geo-
graphic location, has practically no live
talent and therefore makes constant use
of recordings of every kind. As a mat-
ter of fact, this station carries on a con-
tinuous disc jockey show from twelve
noon to 1 a. m., the disc jockey being a
very pretty girl called "The Speakerina".
Her trade mark, "Aqui Radio Andorra",
is known from Gibraltar to the English
Channel. This is the only station in
Europe providing a continuous program
of light popular music.
With a desire to sell their products in
the European market, American sponsors
are making recordings of their commer-
cial programs here in America for use on
the Italian network. A recent example of
this was the series of singing commercials
made by Elsa Miranda, the "Chicquita
Banana" girl, for Royal Baking Powder,
a product of Standard Brands, Inc.
The Government radio of all European
countries carried on extensive experi-
ments with recording during the war
and today commercial radio is now pick-
ing up where Government radio left off.
Thus, continuous and increasing use of
recordings over the commercial radio sta-
tions of Europe is a certainty.
ABC Net Places Daylight
Saving Plan In Operation
On April 27, the American Broadcast-
ing Company placed in effect its Day-
light Saving Time plan of operations ini-
tiated last year and which, through use
of special lines and recordings, main-
tains all its programs in all time zones at
the same time the year around.
Operating only during the 22 weeks of
Daylight Saving Time, the plan this year
will encompass ABC's entire program
schedule.
Basic mechanics of this operation de-
veloped by ABC involves special broad-
cast lines and recordings. Through the
use of these special lines, programs will
be broadcast live to ABC stations oper-
ating on Daylight Saving Time and re-
corded in Chicago and Hollywood for
rebroadcast one hour later for stations
operating on Standard Time.
A similar system used on most of
ABC's program schedule and on most of
the stations last year during Daylight
Saving Time was found to be mechani-
cally perfect when 1,848 hours of con-
tinuous recording in Chicago alone re-
sulted in the loss of only five minutes —
and that through a power failure.
Parts Show To Be Held
In Chicago This Month
The 1947 Radio Parts and Electron-
ic Equipment Conference and Show
is scheduled for May 12th through
May 16th at the Stevens Hotel in
Chicago. Audio Devices will display
its products in Booth 148.
WWVA Crew Records Aboard LST
(Continued from Page 1)
tion with the occasion, arrangements
were made for a few officials of Blaw-
Knox and press and radio representa-
tives to board the ship at Steubenville,
Ohio and travel with it to the point
where the special dock for the Incentive
Inspection had been built, near Martins
Ferry.
WWVA attempted to arrange a broad-
cast of description and interviews to
completely cover the proceedings. Naval
authorities in charge turned "thumbs
down" on a plan to use the station's
Mobile Relay Unit aboard the ship. Per-
mission to use the vessel's radio trans-
mitters was also refused. However, it
was finally suggested that a portable re-
corder be used so that naval personnel
could check material before released.
This plan was followed and the record-
ing equipment was taken aboard at
Steubenville where the LST had to be
locked through one of the numerous
control locks on the Ohio River.
Almost immediately after boarding the
ship, it was discovered that the only
"AC" available was an auxiliary supply
unit used on the gun turrets. The ship's
electrician advised that the frequency
might be unstable. So then, the recorder
was set-up on an ammunition box just
ahead of the pilot house. Some trouble
was experienced with vibration from the
diesels when the ship was underway but
this was controlled by putting a couple
of Navy blankets under the recorder,
which later proved a good idea because
the discs cut were acceptable for broad-
cast purposes.
Prior to the ship's arrival at the Blaw-
Knox dock where the WWVA "shore"
crew took over with their Mobile Relay
Unit, several interviews with various of-
ficials and ship's personnel were record-
ed. The MRU piped the balance of the
broadcast to the master control room in
Wheeling where it was routed to re-
cording. A couple of hours later, after
considerable editing, the show was on
the air. The officers and crew of the
LST, by this time several miles south of
Wheeling on their journey to the coast,
heard the program aboard ship.
This incident is of particular interest
since it is believed that it was the first
broadcast ever attempted from a naval
vessel in war time, while underway,
hundreds of miles from any ocean.
May, 1947
AUDIO RECORD
^^mtke T^ew'tdUt
By C. I. LeBel, Vice President
AUDIO DEVICES, Inc.
RECORDING LACQUER
Lacquer forms the coating for all mod-
ern instantaneous recording discs, and
since the groove is cut directly in it, the
character of the coating is the character
of the blank. This article answers many
questions which have come to us from
time to time, and so
may give the pro-
fessional recordist
a better under-
standing of the ma-
terial which he
handles. Needless
to say, a recording
lacquer does not
consist of a highly
filtered mixture of
ordinary commer-
C. J. LeBcl cial black automo-
bile lacquer with two drops of decibel
juice added to each gallon.
Virtually any lacquer made includes
most, if not all, of the following classes
of constituents:
Film Former
The film forming material around
which the entire formula revolves may
he any one of the following: nitro-cel-
lulose, ethyl-cellulose, acetyl-cellulose, or
vinyl chloride. All of these are available
in many types and "viscosities." Com-
plete tests leave no doubt that nitro-
cellulose is by far the best as regards
all professional recording qualities. Of
the others, ethyl-cellulose has been util-
ized in some amateur home recording
discs, but the results are certainly not
professionally usable.
Solvents
The film forming material as received
from Its manufacturer is quite unfitted
for direct coating; in fact, cannot even
be applied as a film without being dis-
solved in a solvent, of which we have
our choice of three different groups
(classified by boiling point).
Low boiling solvents will evaporate
very rapidly even at room temperature
Representative materials in this class
are: acetone, ethyl-acetate, methyi-
acetate, alcohol, methyl-ethyl-ketone,
and scores of others.
Medium boilers evaporate rather slow-
ly at room temperature, but evaporate
rapidly at a slightly elevated tempera-
ture.
Finally, we have high boilers which
evaporate very slowly indeed at an ele-
vated temperature. In fact, it may be
rather desirable to heat for twenty to
one hundred hours to drive them out
completely.
It is very difficult to make a satisfac-
tory lacquer using only one of these sol-
vents, so the chemist prefers to use two
and often all three groups. Correct se-
lection of solvents will greatly help pro-
duction reliability.
Resin
Occasionally, a chemist will wish to
add a resin or other similar material to
give the coating some body. This will
give the coating more strength, but the
desirability of its use is perhaps ques-
tionable. For the chemist who insists
on using such a material, there are a
very large number of resins, such as the
copal, dammar, mastic, shellac, and the
phenolic and alkyd groups.
Diluent
To dissolve the resin or to change the
evaporating properties of the solvent
mixture, a diluent is very often added.
Diluents do not absorb moisture and,
therefore, are very well behaved in sum-
mertime, whereas some solvents previ-
ously mentioned may absorb some mois-
ture, and this has to be driven out in
the processing. On the other hand, a
diluent by itself will not dissolve the
film forming material, and only a limited
amount of it may be used, for the lim-
ited compatibility of diluents with sol-
vents sets a definite maximum. Repre-
sentative diluents are: benzol, toluol,
and naphtha.
Plasticizers
We come now to the most important
materials of all, the plasticizers. Lacking
them, we would find a coating which
was extremely hard, extremely brittle,
extremely noisy, and violently inflam-
mable when it had dried. To prevent
this, materials are added which should
remain in the coating throughout life.
Properly chosen, they soften the coat-
ing, make it easy to cut and quiet in
playback*. Two types of plasticizers are
available: the solvent type and the non-
solvent type. Solvent plasticizers actu-
ally are solvents of extraordinarily high
boiling point, so high that they very
often will decompose before they will
boil at atmospheric pressure. Represen-
tative materials of this sort are: dibutyl
phthalate, dioctyl phthalate, triacatin,
dibutyl sebacate.
Non-solvent plasticizers will not dis-
solve the base material, but are com-
patible with it. They have many excel-
lent properties, and the only thing that
limits their use is the fact that an ex-
cess will tend to sweat out under adverse
conditions. It is, therefore, necessary to
use a mixture of solvent and non-sol-
vent plasticizers. Castor oil is one of the
most common non-solvent plasticizers.
Dye
A black dye is usually added to a lac-
quer in order to improve its appearance
and make it easier for the recordist to
judge depth and smoothness of grooves.
There are only two very simple require-
ments for the dye. It must be extremely
dark in color, and it must be readily
soluble in the solvent. There are a very
large number of dyes available, all an-
swering this description, and dye selec-
tion is perhaps the easiest problem of
the entire formulation.
t
The Formulating Problem
Because Audio Devices has its own
lacquer plant, the composition of the
material is entirely under our own con-
trol.
An ordinary industrial finishing lac-
quer may contain six or seven consti-
tuents; adequate formulae may be found
in many reference books and the chief
limit is the cost of materials. Half of the
job of an industrial lacquer chemist is
the developing of the use of extenders
to cheapen the material without injur-
ing Its properties, and most of the other
half of this job is that of improving the
quality without significantly increasing
the material cost.
Recording lacquer is quite another af-
fair. It will contain approximately thirty
constituents, some of which are present
to the extent only of .05% and the
formulae are entirely secret. We have
never seen a single recording lacquer
formula published, and the most impor-
tant plasticizcr constituents could not be
detected with accuracy by the best an-
alyst. The magnitude of the formulat-
ing problem may be best appreciated
when we realize that it is an art as much
as a science and that it is basically exepri-
mental in nature. The chemist must try
a large number of proportions of each
material with a large number of alternate
proportions of each other material. We
may appreciate this problem the better
when we realize that fifteen materials
each tested in ten different proportions
will mean 15^" tests to be made. This
obviously completely impossible regard-
less of how many men are brought to
bear on the problem. We rely very
heavily then on the genius of our formu-
lators and, as they feel their way along in
the developments, they are able to elimi-
nate a large number of the tests as ob-
viously unnecessary.
AUDIO RECORD
May, 1947
Plasticizer Choice
As was mentioned previously, plastic'
izers are extraordinarily non'volatile
materials which are used to stabilize the
coating and give easy cutting, long play'
back life, and low flammability. There
have been two schools for formulation
thought. American formulation in the
American beginning period 1934-1938
used very little plastici?er; the coating
was made soft by leaving a considerable
amount of residual solvent. The discs
were stored in a solvent tight can to re-
tain this residual solvent. When the
disc was removed from its can and left
in the air, the solvent would evaporate
and the coating would slowly harden.
Typical playback life for such a coating
was ten to twenty playings; the noise
level was high and the stability of the
coating was extremely poor. Nitro'cel-
lulose with inadequate plasticizer is not
a remarkably stable material, so the
groove would warp appreciably with
time, and the distortion increase would
be very great. We have observed a har-
monic distortion increase as great as
10% to 20% within a period as short
as two weeks in testing discs of this sort.
The second school of thought began
with La Societe des Vernis Pyrolac of
Paris in the period from 1929 to 193 5.
In 1938 Audio Devices entered into a
contract with Pyrolac whereby AUDIO-
DISCS are manufactured in the U.S.A.
under an exclusive license agreement.
This contract also gave all the lacquer
formulation "know-how" developed by
Pyrolac since 1929. Our company is
thus the only American company whose
experience goes back so far.
Audio Devices' success with this type
of recording lacquer from 1938 on
forced a change in American practice,
virtually completed by 1941. Pyrolac
had found that a very quiet and durable
coating could be made by using adequate
plasticizers of the correct proportions,
and the object of their formulator was
to create a coating which would have
no change in character throughout life.
Properly done, such a coating will have
a playback life ranging from several
hundred to several thousand times, 20 db
lower noise level, and negligible distor-
tion throughout life.
Plasticizers may evaporate, oxidize, or
polymerize, but because recording lac-
quer coatings are so sensitive, good re-
cord platsicizers will not exhibit any
such changes. Ordinary industrial-lac-
quer data are wholly inadequate to the
record-lacquer formulator's needs, for
industrial lacquers can lose 50% of their
plasticizing with little visible effect. 2%
in recording disc plasticizing would be
extremely bad. Audio Devices, Inc., is
thus very fortunate in that its Hcense
agreement with La Societe des Vernis
Pyrolac gives it access to recording lac-
quer tests begun as far back as 1929 and
to their experience in manufacturing
discs going back as far as 1932. Thanks
to this extensive library of test data, our
chemists have found the long life stipu-
lation imposes no restriction whatever
on the formulator's results. They were
able to get quite as good performance in
the long hfe disc as they could get if they
were willing to take short cuts and use
impermanent materials. It should also
be pointed out that proper plasticizers
exert a very profound stabilizing effect
on nitro-cellulose and that such a coat-
ing is, therefore, of longer life than we
can now estimate. Pieces of plasticized
nitro-cellulose made in 1866 are still in
existence. Research goes on continually
with noticeable results and high promise
for improvements in the near future.
Personality
Every experienced recordist will
testify that a given lacquer formula has
a very definite personality. Some of
them are treacherous, ill-mannered and
prone to cause trouble, while others
are always reliable. Personality is per-
haps the sum total of twelve factors.
These may be listed as follows:
a. Easy cutting.
b. Static and thread throw.
c. Noise (as measured immediately
after cutting).
d. High frequency response.
e. Playback life.
f. Aging of the uncut disc, loss of
cutting qualities.
g. Aging of the cut disc, develop-
ment of noise and inter-modulation dis-
tortion.
h. Adherence to aluminum under all
climatic conditions.
i. Processing characteristics, good be-
havior in both the silvering and gold
sputtering methods.
j. Stability of recording properties
under a wide range of temperature and
humidity.
k. Advance ball behavior.
1. Grease resistance.
Coating Process
Audio Devices introduced machine
coating into this country and demon-
strated that no other method equalled
the single layer, homogeneous, automatic
application of lacquer to an aluminum
disc. When the film has dried, the disc
is put through a controlled temperature
cycle. This improves the coating con-
siderably; the noise level decreases and
the high frequency response improves
greatly. Besides improving the coating,
the temperature cycle has the important
function of driving out the last remnants
of the high boiling solvents. If left in,
these would evaporate gradually over a
period of weeks or months, and the
hardness of the disc would be continu-
ally changing. When the controlled
temperature cycle has been finished, the
disc is punched with the standard 4-hole
center, inspected and packed.
The Coating Machine
Eight years of experience have indi-
cated that this automatic coating ma-
chine does not impose any restriction on
the formulation; in short, any coating
which makes a good record can be
handled by this machine. Coatings made
by other methods will be several db
noiser than the same material appHed
by machine.
Quality Control
Of course, it is one thing to devise a
good formulation, and it is another thing
to manufacture it successfully. This
problem has become more complex year
by year and, with the present deteriora-
tion of raw material, it has even become
necessary to re-purify a large number of
chemicals. The impurities removed
would have no significant effect on an
ordinary industrial lacquer, and it is per-
haps no reflection on the chemical manu-
facturers to say that re-purification is
necessary. It has merely been found
that microscopic percentages of certain
impurities tend to effect considerable
changes in the lacquer performance.
Quality control is not a new phrase with
us, as we were using advanced quality
control procedures years before the war.
Production control in the disc plant is
a large subject in itself; it is chemical
engineering par excelsis.
*. High Frequency and Noise Level
Characteristics of an Instantaneous Re-
cording Disc — C. J. LeBel. ATE
Journal, Vol. 8, No. i, p. 6, January
1941.
Reprints of This Article
Available on Request
The Audio Record has been en-
larged from four to six pages this
month in order that we might bring
our readers Mr. LeBel's complete ar-
ticle. Reprints are available to all who
request them. Write — The Editor,
Audio Record, 444 Madison Avenue,
New York Citv,
May, 1947
AUDIO RECORD
Will Baltin
Television Transcription
By Will Baltin
Secretary-Treasurer
Television Broadcasters Association, Inc.
Although network facilities for tele-
vision broadcasting are now being ex-
panded across the nation, the television
broadcaster will have to rely on "record-
ed" programs to a marked degree if he
is to fulfill the requirements of the Fed-
e r a 1 Communica-
tions Commission,
which initially call-
ed for a minimum
28 -hours- per- week
of telecasting be-
ginning April 1.
Networks can
provide the televi-
sion broadcaster in
outlying regions
with a certain
amount of high
quality programs,
but for "local"
shows, where sufficient talent is unavail-
able, he will have to fall back on tran-
scribed or "recorded" material, much as
the radio broadcaster does today.
The Disc Does The Work
Of course, in television there is a
marked difference as to what constitutes
a recorded show. In radio the disc jock-
ey merely chortles his introductions —
and the commercial — and then permits
the disc to provide the entertainment.
Film is to television what the acetate
disc is to radio. Quantitavely speaking,
good film for television is scarce today.
One can understand the reticence of the
major film producer to supply television
broadcasters with the product he makes
available to theatres. A great hope for
the telecaster lies in the independent
film producer who is presently "packag-
ing" film shorts, ranging from one to 30-
minutes in duration.
New Film For Recording Tele
Intriguing projects are also understood
to he under way in the laboratories of
du Pont and Eastman Kodak where
special film is being developed for record-
ing television programs directly off the
face of a cathode ray tube. With the
picture quality on the fluorescence of the
kinescope constantly improving, and with
the brilliance of the image easily con-
trolled, it is quite possible to film an en-
tire studio-produced television program
off the face of the video receiving tube
and thereby provide a method of not
only retaining a permanent record of the
production, but making possible distribu-
tion of the film for use on other stations.
(Continued on Page 6)
Grouped around a recorder as they listen to the playback of a disc arc students in Elissa Landi's
"Speech for Radio and Television" class at New York's City College. From left to right —
Henry Dasaro, Miss Landi, Rose Kaufman, Mildred Cuscione and Sgt. W. P. Berkeley.
New York's City College Offers Speech Course
To Radio-Tele Aspirants; Many Discs Employed
Because the use of recordings has proved to be one of the most
valuable assets in attaining the goal of perfection in speech for radio and
television, they are used extensively by Miss Elissa Landi, star of stage,
and radio, in her classes
screen
"Speech for Radio and Television," of-
fered by the Evening and Extension Di-
vision, City College School of Business,
New York City.
Records Aid In Speech Correction
Recordings used in the class are made
from scripts read by all the students in-
dividually and in dramatic form. Later
these records are played back to the stu-
dent in individual conferences and in
class. The defects in speech, inflection
and diction are then discussed, in an ef-
fort to help the student overcome his
speech faults and attain perfection. Miss
Landi thus provides assistance for those
who have imperfections in their speech
which mar their speaking personality.
Special attention is given to individual
problems, both in class and in interviews
between student and instructor.
Miss Landi's classes are held on Tues-
day evenings in the studios of radio sta-
tion WOR-New York. They are but a
part of the many classes which comprise
the radio and television offerings of the
Evening and Extension Division of the
City College School of Business. All the
classes make tours of broadcasting sta-
tions and television centers as a part of
the class work and recordings are a part
of the scheduled instruction in many of
the courses, according to Earl Ryan, Su-
pervisor of Radio and Television.
Courses and instructors include "Sur-
vey of Radio and Station Practice,"
taught by Jo Ranson, Public Relations
Director, Station WHN — New York;
"Practical Radio Announcing," by Carl
Mark, Radio Director of the Al Paul
Lefton Advertising Agency, New York
City; "Radio Scriptwriting for Produc-
tion," by Ted Cott, Program Director
of WNEW— New York and Jeff Selden,
head of the continuity writing staff for
Station WNEW; "Television Studio
Operation and Program Production," by
Raymond E. Nelson, President of the
Raymond E. Nelson Advertising Agen-
cy, New York City; "Documentary Ra-
dio," by Seymour N. Siegel, Director of
Programs at the Municipal Broadcasting
System, Station WNYC; "Radio Broad-
cast Advertising," by Hershel Deutsch,
Radio Director of the Gray Advertising
Agency, New York City; and "Radio
Audience Research," by Oscar Katz, As-
sociate Director of Research in the Co-
lumbia Broadcasting System.
Workshops offered include: "Televi-
sion Laboratory Workshop," "Radio
Dramatics Workshop," "Advanced Ra'
dio Dramatics Workshop," and "Work-
shop in Television Commercials."
AUDIO RECORD
May, 1947
Record Shows or Participation?
(Continued from Page 2)
to remember five of the ten sponsors be-
tween them, or an average of 1 2/3
each. This was better proof than I had
hoped for, but it brought out the point
that the show was definitely identified
by the artist on it, and that various
clients got Httle sponsor identification.
Greater Product Identification
Now, we don't say that participating
programs do not do a successful job.
Some have done it and are still doing it.
We do say that your own transcribed
program, properly tied-in to your own
commercial message, will supply greater
'identification' and, therefore, stimulate
sales. That, after all, is what a client
desires. It has been computed that a
five minute show (time and talent) in
most markets costs about the same as a
participation. Tests comparing participa-
tions and transcriptions in cities of com-
parable size on stations of comparable
wattage at approximately the same cost
have been made. These tests invariably
proved the five minute shows a better
sales medium.
You may ask, "Will a listener tune in
for a five minute show, or do they get it
quite 'by accident' as the carry-over from
a previous broadcast?" Our answer is
that a good five minute show will create
its own listening audience, and that
listeners will tune in for it. This is Fact
— not Fantasy! To prove the point . . .
when Vick Chemical Company used "IT
TAKES A WOMAN" (one of our re-
corded programs, incidently) in Canada,
the ratings in various cities varied from
5.1 to 13.1, due to local conditions.
CFRB-Toronto reported a record rating
of 9.8 the highest daytime rating of any
program of any length on that station.
The show was on from 12:55 to 1:00
P, M.. cnioyint; more listeners than the
fifteen minute show which followed, and
the ten minute show which preceded it.
This proves conclusively that listeners
tuned in specifically to hear "IT TAKES
A WOMAN." a five minute show, which
gave the client both rating and 'sponsor
identification'.
Who Pays The Bills?
This sponsor identification business is
just simple arithmetic. If you have a
20 rating and 50% sponsor identification,
10% of the people know who is paying
the bills for your show. If you've got
a 15 rating and 90% sponsor identifica-
tion, then 13V2% know who is paying
the bills.
It's a proven fact, if an advertiser
wants to get the most out of his ad-
vertising dollar he will select a good
transcribed 5 minute show in preference
to the participation every time.
N. Y. Outlet Features Special
Recorded Program From London
Mobile Recorder Used For Interviews
"Pleasure Parade," a new series of
fifteen minute recorded programs heard
over WNEW-New York on Sunday
evenings is designed to acquaint Mr. and
Mrs. America with England's theatrical
headliners. The transmission via BBC
covers the entire entertainment world
in London and is also carrying items and
interviews with well-known Americans
visiting England. Producers of the 13-
week transcribed series use a mobile re-
corder for on-the-spot broadcasts from
sporting events and other places of en-
tertainment.
The Television Transcription
(Continued from Page 5)
Paramount Pictures, Inc., is employing
a similar method in its experiments for
theatre television, and it has already been
revealed that Paramount is able to re-
ceive a television program ofi^ the air,
film the sight and sound, develop and
print the subject in from one to three
minutes. This so-called "delayed" tele-
vision makes it possible to provide many
theatres with a television service for im-
mediate use when the subject is received
or for exhibition whenever desired.
One thing is quite clear: There is a
definite place for the "transcribed" pro-
gram in television and this will be borne
out to an ever-increasing extent as more
video stations reach the air this year.
SILENT SENTINELS OF
CONTINUOUS RESEARCH
These bottles are but a sinall portion of the 4.r.}2
t which have passed through our laboratory. Kach
represents a part of a continuous scries of chemical
research— responsible for attaining and maintaining
the quality of Audiodiscs.
* • •
Kor the leadership of Audiodiscs is the result of
exhaustive experimental work, plus the most exact-
ing quality controls known to the recording industry.
Recently, to add still furthi
lies, we greatly expanded
our research engineers
and methods, in order
our research facili.
laboratory. Today,
tly exploring new
3 further improve
recording fidelity and broadei
reproduction.
the field of :
und
cuidiocuscs
ufocliirifd ill Ihc U.S.A. iimlir L.xclusire Liuii', j>
Pyru/ui— Trance.
AUDIO DEVICES, INC., 444 Madison Ave., New York 22, N.Y.
q^ll^fl^lfy
record
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 3 No. 6
444 Madison Ave., N. Y. C.
June, 1947
^°im
Five progmms aired over the Keystone Broadcasting System via transcriptions. Above: Bobby
Gregory and His Cactus Cowboys on ^'Western Serenade." Pictured clockwise; Lum 'n Abner.
Spike Featherstone and his Orchestra on "Tune Tabloid," Rita Carroll, also on ''Tune Tab-
loid" and Jimmy Atkins and Ma\ Kanners' Band of the "Flit-Frolics" show.
Airing of Corwfn's "One World Flight" Series
Good Testimonial to Unlimited Value of Discs
I Last October, NoDiian Corwin, CBS writer-producer-director, and his assistant,
Lee Bland of CBS' Documentary Unit, returned to the U. S. after a ^2,000 mile air
trip a round-the-world; Mr. Corwin's prize us ivinner of the first "One World
Aivard." During Mr. Corwin's journey he recorded his conversations with hundreds
of people i7i many foreign lands. Upon his return, and after nearly three months of
boiling this material down, Columbia broadcast a series of 13 programs. In the
accompanying article, Mr. Bland tells of some of the complex recording problems
encountered while the series was being prepared for the air.)
Turntable operators can best appreciate the comple.\ recording
problems of Norman Corwin's recent CBS series, "One World Flight."
For the 13 broadcasts we used discs as insurance against mechanical
failure and also to facilitate cueing. On
each broadcast, our two turntable en-
ijincers alternated in playing the recorded
excerpts. Each man had a complete set
of all recorded material, generally con-
sisting of about 30 separate cuts on
double-faced 16" 33V3 rpm platters.
One of our main problems was to
preserve the highest possible quality for
the air shows. Since the engineers a!
tcrnated cuts, it was therefore possible
to save each man's untouched record-
nigs for the dress rehearsal and broadcast
by the simple expedient of switching
(Continued on Page 2)
That's Not Me!
Leo, MGM's famous lion, certainly
was embarrassed when he learned how
he sounded to the sound effects crew
of WHN-New York. Seems that a
lion's roar was needed to authenticate
the broadcast of the opening of Met-
ro's new recording plant in Bloom-
field, N. J. So, the voice of an orang-
utan, slowed to JoVs rpm, was used.
A real lion's roar when recorded, ac-
cording to the engineers, "sounded
like belches after a Hungarian meal.""
r/te
RUBBER NETWORK
B)' Michael M. Sillcrman, President
KEYSTONE BROADCASTING
SYSTEM. Inc.
Wc at Keystone have been given a
variety of names. Since we are the
only transcription network in existence,
the uniqueness of our set'up has ap-
parently invited many novel appellations.
In the press we are often referred to w;
the wax web, or the wire-less network,
and c\'er so often the "rubber network."
This n.ime has intrigued me because in
many ways it describes our operation
very well. Wc do have a flexibility and
a resilience that resembles the character-
istics of rubber. This elasticity has
shown itself in the transition from the
]irc-war period to war times and back
.ig.im into post war. Our tr.uiscription
mode of broadcasting has the necessary
stretch in following the country's eco-
nomic course. Also the need to follow
the contortions of the advertiser's dis-
tribution and peculiar conditions call
for a certain amount of stretching and
snapping to meet the situation.
Two Hundred Sixty Affiliates
The Keystone Network, stretching
from coast to coast .md now consisting
of 260 affiliated stations, concentrates
solely on the small urban and rural
areas. This is what we call BEYOND-
METROPOLITAN America, now often
referred to as "BMA."
This emphasis on the small tov.'n is
timely in view of the country's chang-
ing economy. Leading economists today
state that two-thirds of the nation's retail
sales are made in the small towns.
In the light of the facts and figures
showing this emphasis on the small town
market, the leading advertising agencies
have learned that the Keystone Network
has, for the first time in many decades,
made it economically possible for the
advertiser to buy these increasingly im-
portant markets as a unit, something
they could not do before.
And the leading advertisers of the
country have learned that the Keystone
plan of operation makes it possible for
them to promote their products via radio
in these small markets on a comparable
cost basis with their promotions in the
large metropolitan markets.
These achievements have been ac-
( Continued on Page JfJ
AUDIO RECORD
June, 1947
CLudla )i reccrrcL
VOL. 3, NO. 6 JUNE, 1947
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
The writer (left) and iNorman Corwin pictured
as they wave goodbye to well-wishers who saw
them off, a year ago this month, on their 42,-
000 mile, globe-circling trip.
CorwIn .Series Tribute to Discs
/Continued from Page 11
sets of recordings after the preliminary
rehearsals.
Our discs were produced at Columbia
Records, from magnetic-type recordings
made during the world flight. The
original field recordings suffered fre-
quently from faulty batteries picked up
en route. Speed variations and quality
differentials were corrected during the
discing process, but only after hours of
patient experimentation.
One of the most tedious aspects of
the entire procedure was the job of
splicing significant extracts, in the in-
terests of time. This was accomplished
manually by dexterous engineers who ac-
cepted the challenge to do the impos-
sible and proved that the possibilities
in re-recording are almost limitless.
Considering that all original field re-
cordings were once dubbed before being
piped for discing, that — in the splicing
operation — we dubbed again as often as
necessary, and that the ultimate blends
were copied to prepare the broadcast
discs, there was surprisingly little loss of
quality and intelligibility. To me, this
is not only a testimonial to engineering
"know-how" and equipment but it gives
aid and comfort to producers and direc-
tors who wish to experiment with re-
corded documentaries.
Record Collecting Habit
By Jim Walsh, Day News Editor
WSLS-Roanoke, Va.
Playing old records on my "Jim
Walsh's Wax Works" program over this
station comes naturally to me. Why
shouldn't it? I became fascinated by the
miracle of recorded music before I was
three years old and can still remember
the first record I ever heard. It was a
comic skit called "A Night Trip to Buf-
falo" and it was played on an old-time
talking machine with a large external
morning-glory horn.
Within a few years, there was a
phonograph in my home and before I
was old enough to go to school I had
begun making the rounds of the dealers
in my little town, begging the latest
monthly supplement describing the new
records. (I had taught myself to read.)
From that time I have never stopped
collecting records — mostly by looking for
them in Salvation Army depots. Good
Will outlets, second-hand furniture
stores and junk shops — until now I have
more than 10,000 discs and cylinders,
some made as long ago as 189? and
others issued only a week or so back.
Have Studied Old-Tiniers
In addition, I have made a life-long
study of the careers of men and women,
such as Ada Jones, Billy Murray, Henry
Burr, Len Spencer and many others, who
were the first recording artists, and now
have a nation-wide reputation as an
authority on old records. For a consider-
able time I have been collecting material
Whoa— There Rich!
Ever wonder what would happen
it on one of our recorded "whodun-
its", the fellow manipulating the discs
would inadvertently spin the Wednes-
day installment before the Tuesdays?
Some fun, eh? Well, the people in
England aren't wondering any more,
and to the ardent followers of BBC's
ace dective Dick Barton, it wasn't
funny either. A few Tuesday nights
ago, sly Richard got himself out of
a horrible predicament that none of
his faithful knew he was in. No this
sleuth is not that fast on the trigger.
Some not-too-alert studio hand had
given Barton's Wednesday night
platter to Tuesday night's listeners.
tor a book to be called "Record Makers,"
which will give the life stories of these
old timers.
During the past five years, my monthly
department, "Favorite Pioneer Recording
Artists," has appeared in Hobbies Maga-
zine, and I have also written extensively
about record collecting for magazines
such as the American Record Guide,
This Week, Leisure, Magazine Digest
and the Gramophone of London. Just
before Worid War II, a Jap asked per-
mission to translate some of my articles
into Japanese for the benefit of the re-
cord collectors there. I don't know
whether he ever got around to it!
Many of the surviving old-time re-
cording artists, such as Billy Murray,
who has been my particular hero since
I was seven years old, have been my
good friends of late years.
(Continued on Page If)
i^FHf "*^r7
WOR-New York's "Johnny on the Spot"
This streamlined studio on wheels will speed WOR newsmen and engineers to the scene of
important newsbreaks and speci.d events throughout the New York Metropolitan area. One
of the largest mobile broadcasting studios in the country, the new unit is 27 feet long and
houses a complete broadcastint^ studio, equipment room and driver's compartment. The
8' ,x 10' studio accommodates eight persons and is equipped with a full-size desk, chairs, and
radio telephone to keep the unique broadcasting unit in touch with master control or the
station's transmitters at Carteret, N. J. Four different short wave transmitters, as well as two
fixed-studio-type recording units, two wire recorders and one spring-wound recorder .are con-
tained in the equipment room. An observation post and roof platform for news reporters,
announcers and photographers will also facilitate televised special features.
Juno, 1947
AUDIO RECORD
fe^ t^eayulUt
By C. I. LeBel, Vice President
AUDIO DEVICES, Inc.
SAPPHIRE QUALITY CONTROL
In view of the widespread current
discussion^ of the subject of quality
control, it is felt that a few sidelights
on this problem would be of interest
to the recordist. Although American
industry as a whole first fully realized
the value of such
programs during
the war, quality
control has been
active at Audio
Devices since the
company's start.
Space will permit
us to touch only
on cutting stylus
control in this
article, so disc
C. J. LeBel quality control
will be discussed
in a later issue of Audio Record.
Stylus Properties
Two main performance characteristics
of a cutting stylus are noise level and
high frequency response. The inter-
relation of these has already been dis-
cussed in detail by the writer^, so it is
enough to say here that a quieter groove
may be cut, iirst, by increasing the length
of the burnishing facet and, second,, by
improving the quality of the cutting of
burnishing edges. Requirements for high
frequency response set a definite upper
limit to the length of burnishing facet
which may be employed in a professional
stylus. We arc left, then, only one way
to keep the noise level down; that is, to
control the cutting edge and burnishing
surface. In doing this we are controll-
ing an invisible detail, for the small
irregularities which cause differences in
noise level are so minute that they are
invisible under the most powerful micro-
scope that can be brought to bear.
Quality Control at Audio Devices
Here at Audio Devices each sapphire
is tested for noise level in a professional
recording machine. Grooves are cut in
lacquer discs then played back by a
pickup feeding into a high gain ampli-
fier and a standard VU meter. An 800
cycle high pass filter is used to remove
the effect of turntable rumble, which
because of its low frequency is virtually
inaudible even though strong in meter
qn
RO
70
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s
=10
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0
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-54 -52 -50 -48
NOISE OB FIG. I
Noise Characteristics — Typical Styli
reading. We are then measuring only
the voltage produced by the record
scratch. A stylus with noise level above
the rejection point is sent back to the
lapidary's shop for reprocessing.
We are occassionally asked why a
100% test is necessary; why not use
sampling methods? This can best be
answered by a glance at test results,
most conveniently shown as a number
of distribution curves.
Distribution Curves
Figure 1 shows the distribution of
noise levels in a batch of 501 points.
The decibel values are meter readings,
based on an arbitrary reference level.
It is interesting to note the heavily
skewed shape of the curve, as well as
the double peak; the statistician would
correctly say that this is not statistically
"normal" data. This is a typical batch
of styli, for rejects are only a small
percentage.
An exceedingly good batch of 511
points is shown in Figure 2. While the
rejection percentage is about the same
as in the previous case, the secondary
peak at -59 db is smaller in area, and the
area under the main curve at -68 is
greater.
What happens when the lapidary's
laps are not in quite as good condition
is typified in Figure 3, for a batch of
500. Note that the rejectionable per-
centage is several times as great and that
the secondary peak has broadened con-
siderably on the noisy side.
These styli were made by the best
m
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SO
40
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PO
BO
70
60
CC
SO
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40
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10
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0 -68 •(.
6 -6
4 -62 -6
0 -59 -5
4 -5
2 -50 -48 4
* 4
08
NOISE.
Noise Characteristics
Batch
FI6.3
■Fair Quality
lapidary in the country at a time when
processing was running very smoothly.
Figure 4 is taken from earlier data on
605 points, and shows the result when
the laps are temperamental. It is also
similar to the results of an inexperienced
lapidary, in that the major peak is ten
to fifteen db noiser, and the rejects many
more. Note that the skewness is much
reduced, and the standard deviation is
visibly much greater.
Discussion
It is evident from this that 100%
inspection is necessary. The recordist
rightfully expects all his cutting styli to
be usable. Sampling inspection would
guarantee that the consumer would
usually have to return not over several
per cent but could not assure his find-
ing all usable. According to the laws
of chance, and since rejects run in
clusters, a recordist might conceivably
get three bad points in a single group
of ten (i.e. 30% bad) these three being
perhaps a quarter of the bad units from
a batch of 500. So we must inspect all.
Sampling is primarily useful where a
defect will be caught at later stages of
manufacture, or where so few rejects
exist that it is cheaper to find one oc-
casionally than to test all. A good ex-
ample of the latter case may be found
in small composition resistors. It was
found that genuinely bad units would oc-
cur once in a hundred thousand units.
It was cheaper to troubleshoot every
twenty thousandth assembly for a bad
Noise Characteristics — Especially
Good Batch
00
RO
70
«1
■iO
rn
^
40
5
/
V
\
W
1
V
?n
/
\
h
10
1
N
_^
/ '
\,
n
^
/
O -h
f> -h
^ -6
7 -6
8 -5
4 -5
2 5
0 -4
fl -4
4 -42
NOISE FIG. 4
Noise Characteristics — Poor Batch
(Continued on Page 6 J
AUDIO RECORD
June, 1947
The
Rubber Network
(Continued from Page 1)
complishcd by a simple but basic tech-
nique which finds much of its answer
in the electrical transcription. The Key-
stone story is a success story of the
transcription embellished with small sta-
tion cooperation, seasoned with a firm
belief in the selling power of the
BEYOND- METROPOLITAN station
and garnished with a realization of a
tremendous aggregate market potential.
These factors all crystalized into an
integrated unit, are responsible for the
realization of a national coast-to-coast
transcription network. It is radio's adap-
tation of the old adage of the small
strands woven together into a strong
rope. Bound together into the transcrip-
tion network, the small stations are a
potent selling force.
KBS Operation Explained
Many of the country's leading adver-
tisers and agencies know from first hand
experience about the modus operandi of
KBS. But some people outside the orbit
of Keystone ask, how does it work. The
answer is quite simple. KBS is organized
and operates on a network basis. How-
ever the stations are linked together by
transcription instead of leased telephone
wires. Keystone distributes its sustain-
ing and commercial programs on a tran-
scribed basis. This gives the affiliates,
as well as the advertiser and agency,
flexibility and freedom of movement that
is essential to good programming.
Through its unique method of network
operation utilizing the transcription, the
commercial shows on the four major
wired networks are potentially avail-
able through Keystone to the KBS af-
filiates. At the same time wired net-
work advertisers can reach the BE-
YOND METROPOLITAN audiences
by broadcasting their same wired network
programs on a transcribed basis on KBS
stations. Burns and Allen, and Lum 'n
Abner, are typical of such commercial
programs. The local stations benefit by
such programming and the advertisers
gain a tremendous audience in the Key-
stone areas. Some advertisers on the
other hand, have developed their own
such programs for the Keystone markets
exclusively. Others find the KBS sus-
taining features valuable commercial pro-
grams. Grove Laboratories for example,
sponsored a KBS sustainer titled "West-
ern Serenade", featuring cowboy and
hillbilly talent.
Advertiser — Small Market Radio Benefit
While Keystone has evolved the tran-
scription and its network into a bull's
eye for the last frontier of American
domestic commerce, it serves the adver-
tiser and at the same time helps small
Sam Hayes, Ace Spor+scaster
THROUGH THE SPORT GLASS WITH
SAM HAYES, well known sports authority,
is an NBC recorded program which appeals
to all sports lovers. In this quarter-hour show,
Hayes, recounts thrilling moments in sports
history and famous figures in the sports world.
Memorable sports events are also dramatized.
THROUGH THE SPORT GLASS is now
being heard over NBC and independent sta-
tions from coast to coast.
market radio. Throughout its history
KBS has led the fight for recognition of
the transcription and the small market
station. In the field of local sales every
KBS transcribed sustaining program is in
effect a cooperative show, since the af-
filiates are encouraged to sell it locally.
In all industry matters such as music
copyright affairs, NAB, BMB, and gen-
eral commercial program trends. Key-
stone is in the forefront watching all
factors that have any bearing on the
small market stations. The elasticity
of the so-called rubber network which
Keystone operates is typified by the
view of the radio director of the adver-
tising agency which leads the nation in
radio billing, who states:
"KBS, through its unique
method of transcription net-
work operation makes it pos-
sible for the advertiser to buy
the small markets as a unit, and
at a cost that compares favor-
ably with competitive media.
Therefore Keystone has placed
the national advertiser within
the reach of the small market
station on a nation-wide unit
basis. This to my mind is the
real achievement of the net-
work."
And on the other side of the fence,
the manner in which the KBS rubber
network lends its stretch in support of
the affiliated station is typified by the
following statement of a KBS affiliate
"Through KBS I have been
able to get such programs as
Lum 'n Abner, Burns and
Allen, Philo Vance and others
(in transcription. I have been
able to get such national ac-
counts on my station as Sterling
Drug, Miles Laboratories, Gen-
eral Foods, Lever Brothers,
Emerson Drug, Lucky Strike,
and others. The national ad-
vertiser, I feel, has found a
way — through KBS and its
transcription technique — to put
shows on the small stations.
"I am affiliated with KBS
because I think they have done
one helluva job in selling the
national advertisers on small
market radio. Instead of 'doing
it with mirrors', or wires, "they
do it with transcriptions. They
perform a function that no
other group or network does in
radio — they sell the small
markets exclusively."
This
Record Collecting Habit
(Co)iiinucd from Page .i )
My collection contains more than 400
brands of records — most of them long
since obsolete — from all parts of the
world. There are many classical discs
by dead or retired opera stars, but I have
found for radio use it is best to restrict
myself chiefly to playing old popular
songs and humorous sketches. The
"Wax Works", which began at WJHL
in Johnson City, Tenn., in 1939 and was
also given for four years at WDBJ-
Roaiioke, before moving to WSLS,
where I am now day news editor, has
been generally popular with all classes
of listeners, but its appeal seems to in-
crease for every decade the listener has
lived. Many fans have thanked me for
the relief it gives them from swing and
crooners.
One of the outstanding items of the
collection is a record of "Shine On,
Harvest Moon," sung especially for me
by Jack Norworth, who collaborated
with the late Nora Bayes back in 1908
in writing the song. Jack said he had
been so annoyed by persons who insisted
that they had Bayes and Norworth re-
cords of "Shine On. Harvest Moon,"
despite the fact that they never recorded
it, that he appreciated more than he
could say my making no such claim. In
fact, he appreciated it so much that he
made the record and sent it to me for
a Christmas present, so I could truth-
fully say, I was the only person in the
world with a record of "Shine On, Har
vest Moon," sung by the composer!
June, 1947
AUDIO RECORD
Recording's Advancement
By J. R. Poppele, V. P., Chief Engineer
WOR-NEW YORK
As C. J. LcBcl, Vice-President of
Audio Devices so aptly put it: "A de-
vice (or technique) may be radically
improved either hy re-design, or by
merely improving every part (or pro-
cedure) by as little as ten per cent."
At the WOR Re-
^^^|fc^ cording Studios, Mr.
F^ ^^ LeBel's statement
I concerning improvc-
'• \*\ ment and re-design
-li has been put into
_^^^^'^^^' practice with grati-
^^^^k^r^^jjj^ tying results.
^^^^^^A^^^H^ New amplifiers
^^^^^^^■■||H| have been installed.
^^^^^^B^^PS '"^'^^"^'^'J technique
having been put in-
J. R. Poppele to practice. Record-
ing distortion h,is been reduced to a
minimum, and the over-all technical
improvement m all types of recording
has been marked. New type recording
heads are now in use. These heads are
more sensitive and include temperature
control. All of which produces greatly
improved recordings, and this improve-
ment has been well received by broad-
cast stations throughout the country,
who have found an ever-increasing and
wider use of transcriptions and records.
Making further advances in the art
of recording, we have found that the
use of improved cutting styli contour
appreciably increased the signal to noise
ratio in the recordings. New reproduc-
ing turntables of the latest type with
direct drive and improved construction
have assured rumble free, constant speed
recordings.
Uniform quality has been the aim of
WOR Recording Studios, and has en-
abled the manufacturers of popul.ir re-
cords to offer to the public records of
uniform quality and greatly improved
technique.
Although the recording industry has
not seen any particularly spectacular
ch.inges during the war years, there is,
during the present transitional period, a
continuous effort to improve here and
there, and we believe we have advanced
our technique • tremendously by taking
advantage of new equipment as it be-
comes available, and by continuously
striving to function as efficiently as we
can.
One of the greatest advancements on
an industry-wide basis was the adoption
of the N.A.B. recording standards which,
when considered in the light of the
many other technical achievements dur-
ing the past years, puts the recording
(Continued on Page 6)
Prof. A. W. Bleckschmidt stands by to offer advice to Converse College School of Music
students Loris Dean Burnettc, Sarah Fant Jones, Louis White and A. J. Smith as they prepare
to cut a recording.
Converse College's Courses In Radio, Music,
Speech Find Many Applications for Recordings
Making recordings and mastering recording techniques are two
important functions in the Radio and Recording Workshop Course
conducted each year at Converse College, Spartanburg, S. C. In ad-
dition, making recordings is a supple-
mentary part of the plan for music,
speech, and physical education courses at
the South Carolina school.
Radio-Recording Class Airs Weekly
Show Over WORD-Spartanburg, S. C.
The Radio and Recording Class, under
the direction of Prof. A. W. Bleck-
schmidt, is responsible for the weekly
production of a half-hour broadcast over
Station WORD-Spartanburg. Programs
usually originate in an accoustically
treated radio studio on the campus, but
occasional broadcasts, open to the public,
are given from the stage of the college
auditorium. Both the studio and the
auditorium are wired for radio pick-up.
Recording and broadcasting skills arc
acquired simultaneously — recordings be-
ing prepared for test purposes before
each program is aired. Scripts are re-
corded, studied further, and re-recorded,
as many as three times. On each oc-
casion, the discs are played back and
carefully studied for possible improve-
ment.
Music Students Record Twice Yearly
With a similar interest in performance
improvement, many members of Con-
verse's music faculty request their stu-
dents to make recordings twice a year.
by which progress or lack of progress
may be readily measured. Senior recitals
are recorded in their entirety, and the
facilities of the recording equipment
owned by the college are available at any
time to students who wish to record ad-
ditional discs.
Many Disc Uses Found
A number of other campus uses for
recording at Converse College have been
discovered, too. Student and faculty
compositions have been prepared for use
in dance classes and dramatic produc-
tions, and duplicates of such records have
been made when desirable. Speech and
drama classes have taken advantage of
the tool for corrective speech study pro-
vided by individual recordings. Finally,
through the medium of recordings, origi-
nal music by Converse School of Music
students is submitted to publisher, and
singers and instrumentalists bring their
work to the attention of teachers and
critics.
Audio Publication Standard Text
Basis for recording technique as taught
at Converse College School of Music is
Audio Devices' text book "How To
Make Good Recordings". Audiodiscs,
too, are used exclusively for all record-
ings made at the college.
AUDIO RECORD
June, 1947
"King o-f Jazz" Joins Disc
Jockey Fold
Paul Whiteman, ABC's director of music,
officially becomes a "disc jockey" June 30,
when his "Paul Whiteman Club" begins its
tenure over the Ameiican web. The dean of
modern American music's new program will
be a full-hour, afternoon, show and presented
daily Monday through Friday over the entire
ABC network. Whiteman is shown above,
enjoying a hearty chuckle with another platter
spinner, KXOK-St. Louis' Rush Hughes, dur-
ing an interview in the Mound City's Kiel
Auditoiium where he was presenting an all-
Gershwin concert.
Disc Data
(Continued from Pni/c ■! )
resistor, than to test ,ill the lumdred
thousand resistors individu.illy.
Quality Engineering
A running count of rejection percent-
a.s^cs provides a valuable index to process
quality and is sometimes the start of
an engineering project. For example,
see Figure 5, showing the percentage of
rejects in 50 successive batches. Where-
as rejections normally ran several per
cent, they could run as great as KK'r
in irregular fashion. It was evident that,
as the quality control engineer would
say. the process was not under (statis
tical) control. We started an investiga-
tion and found that rejects in such noisy
batches would often whistle, whereas
whistlers were almost unheard of among
the rejects of "normal" batches. After
designing and building a special micm-
NORMAL 3Cr LIMIT
2Q FROM PREVIOUS DATA
15
10
5
O
O 10 20 30 40 50
BATCH NUMBER FI6.5
Vi(ii((lii)ii Si/iiiijt<)iii((lic of Litck (if
Control
•
^
•
.• .
•
•..%..
•
1 • *
•At.
' • •
.%•/
scope and making hitherto dillicult
measilrements on .^00 points at a time,
some correlation studies became possible.
It was soon found that two funda-
mental dimensions were not under sta-
tistically adequate control. Bringing
them under control and computing the
optimum relation, the number of out-
of-control batches dropped profoundly.
Thread action became more reliable, the
average quality improved 10 db, and re-
mained better. We had coordinated
stylus dcs'^n with lacquer coating charac-
teristics.
After several months ol good results,
trouble reoccurred. A brief study
showed that tool wear was causing a
return to lack of control. This was easily
remedied permanently and the trouble
has not reoccurred since.
This is a good example of how the
qu.ility engineer can simultaneously im
l^ruve product quality ,ind reduce prt)d
uct cost.
References
Cf. excellent monthly scries (.'.
Trans. A.I.E.E.
Properties of the Dulled Lacquci
Cutting Stylus — C. J. LeBel, JASA
vol. 13, No. S, pp. 265-273, Jan. 19J,;
1.
Recording's Advancement
(Continued from Page 5)
industry on more solid footing th.ii
ever before. This advancement am.;
these improvements have been reflected
in the increased use of transcriptions and
records by the broadcast industry, and
it will be interesting to follow the im
provement in the art of recording, as
AM, FM and television stations increase
in numbers.
y<n 15ec4ffuUHf ZucuUttf^
EVERYWHERE . . . . it'^ CLUdlocLisCS
IN imi.,.rt.,iil Al DIODISCS
nhng blonks. mmtymeil-
i by recording englni
Evcr,wl,crc >,ncn.
preferred over all oth'
motion pictures, commercial recording studios, an
production of phonograph records, is the natural
the consistent high quality of these fine recording discs.
For AUDIODISCS are manufactured by a patented pre
cision-machmc process which assures uniform results, anc
AUDIODISC recording lacquer is produced m our own plan
I a formula developed by our research engineers. The
ufacturing process is thus fully controlled from raw
rrials to the finished disc.
in the Praise of AUDIODISCS comes from everywhere, not only
ult of from all fields of recording, but from every type of climate.
s. In arctic cold or the heat and humidity of the tropics, AUDIO-
i pre- DISCS are consistently dependable.
i. and There is an AUDIODISC designed for every recording
need. See your local distributer or write :
AUDIO DEVICES, INC.,
^A^ ^Ae€€A ^^ M^mdeA^ CLUCLlOCUsCS
CUl
rBCOTCl
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 3 No. 7
444 Madison Ave.. N. Y. C.
July, 1947
Avalanches— Tiger Growls
Exciting Listening ... But
Tough Work for Soundmen
WBBM-Chicago Sound Crew Finds Some
Shows Require A Barrel of Gadgets
A man runs up slunc steps to a house!
He is being pursued by another man '
First man slams and locks door!
Pursuer smashes door!
Two shots fired!!!
Body falls!!!
CURTAIN
These sounds make exciting radio
listening but for WBBM-Chicago tech-
nicians they are merely routine. It hap
pens everyday! Someone is always get
ting killed, doors are continually beini.'
smashed in and bodies fall all around
the microphones. The equipment re-
quired isn't very complicated, either;
all a sound-man needs is a marble block
to "run" on, a door complete with lock,
a couple of strawberry boxes to crush
in simulation of a smashed-down door,
two pistols firing blanks (on cue) and an
assistant to fall to the floor — and, of
course, recording equipment.
When a sound-man's life really gets
tough and he starts breaking out with
a series of headaches, is when a script
calls for such devices as an avalanche or
the sound of a pen writing under water.
Such assignments require some expert
improvising and a storehouse of assorted
gadgets packed high to the ceiling and
including nearly everything from a razor
strop to a dish of Mexican jumping
beans.
But such assignments as: "Get mc the
sound of a man washing his car — make it
a sedan" or 'T gotta have the sound of
a v/ild buffalo calling his mate" never
send WBBM's Chief Technician Urban
Johnson or his assistants running for
cover. Nothing has stumped them yet
and recently the strangest sound in all
of radio: the sound of a man who had
fallen in a vinegar vat being pickled to
death produced editorial comment
throughout radiodom.
(Continued on Page 2)
Urban Johnson, WBBM — Chicago's Chief Technician, (background) and assistant Edward
Wojtal, shown at a busy moment during a dramatic WBBM program full of sound and fury
. . . and signifying something!
Many U. S. Stations Air French Recordings;
Progranns Cut In Paris — Pressings Made Here
Less than a month afer the hberation of France, the French Broad'
casting System (Radiodiffusion Francaise) resumed its broadcasts to
foreign countries, even though the war had reduced their facilities to
seven per cent of pre-war standards.
The shortwave broadcasts in English
to North America began in December
1944. They received immediate and most
encouraging response. Hundreds of lis-
teners, who hadn't heard the voice of
Paris since 1940, wrote letters from all
over the U. S. to express their good
wishes and encouragement. So, during
the summer of 1945, after Robert Lange,
who had worked in New York on the
Voice of America shortwave broadcasts
to France during the war, was appointed
Head of the North American Service of
the French Broadcasting System, a relay
service to America was inaugurated.
Many interesting programs, prepared
in Paris, were relayed by U. S. stations
east and west of the Mississippi.
(Continued on Page Jf)
But Natch!
Scvcr.il unofficial reports from New
York claim that the quality of the
transcribed Bing Crosby program
showed considerable improvement
during recent weeks when the show
was recorded in Gotham instead of
Hollywood. Larry Ruddell, ABC Re-
cording Chief, whose net handles the
program, says he is unable to account
for any such improvement. "We have
been experimenting with various other
methods of recording, including tape
and film," Mr. Ruddell said, "but so
far we have not found anything that
could supplant the discs"
AUDIO RECORD
July, 1947
CLudla^ record
VOL. 3. NO. 7
JULY, 1947
Published monthly by Audio Devices. Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
Amateur Reporter Records
Horror of LaGuardIa Crash
Man's Vivid Description of Tragedy
Broadcast Same Day by WOR-New York
The first radio reporter on the scene
of the tragic plane crash at LaGuardia
Field a few weeks ago was an amateur.
He was Marino Jeantet, 32, a sound
service man of Corona, L. I. Jeantet
was driving his
truck along Grand
Central Parkway
as the giant air-
liner roared across
the parkway and
crashed a few
hundred feet
away. Rushing to
the scene of the
disaster, Jeantet
not only gave first
aid, but set up his
semi - professional
recording equip-
ment, which he was carrying along in
his trunk, and reported the tragedy for
radio station WOR-New York. Work-
ing in the rain for two hours, Jeantet
vividly described the wreckage and the
rescue work, as well as putting on a
clergyman who offered a brief prayer.
"I couldn't devote my entire time to
making the records," Jeantet said, "be-
cause I was frequently called away to
help carry a charred body to the im-
provised morgue in the cafeteria of the
Academy of Aeronautics."
(Continued on Page If)
Marino Jeantet
Soundmen Need Barrel of Gadgets
iCovtinucd from Page 1)
A m.iii has to have an inventive mind
to work as a sound technician, and Urb
Johnson is just such a man. Among
his souvenirs he counts his rain-making
machine as one of his most ingenious
devices. At first sight it looks like a
washing machine on rollers with a huge
porcelain tub and three overhanging
shower bath sprays along with a faucet.
The merit of this contraption is that it
can be wheeled all over the station and
no water connection is required. After
a long search, Urb finally found a silent
electric motor and pump which rotates
the water through the tub and back
into the pipes so that a mere half-gallon
of water can produce the effect of an
all-night rain storm in the tropics or the
faucet can force a jet of water onto a tin
can to produce the sound of a man wash-
ing a car — even a sedan! For light rain —
garden party variety — water is allowed
to fall gently on a piece of soft cloth
placed on the bottom of the tub.
Many times Urb and his assistants,
Louis Woehr and Edward Wojtal, have
been called on to produce a sound with-
out a moment's notice. Urb recalls the
time a few years ago when he arrived
at Great Lakes, Illinois, where Kate
Smith, CBS singing star, was doing a
benefit broadcast for the Navy personnel
stationed there. When Urb arrived he
learned at the last minute that the script
required the sound of horses' hoofs —
and not a nag was in sight! Quick-think-
Johnson stepped to the microphone,
bared his chest, cupped his hands and
beat on his upper ribs in rhythmic
fashion which sounded like a whole
posse of western riders on the romp.
Johnson has many other tricks up
his sleeve, too — more than the aver-
age magici.in, and his latest assignment
for WBBM-CBS' "Adventurers' Club"
called for the sound of a rumbling
avalanche crashing down on a road. For
this effect, Urb placed a ten-inch record
over a 12-inch one and around the rim
of the larger record he cut a ragged
groove with a file. Rotated at different
speeds on the turntable, this clever in-
vention produced such a rumbling sound
that a CBS page girl passing the sound
department during the experiment, was
sure Chicago had been hit by an earth-
quake and ran for cover.
Not only does a sound technician have
to be an idea-man, a mechanic and an
athlete (falling all over the place with-
out getting hurt requires almost as much
training as a prize-fighter) but he has
to be a vocal actor as well. One of
Urb's special accomplishments is the
sound of a barking dog — any mood, any
degree of anger — which he can produce
and for which there is a special pay rate.
Looking around the WBBM sound de-
partment, a visitor has no doubt that if
the technicians on the staff are ever
required to reproduce the sound of Jack
climbing a beanstalk or an atom bomb
sent to the moon — they can do it! From
the floor to the ceiling there are more
gadgets than you'll find in the average
attic or hall closet: compressed air tanks,
buggy whips, clocks, pans, flower pots,
gongs, coffee grinders, straw hats, dishes,
toy trains, hat boxes, balls, plates of glass,
bottles, roulette wheels, punching bags,
rubber plungers, auto horns that date
back to 1904 — anything — you name it!
C. J. LeBel
^^t^ ^m'ldUt
By C. J. LeBel, Vice President
AUDIO DEVICES, Inc.
QUALITY CONTROL IN THE
DISC FACTORY
It is obvious that finding the finest
recording lacquer is not, in itself, the
only necessary guarantee of a good disc.
In the May issue we discussed the prob-
lems underlying the development of a
lacquer formula. Now we shall see what
precautions are
necessary in its
use.
A manufactur-
ing system without
a definite organi-
zation to supervise
quality maint e n '
ance is one with-
o u t guidance, s o
we were fortunate
that our 1938 con-
tract with La Soci-
ete des Vernis Py-
r o 1 a c started us
off with all the disc quality control
know-how they had developed since
1929. This system has been enlarged in
accordance with our own experience in
the nine years since then, and as we
make our own lacquer, control of pro-
duct characteristics is all under one roof.
Mistakes would be expensive, so a good
quality control system keeps costs down
at the same time that it improves quality.
Incoming Materials
General tests are applied to all incom-
ing raw materials, as follows:
1. Solvents and diluents are checked
for acid number, distillation range, non-
volatile residue, specific gravity, and
water content. Some manufacturers'
products must be checked drum by drum;
other organizations have not had a re-
jectable shipment in eight years, and a
spot check suflices.
2. Film forming material is tested for
solid content, viscosity, water content,
and clarity.
3. Plasticizers are checked for speci-
fic gravity, viscosity, and color.
4. Aluminum shipments may be spot
checked for flatness, surface smoothness,
and surface cleanliness. This is seldom
necessary as the circles have to be in-
dividually inspected as they go on the
production line, anyhow.
July, 1947
AUDIO RECORD
In addition to the general tests, speeial
proecdures are applied to certain mater-
ials. These special tests are for contam
inants which would not be shown up h\-
the simple methods previously men-
tioned, yet which would be harmful in
even small proportion. The test is re-
peated after purification, if the latter
proves necessary. Drums of chemicals
are tagged when approved.
Lacquer
The individual mi.x; is made and hit
ered by the Lacquer Department, usuii;
tagged drums of chemicals. Individu.il
mixes are used because continuous mix
ing (apart from the difficulty of hand
ling so large a number of ingredients)
would not permit of testing before pas-
sage of lacquer into the main system.
The filtering calls for the finest work
of the chemical engineer due to the
high solid content and hence the high
viscosity of the lacquer. The high solid
content is essential to single layer, homo-
geneous automatic machine application;
and the high viscosity results therefrom
by the inherent law of nature. Many
filtering methods and media are avail-
able: single, multiple filtering; plate-
and-frame filters and centrifuges; paper,
cloth, and other filter media; various
filter aids. It is most important that fil-
tration be done properly, for no com-
bination of methods is such that it can
be used without e.\tremely careful super-
vision, hence individual mixes arc tested
not only for viscosity and solid content,
but also for filtration quality.
The Engineering Department then
coats some test discs, and makes a record-
ing. If this is satisfactory, a sample of the
solution is retained in glass, and the
mix is released to production. This mix
is then blended with previous mixes in
tanks and aged before use. Hence lac-
quer in the tanks and system at any
given time is a blend of several mixes.
This blend is refiltered just before pass-
ing to the coating machines.
The sample in glass is retained for
several months, and is available in case
of doubt as to absence of impurities, or
question as to stability. It is always
large enough to coat an adequate num-
ber of test discs, as well as provide
material for analysis.
Disc Factory Control
The Engineering Department quality
control personnel make a regular check
of factory process conditions. It is in-
teresting to note that to check function-
ing of automatic controls they have to
read 118 thermometers. They must also
check many air flow indicators, machine
speeds, air filtering, and air conditioning
(Continued on Page !t)
More than 400 radio stations are currently cooperating in the U. S. Coast Guard's recruiting
program by airing "Jive Patrol." a unique series of 15-minute transcribed programs designed
to aid recruiting and to stimulate public interest generally in the humane work of the Coast
Guard. Above, Bea Wain and her husband Andre Baruch (right) were among the top disc
jockeys in radio who helped to promote the series. Jim Lehner (holding disc) of NewelJ-
Emmett Company, New York, is author of the programs. Featuring the Coast Guard Academy
band and its swing unit, the Coast Guard Cutters, the shows, which were offered to stations
nationally as public service features, are slanted to appeal to young veterans and recent high
school grads. Recorded station-break spots ranging from 10 to 60 seconds, and a 15-minute
platter-chatter script series for disc jockeys have also been backing the six-month recruiting
program. Newell-Emmett is now producing a 15-minute documentary disc for the Coast Guard
as a tribute to the service's 157th anniversary, which will be observed on August 4th.
Extensive Use of Recordings at Stanford Univ.
Explained by Head of Speech-Drama Dept.
From Mr. Hubert Heffner, Executive Head of the Department of
Speech and Drama at Stanford Univ., Palo Alto, Calif., comes another
account of the many uses of recording in audio'visual education today.
"In our basic courses, 'Training the
we use recordings extensively. Through-
out the term a number oi the regular
classroom discussions are recorded and
played back to the students for further
analysis and discussion."
The California school, also, uses many
discs in recording various campus radio
shows. Student announcers, too, use
discs regularly as a check-up on their
abilities.
"In addition to the classroom use of
recording," Mr. Heffner concludes, "the
Speech and Drama Department also em-
ploys a larger number of records for in-
struction purposes. For instance, in our
record library, we have discs of various
types of American dialects, examples of
outstanding readings of literature, re-
cords of actor interpretations of great
speeches from Shakespeare, and other
classic drama, and recordings of certain
major debates and discussion. These re-
cords are used in our public speaking,
oral interpretation and acting courses.
Speaking Voice', and 'Public Speaking',
wc make voice recordings of each stu-
dent in each section at the beginning of
the term," explains Mr. Heffner. "This
disc is then used in conferences with
the student as a basis of analysis of his
voice and speaking problems. And, as
he develops through the term, additional
recordings are made so that at the end
of the semester the student has a com-
plete record of his development attained
during the course. This same method is
employed in our course in 'Fundamentals
of Oral Reading'.
"We also use recordings," Mr. Heff-
ner relates, "in connection with certain
of our drama courses, although these are
not on a regularly scheduled basis as
they are in the speech courses. These
records are used only when it is desirable
to assist a student with a problem of
interpretation of a role. On the other
hand, in connection with our debate,
discussion and public speaking courses.
AUDIO RECORD
July, 1947
Disc Data
(Continued from Page 3)
settings. A most important test is that
of lacquer thickness, done by weighing
a disc before and after coating.
Discs which have passed factory in-
spection are sampled regularly through-
out the day, and checked by engineering
personnel for the following:
1 . Noise
2. Thread action
3. Static
4. Groove gloss
5. Wear
6. Coating thickness
7. Perfection of filtration
On the basis of these tests production
discs arc released for packing and ship-
ping. It should be pointed out that the
control number on the disc is on a chro-
nological basis. The blending mentioned
above and the quantities of raw materials
arc so great that it has been quite im-
possible to change the control number
every time we use another drum of any
given chemical.
Production discs sampled as mentioned
heretofore are retested periodically to
check for:
1. Noise level increase — a groove cut
today should not be noiser when played
back next week, ne.xt month, or next year
(if dust is excluded). A groove cut next
month, or next year should be no noisier
than the one cut today, in the same disc.
2. Delayed wear — A groove cut to-
day should last for just as many playings,
whether it is played right after cutting,
a month, a year, or a decade later.
Discs are inspected 100 per cent by
the factory staff at each of the following
points in the process: aluminum circles
before coating, discs leaving the coating
machine, discs leaving the drying con-
veyor, and when completed.
Note that every disc manufactured is
inspected, but not all discs manufactured
need be test cut. Successive discs are
chemically identical, and a test on one
is a test of the next thousand. Scientific
sampling procedure is the basis of good
quality control in this case.
A Few Sidelights
Experience has indicated the value of
a number of precautions. Perhaps our
readers will find them of interest:
1. Lint- free smocks for operators
2. Periodical washing of floors and
walls
3. Special ventilation systems with
low air velocity
4. Extremely large filters, each
now as large as and rather
heavier than an automobile
5. Minimum number of personnel
in certain critical areas of the
plant
rioneer
On the afternoon of Feb. 3, 1935, Martin
Block, whose name is a synonym for disc-
jockey, "sold" the station manager of a New
York station on the idea of presenting a record
program. And, without a turntable, the crea-
tor of radio's famous "Make Believe Ball-
room," conducted his first half-hour disc show
with a tiny portable phonograph. Next day,
as a result of a telephone barrage from curious
listeners, the station gave the likeable Mr.
Block a solid hour to spin his records . . .
and he's been spinning 'em ever since. His
new program "The Martin Block Show" over
the coast-to-coast Mutual network is being pre-
sented direct from a special newly constructed
studio, equipped with the latest recording
equipment, in his home in Encino, Calif.
KFWB-Hollywood. which also carries the pro-
gram, feeds the show to the Mutual web.
6. Lint-free packaging — s p e c i a 1
wrapping for all discs; lacquer
impregnated spacing rings to
separate masters
Nevertheless, just as good filtration
will not cure a bad formulation, every
step in the process is a vital link in the
chain. Break one link and the chain is
broken. This intricate chain that is the
disc making process is maintained by our
personnel. Good personnel are as im-
portant as good equipment, so we are
exceedingly fortunate in that over half
of our key production personnel started
with us in the early days of automatic-
m.ichine disc-coating.
Horror of Plane Crash Recorded
(Continued from Page 2)
In his WOR broadcast, which was
heard on Fred VanDevcnter's IIP. M.
news broadcast on the evening of the
tragedy, Jeantet said: "There is no panic
here among the personnel. Nurses and
doctors are going about efficiently, not
saying a word in their grim duty. The
police are restraining crowds as the
clergy, such as the minister you heard a
moment ago, comfort some of the hyster-
ical people viewing the scene."
Working without assistance, in the
driving rain, Jeantet gave a dramatic
and moving account of the disaster,
which, until less than 24 hours later,
had the horrible distinction of being the
worst air tragedy in the history of
American commercial aviation.
U. S. Stations Air French Discs
(Continued from Page 1)
The next step in Franco- American
i.idio relations followed naturally: a plan
I or interchange of radio programs be-
tween France and the United States, to
bring the peoples of the two countries
closer together. An American Advisory
Board was set up under the chairmanship
(if John S. Hayes, Station Manager of
WQXR — New York, to help put this
plan into operation. And, on April 7,
1947, the New York office of the North
American Service sent out the first discs
in a scries of 12 different programs, 5-
and 15-minute transcriptions in English,
to 165 American stations.
Offered to all U. S. stations without
cost for use as sustaining features, the
French programs are recorded in Paris
on the Champs Elysces and airmailed to
New York where the pressings are made.
Six of the principal programs offered
include HELLO FROM FRANCE—
a weekly chronicle of amusing and inter-
esting happenings in France, and more
especially in the French capital, and in-
terviews with famous celebrities; REN-
DEZVOUS IN PARIS— a weekly tour
of Paris' nightclubs and cafes, with the
well-known stage and movie actor,
Claude Dauphin, as Master of Cere-
monies; THE FOLK MUSIC OF
FRANCE — a musical journey through
France. Every week the Narrator, a folk
ballad hunter, brings his latest discoveries
in the field of French folk music; FIVE
CENTURIES OF FRENCH MUSIC—
twice every month, the symphony or-
chestras of France present the classical
and modern music of their country;
UNIVERSITY SERIES — a series of
sketches of student life in Paris with
visits to schools, museums, libraries and
historic monuments; YOUTH SHOW—
how teen-agers in Paris live at the pres-
ent time, their family life, their schools,
their amusements, their ideas.
Thus far the reaction to the series,
which are not educational programs, but
very informal on-the-spot reports of
everyday life in France and of the cus-
toms and ways of its people, has been
extremely gratifying. In less than two
months of operation, the number of sta-
tions transmitting the discs has gone up
from 165 to over 200 stations in 46 states
of the United States, in Canada, in
Alaska and in the Philippines.
As a counterpart to these shipments
from France, American stations are pre-
paring similar programs in French to be
sent to France. Already NBC and the
Voice of America broadcasts in French
are being relayed by the French net-
works. Thus radio, with the aid of
transcriptions, is playing a new and great
part as a medium of peace and better
understanding between nations.
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 3, No. 8
444 Madison Ave., N. Y. C.
September, 1947
AUDIO TO SPONSOR RADIO SCRIPT AWARDS
Many Cash Prizes To The
Writers of Best Scripts
Competition Open to All Senior High
School Students — Teachers of Win-
ning Entrants Also to Receive Awards
Scholastic Magazines, New York,
sponsors of the yearly "Scholastic
Awards" for high school students, has
welcomed Audio Devices, Inc., as co-
sponsor of the 1948 Scholastic Writing
Awards in the Radio Script Classifica-
tions. (Contest Rules and Awards listed
on Page 4).
The Scholastic Writing Awards, one
of the five programs in the annual
"Scholastic Awards," has been in oper-
ation for almost 25 years. During that
time thousands of students have sent in
their work to be judged by nationally
known writers. And, too, thousands of
teachers have used the Writing Awards
as an incentive to more and better writ-
ing in their classrooms. Many prize win-
ners in the early years of the competi-
tion arc now recognized writers. Among
them are Gladys Schmitt, author of
"David, the King," and Maureen Daly,
associate editor of the Ladies Home
Journal.
Radio script writing, the classification
in which Audio Devices is the sponsor,
is a good example of how a particular
classification can grow in the annual
contest. Originally, all radio scripts, to-
gether with one-act plays, were in a sin-
gle classification. However, in the 1947
Awards, the competition recently com-
pleted, the scripts were separated from
the plays and divided into two sections —
drama and non-drama scripts. This
change recognized the increasing impor-
tance of radio in the school. Following
this innovation, the Association for Edu-
cation by Radio offered its co-operation
to the Scholastic Awards, in order to en-
courage radio writing by high school
students.
Now this year sees another step for-
ward. With Audio Devices coming into
the picture. Radio Script Writing has
been divided into three classifications —
Original Radio Drama, Radio Drama
Adaptation and Non-Drama Script.
(Continued on Page If)
Tulane University Band in a recording session in iVlcAIister Auditoruim on the Tulane Campus.
Inset — George Boileau (rear) and Roy Grubb record the proceedings in the control room.
Recording Unit at Tulane University Credited
With Innproving Quality of Band's Perfornnance
The portable recording and playback machine, which was in-
stalled a few months ago at Tulane University in New Orleans, has
done one thing in particular for the Louisiana school — ^it has improved
performance
the performance of their band. Such
ii the opinion of Professor John J. Mor-
rissey, head of the music department in
the college of arts and sciences.
"Yes," says Professor Morrissey, "the
unit, which I call my department's me-
chanical assistant conductor and teacher,
has saved considerable rehearsal time
and is a real professional error dector.
Home Work
"Last spring," continues the professor,
"while our band was preparing for the
annual concert, the recording eqtiip-
ment saved us many valuable hours. As
an illustration, after the unit had re-
corded the band part of a vocal number,
our vocalist would take the disc home
and play it back on here phonograph
while she sang the lyrics. Not only, in
this way, was she able to practice the
song over and over again until she got
it just the way she wanted it, but we
also eliminated the need of the singer
and band appearing together for re-
hearsal at any one given time."
Professional Records Help Too
The unit according to Professor Mor-
rissey, also proved its value in other
ways, too. For instance, when he
wanted to get something special into a
specific number, the Tulane director,
would put on a recording of the identical
song as done by a professional orchestra,
while the band listened. Then, it was
their turn to try and duplicate the per-
formance of the "pros." If the boys
would trip over a few notes they'd
know it soon enough when the disc was
played back. After a second recording
of the song, the record would again be
played back while the boys listened for
the improvement or the same mistakes.
(Continued on Page 2)
AUDIO RECORD
September, 1947
CLudla # record
VOL. 3, NO. 8
SEPTEMI5ER, I'^r
Published monthly by AucJjo Ucviccs, liu ,
444 Madison Avenue, New York City, in tlit
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocation:i]
schools and recording enthusiasts throughout
the United States and Canada.
A Dog, A Guy, and A Disc
liy Allnii Dale, Musical Diicitor
Radio Station KRIO
McAllcn, Tcxab
{A shurL lime ago, Allan Dale, rccanl
spinner of Station KP II -Wichita, Icil
his position with the Kansas outlet to
take on the musical director chores of
Station KKIO-McAllen, Texas. And
along with Allan went his assistant
"Cheeta", Radio's only Canine Disc
Jockey. We wrote and asked Allan to
give us the story behind Chccla's un-
usual career and here it is.)
How do you go about writing a story
concerning a dog that is not just a dog
. . . that is, not a dog in the true sense
of the word? I a.sk you: Do you have to
spell words in the presence of dogs to
keeji them from knowing your plans?
Well, I have to do just that around
Cheeta. Like most women, she is very
"Chccta" Canine Di.sc Jockey
nosey. Born on a transport plane 500
miles out of New York City en route
from Ireland, Cheeta is quite a cosmo'
polite. No, she's not a Sky Terrier but
the party who gave her to me says she
is a Norwich Terrier, so that's close
enough, eh? The plane was bound for
Bergatrom Field in Austin, Texas and
that's where yours truly entered the
picture.
Cheeta and I have been together
ever since . . . almost six years now. I
was a bachelor during most of this time
and, of course, she spent the day with
me at the radio station, or should I say
stations. We've worked together in
Austin, Texas, New York Cily, Miami,
Blind sMin hirlli, Alonzo G. .Squin s ( i|. nc li li ) is the r.ip.nblc m.c. of one of the most
popul.ir disc pro^yams in the South. Ills c.iriy morning show "Hrcakf.TSt with Squires" is
heard daily from 5:00 !o 8:00 A.M. over WAYS-Charlotte, N. C. Squires, a Rraduate of the
University of Noith Carolina, whore he received a law degree, cnlercd radio as a result of a
guest appearance on the Tred Allen show back in November, 1941. The manager of a
Washington, D. C, station engaged him for a telephone show where he stayed until he
answered the call to return to his first love the South. Translating his commercial copy into
braille and memorizing his continuity and the musical portion of his program. Squires breetes
through the three hour stanza without any trouble at all. He never misses a station break
nor a time signal. His head set is rigged up so that one earphone monitors the music and
the other allows the control operator to cue him. The early morning show features folk
music, old and popular tunes, and a gondly portion of Squires' humor, which has almost become
a legend in these parts, and his homespun philosophy. In his three years over WAYS, he
has become so popular and beloved that his name has become a household word.
Fla., Wichita, KansMS, and now she is
down here deep, deep in the heart of
Texas in the beautiful Rio Grande Val'
ky. We are lending our combined ef-
f(,rts m helping to run KRIO, a brand
new .ind coming radio statinn.
Duties Confined To Old Platters
Now Cheeta, strange as it may seem,
\c a very fine assistant disc jockey. She
carries out the old transcriptions and if
I show her where to put them she will
do her job without anything being said
to her. Just give her the disc and that
is all that's necessary. As yet, I haven't
trusted the new transcriptions or re-
cords with her, but as she gets older and
Icses her teeth, I'll let her take care of
these too.
Checta's talents do not stop at trans-
porting discs, though. She can bark,
or speak, on cue. Fine for dog food
sponsors. She's a ham from the word
"go" too. Give her a live audience and
she is at her best. As a matter of fact,
she's pulled me out of many a hole.
And another thing, she has learned
to recognize my sign-offs and the minute
the mike is cut, she is sitting up on her
hind legs trying to tell me that she is
ready to go. Frankly though, she thinks
I'm terrible . . . she looks bored with
every show I do.
Now that I'm not a bachelor anymore,
(married the cute singer, Peggy Jones,
one of the "Fabulous Dorsey" gals) my
two singing females have me sitting up
and speaking (to myself). But, I love it.
Disc Unit Improves Tulane Band
(Conlinued from Page 1)
In this way, their progress was gauged
jierfectly.
"And then to," the professor added,
"with our equipment the individual
performer has an excellent opportunity
t(' correct his errors and improve his
playing immeasurably. If he is con-
cerned with his inability to reach certain
notes, all he does is cart the platter
home — play it back on the radio-phono-
grajih — and concentrate on his short-
comings until they are corrected to his
and his leader's satisfaction.
Programming Time Cut
"In addition," Professor Morrissey
concluded, "recording helps considcir-
ably in making up a program -timing
each individual number and, of course,
the entire program."
The Tulane unit is composed of two
large turntables, which operate by a
dual motor (fast and slow), a recording
amplifier, a dynamic speaker, a coaxial
speaker, and two microphones, one for
soloists and the other attached perma-
nently to the ceiling of the University's
McAlister Auditorium, located on the
Tulane campus.
September, 1947
AUDIO RECORD
w t\€ayulUt
by C I. LcBcl, Vice President
AUDIO DEVICES. Inc.
GROOVE WAVELENGTH
A wide stLidy of disc recording stand-
ards will begin this fall, as the industry
i-esumcs a standardization program in-
terrupted hy the war. Probably the most
violent discussion will take place over
the problem of groove and stylus con-
tour, one of the
oldest and most
pressing and yet
the least stand-
ardized of all lat-
er.d recording as-
pect;*, C'liroovC'
contour a n d re-
prnd ucing-stylus
tip bear a lock
and key interrela-
tion in this era
ol permanent-
point styli, and
ilu- lack of gen-
;igrccment on dimensions has been
I he curve rides on the straight side ol
the groove. If this is overdone, the tip
will ride on the top corners of the
groove, which makes for noisy reproduc-
tion and complete tracking failure at
high volume passages. This imposes no
mininuim limit on the groove radius.
Improved fidelity requirements in
current recording practice make it highly
desirable that the new standards be set
so as to minimise di.uneter effect. Con-
DISC DIAMETER
recorded
C. J. Lellel
/''?</. i I'Umd.arncntiil Stylus 'rip
Dimensions
very objectionable. In the olden days
a steel reproducing stylus would grind
itself to a fit — now that fit must be pre-
determined. In this and subsequent is-
sues of the Audio Record we plan to
discuss the matter in some detail.
It is generally agreed that the most
irliable tracking occurs when the radius
ol the reproducing stylus tip is slightly
greater than that of the groove, so that
FREQUENCY
Fifj. 3 Effctt uf Decreased Dine Ditim-
ctcr. m Reducing Reproducer Output
sider what happens when we attemi^t
to trace a sine wave groove with a point
whose effective diameter is equal to the
wavelength of the groove. It can be seen
that two factors affect tracking. Pinch
effect (narrowing of the groove at
higher velocities) distortion cancels out
if the stylus is free to lift slightly when
necessary. In the particular illustration
given it will be found that, even when
lifted, the stylus tip still cannot follow
100
Fig. If Tracking Problem
the extremely small radius of the pejiKS
ol' the wave. The point stylus is too
huge to track correctly at that frequency
and velocity, a fault which occurs chiefly
at the smaller diameters.
While practical factors make a drastic
decrease in point radius questionable,
clearly even a small change would be
of help. To help visualize the dimen-
sions involved we have drawn Figure 5.
The discussion will be continued in
the next issue.
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Fig. 2 SI iilns 'h-Doi'c Krlation for
Proper Trucking
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FREQUENCY
Groove Wavelength at 3S\i<% R.P.M.
AUDIO RECORD
September, 1947
Audio To Sponsor Script Awards
(Continued from Page 1)
All entries in the 1948 competition,
to be judged by famous professional
radio writers, must be in on or before
March 5, 1948. (Where regional Writ-
ing Awards are held, work must be sub-
mitted to meet their earlier deadlines.)
Winners in the three classifications will
be announced in May, 1948. Shortly
before this announcement, however,
school principals will receive notifica-
tions, as well as the cash awards for
presentation to their winning students.
Rules and regulations governing the
contests and a list of the awards follow:
RULES AND INSTRUCTIONS
1. All students in grades 10, 11 and
12 in any public, private, or parochial
high school in the U. S., its possessions,
and Canada are eligible.
2. No radio script will be considered
for the Awards if it has been entered in
any other national competition.
3. Each script must contain a separate
full-page sheet on the front; on this
sheet should be written the following in-
formation:
(a) Entrant's name, home address
(street number, city, state).
(b) Entrant's school and its ad-
dress.
(c) Name of entrant's teacher.
(d) Name of entrant's principal.
(e) Age of entrant on March 5,
1948.
(f) Entrant's grade.
(g) Classification of entry (Orig-
inal Radio Drama — Radio Drama
Adaptation — Non-drama Script).
(h) Entrant's signature.
(i) Signature of entrant's teacher.
4. All scripts must follow standard
radio script form. Maximum length:
3,500 words. Shorter scripts preferred.
5. Scripts in any one of the three
classifications must be written in accord-
ance with the following:
(a) Original Radio Drama — Must
be an original treatment.
(b) Radio Drama Adaptation —
Scripts based on published material;
fiction, biographies, history. Ac-
company script with source facts;
title, author, publisher. Where pos-
sible, use non-copyright sources.
(c) Non-Drama Scripts — May be
interviews, dialogues, news, sports,
variety programs, continuity for
music, etc. Any form except drama.
6. Although students are free to enter
the Competition individually, it is rec-
ommended that work be included in the
group sent by a teacher after preliminary
eliminations in the school.
7. Scripts should be typed or written
legibly in ink, on one side only of paper
S^^'xll". Pages should be numbered.
S. Entries may be sent at any time
during the school year up to the closing
date, March 5, 1948. Mail direct to
Scholastic Writing Awards, 220 East
42nd St., New York 17, N. Y.
9. Scripts MUST be mailed flat (not
folded or rolled) at the first class post-
age rate of 3c an ounce.
10. The decisions of the judges and of
the editors of Scholastic Magazines are
final. The right is reserved to withhold
prizes if the quality of the entries does
not warrant an award.
1 1 . All scripts receiving awards be-
come the property of Scholastic Corpo-
ration, and no other use of them may be
made without written permission.
12. No scripts will be returned. (Stu-
dents should keep carbon copies of their
entries.)
AWARDS
STUDENTS
1st Prize (in each classification) $25.00
2nd Prize (in each classification)__$15.00
3rd Prize (in each classification) $10.00
TEACHERS
Teachers of students winning first
place in each classification — 25 Audio-
discs, 3 Sapphire Recording Audiopoints,
3 Sapphire Playback Audiopoints.
Supplementary Award
For each script submitted found suitable
for publication in booklet form $10.00
(Short scripts of skits 200-900 words —
maximum playing time 6 mins. — that
other school groups can produce are
especially welcome.)
/4( ^eut...
MORE PROFESSIONAL aucUodlscs
AND oudionoinis ...FOR SCHOOLS!
• Yes, at last, adequate quan
tities of the world's leading
professional recording discs and
the finest quality recording and
playback points are available for
school use.
Since Audiodiscs were first man-
ufactured . . . the demand for the
smaller size blanks . . . suitable for
educational work . . . has exceeded
possible supply. But today, with
increased production facilities and
available raw materials . . . these
fine discs are obtainable throughout
the nation.
Leading educators are agreed that no
other teaching aid equals high fidel-
ity recording in the speech, drama,
language and music departments.
more readily determined
or more effectively demonstrated.
Audiodiscs and Audiopoints assure
the very best in life-like reproduction.
Your Audiodisc recordings
can be played back hun-
dreds of times and don't
deteriorate with age.
For further informa-
tion, see your Audio-
disc and Audio-
point distributor
... or write us.
Audio Record, our monthly publication, is mailed with-
out cost to schools and colleges throughout the country.
Each issue contains articles of particular interest to
school recordists. If your name is not on the Audio
Record mailing list, drop a penny post card to . . ,
AUDIO DEVICES, Inc.
444 MADISON AVE.
NEW YORK 23, N.Y.
recoTcl
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 3, No. 9
444 Madison Avenue, N. Y. C.
October, 1947
Who said ... a Recording
Engineer's Life is Dull?
By Gordon Sherman, Recording Engincir
KMOX-St. Louis
KMOX has made approximately 30,'
000 records during the past eleven years.
Many of these recordings were made un-
der unusual circumstances in the field.
Today at KMOX
we have four per-
manent recording
channels and four
field units. These
field units consist
of every type of
recording equip-
m e n t , including
^ disc, wire and tape.
Wk\ \ Since 1936, how-
g^^ \. ever, practically all
^^^L \ J field records have
I^hK-. been made with
our disc equip-
Gordon Sherman ment.
These field assignments have taken
me into 25 states, Mexico and out on the
high seas. It would be diflicult to pick
out any one assignment as the most in-
teresting, as practically all involved dif-
ferent subjects and different technical
problems.
In the summer of 1937, KMOX in-
augurated a society page of the air and
the field department was assigned to
cover summer resorts frequented by
prominent St. Louis citizens. Marvin
Miller, former KMOX announcer, and
1 visited a number of exclusive Michigan
beaches. At each location we set up our
equipment on the beach. Miller, attired
in a bathing suit and with a mike in
hand, waded into Lake Michigan to in-
terview St. Louisans at play.
The same year, Dan Donaldson, also
a former KMOX announcer, and I were
assigned to cover the erection of the
Alton (Illinois) Dam, reporting various
phases of construction and interviewing
the workers on the job. At one time, my
recorder and I located on a ledge no
more than four feet wide and about 500
feet in the air. Danny, suspended in a
basket by cable and swinging in mid-air,
shouted to workmen nearby and received
their shouted replies to his queries.
(Continued on Page 3)
WBKY-Univcrsity of Kentucky "FM" station records a University Round Table discussion.
Pictured left to right are Dr. Arnold Anderson, Dr. Ainry Vanderbosh, Glenn P. Morrow
and Dr. Howard Beers. Inset — Gloria Hedges and Rudolph Landin handle the recording
equipment in the control room.
WBKY, University of Kentucky's "FM" Station
Uses Recordings In Three-Fold Capacities
By Elmer G. Siilzer, Radio Director
UNIVERSITY OF KENTUCKY
Lexington, Ky.
The plaintive strains of Barbara Allen, sung by the Kentucky
mountain girl, and accompanied on a home'made dulcimer, will not be
lost to posterity, because of an activity which has been carried on for
a number of years now by WBKY, the
University of Kentucky's Frequency
Modulation station. As often as op-
portunity permits, well-known perform-
ers of Southern Appalachian Balladry
are brought to the University's studios
and their entire repetoires recorded.
Usually three copies of each record are
made — the original which reposes un-
disturbed in the station files; a copy of
which is used on programs; and another
copy which is usually dubbed at 78
RPM and given to the performer.
As a result of this policy, the Uni'
versity of Kentucky's FM station is ac-
cumulating a definitive set of American
folk records that some day will be price-
less. Among the performers brought
into the studios are John Jacob Niles
(Continued on Page U)
Top Dailies to Conduct
Regional Script Awards
Interest High in Writing Competition
Many leading newspapers will con-
duct preliminary contests in the 1947-48
"Scholastic Writing Awards," Mr. Wil-
liam D. Boutwell of Scholastic Maga-
-ines, sponsors of the yearly writing
competition for high school students,
announced recently. "Among some of
the papers who have agreed to offer
their services in promoting our writing
awards," Mr. Boutwell said, "are: the
Birmingham Post, Knickerbocker News
(Albany, N. Y.), Dayton Daily News,
Detroit News, Hartford Courant, New-
(Continued on Page 2)
AUDIO RECORD
October, 1947
CLudla ^ record
VOL. 3. NO. 9
OCTOBER, 1947
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and (Canada.
jQ.ecota.ina ana.
The Small Market Station
By John Alexander, General Manager
KODY-North Platte, Neb.
Every small market station in the
United States, interested in covering the
special events of its own territory, will
find their recorders of inestimable value.
Truly, they are worth their weight in
gold!
At KODY we
have five record-
ers. All of them
are put to good
useage practically
every day. Our
equipment con-
sists of two por-
- J|4 j) table transcrip-
^ t i o n recorders,
*' two tape record-
ers and one wire
recorder.
John Alexander If Other small
market stations
arc similar in operation to KODY, they
do not have large program budgets.
Money for direct lines and loops
throughout our territory simply is not
available. Consequently, our recorders
are on the job night and day. At KODY,
we have a policy of covering every
special event that has significance in our
area. Eighty per cent of these coverages
are accomplished with discs, wire or tape.
At KODY, we carry a heavy schedule
of commercial network. Consequently,
recordings must he utilized so the vari-
ous special event programs can be de-
layed to periods of time that are avail-
able. E.xample: In the winter, we can-
not carry the Basketball Games at the
time they are actually played due to
commercial network commitments. We
transcribe each game in its entirety and
replay later the same evening.
Like many other stations today, we
find the wire and tape recorders of tre-
mendous value in obtaining up-to-the-
minute news. Practically all our locally-
originated newscasts carry one or more
recorded statements from local official.-;,
celebrities visiting our city, or people
who are in the news.
At KODY, we look upon our record-
ers as a great asset to our Program De-
partment. We promote them and pub-
licize the things we are able to accom-
plish with their help. We have dis-
played and demonstrated our wire and
tape recorders before innumerable civic
clubs and organizations in KODY-land.
It has been a profitable move on our
part to invest in good recording equip-
ment and the finest in discs, wire and
tape.
Papers to Promote Script Awards
t Continued from Paae J)
ark News, Newport News Daily Press,
Arizona Republic (Phoenix), St. Louis
Star Times, Pittsburgh Press, Bingham-
ton, N. Y. Press, and the Washington,
D. C. Star. (These papers will offer
special awards for winning entrants in
their respective regions.)
"In addition to the great interest
shown by the press this year in the
"Writing Awards," Mr. Boutwell added,
"student and teacher enthusiasm is great-
er than ever before. This may be due
in part to the fact that we have several
new classifications for students to choose
from. Among them, of course, is Radio
Script Writing (the classification which
is sponsored by Audio Devices). With
so many students interested in entering
the radio field, it is almost a certainty
that we will receive thousands of entries
in this classification alone.
"And speaking of the radio script
classification," Mr. Boutwell remarked,
"teachers of students who plan to sub-
mit entries in this classification arc re-
minded to advise their pupils that scripts
which can be readily used by other
schools in class plays or that can be
adapted for use on Thanksgiving, Christ-
mas or other holiday programs are espe-
cially welcome. And then, too," Mr.
Boutwell went on, "scripts need not all
be serious in structure. Although many
fine scripts of this type will be received,
those of a humorous nature will cer-
tainly be welcome also." (Teachers also
are reminded that Audio Devices v,'ill
award special prizes to those scripts
found suitable for publication.)
More complete detailed information
on the Radio Script Writing Classifica-
tion in this year's "Scholastic Writing
Awards" (rules and awards) may be ob-
tained by writing Scholastic Magazines,
220 East 42d Street, New York 17, N. Y.
ATTENTION
The Editors of Audio Record welcome
contributions from its readers. Any news
concerning your recorded programs or
other recording activities, that you believe
will be read with interest by recordists, tan
be used. Photographs, drawings, or graphs
needed to illustrate your material will be
appreciated also. Address all contributions
to: — The Editor, Audio Record, 444 Madi-
son Ave., New York 22, N. Y.
Me i^ejco^dut
By C. J. LeBel. Vice President
AUDIO DEVICES, Inc.
TRACKING PROBLEMS
Last month v.'c began a study of con-
ditions for good reproduction from lat-
eral cut discs: the conditions under
which the reproducing stylus will faith-
lully track the groove contour. In its
most simple form, we discovered that
when the effective
radius of the sty-
lus tip was large
compared to the
wavelength of the
groove, poor
tracking would re-
sult. This is an
oversimplification
of the problem,
and we now take
the matter up in
more detail.
There are three
f actors which
govern tnicking:
1. Reproducing stylus tip must be
positively coupled to the groove walls.
Such positive coupling can he achieved
by having the spherical portion of the
stylus tip ride on the straight side walls
of the groove. This is easily achieved,
when desired, by using a slightly larger
radius for the reproducing stylus tip than
was used for the cutting stylus tip. In-
cidentally, this mismatch increases the
unit area ]-)ressure on the area in contact.
Fkj. 1 Stylus-Groove Relation for
Proper Trackmff
To be sure that our recording lacquer
will withstand this pressure increase,
Audiodisc wear tests for years have been
run with such a radius difference. Posi-
tive coupling is no longer a problem.
2. Pinch effect — When the groove
lateral velocity is high, the width of the
groove diminishes. Pierce and Hunt'
showed that this effect produced a sec-
ond harmonic distortion in the vertical
October, 1947
AUDIO RECORD
Fif/. 2 Groove Width Decreasing at
High Grove Velocity
direction, which would cancel out in
lateral reproduction only, it the reproduc-
ing styius could lift freely without giv-
ing electrical output. This lift is an ex-
tremely minute amount; in phonograph
record reproduction with an ordinary
steel needle the needle can often flex
enough to produce the lift without rec-
ord damage. When reproducing from
Vinylite this is not enough, and verticil
compliance must be engineered into the
design. All modern transcription pickups
are so designed, and at least two high
fidelity home phonograph pickups have
this feature. I'n short, pinch effect is no
longer a problem.
3. Needle radius and groove radius
— This portion of the problem is more
mathematical in nature, but it may be
appreciated by considering the effect ol
trying to follow minute groove convolu-
tions of small radius with a stylus tip ot
larger effective radius. This is an over-
simplification (if a problem which is pro-
Fki. S Reprorlucing Stylus of Large
Radius Failing to Follow Small
Groovc-Kudius-of -Curvature
foundly mathematical in nature, but it
is nevertheless an apt illustration. A
complete treatment has been given by
Pierce and Hunt' and Lewis and Hunt-.
Brief consideration will show that it
we are to faithfully reproduce high fre-
quency tones at high velocity — which
combination occurs when using NAB
pre-equalization — we require a very
small stylus tip. Unfortunately we can-
not reduce the tip radius ad finitem, for
a number of problems arise:
A. There is a lower limit to the
radius which the lapidary can produce
(Continued on Page If)
Much Recording Activi+y At
Syracuse U's Radio Center
Discs — Tape — Wire Used
Equipped with both a wire recorder
and two large recording tables for cut-
ting discs, Syracuse University's Radio
Center is kept busy transferring sound
to groove and wire.
The uses to which recordings are put
at the New York School are in general
two-fold; for broadcast and for instruc-
tion. Regular program series are tran-
scribed in the Radio Center studios and
pressings made of the discs which are
sent throughout New York state. "For-
estry Journal" is one of such programs,
which is cut every two weeks and used
on 17 stations. The program is done by
the College of Forestry and is aimed at
education in conservation and better
forestry.
Thomas Keiser (left) and Robert Pierce
shown cutting half-hour program on two
Syracuse University Radio Center recorders.
Among its recording functions, the
Syracuse Radio Center cuts commercial
discs for advertising agencies, records
its own shows for playback on AM sta-
tions, WFBL and WSYR, when time
is not available for live pick-up, and
makes recordings for comm.unity groups
for use by them.
Students also find recordings to be ex-
tremely helpful in performance courses.
In Radio Announcing extensive use is
made of recordings. Students in Radio
Production cut entire dramas, music
shows, etc., for playback to the class
and criticism.
The equipment is used in making disc
recordings synchronised to motion pic-
tures for later transferral of sound to
combined print of sound on film.
Another important function is the
documentation of special events and
University activities. Among the work
done in this line were the recording ot
the entire day's ceremonies at the in-
stallation of Dr. Paul H. Appleby as
Dean of the Maxwell School of Citizen-
ship and the day-long celebration of
Spring Weekend, both of which have
been "retained as historical university
material.
Who said ... a Recording
Engineer's Life is Dull?
(Continued from Page 1)
On several occasionSj the recording
department was requested to furnish
unusual, authentic sound effects.
On one occasion, I had to set up my
equipment in the bottom of a lead mine
shaft and run a mike and cable several
hundred feet to a portion of a shaft
that was being dynamited. Dressed
as a miner, I had to do some crawling
in a low, dark section of the mine — the
only light coming from the miners' lamp
on my cap — to get to the spot where
the mike had to be installed.
The mike was placed in a small cavity
of the shaft to protect it from flying
debris. When the dynamite went off,
the recorder, even though quite a dis-
tance away, lifted a full inch off the
bench it was on. By careful dubbing
back at the studio, we produced an au-
thentic record of a dynamite blast, with
all of the accompanying reverberations
heard in a mine. The record is still in
the sound effects file, carefully guarded.
One of the oldest and best programs
on KMOX is the "Land We Live In."
A great deal of work and expense are
put into this show to keep it the best
St. Louis production. For an episode on
the story of Bagnall Dam, a complete
musical score was written and special
musical effects simulating the turbines
and generators was to be used. The field
department was asked to bring back all
of the authentic sounds heard in the
various sections of the dam and the
generating rooms.
We recorded every large separate
piece of mechanical equipment and even
had the operators of the dam open the
water locks so that we could record the
water rushing over the locks. From these
sound effects, three musical arrangers
designed a musical score that was indeed
unusual and authentic.
In the summer of 1945, our news
editor and I set out for Camp Kilmer,
New Jersey. We were assigned to cover
the return of the 86th (Blackhawk Divi-
sion) from Europe. At Camp Kilmer,
we set our equipment up on a Coast
Guard cutter and put out to sea. Sev-
eral hours out, we met the transports.
While our cutter crossed the wake of
these ships, we recorded at close range
the return of the boys to U. S. ports.
We stayed with the G. I.'s and re-
turned with them on a troop train to
Jefferson Barracks in St. Louis, Missouri.
Whenever the troop train stopped for
water we would jump out, find an a.c.
outlet and start recording interviews with
the boys.
In Pittsburgh, the train started pull-
ing out in the middle of a recording.
AUDIO RECORD
October, 1947
The recording continued until our cable
slack gave out, and then, with the train
picking up speed and • with the aid of
several helping hands, the cable was
reeled back into the coach.
Yeh, who said a recording engineer's
life is dull?
WBKY. U. of Kentucky "FM"
Station Uses Recordings in
3-Folcl Capacities
(Continued from Page 1)
and Tom Scott, both nationally known
collectors and performers of American
folk music; the famous Ritchie sisters of
Viper, Kentucky, and numerous moun-
tain individuals and ensembles whose
fame may be only lacal, but whose
musical interpretations have great value
for the student.
Not only balladry is recorded by
WBKY. The final commencement ad-
dress of a retiring University president,
the 'round-the-world broadcasts on the
"V" days, and many similar occasions
have been recorded for possible pro-
grams in the future.
But it is not only for the preservation
of material that recording services are
valuable. A potential radio performer
can realise more of his defects by listen-
ing to an audition recording, than by
hearing hours of verbal criticism. There-
fore, we record all doubtful portions of
proposed programs so the performers
can hear and study the dubious parts.
Of direct training value is the use of
recordings in our classes. We have three
courses in radio speech at the University
of Kentucky — Radio Announcing, Ad-
vanced Radio Announcing, and Radio
Dirama, respectively. In all ,of these
courses at the first of the quarter, each
student must record certain 'material.
At the end of the quarter, he does an
additional recording, and a careful com-
parison between the two recordings
forms a factor in the grade he gets.
Our third use of recordings is in the
transcription of programs to be used
by other stations, for in addition to the
operation of WBKY, the University of
Kentucky radio studios provides in-
numerable programs for Kentucky's
commercial stations. At various times
during the year, a single recording, such
as Founders' Day Program, may be
dubbed and sent to fifteen or more sta-
tions. The University broadcasts eight
live programs a week over WHAS —
Louisville, but recorded stand-by pro-
grams are kept at WHAS to be used in
emergencies caused by line failures or
other causes. Even on its own station,
WBKY, transcriptions of its talent may
be used when the time the talent can
perform doesn't coincide with the time
available on the air.
Disc Data
/Continued from Page 3)
whilst still retaining other tip dimensions
at their correct values.
B. The unit pressure on the repro-
ducing tip rises to an excessive value,
producing rapid stylus and record wear,
unless the total stylus force is also re-
duced. The smallest total stylus force
so far commercially available, 15 grams,
is about half the minimum available be-
fore the war.
C. Processing problems may arise.
Nevertheless some consideration will
undoubtedly be given to all these factors
by the various subcommittees just
formed by the NAB.
Retcreiuc^:
1. J. A. Pierce and F. V. Hunt, Distortion
in Sound Reproduction from Phonograpli
Records, J.SMPE, vol. 31, no. 2, pp. 157-
186, Aug., 1938.
2. W. D. Lewis and F. 'V. Hunt, Theorv
of Tracing Distortion in Sound ReproductKi:i
from Phonograph Records, J.ASA, vol. 12,
no. 3, pp. 348—365, Jan., 1941.
BSRA Welconnes New Members
Applications for membership in the
British Sound Recording Association
are now being accepted from interest-
ed persons in this country. Further
information concerning the BSRA
and its aims can be obtained by writ-
ing W. W. Lindgren, 309 Longfellow
St., N. W., Washington, D. C.
RADIO NEEDS MORE AND MORE
NEW WRITERS
YOU CAN START NOW, TODAY, TO SUSLD
YOURSELF A CAREER IN THIS EXCITING FIELD!
SCHOLASTIC'S
Radio Script-Writing Contest
sponsored by
Audio Devices,
ducer of profess
discs— for radio sta
schools and colleges
. the world's largest pro-
1 recording discs — Audio-
recording studios.
MANY VALUABLE CASH PRIZES
P/ys
special award for each script
found suitable for publication.
Famous Radio Writers
to Judge Entries!
See YOUR teacher
immediately for
full particulars!
.>io
TEACHERS!
Follow the progrefis of this Competition by having your name
placed on the "Audio Record" mailing list today. "Audio
Record", published monthly in the interest of better sound
recording will contain up-to-the-minute information on this
Contest. Simply send us your name and title A pennv postcard
will do.
AUDIO DEVICES, Inc.
444 MADISON AVE.
NEW YORK 22, N.Y.
PUBLISHED BY AUDIO DEVICES, INC
Vol. 3, No. 10
444 Madison Avenue, N. Y. C.
November, 1947
/7
Radio Workshop Project
By Jessie M. Troupe
HAGGERSTOWN HIGH SCHOOL
Haggerstown, Maryland
Because children begin to listen to radio
before they are able to read and continue
to listen through their high school careers,
the schools must assume the same respon'
sibility for building radio taste as they have
for the development of better appreciation
for motion pictures and reading. Radio
workshops for training students in studio
and radio techniques can be set up in any
school — from the largest urban senior high
school with expensive equipment to the one-
room rural "studio" using a tin can as a
microphone.
An alert Workshop has just completed
its second year in the Haggerstown High
School, Haggerstown, Maryland, under the
capable direction of Mrs. Marjorie Hoach-
lauder. Haggerstown High School has a
student body of approximately 1200 mem-
bers. The town, with a population of 40,000
boasts two radio stations: WJEJ affiliated
with Mutual, and WARK with ABC.
In 1945 when this Workshop was organ-
ized, the enrollment was limited to 25 stu-
dents because the work was to be only ex-
perimental in nature. Each prospective
member was asked to fill in a card giving
not only vital statistics of age, grade, etc.,
but also preference in radio activity : acting,
announcing, script writing, production, re-
cording operator, etc. No one with a grade
below C on any major subject was selected
from entrees who filled cards. Auditions
were held before the public address system,
the instructor noting on the back of the
card such traits as good speech, speech de-
fects, lack of self confidence, etc. These
cards were used as basis for selection of
the 25 students who would be admitted to
the class. All the cards were filed for future
reference.
After the first meeting the class was
divided into divisions, each student being
placed according to his interest and ability.
A chief for each division was elected by
the members. Girls from the commercial
department were responsible for typing
and mimeographing scripts.
Several meetings were given over to
reading scripts to familiarize members with
format and techniques of radio script writ-
ing. One meeting was spent in discussing
signs, language, sounds and engineering.
Thus the ground work was laid.
(Continued on Page 4)
Pictured above Allen Funt ( seated ), "the man with the hidden mike," and his staff of "Candid
Microphone" assistants. Left to right: Nina Heberer, Phil Pollard, Sonny Fox, Herb Exner, and Al
Slep. Inset: Left — Funt conducts another "CM" interview (note mike on shirt front). Right —
Funt baits a microphone trap for his next victim.
"Candid Microphone" ABC's New Tape Recorded
Show Radio's Most Novel and Amusing Progrann
The trademark of radio
absent when producer Allen Fu
and most novel experiment in
A Word to the
Was Sufficient
Ron Cochran, acting program mana-
ger of WCOP-Boston, couldn't get to
sleep a few nights ago because his next
door neighbors were having a party and
had his station's midnight disc show
blaring in all directions. Thoughtfully,
Cochran called Bob Brenner, the pro-
gram's M. C. and asked him to suggest
that folks listening remember that some
of their neighbors might be sleeping and
tune their radios accordingly. Sure
enough, the Brenner fans next door took
the suggestion to heart, turned down the
volume, and let the weary Cochran have
his shut-eye.
the microphone — is conspicuously
nt gathers material for the newest
radio, "Candid Microphone," the
Thursday evening ABC network feature
which presents real life conversations of
persons unaware that their words are des-
tined for broadcast.
Seeking to capture the spontaneous reac-
tions of persons in all walks of life to situa-
tions both common and uncommon, Funt
brought a new twist to the interview type
of radio program early this Summer by
working with "mikes" concealed in dozens
of different ways, depending upon the sit-
uations with which he dealt. The program,
airing about six recorded vignettes each
week, brings ABC listeners the frank, un-
rehearsed conversations of Funt's subjects
in a manner that affords amusement as well
as an insight into human nature.
With his portable recording equipment
close at hand but hidden from view, Funt
approaches his carefully conceived "human
{Continued on Page 2)
AUDIO RECORD
November, 1947
oudla )^ record
VOL. 3, NO. 10
NOVEMBER, 1947
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
ABC's "Candid Microphone" Most
Novel-Amusing Progrann in Radio
(Continued from Page 1 )
interest" situations with a tiny microphone
hidden under his scarf or coat lapel, in an
arm sling, or as a hearing aid. In an office,
store or home, it might be concealed in a
flower vase, under a book or in a cigarette
box.
All Victims Aren't Amused
Once, when Funt collusively posed as a
barber and frightened the light of day out
of an unsuspecting customer by bragging, in
a trembling voice which betrayed nervous-
ness, that "this is the first time Fve shaved
anybody" — and adding "do you bleed
much" — the microphone was concealed in
a sun lamp near the chair in the barber
shop where the connivance occurred.
The under-the-lapel technique was used
when Funt visited a bewildered garment
maker on another occasion to negotiate a
tailor-made zoot suit for a boxing kangaroo.
A vase was used when the whimsy-loving
producer and the banquet manager of a
swank New York hotel arranged an eight-
course dinner, with caterers, for six cats
who, Funt, with tongue in cheek, told
the maitre de hotel, had "won blue rib-
bons in a feline beauty contest."
Not all of Funt's
ventures arc primar-
ily comical, however.
Human interest vies
with laughs in some
situations, and in
others, serious
thoughts are pro-
voked as the "Can-
did Microphone"
makes its rounds.
Discs Used, Too
Since a tape re-
corder is used, exten-
sive editing is pos-
sible to avoid repetitious dialogue, before
the show goes on the air. In order to obtain
an entertaining sequence, often as many as
100 splices are made on a single program.
Finally, the entire program is re-recorded
on discs for the actual broadcast.
"Candid Microphone" goes on the air
with the only audible censor in radio.
Instead of a blue pencil assault on a pre-
pared script, the audible censor blots out
words unusable on the air when an inter-
Funt, with scissors in
hand, edits his next
broadcast.
^^t^ ^coldUt
Don Wike, announcer; Don Keith, producer;
and Byron Towery, engineer, record another
KUJ tabloid sportscast of local high school
football game.
KUJ's Capsule Coverage
Of Local Football Games
Proven To Be A Success
Tabloid Sportscast Tape Recorded
Network committments make it impos-
sible for Radio Station KUJ-Walla Walla,
Washington to air play-by-play broadcasts
of the local high school's football games, but
thanks to Don Keith, public relations man,
and tape recording, the station has found
a solution to the problem. Here's how.
Every Play Recorded on Tape
On the day of the games, KUJ assigns
its regular sportscasting crew, along with a
recording engineer and a tape recorder, to
cover the contest. Every play of the game,
as in a conventional broadcast, is described
by the announcer and recorded on tape for
presentation at a later time. However, when
the game is finally aired, usually the follow-
ing evening, only the big thrills or scoring
plays are heard. But, in addition to the
game's action, members of the two compet-
ing teams are interviewed and their inter-
esting remarks are made a part of the trans-
scription.
Thus, KUJ is able to present not only the
game's highlights, but also the story behind
each important play. And, according to
KUJ stafi^ members, the quarter-hour re-
corded tabloid sportscast packs much of
the same wallop as the full-game broadcast.
vicwee occasionally bristles at Funt's al-
ways deliberate affrontery.
Naturally, nothing objectionable to the
parties concerned is aired, and no names
are used. After a sequence is recorded,
Funt's subject — or sometimes, victim —
is told that their conversation was recorded
and his or her permission is obtained to
use it on the air, with anonimity assured.
And Funt seldom encounters a refusal.
By C. J. LeBel, Vice President
AUDIO DEVICES, Inc.
NEEDS OF THE EDUCATIONAL
RECORDIST
Now is an especially fitting time to dis-
cuss the subject, for this article is being
written just as the 1947 Conference of the
Association for Education by Radio comes
to a close. Many broadcast and recording
organizations have
been called on to
advise their local
educational institu-
tions on recording
problems and facili-
ties, — as our corre-
spondence shows.
Hence the discussion
is addressed to both
commercial broad-
caster and educa-
C. J. LeBel tional recordist.
Historical
It has been interesting to watch the
growth of American educational record-
ing. Attention to educational applications
began shortly after Edison's original inven-
tion, but for many years the complexities
of wax recording restricted its use to com-
mercial recording companies, and to pro-
duction of regular catalog items. In the
early thirties the process of embossing
grooves in aluminum was perfected. Its
quality being too poor for general profes-
sional use, some attempt was made to sell
it to the educators. This was not very suc-
cessful. Shortly thereafter recording on
lacquer (coated on aluminum) was devel-
oped and came into limited professional
use. Being a cut groove, the sound quality
was definitely better, and some educational
applications were found. The same factors
that hindered professional use were objec-
tionable to the educator, viz., the blank
discs hardened rapidly, the cut disc devel-
oped high distortion and noise in a short
time on the shelf, the record could only he
played a few times before being completely
worn out, and the thread was explosively
inflammable. Lacquer thickness was often
uneven.
These defects were due to use of incor-
rect plasticizers in the coating, in insuffi-
cient amount, and poorly developed coat-
ing methods. The introduction of the first
Audiodiscs changed this: the plasticizer
formula was much more complex, the plas-
ticizer was utilized in much higher propor-
tion, and machine application of lacquer
November, 1947
AUDIO RECORD
was used. The eorrect plastici2,ers gave the
lacquer high stabiHty, changes with time
were no longer a problem, and thread in-
flammability was reduced to a reasonable
value. Machine application gave complete
uniformity of thickness.
Lacquer Makes Educational Recording
A Success
These improvements made recording on
lacquer a professional success, but they also
made educational recording universally
available, and fostered its rapid growth.
While some attempt was made to sell low
cost home recorders and home recording
discs for educational use, it was soon found
that professional standards of clarity and
durability were necessary.
While the first educational applications
were for speech correction work, broader
vistas soon opened. Educational broadcast-
ing was growing. Whereas a single micro-
phone and recording machine were ample
for speech correction, broadcasting posed
new problems. The student was accustomed
to professional broadcast standards, and to
hold his interest production methods and
mechanics had to be equally well handled.
It was found that better sound quality was
essential, for fifteen to thirty minutes of
listening to unclear sound was very fati-
guing. The student became restless, his at-
tention wandered, and without formalizing
the matter, it became generally recognized
that sound quality would have to conform
to professional standards. The "fatigue fac-
tors" in sound reproduction would have to
be kept at an absolute minimum. If we may
presume to coin a new phrase, the follow-
ing psycho-acoustic equation was devel-
oped:
Sustained Student Interest ^ Interesting
Subject Matter + Aural Presentation
in a Non-Fatiguing Manner.
All of this experience has had consider-
able effect on the educational recordist's
requirements in the way of facilities. The
dramatic recording facilities suggested may
appear over-elaborate to some, but this is
incorrect. While work can be done with
less complete equipment, it will be smaller
in scope, or poorer in production quality,
or will be produced at an excessive cost in
time and material (due to need for test
cuts or retakes). A glance at current edu-
cational practice indicates that these facili-
ties are gradually becoming the standard
for a complete educational recording setup.
Facilities
The facilities required will vary with
the work to be done, of course, but some
form of each of the following must be pro-
vided :
A. Studio
B. Speech input system — input con-
trols, amplifiers
C Recording machine
D. Recording raw material
E. Reproducing facilities
Speech Correction
Speech correction recording has generally
been done right in the classroom, and with
one student performing at a time. Since
acoustical conditions are seldom good, this
indicates that the single microphone used
should be of a directional form. The re-
cording machine is generally of simple
form, often a single-speed type cutting only
up to 12" diameter. While inside-to-out
recording is more convenient, it has been
found preferable to use outside-to-in cut
for records so made can be played on the
home phonograph, which the student usu-
ally wishes to do. Cut in the reverse direc-
tion, they cannot be played on a turntable
fitted with the usual automatic stop or
changer.
Since faithful reproduction, "presence",
is highly desirable, it becomes necessary to
use a professional cutting stylus — stellite
has been preferred because of greater rug-
gedness — and a professional quality disc.
As before and after comparisons are desir-
able, it is necessary to use a disc with un-
questioned permanence — one which will
be as quiet and undistortcd a year after as
on the day of recording.
For making a quick survey of a class at
the beginning of a term, it has been found
very economical to cut a 16" disc at 33^
rpm. It is possible to place fifteen to twenty
voices on each side of the disc, separated
one from the other by short spirals.
Radio Dramatics and Broadcast
Transcription
Whether played over the school public
address system or over an educational
broadcast station, the dramatic recording
must stand comparison with professional
broadcasting, to which the student daily
listens. The mechanics of the production
must be well executed, the sound quality
good. This imposes definite equipment re-
quirements.
The studio must be adequate in sound
isolation, reverberation characteristics, and
size. Inadequate isolation means that many
records will be spoiled by extraneous
sounds, and inadequate acoustical treat-
ment implies serious problems in setting up
to record. It is apt to mean a "tricky" studio,
full of bad spots, and most difficult to use.
In practice this is apt to make recording
quality rather uneven, for available time
is limited, and likely to be used in rehears-
ing the cast, rather than in rehearsal for
sound. The studio should be large enough
to accommodate the largest group. There is
nothing so futile as trying to put a school
orchestra of fifty in a small speech studio.
Fortunately, the trend in school design
shows a growing appreciation of the fact
that broadcast dramatics has become as im-
portant as stage dramatics, and a studio is
often provided for use with the public ad-
dress system. Recording from the same
studio is easily accomplished.
The speech input system must provide
adequate flexibility. Facilities for simul-
taneous use of three microphones are the
minimum necessary, and four mixer posi-
tions are more convenient. Two turntables
for music are also necessary. Means of in-
serting a sound efl^ects filter to control at
least one microphone circuit are highly de-
sirable. It goes without saying that the
amplifiers must have both good perform-
ance and reliability. Unlike a broadcast
station, most schools have no maintenance
man, and an amplifier breakdown is a seri-
ous matter.
The recording machine should be com-
plete in its facilities. Both speeds should be
available, and provision should be made for
change of pitch. A spiralling device should
be provided. Outside-to-in cutting should
be used, and this will make a suction device
for removing the thread highly desirable.
The recording disc must provide pro-
fessional recording quality, of course, but
more is required. Complete uniformity is
necessary and long life. Educational discs
form part of a library, which must be re-
produced next year, the year after, and the
year after that. They must be durable, as
regards repeated playing, but lack of de-
terioration with time is equally essential.
Chemicals used in the formulation must be
time tested for proven permanence. A disc
which becomes noisy or distorted in two
or three years is not satisfactory.
Reproducing Equipment
Playback machines of professional qual-
ity arc available for use in playing an edu-
cational transcription to a class. If any
criticism may be made of them, it is that
the portable loudspeakers are generally too
small and too inadequately baffled for satis-
factory reproduction of anything but
speech.
The educational broadcaster needs espe-
cially a definite setup for re-recording. One
concomitant of the production of success-
ful program series is the process of exchang-
ing copies with other groups. Very seldom
do the quantities warrant processing, so
the amount of re-recording to be done is
very considerable — a serious burden unless
a regular setup is made for that purpose.
Conclusion
It has been very interesting to watch the
development of educational recording from
an idea to a rapidly growing movement of
well documented value. We salute those
who have made recording an essential part
of the modern educational process.
ATTENTION
The Editors of Audio Record welcome
contributions from its readers. Any news
concerning your recorded programs or
other recording activities, that you believe
will be read with interest by recordists, can
be used. Photographs, drawings, or graphs
needed to illustrate your material will be
appreciated also. Address all contributions
to: — The Editor, Audio Record, 444 Madi-
son Ave., New York 22, N. Y.
AUDIO RECORD
November, 1947
PLATTERS FOR PULLERS
At the American Dental Association
Convention, held a few weeks ago in Bos-
ton, Harold I. Primus, Manager of the
Diamond Crown Division of Audio De-
vices, which produces diamond abrasive
dental instruments, recorded interviews
with visitors to the show on 10" Audiodiscs
and gave them the recordings to take home
as souvenirs. (Above photo shows Diamond
Crown booth with microphone on table in
foreground — recording equipment was
located in rear of booth). Interviews with
many leading foreign dental representa-
tives, speaking in their native tongues, high-
lighted the recording sessions.
A Radio Workshop Project
(Continued from Page 1 )
At the start the equipment was poor —
books, blackboard and an elementary pub-
lic address set-up composed of a junior
velocity microphone and a 15 watt ampli-
fier. New crystal microphones with full
length adjustable stands and additional
shorter desk stands were purchased. By
January of 1946 an adjoining room had
been arranged to provide a "studio"
creating the broadcasting illusion so neces-
sary to the success of any radio laboratory.
To this were added a recording machine
and a play-back unit (two speeds, 33^ and
78 RPM), the former for recording stu-
dents' voices, the latter for playing back
sound effects during rehearsal.
During the first year sixteen actual broad-
casts were made over WJEJ. The initial
broadcast during American education week
in November emphasized the relation of
school, home, and community. At Christ-
mas O'Hcnry's "Gift of the Magi" and
Moore's "A visit from St. Nicholas" were
dramatized. Thirteen vocational guidance
programs written and produced by the
Workshop were presented over a period of
thirteen weeks. This "Looking Ahead"
series dealt with the problems of school
and after-life adju.stments. Another step in
advancement was chalked up when these
broadcasts were listened to in schools all
over the country.
In May the class and instructor chartered
a bus to New York City for the purpose
of visiting NBC and CBS studios. They
enjoyed Nila Mack's "Let's Pretend" in its
pre-broadcast rehearsal and the famed Ci-
ties Service show, "Highways of Melody".
With the approach of a second year it
was possible to organize two sections of 25
students each. Only seniors were eligible
because of a limited teaching staff in the
English department.
A new location was arranged with a
small control room, a rectangular studio
and an adjoining classroom of regulation
size. A cut-in microphone system was in-
stalled to facilitate giving directions dur-
ing rehearsals, and a simple decibel meter
control box was added. Then it was possible
to produce scripts which contained sound
effects, background music, and special
effects. It was also possible for the teacher
to work with a cast in the studio while the
remainder of the group worked at other
Reprinted by special permission of the
Saturday Evening Post. Copyright 1945
by The Curtis l*ublishing Company.
projects in the class room.
More advanced programs were worked
out. Students participated in a Student
Forum of the Air broadcasted over WBAL.
A panel discussion was presented by four
social studies students presenting affirma-
tive and negative arguments in answer to
the question: "Is a democratic form of
government similar to that in the United
States practicable in all other countries of
the world?" This was followed by questions
from the floor directed to the panel. Audi-
ence participation came from the entire
student body in applause.
In the spring different groups undertook
two six-week series, "Sing and Listen," a
music appreciation project, and "130 Story
Book Street," a dramatization of fairy tales.
This last series was directed toward the
elementary school audience.
Again the course was concluded with a
New York trip, the students seeing James
Melton's "Harvest of Stars," Armstrong's
"Theater of the Air," "The Mighty
Casey," N. B. C. Symphony and "Let's
Pretend."
At the close of the second year the in-
structor was able to list certain gains made
by students in her three sections.
1. Learning to work with groups.
2. Acquiring habits of accuracy and a
sense of proper timing.
3. Overcoming self -consciousness.
4. Experience in script writing.
5. Developing good voice and speech
habits.
6. Handling sound techniques.
7. Developing hidden talent.
8. Developing the appreciation of the
art of radio broadcasting.
9. Awakening a realization of the
power of modern radio as a medium
of propaganda.
10. Assisting in administration of school
program.
The workshop will he expanded in the
1947-1948 school term to include more stu-
dents interested in radio. The instructor,
however, feels that additional changes must
be made if the program is to mature.
1. Release of the radio instructor from
the responsibility of teaching classes
other than radio.
2. Establishment of a central office lo-
cated conveniently for the coordina-
tion of high school, junior high school
and elementary programs.
3. Appointment of a Director of Radio
Education to plan, supervise, and
carry out the radio program activities
on a county-wide basis.
4. More contributions and participation
from other departments in the school.
5. Installation of machinery for re-
broadcasting to meet each class pe-
riod need.
6. More consciousness on part of pub-
lic and school officials to the role
schools must play in the national
radio scene.
Radio workshops are not ends in them-
selves, but they definitely have their place
in the future of the radio as a medium for
educational purposes.
As We Go to Press
Audio Devices, currently co-sponsor
of the 1 948 Scholastic Writing Awards
in the Radio Script Writing Classifica-
tion, will also co-sponsor the NA-
TIONAL RADIO SCRIPT CON-
TEST for college students.
Under the auspices of the Association
for Education by Radio, the National
Radio Script Contest, will ofi^er prizes
for best written scripts to students en-
rolled in recognized colleges and univer-
sities in the United States. Complete de-
tails along with rules and regulations
and list of awards will appear in our
December issue.
fl^Hfj_lfy
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 3, No. i I
444 Madison Ave., N. Y. C.
December, 1947
AUDIO CO-SPONSOR OF AER SCRIPT CONTEST
Valuable Cash Prizes to
Writers of Best Scripts
Competition Open to All Students of
Recognized Colleges in the U. S. A.
Audio Devices, co sponsor of SCHOL
ASTIC MAGAZINES' 1948 "Scholastic
Writing Awards" (Radio Script Writing
Classification), for high school students,
will also co-sponsor the 1948 National
Radio Script Contest.
Under the auspices of the Association
for Education by Radio, the National
Radio Script Contest will offer prizes for
best written scripts to students enrolled in
recognized colleges and universities in the
United States. (Contest Rules and Awards
listed on Page 4.)
The following educational organizations
and publications will act as co'sponsors for
the contest : National Council of Teachers
of English, National Educational Theater
Assn., Player's Magazine, Scholastic Maga-
zines and Writer's Magazine.
The National sponsors who, with Audio
Devices, have contributed cash awards for
winners, and have underwritten the ex-
pense of the contest, include: Alpha Epsi
Ion Rho (Honorary Radio Fraternity),
General Electric Company and the Na-
tional Association of Broadcasters. Also,
Encyclopedia Brittanica, Inc. will award a
complete set of the Encyclopedia Brittanica
to best scripts in each of the four regular
classes.
Regional sponsors who will make special
awards in their particular regions, thus
far include: the Newark News and Radio
Station WNJR-Newark, N. J., and the
Oklahoman (i Times and Radio Station
WKY-Oklahoma City, Okla. Many more
regional sponsors are expected to partici
pate in the contest before it closes.
The National Radio Script Contest will
divide scripts into regular classifications
and one special classification. These classes
follow :
Class 1. Original Dramatic Script. 14
min. 30 sec. in length.
Class 2. Dramatic Adaptation. 29 min.
30 sec. in length.
Class 3. Non-dramatic scripts for one
voice (talks, news, sports,
women's programs, etc.). 14
min. 30 sec. in length.
(Continued on Page 4)
The Adelphi College Radio Workshop, under the direction of Mrs. Mary Lou Plugge (back to
camera,) Chairman of the Long Island School's Speech and Dramatic Arts Department, are
shown recording their adaptation of Ernest Hemingway's "The SnoWs of Kilmajaro" which
was broadcast later over Station WGGB-Freeport, Long Island.
Adelphi College U+ilizes Recording Equipmen+
In Speech Training, Drome and Radio Courses
There was a time when educators had to literally "push" students
into speech training courses. However, such is not the case today. At
least not at Adelphi College, Garden City. Long Island.
For Adelphi students, according to
Mrs. Mary Lou Plugge, Chairman of the
Long Island school's Speech and Dramatic
Arts Department, welcome the opportu-
nity of improving their speech in Adelphi's
'Fundamentals of Speech' course. "They
feel," Mrs. Plugge related, "that our
speech course is an objective rather than a
subjective analysis of their vocal qualities.
Consequently, we rarely encounter a stu-
dent who takes the attitude that he is
being persecuted when we attempt to cor-
rect his speech defects.
"The success of our speech training pro-
gram," Mrs. Plugge said, "is largely due
to our recording equipment. Time and time
again hours of instruction have been saved
by simply allowing a student to hear his
own voice played back to him. And the
(Continued on Page 4)
Natl. Boy Scout Council
Launches Recorded Series
Thirteen Transcriptions Dramatize All
Phases of Scouting Activities
A series of thirteen quarter-hour elec-
trical transcriptions for the use of the Boy
Scouts of America will be released this
month by their National Council head-
quarters in New York City.
These are being made available in re-
sponse to many requests from all parts of
the nation. They are. to be used on a
sustaining basis by local radio stations
in cooperation with the local Boy Scout
Councils. Provision for a one-minute local
"tie-in" announcement has been made so
(Continued on Page 4)
AUDIO RECORD
December, 1947
CLudla ^ record
VOL. 3, NO. 11
DECEMBER, 1947
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better recording. Mailed without cost
to radio stations, recording studios, motion pic-
ture studios, colleges, vocational schools and
recording enthusiasts throughout the United
States and Canada.
Frank Sinatra
And a Singer's Success
By Frank Sinatra
SINGING STAR OF COLUMBIA
RECORDS
It is the very rare exception when a
musical artist, particularly a singer, achieves
any amount of success without substantial
assistance from records. This is clearly evi-
denced when one analyzes the success for-
mula for any number of the top singers
enjoying popularity today. Frankie Laine
is a perfect illustration of this point.
For years Frankie knocked around wait-
ing for his "big break". It finally came in
the form of a disc with "That's My Desire"
printed on it. Now he's a big star.
There is no doubt that live radio shows
play a tremendous part in the growth of an
artists' reputation, but stop and consider
a moment the important part being played
by approximately two-thousand "disc-
jockeys" all over the country, not to men-
tion the hundreds of thousands of juke
boxes that reach an audience that very
rarely see live talent. The average inde-
pendent station devotes a very large part of
its schedule to the playing of records. In
short, all other mediums combined cannot
equal the vast audience being reached daily
by these platter spinners.
Up to this point we have concentrated
mainly upon the promotional effect of
records — and have completely ignored an
equally important phase of this question • —
money. A record contract almost guaran-
tees a singer some sort of steady income —
depending of course on the singer's talent
and reputation. A couple of hit records
not only can insure the success of an artist,
but can provide more than ample financial
support, until he gets a radio show or a
movie contract — and from there it con-
tinues to be a reliable and often sizable
source of income.
And then too, thanks to the improve-
ments made in recording equipment and
techniques, during the last few years, the
singer is able to reach his unseen audience
with a more truly life-like reproduction of
his voice.
What the result of the approaching
"recording ban" will be I certainly cannot
predict, but I sincerely hope that the parties
involved come to some sort of agreement
before many months have passed.
29 Stations Show Interest
In Script Writing Awards
Outlets Invited to Serve As Regional
Sponsors
Recently SCHOLASTIC MAGA-
ZINES, sponsors of the yearly "Scholastic
Writing Awards" for high school stu-
dents, wrote radio stations throughout the
country explaining the expanded Radio
Script Writing Classification (sponsored
by Audio Devices) in the 1947-48 Awards.
The stations were also asked if they would
like to cooperate with SCHOLASTIC
MAGAZINES in stimulating interest in
script writing in the schools.
Thus far, twenty-nine stations in eight-
een states have responded and expressed
enthusiasm in the idea. Many of these sta-
tions have already contacted the schools
in their communities and requested the
teachers to encourage their students to en-
ter the Script Writing Competition.
Because of the enthusiasm shown,
SCHOLASTIC MAGAZINES have of-
fered these stations an opportunity to
actually participate in the program by
sponsoring regional contests in their re-
spective areas. Radio scripts would be
submitted to the stations themselves for
local judging before being forwarded to
SCHOLASTIC MAGAZINES for na-
tional consideration.
Stations interested in taking part in the
Radio Script Writing Awards are urged
to write William D. Boutwell, SCHOL-
ASTIC MAGAZINES, 220 East 42nd
Street, New York City, for full particulars.
ATTENTION
The Editors of Audio Record welcome
contributions from its readers. Any news
concerning your recorded programs or
other recording activities, that you believe
will be read with interest by recordists, can
be used. Photographs, drawings, or graphs
needed to illustrate your material will be
appreciated also. Address all contributions
to: — The Editor, Audio Record, 444 Madi-
son Ave., New York 22, N. Y.
me f^eco'idUt
By C. J. LeBel, Vice President
AUDIO DEVICES, Inc.
A NEW IDEA IN REPRODUCING
STYLI
As our standards of fidelity improve,
new materials and methods become neces-
sary. In disc reproduction this change
started first in the professional field, but
now even the seri
ous music-lover is an-
xiously installing the
newest in postwar
pickups, amplifiers,
and loudspeakers.
This has prompted
the introduction of
a new Audiopoint,
a sapphire for home
reproduction. Per-
haps our readers will
be interested in some
C. J. LeBel of fhe factors we
considered while investigating the problem.
Quality
Sapphire Audiopoints for the profes-
sional have been steady sellers for a num-
ber of years. The factors which have made
them popular are of interest also to the
serious home listener:
A. Tracking distortion is at a mini-
mum because the tip radius can be ac-
curately controlled. The extreme hardness
of sapphire (9 on the Moh scale) makes it
feasible to lap the radius, with high pre-
cision, to a value which will ensure its
riding on the straight sides of the groove.
As was pointed out by Pierce and Hunt'
in 1938, this condition is essential to ac-
curate reproduction of the groove contour.
B. The surface noise is reduced by at
least several db because of the extremely
high polish of the tip. The extreme hard-
ness of sapphire makes it easy to lap the
surface to such perfection that a surface
character indicator will give no roughness
indication at all. While such perfect lap-
ping could be applied to steel, the surface
would wear rough again within the first
second of use on ordinary phonograph
records.
User Requirements
There are two classes of users who
would be interested in "permanent" re-
producing styli. One group is interested
in its ultimate durability, regardless of how
badly it may sound toward the end of life.
Another group wish to know how long
the point may be used before the sound
quality is adversely affected, and before
the point causes excessive record wear.
December, 1947
AUDIO RECORD
Ulrimate Durability
When a sapphire stylus is used to repro-
duce Audiodiscs. no detectable wear re-
sults, and the stylus life can be considered
indefinitely long. The same is true of pure
Vinyl pressings. With ordinary phono-
graph records, and a pickup operating at
about two ounces load, wear is much more
rapid, hence the ultimate hfe is of the
order of several thousand playings.
Quality Life
If we measure the sound quality, we
find that it begins to deteriorate long be-
fore the ultimate life has been reached.
While it is true that sapphire is the second
hardest material (softer only than dia-
mond), it is certain also that the phono-
graph record is quite abrasive. Under the
pressure of many thousands of pounds to
the square inch existing at the tip, the wear
is slow but sure, and flats are worn on the
end and sides. Long before the time has
been reached when the needle v>^ill no
longer stay in the groove, three things will
bother the serious listener:
L The tip will be worn so flat that
poor tracking will result at high frequen-
cies. Sound will be "fuzzy".
2. Scratch will be much worse.
3. Record-wear will be excessive.
Engineering judgment is that fuzzy
sound becomes pronounced before the
other two factors have deteriorated much.
With a typical pickup of today we find
that this situation is reached at about 250
to 350 playings. A light weight pickup
(1% ounce force) would about double the
"quality life".
While it can be shown mathematically-
that a worn stylus will create distortion,
experiment shows that the critical listener*
will be annoyed long before the harmonic
distortion meter readings look serious. In-
termodulation readings provide a more
sensitive indication, but they merely serve
to confirm the ear's judgment.*
Incidentally, in choosing the tip radius
it is essential to have the size such that the
point will track part way up the straight
side of the groove. The bottom of the
groove generally is considerably distorted
by polishing of the stamper, and it is wise
to be well clear of it.^ Of course, if the
point is too large, it will create excessive
tracking distortion, and may even refuse to
stay in the groove. A compromise value is
therefore desirable.
All of this discussion, of course, presup-
poses that the pickup is not dropped hard
on the disc, nor on the metal turntable-rim.
A hard drop is likely to chip the tip, for
all hard materials are somewhat brittle.
Chipping leaves razor-sharp broken edges,
and the point is valueless.
A New Answer
It is evident that the critical listener will
find the cost of buying a new stylus, so
often, quite appreciable. We have found
Interviews With Famous Air Travelers Recorded
Jose Ferrer (right), distinguished stage and screen actor is interviewed by Durward Kirby on
the "Wings Over New York" transcribed program over WHN-New York. The program, fea-
turing recorded interviews with leaders in all fields of endeavor who arrive and depart from
LaGuardia Field, is presented Monday through Friday from 7:00 to 7:15 P.M. by the New
York station. The interviews, which are also heard by transcription over stations in Chicago
and Hollywood, are not limited to famous travelers, but include celebrities on hand to bid adieu
or welcome to friends and family. The young lady in the center of the picture, who divides her
time among the four great runways at the world's busiest airport, arranges the interviews and
serves as production aide. Her name: Eileen O'Connell.
an answer to this, an answer which the
professional has found very satisfactory for
many years: resharpening. By using a
slightly longer piece of sapphire at the tip,
at a very small increase of cost, we leave
enough gem exposed so that several re-
sharpenings become possible. A resharp-
ened point of course is as good as new, and
will wear as long as the original. Resharp-
ening being much lower in cost than a
whole new stylus, the saving in overall
operating cost is quite worth while.
Since quality deterioration is gradual, it
is easy to overlook the onset of poor sound
quality. Hence it is wise to keep a rough
count of the number of discs played, and
change styli by disc count. In case of doubt
another point can be tried, of course.
How About the Diamond?
A possible alternate material would be
the diamond, so we will forestall the obvi-
ous question. Diamond is the hardest
known material, with a hardness of 10 on
Moh's scale. Unfortunately, cost goes up
faster than durability, so that the cost per
disc played is more with diamond than
with sapphire. This may easily be under-
stood when we recall that sapphire can be
ground and polished with diamond dust —
but we have only diamond dust to grind
diamond! Accordingly, diamond working
goes very slowly, and at high cost.
Conclusion
In introducing the idea of resharpenable
sapphire reproducing styli for home use
we believe that we have an idea which is
well grounded in both engineering and
economics.
References
1. ]. A. Pierce & F. V. Hunt, Distortion
171 Sound Reproduction from PhonO'
graph Records, /.S.M.P.E.. Vol. 31.
No. 2, pp 157- J 86, Aug. 1938.
2. B. B. Bauer, 7s[otes on Distortion in
Phonograph Reproduction Caused by
Heedk Wear, J.A.S.A., Vol 16. Ho. 4,
pp. 246'25i. April 1945.
3. H. E. Roys, Intermodidation Distortion
Analysis as AppUed to Disc Recording
and Reproducing Equipment, Proc.
IRE.. Vol. is, Ho. 10, pp 1149-
1152, Oct. 1947.
Editor's Note: The reproducing sapphire to which Mr.
LeBel refers is the new "Red Circle" Sapphire AUDIO-
POINT, now beine marketed through AUDIODISC
Distributors. This AUDIOPOINT is being produced in
both the straight and bent shank types. The straight
shank point, itl03, is ideal for original recordings and
vinyl pressings as well rs regular phonograph records —
though for phonograph records most users prefer the
bent shank. #303.
READERS
IF YOUR name is not on the Audio Record
mailing list, drop a penny post card to —
The Editor, Audio Record, 444 Madison
Avenue. New York 22, N. Y.
AUDIO RECORD
December, 1947
m
■ ''i^t"'"'^'
r^
SHBh
^^^^
^^HIH
An Adelphi student records her voice in a
"Fundamentals of Speech" class as classmates
critically listen.
Adelphi College Uses Discs in
Speech-Drama-Raclio Courses
(Continued from Page I )
student is able to detect his errors iiuicli
more readily than would otherwise he pos
sible."
When a student enrolls in the 'Funda-
mentals of Speech Course', he cuts a record
of his voice at the very beginning. This
four-minute recording contains the stu-
dent's efforts in conversational speech - -
reading aloud and public speaking. The
disc is played back again and again until
the instructor knows just exactly what
must be done to improve the speech of that
individual student. Then, at the end of the
course, the student cuts another disc which
permits both he and his teacher to thor-
oughly gauge his progress. "Without ques-
tion," Mrs. Plugge emphasized, "instruc-
tion time is cut in half by the use of re-
cording equipment."
In addition to the "Fundament, ils of
Speech' course, Adelphi College also uses
recording equipment in their Public Speak-
ing, Drama and Radio courses. For in-
stance, in the Radio Department, record-
ings are made of every live show rehearsal.
So naturally any shortcomings on the part
of the actors and actresses are corrected
before the show is actually broadcast.
The Adelphi Radio Workshop recently
recorded their adaptation of Ernest Hem-
ingway's "The Snows of Kilmajaro",
which was broadcast over Radio Station
WGGB-Freeport, Long Island. Many
other recorded student productions are
aired over that station, too.
From time to time many well known
recording artists have appeared before the
Adelphi radio classes and have given the
students valuable tips on building them-
selves a career in radio.
"Considering the relatively low cost,"
Mrs. Plugge said, "I would not hesitate to
say that all schools, whether they be ele-
mentary, high schools, colleges or univer-
sities, could profit handsomely in time saved
by installing recording equipment in their
speech, r.idin iml drama departments."
Audio in AER Script Contest
(Contnuied from Page I)
Class 4. Non-dramatic scripts fur more
than one voice (interviews, dis-
cussion programs, etc.). H^t
min., or 29'/2 rnin. in length.
Special Class. Scripts suitable for home
or school recording. Lengths
optional, but should be timed
in terms of specific record sizes.
(2, 31/2 and 5'/) min. playing
time preferred.)
RULES AND REGULATIONS
1. Any student regularly enrolled in any
recognized college or university in the
United States is eligible to participate.
2. Scripts must be typed in radio style
(double spaced) and submitted to:
AER Radio Script Contest, c 'o Uni-
versity of Oklahoma, Norman, Okla-
homa.
.1. Each script must have a face sheet on
which must appear the folkuving:
a. The title of the script.
b. The name of the author.
c. The author's address.
d. The classification of the script, i.e..
1, 2, 3, 4 or Special.
e. A statement, signed, that the manu
script is the student's own work; in
the case of adaptations, the author
and source of the original story
must be given. Entries for Special
class should also give the name of
their teacher. Number each page,
but DO NOT PUT AUTHOR'S
NAME ON THE PAGES OF
THE MANUSCRIPT. Judges will
not know the names of the authors.
4. All entries, submitted to the above ad-
address, must be postmarked not later
than midnight. March .U, 1948.
.>. Regional winners will be notified in
April, 1948. National Announcement
of National winners will be made in
May. 1948.
6. Each entrant retains ownership of his
scripts, except for entries in the Special
Classification. Contestants are, how-
ever, expected to give permission for
publication (only) in an issue of one
of the educational journals of the edu-
cational co-sponsoring organizations of
this contest. Copyright on all entries in
Special Class become the property of
Audio Devices, Inc., New York.
7. Any qualified student writer may en-
ter any or all of the script classifica-
tions. However, DO NOT submit more
than one script each for Classes 1, 2,
3 and 4.
8. Winning scripts will, where possible,
be published in educational journals.
Every effort will be made to bring the
most promising scripts to the attention
of open market buyers. Scripts will be
returned to writers only if accom-
panied by return postage.
AWARDS: National*
1st Prize (m classes 1, 2, 3 and 4)..$ 50.00
2nd Prize (in classes 1, 2, 3 and 4).$ 25.00
(Also for best script of four
regular classes $50.00 plus one
set of Encyclopedia Brittanica)
1st Prize (in Special Class) $100.00
2nd Prize (in Special Class) $ 60.00
3rd Prize (m Special Class) $ 40.00
(Also for each script suitable for
publication in a collection of
scripts $25.00)
To Teachers of first, second and third place
winners (in Special Class). One box of
25 Audiodiscs, 3 Recording and 3 Play-
back Sapphire Audiopoints.
AWARDS: Regional*
Eastern Sponsor: Newark News and Radio
Station WNJR-Newark, N. J.
Best Script (in classes 1,2,3 and 4) $25.00
Southwestern Sponsor: Oklahoman
and Times Radio Station WKY-
Oklahoma City, Okla.
Best Script (in classes 1, 2, 3 and 4) $25.00
Midwestern Sponsor: (not yet named)
Best Script (in classes 1, 2, 3 and 4) $25.00
All Regional winners will be entered for
National awards. Scripts from regions
without regional sponsor will be entered
for National Awards only.
*Additional and/or larger awards na-
tionally, and additional regional au'drds
may he added be/o)-e the contest closes.
Further information on the N.R.S.C. may
be obtained by writing: Dr. Sherman P.
Lawton, AER Script Contest Chairman,
University of Oklahoma, Norman, Okla.
Scouts Launch Recorded Series
(Co7Ui?ined from Page I)
that Scout Executives may feature local
activities, leadership training courses, com
munity service and other such items.
The talent for the recordings was re-
cruited through AFRA. The organist was
Emil Velazco and sound effects were han-
dled by Vic Rubei of CBS. The production
was directed by Stephen J. Manookian, for-
merly Director of PubHcity and Special
Events at WORL — Boston.
The series covers all phases of Scouting y
activities and consists of thirteen dramati- '
zations. The first program features the
"Good Turn" of the unknown British Boy
Scout to an American businessman in Lon-
don, which resulted in the establishment
of the Boy Scouts of America. Other rec-
ords dramatize actual cases of Boy Scout j
heroism, Sea Scout rescues, Cub Scout «
picnics. Air Scout and Explorer Scout
projects.
These Boy Scout Transcriptions are a
project of the National Public Relations
Service of which Leslie C. Stratton is
Director. Technical supervision was di-
rected by Irvine H. Millgate, Director of
the Visual Education Service of the Boy
Scouts of America. Plans for the second
series in 1948 are now underway.
q^ll^tj^lfy
rscorrcl
PUBLESHED BY AUDIO DEVICES, INC
Vol. 4, No. I
444 Madison Avenue, N. Y. C.
January, 1948
William C. Speed
Audiotape Development
By William C. Speed, President
AUDIO DEVICES, Inc.
A little over a year ago, Audio Devices,
along with several other companies, was
invited to Washington hy the Dept. of
Commerce to examine various pieces of
captured German electronic equipment.
We were much impressed with the Tone
schriber and sever.il
^fjt^tdJKjj^ rolls of German
bF' ^fl^^^ plastic base magnetic
I ^a^B tape.
I ^^y Several weeks
•f #^ '^'•W'TwHi later, we returned to
hear a demonstra-
tion by Col. Ranger
of the Magneto-
phone. Samples of
tape were made
available to us by
Mr. E. Webb of the
Commerce Dept. Reports from Germany
by ear witnesses were so impressive. Audio
Devices decided to duplicate and if pos-
sible improve on the Magnetophone tape.
Our research laboratory, under the direc-
tion of Ernest Franck, was instructed to
put this study high on its priority list.
Research and development went hand
in hand. First, a suitable magnetic oxide
had to be produced. Then, a tough, non-
tearing, moisture resistant base on which
to coat the oxide. Finally, we had to design
and build a high quality recorder and re-
producer in order to test the results of our
experiments.
Exhaustive experimentation on magnetic
iron oxide included tests on many hun-
dred samples from our own laboratories
as well as from others, tests which included
signal to noise checks, distortion measure-
ments and relative frequency response,
finally convinced us we had surpassed the
Germans in the oxide part of our work.
At present, we are using a vinyl film as
the base or support for the oxide disper-
sion. We chose this material because of its
free flowing character; a limp highly flex-
ible tape is essential for proper contact
with the magnetic heads. Vinyl is also
dimensionally stable in spite of changes in
humidity, a state unachieved by paper or
acetate. Stretch or shrinkage of as little as
Yi of 1% would be ruinous in a half hour
of broadcasting. Finally, we chose a film
which is highly tear resistant, a property
of great importance both for amateur or
professional. However any base is at best
a compromise and we feel sure that in due
{Continued on Pdge 3)
In the control room of Fordham University's FM radio station, WFUV, the cast of a school
production listen while a student engineer plays back a recording of the program. William A.
Coleman (second from left), Chairman of Fordham's Radio Division, is possibly the most
ardent listener.
Radio Students at Fordham University Seeking
Professional Careers Rely Heavily on Records
Students who hope to make the grade as announcers, actors or
producers on Fordham University's FM broadcasting station, WFUV,
must come up to professional standards; and the best method of per-
fecting their talT.t is a maximum use of
recording facilities, according to William
A. Coleman, Chairman of the Radio Divi-
sion, Dept. of Communication Arts.
Common practice in classes such as Voice
and Diction at the New York school is to
record each student at the beginning of the
course and again at the end of the course,
at which time the correction of defects and
general improvement should be obvious.
Tom O'Brien, NBC staff announcer who
teaches Microphone Technique on the
Bronx campus, makes continuous use of
tape-recording equipment to permit stu-
dents to hear themselves as they read com-
mercials, attempt tie-in announcements, and
render dramatic narrations. When a stu-
dent is considered of professional calibre
and wishes to apply to a commercial station
for work after graduation, he is assisted in
cutting an audition disc for submission to
his prospective employer. Similarly in the
course in Acting for Radio, taught by Clay-
ton "Bud" Collyer ("Superman" of the air
waves) , a particularly good actor or actress
will be encouraged to put on a record the
characters in which he or she excels.
Ernest Ricca, well-known free-lance Di'
rector ("Helen Trent", "Evelyn Winters",
etc.), whom Mr. Coleman has teaching the
course in Radio Direction and Production
at Fordham, is emphatic about the necessity
of students hearing their directorial at'
tempts played back. "Until they are pro-
ficient enough for air work", he says, "stU'
dents must work hard at improving. This
means a constant process of directing,
listening, and learning."
High fidelity RCA recording equipment
in the studios of WFUV is augmented by
several portable tape recorders and "Edu-
cator" type record cutters, the latter re-
stricted principally to classroom use.
Many Fordham programs which would
otherwise be impossible are arranged by
(Coyitinued on Page 4)
AUDIO RECORD
January, 1948
cuLdla^ record
VOL. 4, NO. 1 JANUARY, 1948
Published monthly by Audio Devices. Inc..
444 Madison Avenue, New York City, in the
interests of better recording. Mailed without
cost to radio stations, recording studios, mo-
tion picture studios, colleges, vocational schools
and recording enthusiasts throughout the United
States and Canada.
Writing for Radio
By Jerrold Sandler, Student
NEW YORK UNIVERSITY
New York, N. Y.
There are countless high school and
college students who are interested in radio
writing. In some schools the student's work
has a chance to travel beyond the class-
room: unfortunately, this is not the case
in many instances.
For the past few years, high school stu-
dents have had the opportunity to compete
for prizes in an annual radio script con-
test conducted by SCHOLASTIC MAGA-
ZINES. (Audio Devices is acting as co-
sponsor of the contest this year). Cash
prizes are given for the three best scripts,
and commendations given to promising
writers. This competition gives the student
an outlet for his talents, and a chance to
be commended for his efforts.
However, until the present time, the
college student has not had the opportunity
to partake in similar activities. Now, at
last, they are being given their chance.
Under the auspices of the Association for
Education by Radio, college students in
the United States can compete in a national
radio script contest. As in the high school
contest, several co-sponsors, one of which
is Audio Devices, will award cash prizes to
the three best written scripts. In addition,
a collection of those scripts best adaptable
for home and school use, will be put in
booklet form, and the writers will be amply
rewarded. Speaking as a college student
of radio broadcasting, and one who has
done some work with educational and pro-
fessional groups, I believe this contest will
be welcomed by the college students.
In writing a radio script, choosing a sub-
ject is perhaps one of the most difficult
problems. So I will outline here a few
suggestions which may prove helpful al-
though these suggestions are in no way to
be construed as official.
1. Original dramas. In this classification,
an endless amount of imagination can
be utilized. The world of fantasy, if
presented in an intelligent manner,
always makes for good radio. On the
other hand, the writer can get original
ideas from newspapers, magazines, the
people he meets, the places he sees, etc.
2. Adaptations. Short stories, novels,
biographies and plays can be adapted
for radio, and can make excellent
scripts. Wherever possible, use only
those stories or books "in the public
domain", i.e. those pieces of literature
not under any copyright. (If an adap-
tation from a copyrighted story is done,
and it is reprinted, royalty fees must
be paid.)
3. Programs of local or national interest.
These may include programs to com-
memorate the birthday of a great
American, famous holidays such as
Halloween, Thanksgiving, etc., the
anniversary of a famous event, or some
sports event. The Documentary and
"Public Service" dramas are popular
forms of presenting the above ideas.
These programs of local or national
interest could be tied in with the stu-
dent's work in the classroom e.g. for
Washington's Birthday, the student
might write a script instead of a com-
position.
4. Since many of these dramas will be
used by schools and home groups, per
haps a short script concerning family
life (approximately five minutes long)
would make an interesting radio play.
Many amusing yarns are ideally suited
to script adaptation.
These are some general ideas for pros-
pective radio scripts. There are a few
things to guard against. Light scripts have
an important place in the contest, since
the best scripts will he used by schools,
community groups and in homes all over
the country. However, that does not mean
a serious minded script or well done adap-
tation or documentary does not also have
its place.
In regard to the school presentation of
good student scripts, here is some news.
In New York City, there is a high school
group called "The All-City Radio Work-
shop" consisting of students interested in
radio acting, announcing, writing and pro-
duction. This group is under the ver>- able
guidance of James F. Macandrew and an
excellent staff. I was fortunate enough to
have worked at their station, WNYE,
(The N. Y. Board of Education Station)
for about a year and a half. Now, many
of the alumni of the Workshop are at-
tending colleges in and around New York.
The alumni decided to get together and
produce a series on some local non-com-
mercial station. Plans are now being laid
for the presentation of last year's prize-
winning scripts of the Scholastic competi-
tion.
Perhaps in the future the students of
this country will help make radio broad-
casting a regular part of their education.
This can be accomplished only if the stu-
dents take part in projects such as these
radio script contests. Writing radio scripts
will not do the job by itseff, but it cer-
tainly plays a major role in Education by
Radio.
^ T^ecdldlU
By C. J. LeBel, Vice President
AUDIO DEVICES, Inc.
MEDIAEVAL CRAFT OR
MODERN PROFESSION
Introduction
At the risk of losing half our readers, we
are changing from the usual dry technical
discussion to the even drearier field of
philosophy. The time seems ripe for some
philosophizing, albeit only in subminiature
doses.
Mediaeval Crafts
In the Middle Ages
most technical knowl-
cdge was used by
craftsmen engaged in
the various trades.
Organized in tightly
closed guilds, these
"mysteries" were dis-
closed only to fellow
members and their
apprentices. Since
craftsmen could not
read, transmission of
C. J. LeBel knowledge was ver-
bal. Since guilds were only city wide in
scope, general diffusion of knowledge was
citywide only. Journeymen traveled from
city to city, providing a limited verbal
method of further spreading information.
The few engineers then existent could
write and draw, of course, but their knowl-
edge was generally acquired verbally, or by
personal experiment. Leonardo Da Vinci, a
leading military engineer of the next later
period (early Renaissance), developed his
science by thousands of experiments. There
being little incentive for exchange of
knowledge, his results were written in
private notebooks, fated to be lost in ob-
scurity for hundreds of years.
Mysteries Become Rational Knowledge
With the growth of printing this was
all changed. Learned societies became in-
terested in "natural philosophy". Books
were written and circulated widely. Secrecy
disappeared with the decay of the guilds.
With free exchange of knowledge, science
and engineering developed rapidly. We
had the Industrial Revolution, and thence
the Industrial Age of today.
Disc Recording — A Mediaeval Craft
Like other parts t)f the audio field, disc-
recording engineering today bears a curi
ous resemblance to a mediaeval craft. It has
to be learned verbally, or by personal ex-
(Contniiied on Page 4)
January, 1948
AUDIO RECORD
Audiotape Development
{Contimied from Page I )
course of time a still better film can he
developed which will have all the proper-
ties of the best German tape without the
disadvantage which apparently they were
unable to overcome, i.e., loss of dimensional
stability when subject to heat.
Audiotape (trade marked) was chosen
as the name for our product and is in our
opinion a very proud and suitable com-
panion for Audiodisc. (See cut.)
Audiotape virtually has no surface noise.
Under ideal conditions, the signal to noise
ratio is something more than 60 db. Equally
important is the phenomenally low noise
behind signal, probably equal to or supe-
rior to the best German efforts.
Frequency response depends on the par-
ticular machine used and of course the
linear speed of the tape. This is simply to
say the "tape" itself has no frequency
response. The measurements are relative
only, depending upon various factors.
Audiotape, when run at 71/2" per
second, is substantially flat to 7000 cy.
When run at 18" per second, that is at
the speed of motion picture film, it is flat
to above 9000 cy., and when run at Mag-
netophone speed of 150 ft. per minute, is
flat to above 15,000 cy. which is required
for F. M. Broadcasting. These measure-
ments are all about 2000 cycles better than
other tape now available.
Audiotape
Distortion measurements are still more
difficult to make because every type of tape
has a critical bias. Intermodulation tests
indicate extraordinary satisfactory results,
however more work is still to be done be-
fore final figures can be obtained. None-
the-less measurements for harmonic distor-
tion indicate a figure not above 1/2 of ^%-
Audiotape is being made available in
limited quantities for test purposes. How-
ever, within a few weeks we expect to be
in full production and as in the case of
Audiodiscs, distribution will be carried on
by our present distributors.
Audiotape is wound in 1275 ft. lengths
on lightweight 8" diameter aluminum reels,
made especially for Audio Devices, and on
4700 tt. aluminum flanges, 13%" diameter,
By Aaron S. Bloom
Treasurer, Director, Commercial Dept.
KASPER-GORDON, Inc.
Boston, Mass.
The old adage that "you can't teach an
old dog new tricks" has been blasted as
thoroughly and as effectively as were two
Japanese cities by the A-bomb. Many long'
time advertisers have discovered the prac-
ticability of the transcribed radio program,
both custom-built transcription series built
specifically for their own use, as well as
the open-end syndicated transcribed pro-
gram series.
The "discovery" was made the hard way,
insofar as transcription producers are con-
cerned, for transcription companies found
it difficult to educate advertisers on the
many advantages the transcription pro-
gram had and has over the network and
regional program — advantages with which
no network or regional show could pos-
sibly compete. But the radio advertiser
knows now, and legion indeed are the
number who now use the e. t. program.
For example: can't clear time on a net-
work? So what? Put the show on discs and
select the best available time in the markets
you wish to cover. What's that? You can't
buy a split network? You must buy time
in some cities you don't want, or where
you have no distribution as yet? Don't let
that bother you. Just put the show on discs
and select the markets you wish. Then
again, must you be saddled with a par-
ticular station your dealers just don't feel
partial to, but which you must use because
it is part of the network? Don't pull your
hair out by the roots. Disc the show and
buy time on the stations you want.
But then — suppose you don't want to
build an expensive custom-tailored show to
test a product in a certain market, or group
of markets. In that case, there are many
good open-end transcribed syndicated shows
to use — programs which cost a lot of
money to produce, but which the indivi-
dual sponsor in any market may purchase
(lease) to make the test — shows which
range from gospel songs to musical variety,
from sports programs to mystery drama.
adaptable to either Magnetophone or the
several variations now coming on the
market.
In conclusion. Audiotape will do many
things impossible to realize with discs. For
editing, assembling, etc., tape has no peer,
on the other hand, one must bear in mind
the skill, training and ability of the opera-
tor is of first importance if the complete
benefits of tape work are to be enjoyed. In
our opinion, Audiodiscs and Audiotape
are natural complements, each will aug'
ment and assist the other in bringing fine
recording to the home and studio.
from adventure to juvenile fairy stories.
There are shows with well-known names
which cost the advertiser only a fraction
of the expense of a custom-built program —
even shows without the so-called "big
names", but which have a proven record
of success in the building and holding at-
tention of listeners, and in selling mer-
chandise. Actually, many such shows with-
out those "big names" have pulled greater
results per dollar of expenditure for time
and program, than have some of the more
costly "big time" shows with the so-called
"stars". The payoff isn't always in the "big
name", or even in the ratings. It's in the
jingle of the sponsor's cash register. And
currently, sponsors are looking more cri-
tically at those "ratings". They are finding
that the "cost per point" for expensive
shows is two, three or even four times as
much as for more moderate productions.
Yes — the transcribed show is here to
stay — and nothing more need be said to
justify the recorded program than to point
to the hundreds of sponsors of national
importance, and the thousands of regional
and local advertisers, who now use tran-
scriptions on radio stations throughout the
U. S., Canada, and all foreign countries
where commercial programs are accepted.
In many instances, the syndicated tran-
scribed show is an even better "bet" for
sponsors to use, than some locally pro-
duced "live" talent programs, especially
insofar as smaller markets and stations are
concerned. Aside from the fact that the
syndicated transcribed show costs less,
there is usually less worry about the talent
available in local markets, production of
the show, and certainly no concern about
script, rehearsals and timing of the tran-
scribed program. It's all completed! The
sponsor knows in advance how the 15 th
or 50th program in a series will sound, be-
cause it's all there on disc for him to hear.
Too, reputable syndicated program pro-
ducers are as careful of the production
that goes into their various packages (as a
rule) as are network producers. They have
to be. It's their money they are gambling.
And they depend upon the success of a
series for a sponsor, so that they can sign
the same client up for a continuation of
the series, its use in other markets, or for
another show — whether syndicated or
custom-built.
The use of the word "reputable" is not
meant to include the "producer" who
records two programs as samples, sets out
on a selling expedition in the hope of sign-
ing enough business to warrant investment
in a series of 26, 52, 78 or even 130 or 260
programs in the series. The reputable pro-
ducer finishes his series before off^ering it,
or has earmarked enough money to com-
plete the number of shows offered, whether
one sponsor or 100 signs. The "2-sample
producer" who doesn't sign enough in-
dividual markets to finance production of
the entire series, and therefore never com-
AUDIO RECORD
January, 1948
plctcs all the programs and therefore never
delivers them, ircnerally exits quickly from
the syndicated field. But while he is in it,
he does it little good. As the oldest syn-
dicated transcribed program producer m
the United States (more than 16 years)
we have seen them come and go with
monotonous regularity.
There's a lot more to this business of
syndicated transcriptions than merely pro-
ducing a series of transcriptions and offer-
ing them for sale. The producer must be
prepared to make a huge investment, and
then take his chances on getting it back.
He must know every market in the United
States (as well as foreign countries where
his programs are adaptable) and how much
to expect per program for each market,
considering the population, power and
rates of radio stations, and cost of pro-
duction of the program series.
The producer must assist the sponsor in
working out promotional campaigns, be
ready to supply publicity material, small
space ad mats, teaser spots, merchandising
and exploitation suggestions. And lots of
other things of which there is no space to
mention herein.
Be that as it may, the advantages of the
transcribed programs — both custom-built
and open-end syndicated shows — are
making themselves felt more and more.
The results as far as the producers and
pioneers are concerned may not be as sen-
sational and as sudden as was the atomic
bomb. By that I mean that the producer
doesn't see his sales and business skyrocket,
with wealth rolling in for his efforts over-
night. But who wants to break down sales
resistance and destroy the customer at the
same time? The transcription business has
been built step by step — and it's always
better to have a solid foundation for any-
thing.
Fordham Station Disc-Minded
(Continued from Page 1 )
having them recorded at a time convenient
to the persons scheduled to broadcast. Thus,
Faculty members who might have a conflict
between the program, "The Faculty
Speaks" and a regular class are permitted to
be heard by both audiences simultaneously.
In the case of Godfrey Schmidt, "The Story
Teller", a busy Industrial lawyer is able to
double as a broadcaster of delightful fairy-
tales, by the simple expedient of having him
record five stories for the week during a
single Saturday cutting session. The success
of this program was such that WNBC-New
York now airs the Attorney-turned -Story
Teller each Thursday evening.
Finally, by means of recordings, Fordham
University's WFUV is taking steps to bet-
ter international understanding. Under the
Rev. Richard F. Grady, S. J., Manager of
the station, a series featuring American folk
songs with appropriate language commen-
tary is being recorded for distribution to
GOES WEST
Alan H. Bodge, for a year and a half
a member of Audio Devices' New York
Sales Department, has been appointed
manager of the company's new west coast
office at 844 Seward Street, Hollywood,
Calif. Prior to joining Audio in the spring
of 1946, Bodge, a Dartmouth graduate,
spent fifty-three months in the radar divi-
sion of the Army Signal Corp.
Radio Eire, the French State Radio, and the
broadcasting networks of other countries.
"Radio may be only a year old at Ford-
ham," Mr. Coleman says, "but both in class-
room and on the air, New York's first Edu-
cational FM station is doing a bang-up job
... on the record."
Disc Data
(Continued from Page 2)
perimcnt, for there is a tremendous gap
between written material and actual prac-
tice. We have a vast background of acous-
tic, electroacoustic, and electronic science,
but it is not organized into a form usable
for audio engineering purposes. Even our
colleges pay little attention to the funda-
mentals of the subject. Much that has been
written is either inaccurate or obsolete.
When disc recording began, there was
reason for such a situation, for the com-
petent recordists could be counted on the
fingers of one hand. It was then an occult
art, but that time has long since passed.
Now we have more to gain by converting
an art into engineering, than by not.
In visiting various recording rooms we
see signs of the logical result of present
practices. The simplest problem will have
scores of solutions — a different one in
every recording room. Endless time is spent
solving and re-solving the same problems.
We need the force of many cooperative
minds applied to finding the best solution
of our common problems.
Converting an Art Into a Profession
A number of steps will be necessary be-
fore we have a full fledged profession:
A. We will have to develop the habit
of free discussion of common problems.
B. We will have to develop an organi-
zation for cooperative attack on common
problems.
C. We will all have to realize that
there is no single magic "secret" which
makes recordings marvelously superior.
Good recording is the result of the sum-
mation of many factors, of taking infinite
pains. The magic secret perhaps existed
back in the old acoustic recording days,
when the art was much more simple, but
it is certainly non-existent today.
D. To execute these steps we will have
to develop a tradition of general publica-
tion. The doctors have made such exten-
sive progress in a much more complex sub-
ject only because every new idea is quickly
published and studied. The individual con-
tributes only his own single idea, but he
gets back in return everyone else's ideas —
a yield of a thousand for one.
In the past, general audio publication
was badly hindered by lack of a suitable
medium. We have had a suitable journal
available for several months, and other
audio engineers are beginning to write
more freely. Disc recordists need to follow
the example so set.
E. Still missing is a suitable profes-
sional organization to sponsor regular
audio engineering meetings, but steps are
under way to remedy this.
F. It will also help greatly if publica-
tion carries more prestige. Progress in the
radio-frequency field has been greatly
helped by the fact that publication carries
with it improved professional standing. In
the more progressive organizations in the
audio field this is also true, but in too many
places publication is regarded as a laborious
chore rather than as an opportunity to
make friends in print. It is very pleasant to
arrive in a strange city and find that you
are not a stranger — for your writings
have already made you known.
Editor's 'hlote: Mr. LeBel will be pleased
to have recording engineers' comments on
the aboxx ideas. V\/hat do you thin\^
ATTENTION
Student Radio Writers
Audio Devices is co-sponsoring the 1948
"Scholastic Writing Awards" (Radio Script
Writing Classification), for high school stu-
dents and also the 1948 AER National
Radio Script Contest for college students.
Valuable cash prizes are to be awarded
writers of best scripts, and supplementary
awards will be made to those writers submit-
ting scripts suitable for publication in book-
let form. For complete details write: {for
high school students) William D. Boutwell,
SCHOLASTIC MAGAZINES, 220 East
42nd Street, N. Y. C. (for college students)
Dr. S. P. Lawton, AER Script Contest
Chairman, U. of Oklahoma, Norman, Okla.
rscoTcL
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 4, No. 2
444 Madison Avenue, N. Y. C.
February, 1948
On-The-Spot Recordings
Integral Part off Regular
News Broadcasts at WOR
Listeners Given Quicker Eye-Witness
Coverage of Special News Happenings
Equipped with a transcription library
valued at half a million dollars and a crack
staff of on-the-spot reporters, WOR-New
York has perfected the use of transcrip-
tions in news broadcasts to what probably
is its most mature development. This de-
velopment, increased since the war, results
in more authentic broadcasts and gives
listeners quicker eye-witness coverage of
news events.
Larry Pickard, WOR writer, selects a disc from
the station's huge file of on-the-spot recordings.
When a news story breaks, such as the
search for the missing recluse, Langley
CoUyer, WOR reporters are sent to the
scene wherever practicable to record de-
scriptions of the event which are in turn
inserted into regular news broadcasts.
Reporter John Wingate, for example, was
on hand when Collyer's body was discov-
ered, described the event and raced his
recordings back to the station so that
WOR listeners might hear a complete story
before the newspapers had hit the streets.
During recent investigations of the House
Committee on unAmerican Affairs WOR
newscasts were supplemented with record-
ings of actual testimony given during the
hearings.
The wedding of Princess Elizabeth fur-
nishes another example of the way record-
(Contmued on Page 2)
Don Plunkett, Chief Engineer of Mary Howard Recordings, adjusts one of the mikes in the
spacious New York studio while an artist sits at the piano waiting patiently for Mary Howard's
cue to begin. Inset: Recording's own, Mary Howard. Photos by Murniy Laden and Kdward O'zera
The War Gave Mary Howard Her Big Chance to
Make Good in Recording; She Did — And How!
Before the War, many jobs in American industry were con-
sidered "man-sized" positions and therefore . . . for men only. But
the War and its tremendous drain on manpower soon gave the female
a chance to "strut her scuff." And one such
lady, who took full advantage of this op-
portunity to prove that it wasn't strictly a
man's world after all, was Miss Mary
Howard, daughter of a well-to-do New
England family.
Mary Howard had a flair for good music
and records particularly intrigued her. To
satisfy her curiosity, she bought a record-
ing machine and started on her own trial-
and-error course in record cutting. Miss
Howard's interest in recording steadily
grew — and so did her recording equip-
ment. And then . . .
Mary Howard came to New York in
1940 and immediately applied for an engi-
neer's job at NBC. As girls weren't being
hired for that sort of an assignment, Mary
Howard had to be content with a secre-
tary's position in the engineering depart-
ment. Then, her big break came. NBC, los-
ing man after man to the armed forces,
(Continued on Page 4)
Student Radio Writers
Yes, time is flying! Only a few more weeks
for you high school and college radio writers
to enter one of the two big radio script
writing contests. Entries for SCHOLASTIC
MAGAZINES' Script Writing Competi-
tion (co-sponsored by Audio Devices) for
high school students positively must be re-
ceived before midnight, March 5, 1948. The
1948 National Script Contest, also co-
sponsored by Audio Devices and conducted
by the Association for Education by Radio,
closes March 30. So you haven't much time
to win one of the many valuable cash prizes.
Act now! For complete contest details write:
(for high school students) William D. Bout-
well, SCHOLASTIC MAGAZINES, 220
East 42nd Street, N. Y. C. (for college stu-
dents) Dr. S. P. Lawton, AER Script Con-
test Chairman, U. of Oklahoma, Norman,
Okla.
AUDIO RECORD
February, 1948
cLudla li record
VOL. 4, NO. 2
FEBRUARY, 1948
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
Film actor Pat O'Brien, star of "The Damon
Runyon Theatre," and the program's producer-
director, Herbert H. Wood, take time out dur-
ing a rehearsal of the new transcribed NBC
Radio-Recording Division feature.
Damon Runyon's Famous Tales
To Be Dramatized by NBC In
Series of 52 Recorded Shows
Pat O'Brien Star in Runyon Plays
Damon Runyon's internationally famous
tales of Broadway will be dramatized in a
series of 52 half -hour recorded programs as
the result of an exclusive contract between
the National Broadcasting Company's
Radio-Recording Division and the Runyon
Estate, according to C. Lloyd Egner, vice-
president of the NBC Radio-Recording
Division.
Film actor Pat O'Brien will be the star
of the radio plays based on Runyon's sto-
ries. O'Brien, who v^ill narrate each play as
well as enact the role of "Broadway", will
be supported in each program by a radio,
stage or screen star.
Commenting on the plan, Egner stated,
'"We of NBC are proud to be associated
with Pat O'Brien and the Damon Runyon
Estate in the production of this series of
half-hour dramatic programs 'The Damon
Runyon'. We consider this a significant
step forward in the development of syn-
dicated recorded programming, and our
decision to introduce this new dramatic
feature culminates months of study and ex-
perimentation to produce something com-
pletely unique and entertaining in the
recorded program field."
The scries, which Egner described as the
biggest and most expensive syndicated re-
corded program undertaken by the NBC
Radio-Recording Division, will be oifcred
on a syndicated basis for spot advertisers
over local stations.
Scripts are being written by Tom Langan,
veteran radio author and a Radio-Record-
ing Division staff writer, under direction of
Gordon Webber, Radio-Recording con-
tinuity chief. H. H. Wood, manager of the
division's program department, is produc-
ing and directing the series. Special music
IS composed for "The Damon Runyon
Theatre" by John Gart. Ed Heriihy will
announce.
On - The - Spot Recordings Integral
Part of Regular News
Broadcasts at WOR
(Contmued from Page 1)
ings are used to give listeners better pro
grams. Highlights of the event, which took
place too early in the morning for most
American audiences, were transcribed,
edited and re-broadcast at times more suit-
able for listeners. Such news coverage has
the authenticity of newsreels plus the
added advantage of speedy presentation.
Transcriptions also provide a backlog of
events and personalities of the past, and
the WOR transcription library has on file
voices and opinions of almost every na-
tional and international leader of the past
two decades. When major issues of the
past, such as elections or international con-
ferences recur, WOR can summon at a
moment's notice, presidents, dictators, gen-
erals and a host of others to give their views
on the same or similar problems.
Casual interviews with the unpublicized
average citizen, as well as with the great
and the famed, form a valuable index to
public opinion. The reaction of the ordi-
nary voter to national problems is natural-
ly a consistent augury on political trends.
Few places are inaccessible to the radio
reporter since the advent of the recorder
and WOR has endeavored to make every-
day folk the source as well as the con-
sumer of news.
The use of the transcription in news
broadcasting gives the Hstener better news
service in spot coverage, a permanent
reference of personalities and trends, and
on authentic eye-witness account of events
presented in a dramatic manner at a con-
venient time.
ATTENTION
The Editors of Audio Record welcome
contributions from its readers. Any news
concerning your recorded programs or
other recording activities, that you believe
will be read with interest by recordists, can
be used. Photographs, drawings, or graphs
needed to illustrate your material will be
appreciated also. Address all contributions
to: — The Editor, Audio Record, 444 Madi-
son Ave., New York 22, N. Y.
Wie T<^a)%dlU
By C. J. LeBel, Vice President
AUDIO DEVICES, Inc.
DISTORTION PROBLEMS
Introduction
With the rapid growth of FM radio,
and its heavy dependence on records and
transcriptions, it is time to reappraise our
standards of recording quality. As has been
found many times in many parts of the
audio field, every time the frequency range
of a system is in-
creased, other ele-
ments in the per-
formance of the
system must be im-
proved also. A wide
range system will
show up excessive
noise and unsuspect-
ed distortion in most
amazing fashion.
Whereas tran-
scriptions were gen-
C. J. LeBel erally listened to (on
the ordinary AM radio receiver) with an
upper frequency limit of 4000 to 5000
cycles, on an FM receiver the usual upper
frequency limit has been raised to 7000 to
10,000 cycles. Even a few minutes of listen-
ing under such conditions will show that
pressings are often not as uniform in qual-
ity as their makers believe, for distortion
varies from one to the next.
Kinds of Distortion
We will disregard the most easily reme-
died form of distortion — undesired varia-
tion of response with frequency. It is so
easy to correct with electrical networks that
a recordist with an incorrect response curve
has only himself to blame.
Harmonic distortion, of course, is the
type which the recordist first thinks of
when the word "distortion" is mentioned.
It has been a much discussed fault, and cer-
tainly should be reduced to a minimum
before we worry about more elusive forms.
The unit to measure the "minimum" by is
not easy to define, however. The rss distor-
tion is a widely used index number, but a
poor guide to how objectionable the ear will
find the sound. Second harmonic distortion
is much less annoying than third, and higher
orders are almost intolerable in exceedingly
small proportion. This anyone can establish
for himself in a few experiments.
Many of us have found numerous cases
where harmonic distortion figures provided
no guide to the annoyance value. One ex'
ample the writer recalls was an experimen-
tal recording on wax, which bloomed one
February, 1948
AUDIO RECORD
humid summer while awaiting processing.
Another example was the distortion mea-
surement being made on an early experi-
mental lacquer formula. The sound was not
quite right, so the pickup pressure was in-
creased slightly. The 1000 cycle tone cleared
up immediately — the improvement was
rather great — but the distortion meter
reading dropped only imperceptibly. As
still another example, Roys has shown' that
the audible distortion created by overpol-
ishing a stamper is not reflected in har-
monic readings made on the pressings pro-
duced by it.
Nevertheless it is quite certain that if
the harmonic content is high, we need look
no further to explain why listeners are dis-
satisfied.
If the harmonics are low in value, we
may still dislike the sound. In that case the
next step would be a measurement of the
intermodulation distortion. Whereas har-
monic measurement is made with a single
input tone, intermodulation testing is a
measurement of combination tones pro-
duced by injecting a pair of frequencies.
This method was first made standard in the
film recording field.
We have deliberately omitted any dis-
cussion of transient distortion for lack of
space. It is a fault not to be ignored, but
certainly the industry needs to go further
in minimizing better known defects before
It worries too much about transient effects.
Intermodulation Tests
Intermodulation distortion provides a
good explanation of why some recording
systems are clean sounding with a single
instrument, but fuzz up hopelessly with a
full orchestra. Each tone acquires such a
multiplicity of sidebands that definition is
lost.
The usual test method is to introduce
a low frequency tone and a medium or high
frequency. Amplitude of the two may be
equal, or they may be in a 4 : 1 ratio. A com-
mercial unit uses 40, 60 or 100 cycles, and
2000, 7000 or 12,000 cycles. Another com-
mercial unit uses these or other tones. Roys"
principal work has been done with 400 and
4000 cycles.
Intermodulation Results
There has been little published work on
intermodulation results. Hilliard--^ has very
briefly suggested amplifier reproportioning.
On discs themselves, Roys' work' on the
effect of overpolishing stampers is of great
importance. No other data on disc system
or processing characteristics has been pub-
lished, but unpublished data on a number
of the best systems presently in operation
show low intermodulation as measured on
the lacquer. This is not necessarily true of
,ill systems, nor of all lacquers.
Unpublished measurements by a number
of organizations on the effect of processing
seem to indicate it as the worst source of
trouble. If we are to turn out transcriptions
of consistent top quality, some species of
control should be adopted. Overpolishing
In the speech training class at Concordia Seminary (Lutheran Church), St. Louis, Mo., a future
minister speaks from a make-beheve rostrum while a second student records the voice. Such
recordings are made at the beginning and again at the end of each academic year in order that
instructors might accurately gauge the student's speech improvement.
St. Louis Seminary Uses
Recording Equipment To
Better Student's Speech
Discs Aid Future Ministers in Over-
coming Various Speech Difficulties
The chief objectives in speech training at
Concordia Seminary (Lutheran Church)
in St. Louis, Mo., are to free the students
from self-consciousness and performance-
reflexes, to equip them for direct speech
from rostrum and microphone, and to over-
come bilingual patterns incurred through
previous environment. Such was the recent
explanation of R. R. Caemmerer, Director
of Speech at the Missouri seminary.
When asked to explain just how record-
ing equipment is used at Concordia, Mr.
Caemmerer replied: "Each student makes
a recording of selected readings, from three
to five minutes in length, near the begin-
ning of each academic year. After an in-
structor has analyzed this recording pri-
vately with the student, pointing out special
problems to be overcome, the student begins
a series of clinical practice periods.
"In this speech clinic," Mr. Caemmerer
said, "the student endeavors to remedy
problems classified under bilingualism, vocal
quality, reflection and interpretation, rate
and phrasing. (The therapy is carried out
largely by means of the wire recorder.)
"Then toward the end of each year the
students make a recording, in pairs, of an
extemporaneous conversation. This record-
ing," Mr. Caemmerer added, "is analyzed
with the students to point out gains
achieved through the therapy or through
a less self-conscious situation."
The speech director also explained that
full length recordings are made of projects
in radio evangelism and radio dramatics by
the seminary's own radio station. KFLIO,
located on the St. Louis campus.
has been condemned for at least a genera-
tion, but it still continues.
Remedies
It has already been proposed that every
master contain a few intermodulation test
grooves. These could be used to check every
pressing, and thereby the stamper wear.
This proposal would certainly eliminate the
accidental use of worn out stampers. It
would not be a perfect check for overpol-
ishing. as the processor would simply be
more careful in the vicinity of the test
grooves!
As a supplementary means, it has been
suggested that a test pressing from each
stamper be sectioned, polished, and meas-
ured under the microscope. There is a cer-
tain amount of change of groove radius due
to compression of the metal of the stamper,
but any excess amount would immediately
indicate overpolishing. Certainly, some
such means will have to be adopted to nar-
row the quality difference between the lac-
quer original and the pressing.
References
1. H. E. ROYS. Inlermodulalion Dinortitm Analyst.
as Applied to Disc Recording and Reproducing
Equipment. Proc. I.R.E.. vol. 35. no. 10,
1149-1132. October 1947.
2. J. K. MILLIARD. Intermodulation Tests for Com
parison of Beam and Triode Tubes Used to Drivt
Loudspeakers. Communications, vol. 26, ni
pp. 1317. 34. February 1946.
3. J. K. MILLIARD. Distortion Tests by the Inter-
modulation Method. Proc. J.R.E., vol. 29. no
pp. 614-620. December 1941.
AUDIO RECORD
February, 1948
War Gave Mary Howard Chance to
Make Good in Recording; She Did
(Continued from Page 1 )
decided the comely secretary deserved a
chance to cut a disc and be paid for doing
it. Mary was a big leaguer from thi" start
and in no time at all, the trade looi J on
her as a master recording engineer.
Her work at NBC gave Mary Hc-vard
ideas — big ideas of opening her jwn
recording studio. And just to prove shc
wasn't day dreaming, Mary Hov^ard in-
vites you to visit her studio (Mary Howard
Recordings) at 37 East 49th Street in New
York any day you wish.
Since Miss Howard set up her own
"shop", a little over two years ago, many
of the biggest names in radio have used her
facilities. Such outstanding personalities as
Alex Templeton, Eddie Duchin, Ethel
Waters, Fred 'waring, and many others,
have come to Mary Howard Recordings be-
cause they knew that this Howard woman,
when it came to making recordings, was
"perfection on parade."
Mary Howard Recordings functions
primarily as a recording service and its
operations, besides cutting instantaneous
masters, includes line and air checks of all
descriptions, studio recording and slidefilm
work. In the last year Mary Howard
Recordings released their own commercial
records. The Herman Chittison Trio, Ethel
Waters, Lucille Turner and Dale Belmont
are a few of the artists who made recordings
under the MHR label. And, like the thou-
sands of other recording companies, Mary
Howard Recordings is waiting patiently
for the Petrillo ban to be lifted so they can
'get going' again.
Cutting equipment in Mary Howard
Recordings, according to Chief Engineer
Don Plunkett, Mary Howard's able assis-
tant, consists of: 'Van Eps and Allied Cut-
ting Lathes, Presto 1-D Heads driven by
Langevin 101 -A Amplifiers. "Our mixing
equipm.ent," Mr. Plunkett explained, "is
interchangeable by means of patching. Our
Preamps and Our Program Amps arc
Langevin. Re-recording equipment at
MHR," Mr. Plunkett said, "consists of
Allied Transcription Tables and Picker-
ing Reproducing Equipment, which have
served us most efficiently of all pickups we
have tried. This combination — Allied TT's
and Pickering Pickups — we find the most
flexible for composite recording."
Audio Record asked both Miss Howard
and Mr. Plunkett what their particular
techniques were — what they did to insure
good recordings. To this query. Miss
Howard replied: "We are of the opinion
that a compact, consolidated recording and
control room, combined adjacent to and
visible to the studio is the best method of
recording. With this setup a recording tech-
nician can actually 'ride gain' but what
is more important can see what actual level
is imposed on the disc. We feel," Miss
Pictured above is the official label of
the 1948 'hlational Convention and
Show of the Institute of Radio Engi-
neers which will be held m 7\[et(,' York s
Grand Central Palace ayid Hotel Com-
modore, March 22 through March 25.
Audio Devices will display its products
m Booth #2.1.1.
Howard continued, "that the term 'riding
gain' is a poor description of the operation
involved. The more dynamics achieved in
a fidelity recording, even if the frequency
response is limited, the more the sound
originating in the studio will be approxi-
mated. We feel that too much emphasis
can be put on the word 'fidelity' and that
some of the pre-emphasized and over em-
phasized high frequencies often result in a
sound unpleasant to the ear, which after
all is the final judge."
"Dynamic fidelity of course," Mr. Plun-
kett h sti^ned to add, "is closely allied with
surface noise and care must be taken with
selection of styli and discs so that low level
prssag «■ v.'ill not 'ce marred by surface
noise.
"And then too," the chief engineer went
on, "recording quality must be checked
constantly and the best check is immediate
playback. This is, unfortunately, quite
often ignored by many studios, or discour-
aged by companies as a waste of time."
"Yes, and," Miss Howard, eager to get
back into the discussion added, "recording
information about cutting characteristics,
recording head designs, styli and quality of
response equipment is easily obtained.
These all enter into the final results. Un-
fortunately, the interest and ingenuity of
the recordist has often been overlooked.
Recording," she continued, "is not a dull
craft at all if engaged in all its technical
phases. There seems to be a prevalence in
large organizations for specialization —
cutting technicians, studio technicians,
maintenance, etc. — which often results in
poor recording because of lack of interest
or information in all phases of the record-
ing operation. If interest and enthusiasm
were carried all the way through the re-
cording organization, and management,
perhaps time might be found to raise the
general recording standards in America.
"We have tried," she concluded, "to
incorporate these methods (?) in our opera-
tion and have had success ... or some such
thing."
From what Audio Record has been able
to learn, that 'some such thing,' Miss
Howard refers to, spells success all right
. . . and with a capital 'S'.
''Thefollotving program teas transcribed from art earlier broadcast
in order that you might hear it at this more convenient time"
Copyright. 1948. by K.squire. Inc.. Esuuire Bide.. Chicago. 111. (Esquire. February. 1918:
flttfjlff
fGCcrrcL
Vol. 4, No. 3
PUBLISHED BY OIO DEVICES, INC.
444 Madicjn Avence, N. Y. C.
Audio's Research Department
Vital To Company's Success
Research Director Franck Introduces
Staff to Audio Record Readers
It wasn't long after the first Audiodiscs
were made, hack in the late thirties, that
Audio Devices realized the importance of,
and the need for, a fully-equipped and
fully -staffed Research Department. "T^
progress, one must explore" was the philos
ophy of William Speed, Audio's president,
and soon the young company was laying
plans for what is now, possibly, the most
modern, up-to-the-minute research depart
ment in the recording disc field.
One of the very first steps in creating
such a department in any company, of
course, is the hiring of an outstanding man
who not only possesses the ability to delve
deep into the unknown qualities of your
product and its competitors, but a man who
can mold together a fine staff of capable and
creative assistants who will work as a
"team" to further the progress of your
organization. The Research Director that
Audio Devices engaged to set up their Re-
search Department had all of these qualifi-
cations . . . and more.
Ernest W. Franck was Audio's man.
And Ernest W. Franck has justified his
company's choice time and time again.
Ernie Franck has been a well-known figure
in the sound recording field since almost its
infancy. Considered an authority on the
art, he is not only a demon for work but an
inspiration to others working with him.
Ernie Franck is not a desk executive, not
by any means. He is "right in there" with
the boys on every project, on every problem.
Besides his vast knowledge of discs, their
components, etc.. Audio's Research Direc-
tor, it is safe to say, knows as much, or
more, about magnetic recording tape as any
man in the country. Actively engaged at
the present time in furthering Audio's de-
velopment work with Audiotape, Mr.
Franck spends countless hours exploring
into the possibilities of this new sound
recording medium.
In assembling his staff of chemists, tech-
nicians and so on, Mr. Franck has taken
time to "be sure" in his selections. Each
time an addition was made, the "Franck
Stamp of Approval" usually guaranteed a
sound and profitable investment to Audio
Devices. Believing in the theory that only
"interested" workers make good research-
ers, Ernest Franck is justly proud of his
(Continued on Page 4)
March, 1948
AUDIO DEVICES' RESEARCH STAFF
Above 1. Harold J. (Andy) Southcomb. Pressings Expert; 2. Ernest W. Franck. Research Director; 3. George M.
Sutheim, Chief Chetnist; 4. Stephen Schcttmi. Department's "Gcdgeteer"; 5. Frank Radocy. Production Analysis;
6. David S. Gibson, Lacquer Specialist; 7. Allison B. Randolph, Radio Technician.
Tape and Disc Recorder Prize Assets in Saint
Frances College's Speech Training Departnnent
Speech has been a required course at Saint Frances College, Brook-
lyn. New York since 1 920. As William T. Howie, Professor of Speech
at the New York school puts it: "Speech is a tradition at Saint Frances".
When asked what part recording equip-
Big Radio Script Writing
Contests End This Month
Scholastic Script Writing Awards —
National Script Contest Close Soon
SCHOLASTIC MAGAZINE'S Script
Writing Competition (co-sponsored by
Audio Devices) for high school students
and the 1948 National Script Contest (also
co-sponsored by Audio Devices), conducted
by the Association for Education by Radio
for college students, close this month.
Widespread interest in these national
contests is evidenced in the tremendous
volume of mail arriving at both SCHOL-
ASTIC and AER Contest Headquarters.
Script after script are pouring in from all
parts of the United States.
According to William D. Boutwell of
SCHOLASTIC MAGAZINES, scripts
(Continued on Page 3)
ment played in Saint Frances' speech train-
ing program. Professor Howie replied:
"We use both disc and tape recording
equipment and to say that they haven't
been priceless assets to the Speech Depart-
ment would he like saying that this coun-
try had nothing to do with winning the
war. We are sold on the recording medium
and believe it deserves much of the credit
in improving and perfecting speech."
The Catholic college offers five speech
courses — Voice and Diction, Extemporane-
ous Speaking, Oral Interpretation, Discus-
sion and Debate and Pedagogical Speech.
(The first two courses are required study
for graduation.) In the required courses
the student makes a disc recording of his
voice at the beginning and again at the
end of the school term for comparison and
study. For everyday classroom recording
a magnetic tape recorder is used.
(Continued on Page 3)
AUDIO RECORD
March, 1948
cuidla )l^ recGrrd
VOL. 4, No. 3
MARCH, 1948
Published monthly by Audio Devices, Inc.,
444 Madison Avenue. New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
I.R.E. Show Opens March 22;
10,000 Engineers To Attend
Record Number of Radio Engineering
Exhibits; 183 Firms to Participate
Tremendous interest in "Radio-Elec-
tronic Frontiers", which is the timely
theme of the 1948 I.R.E. National Con-
vention, is proven hy the vigorous increases
in both numbers of exhibitors in the Radio
Engineering Show, and the space taken in
throe floors of Grand Central Palace's
huge exhibition area. The Show opens
Monday, March 22 nd, and runs four days
through March 25th.
One hundred eighty-three of the head-
line firms of radio and electronics are par-
ticipating in the Show with displays rang-
ing from single booths to areas large
enough to duplicate an entire transmitting
studio. The latest developments in instru-
ments, components and complete transmit-
"Whodunit" on Record
In Michael Curtiz's latest mystery
thriller, "The Unsuspected", Claude Rains,
the unsuspected villain in the Warner
Bros, release, employs the services of 16"
recording discs to blackmail fellow actors
and to divert suspicion that he himself
might be guilty of committing the photo-
plays' murders. The "perfect crimes" fail
when Rains' recording activities arc dis-
covered.
ters will be shown. Every phase of elec-
tronics and communication equipment, and
some of the latest methods of aircraft guid-
ance will be presented to the 10,000 radio
engineers coming to the convention from
every part of North America. For the first
time, 22 exhibits will be placed on the third
floor, adjacent to session halls for tech-
nical papers. Exhibit space is 30% ahead
of 1947.
More than 120 technical papers, skill-
fully organized in 28 related sessions will
comprise the lecture program of the con-
vention. Three social events, a cocktail
party, Monday; the popular President's
Luncheon on Tuesday, and the Annual
I.R.E. Banquet on Wednesday Evenings
add color to what has grown to be one of
the world's greatest assembly of engineers.
Audio Devices will display its products
in Booth #233.
Covering Four Special Events
In Two Hours Time No Problem
To Alert California Station
Thanks to the ingenuity of staff mem-
bers, plus recording equipment, the task of
covering four community-interest special
events from four difi^erent spots all within
a little more than two hours time was per-
formed recently by KBLF-Red Bluff, Cali-
fornia.
KBLF's problem was to cover (1) cere-
monies at the Business and Professional
Women's meeting, celebrating the centen-
nial of the discovery of gold in California;
(2) a basketball game; (3) a presentation
of medals to veterans of World War II;
and (4) a March of Dimes Skating Party.
Here's how the California station did it:
KBLF's station manager. Bill Murphy,
emceed the Women's broadcast, and after
introducing the main speaker of the eve-
ning, Murphy left the banquet room to go
to the next broadcast — a basketball game.
When he arrived at the gym, the broadcast
was already on the air with the station's
play-by-play announcer at the mike.
Murphy did the "color" between the quar-
ters giving his cohort time to wipe his
brow.
In the meantime, KBLF's commercial
manager, Wayne Thorton, Jr., was at the
city's Veteran's Memorial Hall, recording
the presentation of Victory and American
Defense Medals to World War II vets.
Thorton, recorded speeches by various dig-
nataries as well as interviews with the reci-
pients of the medals. This program was
aired the following evening.
And twenty miles away, announcer
Sherman Guill, with a recorder, covered
the March of Dimes Skating Party in Los
Molinos. The program mainly musical, plus
interviews with the March of Dimes offi-
cials, was broadcast the next afternoon.
The box score for the night: four com-
munity service special events. The time:
two hours and twenty minutes.
me t^scoldut
By C. J. LcBcI, Vice President
AUDIO DEVICES, Inc.
PHONOGRAPH RECORD MANUFACTURE
Recent correspondence has made it ap-
parent that many of our readers are not
in touch with phonograph record manu-
facturing methods of today, but would like
to know more about the subject. We will
sketch a typical procedure, without at-
tempting to cover
every possible varia-
tion. It will be found
that the durability
and permanence of
lacquer recordings
have permitted many
changes from meth-
iids of the old wax
days. The NAB
standard terminol-
ogy^ will be used
C. J. LcBel where it fits in.
Lacquer Original
The selection is recorded by usual
methods on a lacquer disc. This is often
done on a 16" blank so that several takes
may be recorded on a single disc.
Fig I C7 0ss-iecti07x o\ lacquer original
Lacquer Mother
The best take is selected for processing.
This take is re-recorded by conventional
methods on to the correct size master disc
for the pressing to be made: 12" for a 10"
pressing, 13%" for a 12" pressing. The
eccentric circle common to most phono-
graph records must also be cut. The final
result is known as a lacq *'
Fig. 2 Cross-secti^,
.nht
Processing
The lacquer surface is coated with a
conductive film of metal by either chemical
deposition of silver (silvering) or by elec-
trical discharge deposition of gold in
vacuum (gold sputtering). Avery difficult
problem which we had to solve in formu-
lating our lacquer was to make it take
silvering and sputtering with consistently
March, 1948
AUDIO RECORD
good quality. A heavy layer of copper is
plated on top of the conductive layer by
conventional electroplating procedure. The
result, stripped off the mother hy mechan
ical means, is known as a sheU stamper, and
if attached to a heavy sheet of backini:;
material becomes a backed stamper.
Fig. 3 Cross-section of stamper
The stamper center hole is bored out
concentric with the grooves, the rim is
trimmed to size (removing the oversize
portion, often marked by plating clamps),
and it is then ready to be used. In many
cases it may be given a flash layer of chro
mium to enable it to better withstand the
wear and tear of use.
A lacquer mother may be coated, electro-
plated, and stripped several times, pro-
ducing an equal number of stampers.
One operation can seriously injure qual-
ity : polishing. It has been claimed that the
dirt adhering to a stamper may be removed
by a high pressure jet of clean air, but it
has been customary to use more drastic
means. Emory Cook has shown that even
a heavy rub with a rag is enough to polish
off all traces of 25 kc. H. E. Roys has
shown- that ovcrpolishing can introduce
serious intermodulation distortion. In any
case, there has been steady disagreement
between recording room and processing
department on the tendency to overpolish,
for many years.
Pressing
The stamper is then fastened to a record
die on one platen of a molding press, and
another platen is fastened to a record
die on the other platen. Labels are placed
at the centers. Steam is passed through the
record dies, a hot biscuit of pressing stock
is placed on the lower stamper, and the
platens are closed under pressure. Shortly
thereafter the flow of steam is cut off and
cold water is circulated thru the dies.
When the disc is cool and hard, the press
is opened and the pressing is removed. The
edge is trimmed and the record is then
ready for shipment.
During a classroom recording session in one of Saint Frances College's speech courses, a student
spealcs into a microphone while a magnetic tape recorder records his voice. Fellow classmates at
the Brooklyn, New York school listen eagerly with their instructor for possible flaws in delivery.
Fig. 4 Pressing action of stampers
Tape-Disc Recorder Aids College
(Conti7iued from Page J )
Saint Frances is the only Catholic college
offering the Pedagogical Speech course in
the New York Metropolitan area. This
intensive course for future teachers is de-
signed to qualify students to meet the re-
quirements of the highest standards. Special
emphasis is given to the requirements of the
New York City Board of Education.
Aside from the compulsory speech
courses at Saint Frances every student who
enters the Brooklyn school must take a
speech screening test to determine if he
has any speech defects. (This is an oral
examination and does not involve the use
of recording equipment.) If it is found
that the student does have speech diffi-
culties he is assigned to what is known at
Saint Frances as the 'speech clinic'.
Under the direction of Ray H. Abel,
the speech clinic, modeled after the clinic
at the New York Post Graduate Medical
School and Hospital, helps the student to
overcome his speech weaknesses by having
him record his voice time and time again
Comment
The interesting thing to note is that the
process of going from the original record-
ing to the mother is done electronically
rather than electrochemically. The saving
in time, if enough mothers are needed, may
amount to several days.
References
;. GLOSSARY OF DISC RECORDING TERMS. Audio
Record: Feb.. March. May. June. July 1946.
2. H. E. ROrS. Imernwdalation Analysis as Applied to
Disc Recording and Reproducing Equipment. Proc.
I.R.E.. I'ol. 55. no. 10, pp. 1149-lli2. October
SO that he can hear and have analyzed his
own errors. The tape recorder is employed
for this recording operation. Professor
Howie humorously refers to the speech
clinic as a "remedial course for Brooklyn
provincialism".
A further use of recording equipment
at Saint Frances is by the school debating
team. A member of the New York State
Debate Conference, Saint Frances records
all of their debates on standard 16" discs.
Script Writing Contests Close
(Continued from Page 1)
have also been received from regional win-
ners in such major centers of school radio
activity as Detroit, St. Louis, Pittsburgh,
Hartford and Birmingham. (According to
contest rules regional winners are also
eligible for prizes in national competition.)
Mr. Boutwell also confides that 1948
will far outshadow last year in total entries.
He believes that this is due to two factors;
wider publicity for the competition (we
hope Audio Record helped) and the rapid
growth of high school radio workshops.
"Every day," he says, "brings news of an
additional high school radio workshop.
Dr. Sherman P. Lawton, AER Script
Contest Chairman, also reports that stu-
dent interest in the National Script Con-
test is far greater than anything he had
expected. And, although this is the first
year such a contest has been conducted for
college students. Dr. Lawton advises that
he is more than satisfied with the results.
Contest winners in both the SCHOL-
ASTIC and AER competition will be
announced in the May Audio Record.
AUDIO RECORD
March. 1948
George M. Sutheim, Chief Chemist, at work in
Audio Devices' Research Laboratory.
Research at Audio Devices
(Continued from Page 1 )
six-ni,in staff. Ernie would like Audio
Record readers to know these men, so we
take pleasure in introducing them here. . . .
George M. Sutheim (#3 in photos —
Pg. 1). Mr. Sutheim is Chief Chemist at
Audio. A graduate (Chemical Engineer-
ing) of the Institute of Technology in
Vienna, he is a chemist of long standing in
the field of varnishes, lacquers and emul-
sions. From a chemical standpoint, Mr.
Sutheim rigidly controls the components
that go into each and every Audiodisc.
Improved formulation of Audiodisc coat-
ing is always on his agenda. Authored "The
Introduction of Emulsions" and contributed
to Dr. J. J. Mattiello's "Protective and
Decorative Coating". Also author of many
articles on coatings and film, etc. in both
French and English periodicals.
Harold ]. (Andy) Soiithcomh (#1 in
photos). Andy (as he is affectionately
known to his co-workers) Southcomb's
contribution to Audio Research is his
wealth of knowledge of phonograph
records, materials, techniques, etc. Formerly
with RCA Victor and Decca Records, Mr.
Southcomb is currently working on special
products at Audio, including magnetic
tape, etc. His experience in the field of
paper, plastics and adhesives makes him a
particularly valuable man in this develop-
ment work.
Stephen Schettim (#4). Steve Schettini,
it can be said, v/ould be lost without the
Research Department gang, but not half as
lest as they would be without him. For
Steve carries a mighty big load for Ernest
Franck and Company. You might, and you
should, call him an experimental machinist
and technician. Mr. Schettini is responsible
for the construction of special equipment
u.sed in the department's experimental
work. Steve has the ability to interpret
someone's idea and put it into a physical
reality. For example, if the Research Direc-
tor wants to test a particular material and
needs a special device to accomplish this
end, Steve retires to his special workshop
and designs and builds the contraption.
Also, Mr. Schettini has been involved with
the magnetic tape development.
Fran}{ Radocy (#5). Former Captain
in the Army Air Corp., Frank Radocy is m
charge of the department's production acti-
vities. Responsible for lacquer formulation
on production basis. Frank makes up special
formulation cards on a batch-by-batch basis.
Also, he is doing magnetic tape production,
being responsible for individual cards on
each tape lacquer batch and the mechanical
operations necessary for them.
Daind S. Gibson (#6). Thirty one year
old Dave Gibson is a recording lacquer
specialist. His work in the department, be-
sides lacquer experimental formulation and
quality control, includes styli and groove
shape studies as well as special development
work. In the recording lacquer end, Dave in
addition to testing the lacquer coated discs
on a turntable, also makes humidity tests to
determine how well the lacquer holds up
under varying temperatures and humidity.
In these recording tests both styli and
grooves sections are examined with a special
projection microscope which magnifies five
hundred times. Additional playing tests are
also made for surface noise and wear.
Allison B. Randolph (#7) . A radio tech-
nician, Mr. Randolph has had a number of
years experience in the technical end of
radio. He is the maintenance man on all
electronic equipment in the laboratory.
That's it. That's Ernest Franck's Re-
search Department line-up. And a qualified
crew it is, too.
^y^i^<^^^&V(:Ut/o * •
0 9 * o
nCuicUocLI
rial part of these
The Voice of America gives to other nations a full news
and fair picture of American life, aims and policies. inforn
plus factual news of the world and the United States. and cr
Broadcast in twenty-three languages, these pro- A \
grams blanket Europe. Latin America and the Far record
East, with a potential radio audience of more than rransci
1 50.000.000 persons.
Of the thirty-two hours of daily broadcasting,
approximately one-fourth of the time is devoted to
Aiidiodiscs are manuiactured in the VS. A. under
N^>g^^ exclusiie license from PYRAL. S.A.R.L.. Paris.
>ne-half to additional
programs, and the rema
inder to music
ly programs is
quality of these
transcript ions, such recorded portions cannot be
distinguished from the /tie transmissions.
Today, as from the beginning, the recorded parts
of these world-wide broadcasts are on Audiodiscs.
AUDIO DEVICES, INC.,
444 MADISON AVENUE
NEW YORK 22, N. Y.
fitiftlff
record
PUBLISHED BY AUDIO DEVICES, INC
Vol. 4, No. 4
444 Madison Avenue, N. Y. C.
April, 1948
l^ecoAAUu^ . . . and
How They Help The Red Cross
By Ray Richmond
Pancake flour and pancake make-up,
Ronald Colman, horoscopes, the California
Chamber of Commerce, and cough drops
bestow their largest of entertainment and
education on the American public by tran-
scription every day. What better way to
reach the people? None. Then why not
instruct concerning humanitarianism in the
same tried and true way? Red Cross does.
And who but Red Cross has its finger closer
to the pulse of the populace? No other; not
even the Gallop Poll.
Always needed, always there, the Na-
tional Red Cross is asking for 15 million
dollars more this year than last. Remember
the Te.xas City disaster; the floods in the
Midwestern States; and the forest fires in
New England? Not counting the hundreds
of smaller calamities that never hit the
front pages. Millions of victims were cared
for, and this kind of Brotherhood costs
money. Hard working, honestly devoted
volunteers are only biped. They can reach
but a small group of us. Radio reaches
more people more easily.
To appeal to this large audience for the
Red Cross 1948 Fund, six 15-minute cap-
sule versions of top network radio shows
were prepared on discs in the format of their
regular weekly features. These shows star
Bob Hope, Bing Crosby, Dick Haymes,
Frank Sinatra, Jack Benny and Kay Kyser,
but they include "Red Cross Commercials'"
as inserts instead of the usual sponsor plugs.
During March, the traditional Red Cross
Month, these recordings were played on
more than 1,000 stations in the United
States.
Also, four-and-a-half minute dramatized
spots featuring screen stars Ella Raines,
Robert Montgomery and William Bcndix
will be heard during the 1948 Fund Drive
with eight 4.vsecond straight announce-
ments by Hollywood "name" announcers
on the reverse side of these two-sided tran-
scriptions.
There is still another use for Red Cross
recordings. Mutual Broadcasting System
used a portable recorder to record the in-
augural Manhattan campaign luncheon at
the Waldorf-Astoria in New York on
February 13, at which Bop Hope was one
of the principle speakers. To the listening
audience that night, the network played
back a part of the Hope speech on its
Radio Newsreel program.
(ContiTmed on Page 4)
Irv Kaufman (back to camera), one of Nola Studios two chief engineers, is pictured at the controls
during a recording session in the New York firm's spacious Broadway studios. Such outstanding
"name" bands as Bob Crosby, Art Mooney, Xavicr Cugat and Benny Goodman have used Nola's
recording and rehearsal facilities. Inset: Owner and founder of Nola Studios, Vincent Nola.
Vincent Nola's 20,000 Sq. Ft. Studio Largest
In U. S.; Top "Name" Bands Use Its Facilities
Several months ago. Audio Record ran a story on the operations
of, what its owner claimed to be, "the smallest recording studio in the
United States" (after viewing a photograph of the establishment it
was impossible to dispute this gentleman's
word). So now, we believe it only fitting,
that we feature an article on the largest
recording studio (under one roof) in this
country.
This distinction belongs to Nola Studios,
located at 1657 Broadway in New York
City, where some forty orchestras have been
known to rehearse and record during a
twenty four hour period. The fourteen in-
dividual studios that comprises Nola Stu-
dios covers an area of 20,000 square feet.
Nola Studios is owned and operated by
one of the true pioneers in the recording
field, Vincent Nola. Vincent Nola was born
in Sicily in 1895 and 10 years later, with his
family, moved to the United States and to
a home in Buffalo, New York. It was in
Buffalo that Vincent got his start in the
musical world. With pennies saved from a
{Contmued on Page 4)
ABC's Daylight Saving Time
Plan To Start On April 25
Net To Use Tape Recorder For DST
Operations; Lower Costs — Improved
Program Fidelity Is Anticipated
A noticeable improvement in quality of
rebroadcast programs and a substantial re-
duction in costs to Its affiliated stations is
anticipated when the American Broadcast-
ing Company sets in motion its vast plan for
Daylight Saving Time Operations on Sun-
day, April 25.
Operating only during the 22 weeks of
Daylight Saving Time, the plan which
ABC initiated in 1946 and expanded last
year to the network's full program sched-
(CoTitmtied on Page 2)
AUDIO RECORD
April, 1948
n nctia ^ recorct
VOL. 4, No. 4
APRIL, 1948
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
ABC's Daylight Saving Time Plan to
Start on April 25
(Continued from Page 1 )
ule, through the use of special broadcast
h'nes and recordings maintains all ABC
programs in all tmie zones at the same
time the year round.
Improved program quality and lower
costs to ABC affiliates stem from the fact
that the web this year plans to use Ampex
Electric Corporation's tape recording ma-
chines to record its entire program schedule
for playback directly from the tape. The
machines are based on designs and speci-
fications prepared by ABC engineers. The
machines also are expected to be used year-
round for all regional repeat broadcasts by
the American network.
This will mark the first time in radio
history that a network program has been
rebroadcast directly from a recording tape.
Heretofor, programs that have been re-
corded on tape were transferred to record-
ing discs and then broadcast. ABC, during
the past two years that it has been using its
special plan of Daylight Saving Time op-
erations, has utilized disc recordings to play
broadcasts back at their accustomed time to
local audiences.
Based on engineering tests conducted
earlier this year, which indicate a notice-
able improvement in program quality and
tone fidelity through use of the Ampex
tape recorders, ABC has placed an initial
order for 12 of the machines and delivery
is expected shortly.
Savings anticipated by ABC from lower
operating costs through use of tape record-
ers and the direct play-back of programs
from these machines will be passed along to
the networks affiliated stations which share
in the cost of the Daylight Saving Time
plan.
Basic mechanics of ABC's Daylight Sav-
ing Time plan of operations, developed by
the network through the cooperation of its
clients and affiliated stations involves the
acquisition of special broadcast lines by
ABC. Through the use of these special
broadcast lines, programs are broadcast
live to ABC stations operating on Daylight
Saving Time and recorded in Chicago and
Hollywood for rebroadcast one hour later
for stations operating on Standard Time.
The recorded plan is used only on ABC's
regularly scheduled programs. Special
events, such as a Presidential speech, a
major prize fight or the coverage of con-
ventions, etc., will be heard at the time they
take place.
SCRIPT CONTEST WINNERS
TO BE ANNOUNCED IN MAY
Winners in SCHOLASTIC MAGA
ZINE's Script Writing Competition (spon
sored by Audio Devices) for high schoo
students and the 1948 National Scrip
Contest (co-sponsored by Audio Devices)
conducted by the Association for Education
by Radio, for college students, will be an
nounced in the May issue of Audio Record
The four national winners of the recently concluded "Voice of Democracy" contest, sponsored
by the U. S. Junior Chamber of Commerce, the National Association of Broadcasters, and the
Radio Manufacturers Association, are congratulated by Attorney General Tom C. Clark in his
Washington office. In the capilol city for a four-day tour and entertainment, which, in addition
to ^500 scholarship awards, was part of their prize, the four high school girls are: left to right —
Rose Allen Mudd, Missoula, Mont.; Janet Geister, Cuyahoga Falls, Ohio; Laura Shatto, Hagers-
town, Md.; and Alice Wade Tyree, Lawton, Okla. The contest the girls won with their broadcast
on "I Speak for Democracy" was entered by more than 20,000 students in 39 states and Alaska.
Before the national winners were decided each individual state selected their own champion by
having the outstanding contestants record their addresses on discs and from these recordings a
state winner was determined. Then, recording discs came into play again when the national winners
were judged in Washington. All in all some 500 discs were used nationally in the contest.
me ^sayidUt
By C. J. LeBel, Vice President
AUDIO DEVICES, Inc.
DISC and TAPE
We have had a large number of inquiries
on the comparative merits of disc and
magnetic recording for professional use,
and, since we make media for both meth-
ods, a preliminary survey has seemed de-
sirable. Unfortunately, at the present stage
of the art the answer seems to be more in
terms of the associated equipment's limita-
tions than that of the medium itself.
Physical Differences
Tape is easy to edit with scissors and a
roll of adhesive tape. This is one of the
reasons why it has replaced wire for pro-
fessional magnetic
recording, for wire
splicing is neither
convenient nor dur-
able. For example,
for shortening the
record of a political
convention from
eight hours down to
thirty minutes there
IS nothing as good as
tape.
T a p e c a n b e
C. J. LeBel j i 4
erased and reused,
and for the programs incident to daylight
saving time adjustments, programs mainly
of transitory value, this is a real feature.
Programs can be "assembled" on tape.
Recording on tape requires less mechan-
ical skill than does disc, for there are no
styli to wear out and replace. Editing re-
ejuires very great i\\\\. On the other hand,
magnetic recording heads wear and lose
quality — so that head wear-tests and re-
placements become necessary.
In reproducing, the mechanical skill for
disc IS negligible, but tape requires care and
attention for correct threading in many
machines. Tape may break in starting, and
splices may pull apart in reproducing or
rewinding. Such a failure may create a
veritable "bird's nest", and if during re-
production can ruin a program. This may
be one reason why the BBC for years has
rerecorded from tape onto disc for pro-
gram use.
The factors governing the durability of
lacquer discs are well understood. Lacquer
will be comfortable under any condition
where a man will be normally comfortable.
However, little is known about tape, par-
ticularly under exacting professional stand-
ards ot performance. Severe dropping.
April, 1948
AUDIO RECORD
heavy vibration, or exposure to strong
magnetic fields can cause erasure, noise and
distortion increase. Magnetic fields are in-
visible, and not noticed unless strong
enough to affect a watch. All magnets lose
magnetization strength with time, and so
we would expect tape recordings to change
with time. Whether they will simply grow
weaker, or whether the strongly magnet-
ized portion will fade faster than the
weakly magnetized (producing distortion)
is something that no one can presently
answer with certainty. It must also be re-
membered that scratching of the tape will
deform the coating, and hence create dis-
tortion. Conditions affecting the base ma-
terial are not too perfectly understood,
either. Shrinkage due to age or atmos-
pheric conditions can spoil accurate timing,
and change the musical pitch quite detect-
ably. Excessive reproducing machine ten-
sion can stretch the tape, with equally bad
results. We can be reasonably certain of
the sustained strength of a plastic base, but
not of a paper base. Paper used today is
generally made from wood pulp, whereas
older paper was generally made from rag
stock. We have only to look at newspapers
a few years old to realize that the life of a
wood pulp paper is not too long.
At professional tape speeds, programs
can he filed away more compactly on disc
than on tape, for a half hour on disc re-
quires 10 cubic inches, while a half hour
on tape at 30" per second requires about
35 cubic inches. Also, a disc can be re-
played immediately after, or even during
recording, while tape requires an appre-
ciable time to rewind or spot.
Finally, facilities for playing tape are by
no means as plentiful as those for disc. Nor
do we yet have standardization on the all
important matter of tape speed. In com-
mon use today we have the following: lYj,
15, 18, and 30 inches per second. This has
special significance to the educator, for
speech correction and dramatic work have
been helped greatly by the motivation af-
forded by a chance to take a disc home.
The educator will wish to use a tape speed
of at least 15 inches per second to get
fidelity adequate for educational purposes
— but such few machines as his students
may have at home will undoubtedly be
limited to 71/2 inches per second. The pro-
fessional will be bothered by this situation
as soon as he begins to ship tape recordings
to various parts of the country.
Electrical Performance Characteristics
Tilt' frequency response of a recording
medium is a hard thing to evaluate, for it
depends so heavily on conditions of opera-
tion and on associated equipment, that in
the case of lacquer no upper frequency
limit for the material itself has yet been
found. Up to a short time ago, the cutting
head constituted the chief limitation on
frequency response, but the advent of units
using the head as part of a negative feed-
back loop — "feedback cutters" — has re-
moved this obstacle, and recording in the
supersonic region has been so made. Smaller
radius recording and reproducing styli are,
of course, desirable to reduce tracking loss
at very high frequencies when working at
normal rotational speed, but test has indi-
cated that our lacquer is strong enough to
be entirely satisfactory at such higher
needle pressures. It may also be desirable
to reduce the length of the burnishing facet
of the cutting styli.
The frequency response of tape is limi-
ted, basically, by the tape speed and by the
minimum attainable slit width in the re-
cording and reproducing heads. The latter
presently stands at about % mil, physical
width, but the effective magnetic width,
considering fringing, is not the same. The
slit width limitation can be overcome by
running the tape at higher speed, but this
raises the cost and operating problems.
Distortion is also a hard problem to eval-
uate. In disc recording the chief bottleneck
used to be the cutting head, but the newest
OFF THE RECORD
By Ed Reed
"Shyness compels Mr. WInterbottom to deliver his speech
from a home recording."
The Register and Tribune Syndicuti
cutting heads are so good in this respect
that the present distortion limit is set by
approximately equal contributions from
the recording and reproducing amplifiers,
the cutting head and the pickup. We have
not yet produced systems so free from dis-
tortion that lacquer distortion, if any, be-
comes a factor.
On tape we also have recording and
reproducing heads, recording and repro-
ducing amplifiers, but the recording medi-
um Itself definitely is a factor. Since the
bias for minimum distortion depends on
frequency and on level, optimum bias is a
compromise. It is not easy to pick a distor-
tion value which everyone would agree on
as representative. A comparison of disc
and tape is further complicated by the fact
that dis(^ system distortion drops rapidly
as levels are reduced below maximum,
while tape distortion (depending on the
bias chosen) may even increase. We have
to accept intermodulation distortion fig-
ures cited as representative by those en-
gaged in these fields, on which basis disc is
somewhat better than tape. Whether it will
remain so is a question, of course. We are
inclined to feel that it will, for this reason :
The electromagnetic part of a system oper-
ating at high level is likely to be the part
creating the worst distortion. In a disc sys-
tem, this would be the cutting head, but
we have already succeeded in reducing
cutting head distortion by including the
head in a negative feedback loop. On the
other hand, we can see no present way of
including the tape itself within an effective
feedback loop! It would appear, therefore,
that there should be an inherent difference
between the two systems, though possibly
a small one.
We have not touched on tracking dis-
tortion in disc reproduction. This, the fail-
ure of the reproducing stylus to follow the
groove faithfully, exists only at peak levels
at high frequencies, and can be reduced to
insignificance by using sufficiently small
radii on recording and reproducing styli.
In short, with intelligent engineering such
distortion occurs only at overload — exactly
as tape can be overloaded with ensuing
complete distortion.
Signal to noise ratio, judging by ear, is
fairly similar for both media, though both
depend heavily on equipment perfection
for best results. Some of the early postwar
figures out of Germany suggested fantastic-
ally good ratios for tape, but it was soon
found that these were weighted figures.
American practice is to use unweighted
noise data, whence the initial misunder-
standing. If we compare practical equip-
ment under practical conditions, we find
that the ratios, on a weighted basis, are not
greatly different.
Tape has a curious defect which does not
show up in ordinary methods of measure-
ment, yet which is rather important. This
is undersignal noise, which can be best
described as noise cyclically modulated in
intensity by the signal. It has had only a
limited amount of attention because pres-
ent methods of determination are very
laborious, yet the figures so far presented
are not to be ignored. The ear does not
hear such undersignal noise as noise, rather
does it consider it as a kind of fuzz on the
tone. In short, the ear is as annoyed by it
as by intermodulation, and it exists at all
signal levels. The analogous (but not iden-
tical) defect on disc can occur only at the
extremely high pea\ levels used in some
phonograph recording. Cook, who first dis-
covered this effect on disc, has shown that
by the proper design of cutting stylus the
effect may be reduced to insignificance
even at phonograph recording peak levels.
In any case, it is not existent at transcrip-
tion recording levels, or at average phono-
graph levels.
Duplication
Tape is an instantaneous recording me-
dium, just as is lacquer. Hence we have to
(Continued on Page 4)
AUDIO RECORD
April, 1948
IRE SHOW HUGE SUCCESS; RECORD REGISTRATION
The 1948 National Convention and Show of the Institute of Radio Engineers, held March
22-25 in New York's Grand Central Palace and Hotel Commodore, was the most successful
venture in the Institute's history, IRE officials advise. During the four day meeting, approxi-
mately 15,000 persons registered and viewed the show's 190 exhibits — one of which was the
Audio Devices' booth (above) displaying the various types of Audiodiscs, their applications,
and each step necessary in their production from raw material to finished blank; and the
process involved in inaking phonograph records from Master discs. In addition, engineers
stopping at the Audio booth got a glimpse of the company's latest contribution to the sound
recording field, magnetic-oxide Audiotape. But perhaps the most interesting part of the Audio
exhibit were the history-making recordings lined on the booth's sidewalls. Cut on Audiodiscs
during the last ten years (Audio celebrates their 10th anniversary this year) these recordings
featured, among others, the following important nation-wide broadcasts: Attack on Pearl Harbor,
President Roosevelt's speech in French on North Africa landing, D-Day, Radar to the Moon,
Secretary Marshall's "Voice of America" address, and President Truman's recent message to
Congress. (This exhibit will also be seen at the Radio Parts Show in Chicago May 11-14 in
Booth #83).
Vincent Nolo StucJios
(Contmued from Page I )
paper route, he studied voice under the
tutelage of well-known Buffalo and, later,
New York teachers.
Young Nola's first professional singing job
was in Niagara Falls (he doesn't remember
just where in Niagara Falls or just what he
did besides sing) at the age of 16. Later, in
between professional engagements, Nola
taught voice in New York City. Then, Vin-
cent Nola got an idea.
Vincent Nola's idea was to open a large
rehearsal studio in New York for bands and
other large musical groups. Up to this time,
a studio of this type was unheard of. In
1930, Nola put his idea to work when he
rented several large rooms in Steinway
Hall. Within eight months he had eight
studios in this famous old building and
many of the top talent of the day were
using his facilities. Then Nola got another
idea. Why not equip some of these studios
with recording equipment so the "big
names" could put their renditions on
record.
Nola, at this time, knew nothing at all
about the engineering aspect of sound
recording. But he decided to learn. Nola
studied hard, day and night, for three
months acquainting himself with the art
under the guidance of one of CBS's most
talented engineers. Then, after he felt he
knew something about the recording busi-
ness he opened two recording studios in the
same Steinway Hall. This was in 1934.
The operation was a success from the
start and in the years that followed the
Nola Studios became a "by-word" with
famous popular and classical music artists,
"name" bands and other musical aggrega-
tions. Both as a rehearsal studio and as a
recording studio Nola's became more popu-
lar as the years went by. In fact, too popu-
lar, with the big bands. For in 1940, the
management of Steinway Hall decided that
Nola's clients, the fifty and sixty piece va-
riety, were making too much noise for the
conservative residents of 57th Street. Nola
would have to move.
But Vincent Nola solved the problem by
opening the present Broadway studios for
his "noise makers" and keeping his .S7th
Street location open for his less disturbing
or "long hair" clientele (opera singers,
concert pianists, etc.). This arrangement
proved a good move and even today the
bands still use the Broadway studios.
Then, as now, seventy-five percent of
Nola Studios recording work is done for
music publishers for "song plugging" pur-
poses. But in addition such outstanding
orchestras as Bob Crosby, Art Mooney,
the Dorsey Brothers, Xavier Cugat, Benny
Goodman, Frankie Carle, Raymond Scott
and Charlie Barnett have used the Nola
Studios for their rehearsal and recording
sessions.
The secret of Vincent Nola's success in
the recording field probably lies in the fact
that all six of his recording engineers pos-
sess a musical background. As a matter of
fact, Nola himself has taught each of these
engineers his particular techniques so that
they record from the 'musician's' not the
'professional recordists' ' point-of-view. As
Vincent Nola explains it: "the average
listener wants to hear something pleasing
to the ear from a musical standpoint. He is
not remotely interested in the technical
[ihases involved." All told, Nola employs
•sixteen people in his two studios.
Naturally, Vincent Nola is as interested
in the outcome of the present recording
l\in edict as everyone else in the business.
When asked what his thoughts were on
the matter, Mr. Nola smiled and said:
"well, I hope a solution will soon be found
that will make us all happy. Yes, I mean
Mr. Petrillo, too".
Disc Data
(Co)itmued jrom Ptige .i)
compare them on that basis; i.e., both have
to be individually recorded. Likewise,
either could be rerecorded onto a processing
size lacquer blank, and duplicated as press-
ings. In so doing, of course, distortion and
signal-to-noise-ratio would suffer. Some
comparisons have been made between tape
and pressings. This is not valid, because an
instantaneous material like tape has to be
duplicated by rcrecording, a high cost
process.
Summary
We are sorry to have to say "it all de-
pends" so often, but both disc and tape arc
going through a quality revolution, and it
will be hard to issue any publishable figures
until affairs stabilize. In the meantime, we
would be disposed to view much of the
material published on tape as too super-
ficial. A great many more studies will be
necessary before we fully understand the
vagaries ot the medium. To uiicritically as-
sume that a new medium can have no
faults is to treat the matter as a layman
rather than as an engineer.
Recordings . . . antd the Red Cross
(Conti.7iiiecf jrom Page I)
An additional project to be initiated by
the Red Cross this year will be the collec-
tion and processing of 3,700,000 pints of
blood for the 65 9f of the hospitals in the
country who are in no position to supply
blood plasma needed in emergencies. This,
too, will cost money. John Public must
underwrite his own future.
If the past experience of the Red Cross
is any indication, however, the American
people will again generously respond to the
call of these potent platters, for funds and
for volunteers for its many services. Yes,
Red Cross knows the true value of the
recorded appeal.
q^ltff^lfy
record
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 4, No. 5
444 Madison Avenue, N. Y. C.
May, 1948
WINNERS IN SCRIPT CONTESTS ANNOUNCED
Scholastic Magazines'— AER
Name Winning Entrants In
Student Script Competitions
Top Scripts By High School -College
Writers "Truly Outstanding", Says
Contests' Judges And Educators
Winners in SCHOLASTIC MAGA
ZINES' 194S R.idio Script WntniiT Com
petition (for hii»h school students) and
in the ASSOCIATION FOR EDUCA
TION BY RADIO'S National Radio
Script Contest (for college students) were
recently announced by the two organiza-
tions.
Co-sponsored by Audio Devices, Inc.,
the two contests, both of which started
last fall, uncovered many young talented
writers who are almost certain to find suc-
cessful careers in
the radio industry.
According to re-
ports from the con-
tests' judges, some
of whom were pro-
fessional radio wri-
ters, a number of
the winning scripts
in the various classi-
fication s were
"truly outstand-
ing" and definitely
on a professional
level.
In the high school
competition some
250 scripts by student writers in every state
in the Union were submitted to SCHOLAS-
TIC MAGAZINES' contest headquarters.
This represented, according to William D.
Boutwell of the New York publishing firm,
an increase of about 150 percent over last
year. Counting the scripts that were en-
tered in the 12 regional preliminaries across
the country, the total for the contest would
reach nearly 400 scripts. Mr. Boutwell also
remarked that the quality of scripts sub-
mitted was better than in any previous
year. The SCHOLASTIC spokesman at-
tributed this marked improvement to two
things: 1. the high school radio workshop.
2. the experienced and talented instructors
who set up and run these workshops.
In discussing the type of scripts received,
Mr. Boutwell explained that this year they
received more scripts on racial and religious
(Continued on Page 2)
Pictured above are six of the winners in SCHOLASTIC MAGAZINES'-AER's Radio Script
Writing Contests. The high school first place winners in the top row are (I. to r.): Sandra Wright,
Endicott, N. Y.; Marcia Lebcdinsky, Miami Beach, Fla. and June Livingston, New York City.
In the bottom row are the winners in the Special Classification of the AER contest. They are
(I. to r.): Warren B. Kuhn, first place. New York City; Elaine R. Navy, second place, New
York City; and Martin P. Miller, third place, Brooklyn, N. Y.
KDKA-Pit+sburgh Promotes Net Programs With
Tape Recorder-Specially Rigged Switchboard
KDKA-Pittsburgh. America's first radio station, came up with
another first a few weeks ago — this time with a novel promotional
stunt to hypo listener interest in network (NBC) programs. This
newest of all radio sjimmicks was the brain
child of the Pittsburgh outlet's promotion
department, David Lewis.
Last fall. Lewis conceived the idea of
having some of the biggest names on the
National web make a special recording for
his station. The plan was for the recording
to be played whenever the KDKA switch-
board operator answered incoming calls.
For example, instead of the operator
answering the call by saying: "KDKA,
good morning", Lewis would have a voice
announce: "KDKA . . . This is Archie
(Duffy's Tavern) the manager speaking. Be
sure to hear me program tonight at 9. Now.
just a minute please. . . ." Immediately the
business-like voice of the regular telephone
operator was to come on and say : "KDKA,
may I help you"?
Lewis proceeded with his idea and had
such well known NBC luminaries as Perry
Como, Amos 'n Andy, Jimmy Durante.
Bill Stern. Al Jolson, Red Skelton, ChaHie
McCarthy and several other top stars make
individual recordings similar to the conver-
sation described above.
After the recordings were made,
KDKA's chief Engineer T. C. Kenney,
and Station Manager J. E. Baudino, a top-
notch engineer himself, began their work
on Lewis" project. Each record was trans-
ferred to an individual strip of magnetic
tape. A tape recorder was set beside the
switchboard, and the engineers devised a
(Continued on Page 4)
AUDIO RECORD
May, 1948
cuidla^ reccrrd
VOL. 4, NO. 5
MAY, 1948
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio .stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
Scholastic Magazines' — AER Name
Script Contest Winners
(Continued from Page 1 )
relations than on any other subject. How-
ever, he added, scripts dealing with atomic
energy, rocket flights, and other modern,
scientific marvels and their probable effect
on humanity were quite in evidence too.
Many scripts on juvenile delinquency and
vvho-will-take-who to the Junior Prom were
also received.
The college student competition, which
was the first contest of this type ever con-
ducted for the undergraduate, was also a
huge success from the standpoint of entries
received. According to Dr. Sherman P.
Lawton of the U. of Oklahoma, who was
chairman of the contest, the enthusiasm
shown exceeded even his most optimistic
hopes. A total of 250 entries was received
in the five classifications (70 in Audio De-
vices' Special Classification) .
The college student's script covered
many subjects. And like the high school
student, the college entrant showed a vivid
imagination of things to come.
An unusual aspect of the AER contest
was the fact that the first, second and third
place winners in the Special Classification
were all students in
the same school
(New York Uni-
versity) and in-
structed by the
same professor
(George D. Grif
fin). Mr. Griffin ex
plained in a letter
to Audio Devices
that his three prize -
winning students
are members of
NYU'S advanced George D. GrilKn
. . , Tutored all three
script writing class spec. CUss. winners
which is composed
of only eleven students, all of whom have
done outstanding work in the past and are
believed most likely to succeed as profes-
sional radio writers. This class, according
to Mr. Griffin, was given the assignment to
write scripts for the AER Special Classifi-
cation because to him it posed a neat prob-
lem in writing a short script for a definite
market.
National winners in the AER competi-
tion were announced on May 1 at a special
luncheon held at the Deshler Wallick Hotel
in Columbus, Ohio. The luncheon was at-
Louis ror^dJl.
Judged enlrici i
tended by more than 200 persons most of
whom were in Co-
lumbus for Ohio
State University's
lER (Institute for
Education by
Radio) meeting
which was held
April 30 through
May 3.
Representing
Audio Devices at
the Ohio luncheon,
and to present his
firm's awards to
winners in the Spe-
cial Classification, was Mr. N. K. Hoskins,
a director and representative of Audio
Devices in the Midwest. Mr. Hoskins pre-
sented the prizes for the Audio winners to
Professor Griflin who came to Columbus
to accept the awards in behalf of his stu-
dents.
Below are a list of national winners in
both contests — the title of their script —
their address (or school) — the name of
the winning entrant's instructor — and the
awards they received.
SCHOLASTIC MAGAZINES'
Radio Script Writing Contest
(High School Students)
Judges — Mr. Irve Tunick, Mr. Morton
Wishengrad and the editors of SCHO-
LASTIC MAGAZINES.
Award Winners . . .
Original Radio Drama
FIRST PRIZE, $25: Sandra 'Wright. 17,
Union-Endicott High School, Endicott,
N. Y. "Twinkles". Teacher: *Mrs. Edna
Finch.
SECOND PRIZE, $15: Jo Anne Kelly,
17, DeVilbiss High School, Toledo,
Ohio. "Heavenly Days". Teacher: OHve
McHugh.
THIRD PRIZE, $10: Robert Morgan,
Summit (N. J.) High School. "The Sun
Has Set". Teacher: Ida Herrmann.
Radio Drama Adaptation
FIRST PRIZE, $25: June Livingston, 17,
High School of Music and Art, N. Y. C.
"Sam Small's Better Half". Teacher:
*Edward StashefF.
SECOND PRIZE, $15 : Enid F. Karetnick,
Wecquahic High School, Newark, N. J.
"Anything Can Happen". Te.icher:
Marie O'Connor.
THIRD PRIZE, $10: Leonard Reiser. 16,
Boys High School, Brooklyn, N. Y. "A
Case of Circumstances". Teacher: Helen
Benson.
7S(on-Drania Scnpt.s
FIRST PRIZE, $25: Marcia Lebedinsky,
15, The Lear School, Miami Beach, Fla.
"A Letter to My Son". Teacher: *Adele
Hyrikin.
SECOND PRIZE. $15: Edward George
Tarkinson, 16, Brockton (Mass.) High
School. "Radio Interview with Isam
Khiery". Teacher: Ruth T. Cosgrove.
THIRD PRIZE, $10: Jean Mahoney,
Rahway (N. J.) High School. "Dodger
Doings". Teacher: Anne M. O'Connell.
' Received 25 Audiodiscs, 3 Sapphire Recording Audio-
points and 3 Sapphire Playback Audiopoints for school
recording purposes for having taught first place winners.
AER
National Radio Script Contest
(College Students)
judges — Paul Hood, Oklahoman &? Times,
Oklahoma City, Okla.; Robt. Stephan,
Cleveland Plain Dealer, Cleveland,
Ohio; Thos. D. Kenney, Prom. Mgr.,
Newark Evening News, Newark, N. J.;
Delmar J. Brent, Writer's Talent Scout,
Hollywood, Calif.; and Mr. Louis Fors-
dale. Instructor in Communication
Skills, Teachers College, Columbia Uni-
versity, N. Y. C.
Class 1. Original Dramatic Script (141/2
mm. in length).
FIRST PRIZE, $50: Sylvan Karchmcr,
Univ. of Texas.
SECOND PRIZE, $25: William Bender,
Univ. of Colorado.
Class 2. Dramatic Adaptation (29'/2 """
m length).
FIRST PRIZE, $50: William Arndt,
Univ. of California.
SECOND PRIZE, $25: Bob Kampf,
Newark, N. J.
Class 3. J^on-dramatic Scripts for One
Voice (141/2 wiin. in length).
FIRST PRIZE, $50: Theodore Master,
Ohio State University.
SECOND PRIZE, $25: Betty Czarlinski,
Univ. of Oklahoma.
Class 4. yion-dramatic Scripts for More
Than One Voice (1 41/2 mm. or 291/2
mm. m length).
FIRST PRIZE, $50: Charles Hutton,
Univ. of Oklahoma.
SECOND PRIZE, $25: Jenan Walthour,
Ohio State University.
Special Class. Scripts Suitable for Home
or School Recording (optional length).
FIRST PRIZE, $100: Warren B. Kuhn,
New York, N. Y. Instructor: *George
Griffin. "Eagle From Richmond".
SECOND PRIZE. $60: Elaine Ruth
Navy, New York, N. Y. Instructor:
George Griffin. "Two Hops and a Skip".
THIRD PRIZE, $40: Martin Powell Mil-
ler. Brooklyn, N. Y. Instructor: George
Griffin. "Mr. Jefferson Makes a Pur-
chase".
* Received same awards as teachers in high school contest.
Audio Devices will publish a collection
of prize-winning scripts from both the
Scholastic and AER contests, which should
be ready for distribution by the opening of
the new school year in September. Students
whose work is selected for this purpose
will receive special awards.
May, 1948
AUDIO RECORD
me T^eayidUt
C. J. LcBcl
By C. J. LcBel, Vice President
AUDIO DEVICES, Inc.
STYLUS SPECIFICATIONS
In response to a considerable number of
inquiries on specifications for our AUDIO-
POINTS, we are presenting for the first
time complete dimensional data. Quality
control of cutting points was discussed in
a previous issue. ^
Bias
Unique amont;
presently available
recording styli, our
# 14 is made with a
biased front sur-
face. It will be re-
called that the old
wax recording sty-
lus was cemented
in place, and the
recordist would ro-
tate it slightly in its
mounting to get the
thread to clear the
groove reliably. There was a knack to it.
Another way of achieving the same end
was to move the cutting head (in its cradle)
forward of the center line, which nearly
has the same effect (though at the expense
of distortion increase which does not occur
if the point, rather than point and head,
IS biased).
When we started supplying AUDIO-
POINTS wc traced occasional thread
snarls to the cutting point standards of the
day. The sapphire's front face was nomin-
ally exactly parallel to the flat on the dural
shank (i.e., a bias of 0°), but a variation
of ± 1 ° was possible. ± 1 ° styli (i.e., in
a direction to throw inward) would throw
the thread toward the center very nicely,
but in a — 1 ° stylus the natural thread
action inward would be opposed by the
point tendency to throw outward. The re-
sult would be very erratic, with no cer-
tainty of thread action, and an excellent
chance for a tangle. We built a special
measuring microscope, which many visitors
to our laboratories have seen, and definitely
established the correlation between bias
and thread action. By designing for 3°, a
manufacturing variation of ± 1 ° can
never reduce the bias to the point where
thread action becomes erratic.
Some recordists used to use round shank
sapphires to allow the same possibility of
adjustment that the wax recordist had with
his cemented-in point. This practice became
obsolete the moment biased points became
available. Other recordists used to shim
out one side of their cutting heads to
attempt to produce the same effect. A
moment's reflection will show that we have
biased recording head as well as point edge.
The plane of cutting motion is then no
longer straight across the groove, in fact
a forward and back component is intro-
duced. This is distortion, and cannot be
permitted. The biased point is hence defi-
nitely superior to the biased recording head.
Sapphire Cutting Styli
Shank
Overall
Included
Tip
Burnish
Description
Material Length
Length
Angle
Radius
Length
No.
14 Short 87°
Dural .531"
.631"
87°
.0015"
.0006"
No.
14 Long 87°
Dural .656"
.756"
87°
.0015"
.0006"
No.
14 Short 70°
Dural .531"
.631"
70°
.002"
.0006"
No.
14 Long 70°
Dural .656"
.756"
70°
.002"
.0006"
No.
202 Short 87°
Brass .531"
.600"
87°
.002"
.0006"
No.
202 Long 87°
Brass .656"
.725"
87°
.002"
.0006"
Inspecting this data, we find that the
No. 202 is a lower cost unit, and that the
sapphire length is shorter than in the No.
14. It should also be pointed out that the
No. 14, being made to professional stand-
ards, is held to closer tolerances than is the
No. 202. Incidentally, 70° styli are now
virtually obsolete.
The difference in shank material is neces-
sary to mark these differences in character-
istics for the shop and the dealer.
The burnishing facet is all important.
Since it is the final manufacturing process,
it must affect the final contour of the func-
tional part of the stylus. The resultant
dimensions will therefore vary from those
listed above, within practical limits.
Tip
Burnish
Radius
Length
Under .0015"
.0003"
Under .0015"
.0003'
Stellite Cutting Styli
Shank Overall Included
Description Material Length Length Angle
No. 34 Short Brass .531" .600" 87°
No. 34 Long Brass .656" .725" 87°
Being still lower in cost, the radius is not playback stylus will track on the straight
held to as close tolerance, but is maintained sides of the groove (insuring good track-
at a value low enough to insure that the ing) .
Steel Cutting Stylus
Description Overall Length Included Angle Tip Radius Burnish Length
No. 50 .615" 85° Sharp .0003"
This is a diamond lapped point; it should ground but not lapped, and hence are much
not be confused with points which are noisier.
Description Use
No. 113 Professional
No. 103 Home, straight shank
No. 303 Home, bent shank
Sapphire Reprod
ucing Styl
Overall
Length
Length
of Gem
Length of
Shank
Tip
Radius
Included
Angle
.625"
.083"
.542"
.0023"
24°
lank .750"
.018"
.732"
.0025"
47°
k .650"
.018"
.632"
.0025"
47°
The significant differences are the change
in length of sapphire, and the tip radius.
The included angle and shank length
changes are only to mark the difference in
unmistakable fashion for the shop.
The professional No. 1 13 has a sapphire
length several times as great as that of the
lower cost No. 103 and 303.
The professional tip has a radius of
.0023", well adapted to transcription
grooves. On the other hand, for home
phonograph records the larger radius of
.0025" is preferable. While there has been
considerable advocacy of .003" tips for
home reproduction, we do not agree. A
.003" tip is initially very slightly quieter,
but the noise quickly exceeds that of the
smaller radius, and coincidentally the dis-
tortion and record wear increase. The dif-
ferences can be credited to the better track-
ing of the smaller radius. A point which
follows the groove faithfully will cause less
wear than one which cannot trace the finer
convolutions. Hence we have chosen the
.0025" radius.
It should be pointed out that all of these
styli can be resharpened when worn out
playing pressings. This is a real economy,
for resharpening is much lower in cost than
a completely new needle. This has been
made possible by using a longer gem (than
is customary for home points) in the 103
and 303.
New Standards
When the NAB and RMA committees
now working adopt standards, these specifi-
cations will be changed to conform if neces-
sary. It is believed that present points will
work satisfactorily with proposed stand-
ards, and in many cases will require no
change at all to conform. In any case they
can be modified to conform when sent in
for resharpening.
Reference
I. Sapphire Quality Control— C. /. LeBel, Audio Record,
June I94-.
AUDIO RECORD
May. 1948
Speech Students At Alabama
College Benefit Greatly By
"Before-After" Recordings
Alabama College, the state college for
women at Montevallo, Alabama, is another
of the many schools across the country who
insist that recording equipment is their
most valuable ally in speech training.
According to a recent letter received
from Miss Ellen-Haven Gould, Head of
the Speech Department at Alabama Col-
lege, speech courses require the use of the
recording machine as early as it can pos
sibly be scheduled. The purpose, of course.
Miss Gould relates, is to record the status
of the students' speech for a record of
"before and after."
"This first recording," says Miss Gould,
"we iind is of great value to our siudents.
They discover what they sound like, m
voice quality, to others, as well as hearing
their mannerisms in pattern, and careless-
ness in pronunciation and enunciation.
Then, each student is given an individual
hearing and critical analysis with a course
of procedure to follow in drill.
"Here the mirrophone or voice mirror is
their valuable aid. Time is scheduled in the
clinic for use of this machine where the
student can drill and check on her own
progress, or get an immediate picture of
deficiencies. Near the close of the course, a
new disc is cut and compared to the first."
Another value of recording at Alabama
College is the file of southern speech
records; and since there are many varia-
tions and peculiarities in different areas of
the State and Souih. these recordings have
proved to be of interest to graduate stu-
dents of Philology and Phonetics as well
as professional research sources of study.
New Maintenance Manual Sent
NBC Thesaurus Subscribers
Managers of more than 400 radio sta-
tions subscribing to the NBC Thesaurus,
musical program service to the NBC Radio-
Recording Division, are currently receiv-
ing a newly produced booklet, "Mainte-
nance Procedure for the Broadcast Tran-
scription Reproducing System."
Consisting of 16 pages of recommenda-
tions and six pages of illustrative diagrams,
the manual was prepared by research engi-
neers of the NBC Radio-Recording Divi-
sion. In addition to maintenance procedures
for the reproducer itself, a section of the
manual is devoted to suggestions for tiie
care of transcriptions.
In an enclosure letter to Thes.iurus sub-
scribers, Robert W. Friedheim, director of
the division, states: "The satisfactory re-
production of transcriptions is so much a
matter of the proper maintenance of the
reproducing system that we have long felt
a need for a detailed discussion of recom-
mended procedures." . . .
Edith Hinglcy, KDKA-Pittsburgh switchboard operator listens while T. C. Kenney, Chief Engineer,
and J. E. Baudino, General Manager, explain the technical phases of the station's telephone
answering gimmick. A magnetic tape recorder specially rigged to the outlet's switchboard played
back recorded "hcllos" of network stars to incoming callers — KDKA's way of hypoing listener
interest in web shows.
KDKA - Pittsburgh Promotes Net
Programs with Tope Recorder-
Special Rigged Switchboard
(Co7iti?Tiied from Page 1 )
means whereby the tape would feed
through automatically and continuously.
The machine was then connected with the
switchboard. When the board buzzed, the
operator merely had to press a button and
wait for the NBC star to speak his piece.
So, with the stage all set, KDKA decided
it was the time to put the "stunt" in use.
The result was terrific.
As one caller after anotlier was greeted
by the familiar voice of a famous radio
name, the station was soon swamped with
more telephone calls than they could
handle. It seemed everybody in Pittsburgh
wanted to talk with his favorite radio per-
sonality.
Audio Record asked the KDKA engi-
neering staff to explain the technical phases
of the telephone answering gadget and they
forwarded on this bit of information:
"The main piece of equipment was (as
explained above) a magnetic tape recorder.
Each announcement was recorded on an
endless piece of tape, the total length of
which was ten inches longer than the exact
amount needed for the recording. A sys-
tem of free-running pulleys was devised
and mounted on a piece of micarta on a
plane parallel to the surface of the record-
ing machine. One pulley was mounted in a
slot so as to vary its position to take care
of the varying lengths of tape. The output
of the playback amplifier in the tape re-
corder was connected to a voice-operated
relay, the time constant of which was set
at approximately two seconds. The relay
itself was connected up in such a manner
that two seconds after the modulation
from the tape was ended the driving motor
would stop. The motors were started man-
ually by the telephone operator pushing a
button and would continue to run until
modulation stopped. A pressure pulley was
added to the capstan drive to prevent slip-
page of the tape.
"The output of the playback amplifier
could be connected cither indictivcl" to
the PBX operator's headset or a small loud-
speaker could be located close to the PBX
operator's mouthpiece. However, the first
method of coupling is in violation of the
telephone company's tariffs".
If Mr. David Lewis comes up with any
more of these "ideas" we're sure there'll
be fewer young ladies aspiring to a career
that entails manipulating a switchboard —
especially the KDKA variety.
ATTENTION
The Editors of Audio Record welcome
contributions from its readers. Any news
concerning your recorded programs or
other recording activities, that you believe
will be read with interest by recordists, can
be used. Photographs, drawings, or graphs
needed to illustrate your material will be
appreciated also. Address all contributions
to: — The Editor, Audio Record, 444 Madi-
son Ave., New York 22, N. Y.
fl^Hfitfy
rscoTcL
PUBLISHED BY AUDIO DEVICES, INC
.:3M
Vol
4, No.
6
444 Madison Avenue, N. Y. C.
June-Juiy,
1948
Have Been Done With Discs
By Frederick W. Ziv, President
FREDERICK W. ZIV COMPANY
Cincinnati, Ohio
{JLvir'^one even remotely connected with
the recording industry Xnows of the last-
minute rush made by record companies and
transcription firms last December to record
as many of their hit tunes and musical pro-
grams as possible before the Petrillo record-
ing ban became law. In the following ar-
ticle, written expressly for Audio Record,
Mr. Ziv, head of one of the nation's top-
flight syndicated transcription companies,
tells in his own words how his firm bro/^e
all stamina records in cutting a series of
Guy Lombardo musical programs before
the recording deadline.)
It could only have been done with discs.
The ink on the eontract between our eom-
]iany and Guy Lombardo was hardly dry
last fall when James C. Petrillo announced
the ban on music transcriptions. The news
came with startling suddenness and filled
the air with frustrated hopes. Here were
we, embarking on a very costly venture,
bringing Guy Lombardo and his legendary
aggregation to the "syndicated circuit" for
the first time — and there was Mr. Petrillo,
saying: "that's all, brother."
But the AFM ukase had one compelling
virtue which traveled by the name of "fore-
warned is forearmed." The ban was not
to go into effect until the last day of the
year, December 31, 1947. True, it allowed
only a couple of months to prepare our-
selves for the coming void, but this was no
time to cry in one's beard; this was the time
for a drowning man to reach for that straw.
The straw was a simple thing — recording.
We began a frantic race against time.
"Beat the deadline!" You see, it is vital to
our interests to be in a position to offer not
merely half a dozen programs in a contin-
uing series but as many as a year or two
of one-a-week shows, in short, a minimum
of between 52 and 104 weekly packages.
Guy Lombardo and his crew sweated it
out with us. We had them over at a New
York recording studio virtually day and
night. Occasionally we v^/ould take half an
hour off to eat at a nearby restaurant, but
mostly we had food brought in. Sofas and
chairs served for cat-naps. On one day
alone we started and finished four — count
'em — half -hour shows, and even David
Ross, our Lombardo Show narrator, who
(Continued on Page 3)
■ Yale I niii-rs!t\ New^ ISurrau"
In addition to collecting liisiunc rLcordings (see article below), Yale University makes good use
of recording equipment, loo. Here, Miss Constance Welch, Associate Professor of Play Production,
points out to Eileen Crawley, a student actress, the reasons why she might be cast for a certain
role. Most students at Yale make recordings of their own voices for self-study and comparison.
Recorded Voices of Many Famous Persons Filed
In Yale University's National Voice Library
Heart stopping moments in history, such as the charge of the
bugler at Balaclava or President Roosevelt's address to Congress the
day after Pearl Harbor, along with speeches, recitations and comments
by many famous and historic personages
are contained in the beginnings of what
will some day be a vast voice library at
Yale University in New Haven, Conn.
Robert Vincent of New York City, who
has made a hobby of collecting and record-
ing voices since he was a boy donated the
first discs of his "national voice library" to
Yale in 1942, added to the collection last
year and plans to add much more to it in
the future.
For two hours recently an Audio Record
reporter listened to recordings picked at
random from the collection — the voices of
Presidents Taft, Wilson, Coolidge and
both Roosevelts, Florence Nightingale and
a host of other famous people.
Possibly the most curious disc of the lot
was made in London 57 years ago by Ken-
neth Landfrey. His name has been for-
gotten, but he was the bugler for the Light
(Continued on Page 4)
Boston Station Airs Views
Of Average Citizen On New
Show 'People's Microphone'
Reversing the usual procedure of quizz-
ing celebrities on current affairs, station
WCOP-Boston has inaugurated a new re-
corded feature titled "People's Micro-
phone", which airs the opinions of John Q.
Public. Following the logic that the aver-
age man-in-the-street is the one that is
affected by passage of new laws, etc.,
WCOP has taken the "People's Micro-
phone" to markets, districts, stores, in
short, anywhere that people congregate.
Questions asked range from local pol-
itics to international developments and the
discs containing these opinions, running
(Continued on Page 2)
AUDIO RECORD
June-July, 1948
cuLdla )§ record
VOL. 4, NO. 6
JUNE-JULY, 1948
Published monthly by Audio Devices. Inc.,
444 Madison Avenue, New York City, in the
interests of better recording. Mailed without
cost to radio stations, recording studios, motion
picture studios, colleges, vocational schools and
recording enthusiasts throughout the United
States and Canada.
WCOP's "People's Microphone"
(Continued froiji Page 1)
from fifteen to forty-five seconds in length,
are broadcast in conjunction with latest
news developments of the particular sub
ject in question. On controversial issues,
both points of view are broadcast on the
same newscast. In an effort to present a
true cross section, people in any and every
walk of life are quizzed.
A recent example of the operation of
"People's Microphone", occurred during
the height of the controversy over the aban-
donment of service on the "Old Colony"
railroad to commuters from Boston's South
Shore. Walter Kidder, of the WCOP Spe-
cial Events Dept., took the "People's Mi-
crophone" on a regular run of the train,
and gathered comments on how the pro-
posed abandonment of service would affect
the lives of these people.
The operations of the "People's Micro-
phone" call for a portable microphone and
portable recorder. In most instances, the
recordings are transferred to discs for air
presentation. This allows for editing of out-
side noises, and proper cueing.
;o » o Lrx^<=Cv
This 16 X 22 cardboard display, in five colors,
is being used to promote the sales of Audio-
discs and Audiopoints for home and cchool
recording. The folders, prepared especially for
non-professional recordists, give complete de-
tails on the group of discs and styli particularly
suitable for these users.
This is ^ut^ JiiU
How Many Discs Does He Weigh ?
Iowa Station Sponsored Unique Contest
To Find Answer for This Query
This is the Tiny Hill Story (three times
bigger than the Jolson Story) and how one
of the most unique contests of all time
came into being.
Tiny Hill, it might be well to explain, is
an orchestra leader. And a mighty big one,
too (no pun intended). Tiny was ]ust fin-
ishing a record breaking engagement at the
Paramount Theatre in Waterloo, Iowa.
Well, Tiny's popularity gave KAYX-
Watcrloo an idea. Why not sponsor a
"Tiny Hill Contest" and have the station's
listeners guess "how many phonograph
records would equal Mr. Hill's weight".
The winner would receive a radio-phono-
graph combination. 2.5 passes to the Para-
mount Theatre and an album of Tiny's
records personally autographed by him.
Everyone agreed the contest was a good
idea. So, the Iov»'a station's two popular
disc jockeys, Ray Starr and Erling Jorgen-
scn, got the contest off to a fast start by
interviewing Tiny Hill via portable re-
corder in Cedar Rapids, Iowa. Starr and
Jorgenscn explained the rules and the con
test, w'hich was to last for one week, was on.
The results were terrific. Over 2,000
letters and cards poured into the Iowa sta-
tion with guesses as to Tiny's weight in
discs. And on the last night of Tiny's ap-
pearance at the Paramount, he was
weighed on the stage. How much? Exactly
the equivalent of 787'/2 phonograph
records. The contest winner: Mr. C. A.
Moore, 617 Hope Ave., Waterloo.
ATTENTION
The Editors of Audio Record welcome
contributions from its readers. Any news
concerning your recorded programs or
other recording activities, that you believe
wi!l be read with interest by recordists, can
be used. Photographs, draxvings, or graphs
needed to illustrate your material will be
appreciated also. Address all contributions
to: — The Editor, Audio Record, 444 Madi-
son Ave., New York 22, N. Y.
me t^ecoldlU
By C. J. LcBcl, Vice President
AUDIO DEVICES, Inc.
STEEL STYLUS SPECIFICATIONS
In the May issue we presented for the
first time complete dimensional data on our
cutting styli and on sapphire reproducing
styli. We intentionally omitted data on steel
reproducing points, for lack of space for
the necessary explanation.
The method of
producing the tip
curvature of a steel
needle is entirely
different from that
employed with sap-
phire. It is possible
to grind and lap the
gem tip to radius
with diamond dust,
with e.xact prede-
termination of the
dimension and
shape. The surface
is exceedingly smooth
working on an extremely hard material can
make a very fine finish.
Because of the low cost of a steel needle,
this individual lapping is not possible. In-
stead, mass production methods are used, of
such nature that most but definitely not all
of the product is satisfactory. Needles of
correct dimension and shape of tip are se-
lected by individual measurement in a high
power projection microscope (a "shadow-
graph") . The projection screen carries a
precision template on which are drawn
limit curves.
C. J. LeBel
for a diamond lap
Fig. I — W'/ien steel p\ayhac\ pomts have
been shadowgraphed, the complete uni-
formity of the styh is assured.
The following procedure is used. High car-
bon steel wire is fed into a special machine,
in which the tip is ground to a sharp point,
and the shank is cut to length. A batch
of several million of the needles is then
heat treated for maximum usable hard-
ness, producing a hard, rough blank. This
IS then tumbled with abrasive in a barrel
or a leather bag. As the tumbling proceeds,
the surface acquires a high polish and the
June-July, 1948
AUDIO RECORD
sharp tip begins to round ofF. Periodically,
a handful are removed from the barrel and
shadowgraphcd. When the average tip
radius of the handful has reached the
proper value, the entire batch is removed
from the tumbling barrel and cleaned. If
these were ordinary needles, they would
then be packaged and shipped. They might
even be marked "shadowgraphcd" because
of the test of a handful out of a million.
This process is not infallible. A consider-
able number of needles are made, with tip
defects which would lead to distorted re-
production or to damaged grooves.
There is only one way that 100% good
points can be shipped: by shadowgraphing
lOO^f of the product. It is very important
that the envelope be marked "100%' Shad-
owgraphcd". On the average, one needle in
eight is rejected in shadowgraphing. Statis-
tical experience indicates that in such a
case the number of bad points which would
be found in an envelope of uninspected
needles, while averaging one in eight, might
reach as high as one in three in any given
package. Shadowgraphing then is valuable
not for the good needles you receive, but
for the bad needles you do not receive!
Fig. 2 — Typical points rejected in shadow-
graphing. The jirst two points are hoo\ed,
the second two are hro\en off at the tip and
the third two have spht points.
In the shadowgraphing process a needle
may be rejected for any one of the follow-
ing reasons:
1. Oversize point — Would cause poor
tracking and distorted reproduction.
2. Under size pomt — Would cause poor
tracking and distorted reproduction. In
many cases would damage a lacquer groove.
3. Flat e?id — In most cases would da-
mage both a lacquer groove and a high
quality phonograph record.
4. Split points — Would damage any
record they played.
5. Bro\en points — Would ruin any
record they played, lacquer or pressing.
6. Hooded points — Very likely to ruin
any record they played, also very likely to
cause poor tracking and distorted repro-
duction.
A few typical rejects are shown in Fig. 2.
It is evident that the owner of a good record
library must be as careful with his needle as
is the user of lacquer discs.
Incidentally, in a properly designed
shadowgraph the point rolls as it goes
through the machine, so that the tip is in-
spected from every angle. Otherwise, a
diagonal flat might not be detected, for it is
{Continued on Page 4)
Dr. Walter H. Juniper (above), assistant dean and Professor of Latin at Baylor University, Waco,
Texas, is one disc jockey who believes in recording his recordings. Confused? Well, we'll unconfuse
you by explaining that Dr. Juniper, whose 'Jukebox of Yesteryear' a 15 minute program featuring
old recordings cut during the 'roaring twenties', heard every Thursday evening throughout most
of the school year over the campus radio Station, KIYS, records his entire program before it is
broadcast in order that he might 'knock out the kinks' and edit the show until it is letter perfect.
"Naturally," Dr. Juniper explrins, "my program is presented 'live" but the pre-broadcast
recording makes it a far better presentation." The Baylor professor further advises that he
uses his own portable recorder to record other nightly radio features for next day playback in
order that his 6 year old daughter, Mrrgaret, who goes to bed a little too early, may hear (hem.
Audio's "Chip -Chaser" Boon To
Recordists With Thread Worries
Probably one ot the most ingenious de-
vices ever produced in the recording in-
dustry was developed by Audio Devices,
Inc. Next to the correct choice of recording
disc and styli, this one gadget can do more
to prevent a bad recording than any other
single instrument. That gadget is the Au-
diodisc Chip-Chaser.
The Chip-Chaser does exactly what its
name implies — it chases the thread cut
from the record away from the cutting
head and winds it around the turntable's
center post, thus preventing thread tangles
under the recording stylus.
Another outstanding characteristic of
this device is that it will not scratch or in
any way impair the recording.
The Chip-Chas;r, which is actually an
aluminum-backed strip of felt, is attached
to and supported by a cast-iron base placed
at the side of the turntable. It conveniently
tips up and out of the way when not in use
and can be adjusted to fit any size turn-
table. No screws or bolts are needed.
For further information on the Audio-
disc Chip-Chaser, sec your local distributor
or write Audio Devices, Inc., 444 Madi-
son Ave., New York 22, N. Y.
Only With Discs
(Contini^ed from Page I)
is nothing if not calm, burst out with a
wild yelfthat spelled out B-R-A-V-O!
Make no mistake about it, this was not
merely a battle for the almighty dollar.
This was a challenge to American genius,
the American type of espirit-de-corps. The
idea of a race against a little day on the
cilcndar whetted our collective appetites;
,is in the late war, it's the blueprints that
win the battles. Our blueprints worked,
and we won the battle.
We produced enough in the series to
give us a respectable backlog and an assur-
ance that our sales force could go out and
sell Lombardo to the hilt, which they did.
Although production was stepped up
almost beyond human endurance, one
wouldn't know it on hearing the programs.
Our producers, writers and directors
worked night and day. Worked with Lom-
bardo vocalists Don Rodney and Kcnnv
Gardner . . . with music publishers on ad-
vance hit tunes, with Lombardo arrangers
on tunes not to be released until late in "48.
The results: a series of radio programs that
sets a new high in quality.
But Lombardo and Ziv notwithstanding,
it coiiJd only have been done with discs.
AUDIO RECORD
June-July, 1948
David H. Clift, Associate Librarian at Yale,
listens to an original recording of the voice of
the late William Lyon Phelps. The collection
of discs shown are only a small part of the Yale
National Voice Library which is being as-
sembled by its curator, Robert Vincent of New
York City. ■ v^ii.- rniuism N.-«s Hni-aii"
Voices of Many Famous Persons In
Yale Library
(Continued from Page 1)
Brigade who sounded the call for the
charge at Balaclava in Octoher, 1854, and
became one of the survivors of the im-
mortal "600".
In 1890 Landfrey recorded "the charge"
on a wax cylinder, using the same bugle he
carried into the "valley of death" and
which had been carried by another bugler
at Waterloo. The wax cylinder cracked be-
fore the re-recording (which is now part of
the Yale library) was made, but the charge
rings out clearly, nevertheless.
Another interesting recording our re-
porter listened to was William Jennings
Bryan's historic declaration at the 1896
Democratic national convention — "You
shall not crucify mankind upon a cross of
gold, etc." — This recording was poor, how-
ever, and did not reflect Bryan's true or-
atorical ability.
Unfortunately, space limitations 6o not
allow us to mention, or list here, all the
historical discs, with the voices of history's
famous sons and daughters, which are
filed in the Yale library, but among some
of the more interesting recordings are:
Calvin Coolidge making his "declaration of
principles" in the 1924 campaign; Wood-
row Wilson speaking in a conversational
tone to an audience of farmers in the cam-
paign 12 years before; Theodore Roosevelt
giving his "covenant with the public"
speech the same year and William Howard
Taft voicing his views on capital and labor
on an occasion in 1906. Then, there is a
disc featuring the voice of A. Conan Doyle
explaining how he came to write the Sher-
lock Holmes stories. And, George Bernard
Shaw in a dissertation called "Spoken
English and Broken English" in which he
blurts out: "You think you are hearing my
voice, but unless you know how to use
your gramaphone what you hear may be
something grotesquely unlike any sound
that comes from my lips." (Shaw maintains
that the speed at which a phonograph plays
has to be regulated for each individual
speaker.) Another record was the voice
of James Whitcomb Riley reciting some of
his poetry. This disc proved that Riley was
a much better writer than talker.
Of all the discs filed at Yale, perhaps
the recording made by Thomas A. Edison,
which he made to be played at an electrical
show in New York's Madison Square Gar-
den in 190S, is the oldest. Although it has
been preserved quite well, it is still pretty
poor by modern standards.
As mentioned before, Robert Vincent,
the main contributor to the Yale voice li-
brary, has been a recording enthusiast all
his life. As a matter of fact, this hobby led
to his appointment as chief of the United
Nations sound and recording section. In a
letter to the university in 1942 Vincent
told a little bit about his recording work
and his hopes for the voice library.
In his letter, he predicted that the
United States citizen of 2042 "will often
make a trip to Yale and listen to the think-
ers, the scientists, the artists of our time."
He wouldn't hear much, though, if all
thinkers, scientists and artists responded
like an unnamed Harvard professor about
whom Vincent told. When asked to say
something so that his voice could be pre-
served for posterity, the professor spoke just
two words. They were "Hello, posterity."
Special Recorded Broadcast
To Italy Pictures Life In An
American High School
A typical day in an American high
school was recorded and beamed to Italy a
few weeks ago by the State Department's
radio channel, "Voice of America". Italian
government stations rebroadcast the pro-
gram in Italy.
The unrehearsed question-and-answer-
hroadcast, direct from the classroom of a
fourth-year Italian class in New Utrecht
High School in Brooklyn, N. Y., was the
second in a series of international educa-
tional programs sponsored jointly by the
State Department and the New York City
Board of Education.
Four New York City high school stud-
ents of the Italian language and one recent
arrival from Genoa, Italy took part in the
recorded program which was conducted
entirely in Italian. Each student was inter-
viewed concerning the differences between
American and Italian secondary schools by
Fred Chambers, head of NBC's Italian di-
vision.
The American student's greater freedom
in choice of subject and greater individual
responsibility in building the kind of sec-
ondary education which will be most useful
to him in later life were typical comments
of the students.
Disc Data
(Continued from Page 3)
generally visible from one direction and in-
visible from another.
Inspected and approved needles then go
through a machine which sprays red and
yellow lacquer on the shanks. They are
then packaged and shipped.
The standard dimensions of i.mr type No.
151 shadowgraph steel needle are as fol-
lows:
Overall length ^z^"; length of shank 'V ;
diameter of shank .067"; tip radius .0025";
tip includedangle IS"^: material high car-
bon steel.
The New Hoskins Label
After receiving numerous requests from
its readers for information on where to
obtain quality, but inexpensive, transcrip-
tion labels. Audio Record is pleased to pass
along the information that Hoskins Labels,
210 South Franklin Street, Chagrin Falls,
Ohio is now producing new, high quality
gummed labels at relatively low cost. Avail-
able in convenient quantities of 500 up,
these labels are 3yg" in diameter with a
5/16" concentric center hole and are ideally
suited for radio station, or studio use on
16", 12" and 10" discs
Each Hoskins label has a "split back"
for ease in stripping and is made ready to
apply by the simple process of removing
the glassine backing in the same manner as
with a Band-Aid. No moistering or other
treatment is required. The latex base ad-
heres to the record base perfectly.
The Ohio firm will imprint these labels
to suit the individual needs of any radio
station, commercial studio, school or other
recording user. Imprints (station's call let-
ters or concern's name) may be had in red,
blue, green, brown or black on black and
white background.
The prices of the new Hoskins' labels,
which incidentally have been enthusiastic-
ally received by the trade, are as follows:
Quantities of 500 $16.50
Quantities of 1000 29.50
Samples may be obtained by addressing
a penny post card to Hoskins Labels or to
SREPCO, 135 East Second St., Dayton,
Ohio.
filUfflff
record
Vol. 4, No. 7
PUBLISHED BY AUDIO DEVICES, INC
444 Madison Avenue, N. Y. C.
October, 1948
AUDIO TO AGAIN SPONSOR SCRIPT AWARDS
This Year's Success Prompts
Decision To Back '49 Contest
All Senior High School Students In
U. S.*-Canada Eligible To Win Many
Cash Prizes in Writing Competition
For the second straight year. Audio
Devices, Inc. will sponsor the Radio Script
Classification in SCHOLASTIC MAG-
AZINES' 1949 ••Scholastic Writing
Awards", (See Page 4 for Contest Rules
and List of Awards) .
Formal announcement of Audio Devices'
continued sponsorship will be made at the
School Broadcasting Conference in Chi-
cago early this month.
One of the outstanding attractions of
the school term for the past twenty-six
years, the "Scholastic Writing Awards" is
one of five programs in the annual "Schol-
astic Awards", conducted by the New
York publishing firm. The "Awards" arc
open to all students regularly enrolled in
U. S. (*its possessions) and Canadian
senior high schools.
Radio Script Writing, the classification
in which Audio Devices took part for the
first time in the 1948 Competition, is one
of the newest classifications in the "Schol-
astic Writing Awards", and, judging from
entries received in the contest just ended,
one of the most successful. All told some
500 scripts by student writers from forty-
eight states, many of whom plan to make
script writing their careers, v^jcre submitted
to SCHOLASTIC MAGAZINES' con
test headquarters.
Many of the '48 prize winning scripts
were broadcast in various sections of the
country and a number of them are benig
pubhshed by Audio Devices in a booklet
called "Audioscripts-1948". This booklet is
now available for both school and general
use. Price is$l .00 list — 60^' to schools. Copies
may be obtained bv u'riting Audio Devices.
Inc., 444 Madison Ave., Klew Tor\ 22, 7^. T.
As in the 1948 Contest, Radio Script
Writing will be divided into three classi-
fications — Original Radio Drama, Radio
Drama Adaptation and General Radio
Script. The AER (Association for Edu-
cation by Radio) will again closely coop-
erate in the running of these and all con-
tests in the radio script division.
Regional contests will also again be
{Continued on Page 4)
Brunell Harvey (left). Manager of the Baylor University campus radio station KIYS, and Chief
Announcer Dick Lewis check a recently recorded disc in the Texas school's studios.
Acting -Announcing -Writing -Management, etc.
All Included in Baylor U.'s Radio Itinerary
By Edgar G. Will, Jr., Radio Department
BAYLOR UNIVERSITY
Waco, Texas
The Radio Department at Baylor University, while comparatively
young, has grown tremendously in size and prestige during the past
four years of its existence. Under the skillful guidance of Professor
John W. Bachman, the department not
only produces programs for stations
throughout Texas, but also has established
a campus "wired-wireless" station which
is operated by the students on the Baylor
campus.
At the request of the Baylor Hospital
in Dallas, the department is preparing pro-
motion scripts to be aired, and is consider-
ing making film strips for use in teaching.
Recently, the offer came to produce a
series of programs in Spanish for use over
the National Network of Mexico, in an
effort to strengthen the cultural under-
standing between Texas and Mexico. In all
of this work recordings play an important
part.
The Radio Department has approxim-
(Continiied on Page 2)
Outstanding Feature
Article on Columbia's
Long-Playing Record
In the November issue of Audio Record,
we will feature an outstanding article by
one of Columbia Record's top engineers on
their new long-playing micro-groove disc.
You won't want to miss this account of one
of the most revolutionary developments in
the history of sound recording. All the facts
surrounding the advent of the new 33 1/3
rpm recording system which cuts up to 300
grooves per inch. Be sure and watch for it!
AUDIO RECORD
October, 1948
cLuxUa ^ record
VOL. 4, NO. 7
OCTOBER, 1948
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed without
cost to radio stations, recording studios, motion
picture studios, colleges, vocational schools and
recording enthusiasts throughout the United
States and Canada.
Hold-the-Line Price Policy
Announced by Audio Devices
According to a statement recently re-
leased by William C. Speed, President of
Audio Devices, the increased cost of alumi-
num, which went into effect on September
1st, will not result in higher prices for
Audiodiscs.
"We shall make every effort," Mr. Speed
related, "to absorb this new aluminum price
raise, and thus continue our prices at the
present level. Our calculations indicate that
with some improved efficiency, now under
way, and continued large volume produc-
tion, we shall be successful in this hold-the-
price effort."
In their ten year history. Audio Devices
found it necessary to raise prices only once
and that was in January, 1947 when, after
years of increasing labor and material costs,
the price of aluminum shot up 50%. But
even then their average increase in disc
prices was only 32%.
Radio at Baylor University
(Continued from Page 1)
ately 275 students taking courses at this
time — courses in radio Acting, Announc-
ing, radio Writing, Production, and Man-
agement.
In the Announcing classes — recordings
are made at the beginning and end of the
quarter, and wire recordings are used
throughout the term to aid the students in
developing a professional quality in their
work. Discs are used for auditions if these
arc desired by the students tor professional
use, and for this work 12" Audiodiscs
are used.
In radio Acting — audition discs are cut
only at the end of the course, although
portions of dramatic productions are re-
corded both on disc and wire throughout
the term. The students grasp the finer
points of radio acting by actually hearing
themselves and others in a program. Also,
the great dramas of the networks are re-
corded off the air and used as illustrations
throughout the course. For this work the
16" Audiodisc is employed, at 33 1/3 rpm.
(The quality and fineness of Audiodiscs
make them ideal for this work. These pro-
fessional programs are also played to
Survey classes as representative of the
types of programs on the air today) .
In radio Production — recordings are
used to bring out and point up the fine
art of producing a smooth, logically con-
nected program, and both student and pro-
fessional programs arc recorded for illus-
tration.
While the Radio and Speech Depart
ments are separate at Baylor, there is close
cooperation and the students in beginning
speech courses cut records at the beginning
and end of the term, as well as those
students who are in the higher interpre-
tative classes. These discs are helpful in
judging the progress made by the indi-
vidual students during the term. We also
record special discs for speech correction
work carried on by the Speech department.
At the present time the Department of
Drama is not using instantaneous record-
ings extensively.
Outside of study and interpretation, the
largest and most important use of discs is
for program presentation. Baylor Uni-
versity does one of the series of the Texas
Adult School of the Air known as "Have
You Heard." These programs (musical in
nature) are recorded in our studios and
sent to the Texas State Network for broad-
cast throughout the State. Each week the
School of Music cooperates with the Radio
Department in presenting the finest talent
for these programs.
Frequently we are asked to record special
programs for the School of Music or other
groups on campus. Many of the finest
symphonies, musical artists, and choral
groups have been reproduced on Audio-
discs at Baylor. Each Christmas the Radio
Department records Handel's "Messiah"
performed by the Baylor Symphony, All-
University Chorus and organ, which pro-
gram is broadcast and re-broadcast by "ET"
throughout the state. Recently, when the
same orchestra and chorus presented the
first Southwest performance of the "Cor-
onation Te Deum" by Vaughn Williams,
written for the coronation of George the
6th, of England, a recording was made at
both 78 rpm and 33 1/3 rpm in order that
copies could be made for regular phono-
graphs. These two last recordings were
used in our regional broadcasting, inas-
much as stations in Corpus Christi, Dallas,
and Waco all used them.
At Baylor University the National
Radio Honorary Fraternity Alpha Epsilon
Rho has a chapter which presents a half
hour drama weekly over the campus radio
station KIYS. These dramas are recorded
and exchanged with other student stations
in distant universities.
A third type of use for recordings at
Baylor is the purely "reference recording"
— a famous speech (as in the case of
President Truman speaking at Baylor a
year ago in April) or the President of
Harvard speaking on Atomic Power, or
perhaps the Chapel presentation of the
Poet-Laureate of Texas. For these occasions
and many others, recordings by disc are
invaluable. Due to the high percentage of
music recordings, the quality of discs must
be of the finest, and we have for some time
used Audiodiscs for this work.
Me f^ecoldWt
LeBel
By C. J. LeBel, Vice President
AUDIO DEVICES, Inc.
OVERCOMING HUMIDITY
EFFECTS
One of the most serious problems faced
by the recording disc industry, since the
first lacquer coated disc was produced, is
well summed up in the trite old saying —
"It isn't the heat, it's the humidity."
For humid condi-
tions in the factor-
ies have frequently
held up production
during the summer
months. It is also
true that a disc
which has absorbed
too much moisture
would make a poor
recording . The noise
level would increase
progressively while
recording and the
cut would get greyer and greyer. In fact,
noise level increase of as much as 30 db has
been observed — solely due to excessively
humid conditions. If the cutting stylus were
lifted and cleaned and the cut restarted, it
would begin as quiet as originally, then
grey up again. This problem, in varying
degrees, has affected the entire lacquer disc
industry.
Air conditioning disc factories would
naturally seem the answer. But this does not
help during transportation and storage
under adverse conditions. It is not usually
realized that water vapor v/ill even pass
through most "waterproof" materials. Mois-
ture absorbed during the summer can pro-
duce bad effects months later, for it is re-
leased much more slowly than it is absorbed.
At the same time, it should be remembered
that a "summer formula" of less good quali-
ties is valueless, for discs bought in summer
may be used in fall or winter, when no
excuses for poor performance would be ac-
cepted.
In view of all this, the most logical solu-
tion was to formulate a recording lacquer
which was basically the same as before, but
in which the effect of moisture was mini-
mized. It was necessary to avoid the use of
materials of unknown history and doubtful
stability.
In doing this, our chemical formulator
had a number of tools available. He had a
large weather room in which discs could be
stored and recorded. The humidity and
temperature controls of this room could be
set to maintain 90°F., 90% relative hu-
Dctober, 1948
AUDIO RECORD
nidity — holdintj the worst summer condi-
ions 24 hours a day.
He had data on the previous perform-
ince in the field. As we have used serial
lumbers since the start of production in
1939, this made available an immense stoek-
Dile of information. In fact, we are now.
nore than ever, convinced that it is impos-
sible to run a good system of quality control
without such serial numbering.
The first step was the substitution of
materials in the same family as the mate-
rial being replaced. Some changes were sug-
gested on chemical grounds: replacement
of short chain by long, for example. Each
change involved several tests, for sometimes
the proportion had to be changed at the
same time. There was also some study of
purer grades of material. This is an ex-
ceedingly complex subject, because tests
for organic impurities are specific in nature,
and you need to know what you are looking
for before you start. Ordinary measure-
ments of physical properties, such as speci-
fic gravity, refractive index, etc., are not
apt to be very informative when the im-
purity is present to the extent of only . 1 % .
Spectrophotometric methods are useful only
under certain limited conditions.
The next step was the substitution of
material taken from other groups listed in
our previous studies as having good stability.
Our biggest improvement, the one which
finally brought success to the research, came
from one such change.
It was found necessary to test each pro-
posed ingredient as a part of the complete
formula — no short cuts were possible. This
complicated the testing procedure, for when
say 15 out of 20 ingredients have varying
degrees of moisture sensitivity, a change in
one will effect an improvement which is
hard to detect. When we had narrowed the
work down to 3 sensitive ingredients, the
work proceeded very rapidly, so that as the
spring of 1948 approached we knew we had
a lacquer of superior reliability.
Countless tests in our "weather room"
show that the improved AUDIODISC is
remarkably resistant to moisture absorption.
Discs subjected to a temperature of 90° at
80 to 90% humidity for many weeks show
no increase in noise level while recording.
Ordinary discs, under the same conditions,
show a noise level increase of from l.i to
25 db.
Perhaps the best proof of the value of this
long research program has come in the sum-
mer just concluded — one of the most
humid on record. For the first time in
many years our factory and customers were
able to run with no interruptions from the
weather, with a product which recorded as
well on the hottest and dampest day as it
would have on a crisp fall or winter day.
A typical studio sccnp during
series "It Can Happen to Y(
A ricording session of the American Cancer Society's edui.
ii". The place: ABC's recording studios in New York.
ACS's Use of Recordings in
Fighting Dread Disease Totd
Society's Radio Head Praises Discs
The American Cancer Society's use of
transcriptions in furthering the fight
against one of the world's most dread
diseases is divided into two categories: 1.
Educational — a year-round activity and 2.
Fund Raising — during the month of April
which is their campaign month.
The Society's first educational project
in 1948 was the "It Can Happen To You"
series. This series of recordings, which re-
ceived a special award at the Ohio State
University's Institute for Education by
Radio, was presented on approximately five
hundred stations across the country.
The ACS's second educational series of
half-hour programs "That These May
Live" was released in May and indications
are that these programs too have been and
are being presented on many, many sta-
tions throughout the nation.
In July 1947 and again this past June
the Society released for direct distribution
to all radio stations in the U. S. a platter
on which there were twelve one-minute
announcements and six fifteen-second and
six twenty-second station break announce-
ments plugging one of their free booklets
on cancer. As to the effectiveness of these
recorded messages, ACS reports show that
they averaged 20,000 requests per month
on the first disc with literally a nation-
wide pick-up.
During the Society's campaign month,
four double-face recordings were distrib-
uted to every AM and FM station in the
country. These discs included the recorded
appeals of famous movie and radio per-
sonalities, three five-minute musical pro-
grams by top name bands, two dramatic
htteen-minute programs explaining the
status of cancer research as well as an ex-
planation of the Society's educational work
and an interview type program featuring
Hollywood stars Joseph Cotton and Irene
Dunne. This last disc was produced in such
a manner that local announcers could in-
terview the Hollywood star, bringing "na-
tional glamor" right down to the local
level. More than 1200 stations used some
or all of the four discs during the campaign.
When asked how important a role re-
cordings played in his organization's work,
Walter King, Director of Radio in the So-
ciety's Publicity Department, commented:
"I feel that they not only maintain a uni-
formity of production levels but perhaps
more important, they make it possible for
us to service radio stations with cancer
broadcast material in a manner which
makes it usable with the least effort and
assures availabHty for repeat use."
All American Cancer Society recordings
were recorded by the American Broadcast-
ing Company, Recording Division, in New
York.
Audiodisc Chip-Chaser Well Received
In the June-July issue of the "Audio
Record", Audio Devices announced that
their AUDIODISC CHIP-CHASER, a
simple device for thread removal, was again
on the market. This announcement was well
received by recordists, not only from the
large number of orders received, but from
the favorable comments on the part of some
of the users. As the head of one recording
studio wrote us: "We have one of your
CHIP-CHASERS. It works like a charm and
allows the operator much more freedom
from nervous strain. I no longer fear
ulcers."
AUDIO RECORD
October, 1948
ck C. Packard
Professor Frederick C. P.ick.ird, associ-
ate professor of public speaking at Harvard
University, is an avid recording enthusiast
but, unlike most of his fellow recordists,
his specialty is, of all things, poetr>'.
Yes, Professor Packard began his un-
usual hobby of collecting, for posterity, the
voices of contemporary poets, reading their
own verse, some 1 5 years ago. The noted
British-American poet, T. S. Eliot, reading
"Gerontion" and "The Hollow Men" got
Frederick Packard started on his way and
he has been going strong ever since.
Throughout the years. Professor Pack-
ard's hobby grew, and under the name of
the Harvard Vocarium — a place where
voices are kept and listened to — was set
up as a library collection of poetry for
student use. Today it is the largest single
source of records of poets reading their own
poetry in the world.
And now, probably as a memento of his
15th anniversary of recording outstanding
poets. Professor Packard has once again
recorded some of the works of T. S. Eliot.
The new discs, which will include among
others "Journey of the^Magi," "A Song
for Simeon" and "Fragment of an Agon,"
will even be available to the public in lim-
ited quantity.
Packard's collection, which was estab-
lished, because, as he puts it, "poetry
should be listened to", includes poets such
as W. H. Auden, Stephen Spender and
many famed Harvard names, including
Charles Townsand Copland, better known
as "Copey" reading from the Bible; Bliss
Perry, noted Emerson and Thackaray au-
thority, and Robert HiUyer.
The Harvard professor believes that the
collection, which also contains many famed
prose writers, has a great future in the
educational world, particularly in the field
of English. (Editor's Note: — Professor
Packard advises that Audiodiscs have been
used exclusively ever since the Harvard
Vocarium has been in existence.)
Audio To Again Sponsor Scholastic
Script Contest
(Continued jroin Page 1)
staged throughout the country, and as we
go to press many leading radio stations and
newspapers have already volunteered to
sponsor local contests m their areas.
All entries in the 1949 National com-
petition, to be judged by famous profes-
sional radio writers, must be in on or before
midnight March 4, 1949. (Where regional
Writing Awards are held, work must be
submitted to meet their earlier deadlines)
Winners in the three classifications out
lined above will he announced in May
1949. Shortly before this announcement
however, school principals will receive no
tification, as well as the cash awards for
presentation to their winning students.
Rules and regulations governine the
contests and a list of awards follow :
Rules and Instructions
1. All students in grades 10, 11 and 12
in any public, private, or parochial high
school in the U. S., its possessions, and
Canada are eligible. They may enter any
or all three of the classifications.
2. No radio script will be considered for
the Awards if it has been entered in any
other national competition.
3. Each script must contain a separate
full-page sheet on the front; on this sheet
should be written the following informa-
tion :
(a) Entrant's name, home address
(street number, city, state).
(b) Entrant's school and its address.
(c) Name of entrant's teacher.
(d) Name of entrant's principal.
(e) Ageof entrant on March 4, 1949.
(f) Entrant's grade.
(g) Classification of entry (Original
Radio Drama — Radio Drama
Adaptation — General Radio
Script).
(h) Entrant's signature.
(i) Signature of entrant's teacher.
4. All scripts must follow standard radio
script form. Maximum length : J, 500 words.
Shorter scripts preferred.
5. Scripts in any one of the three classi-
fications must be written in accordance with
the following:
(a) Originai Radio Drama — Must
be an original treatment.
(b) Radio Drama Adaptation —
Scripts based on published mate-
rial; fiction, biographies, history.
Accompany script with source
facts; title, author, publisher.
Where possible, use non-copy-
right sources.
(c) General Radw Script — May be
interviews, dialogues, news,
sports, variety programs, continu-
ity for music, etc. Any form ex
cept drama.
6. Although students are free to enter
the Competition individually, it is recom-
mended that work be included in the group
sent by a teacher after preliminary elimina-
tions at the school.
7. Scripts should be typed or written
legibly in ink, on one side only of paper
8^2" X 11". Pages should be numbered.
8. Entries may be sent at any time during
the school year up to the closing date, March
4, 1949. Mail direct to Scholastic Writing
Awards, 7 East 12th Street, New York.
N. Y.
9. Scripts MUST be mailed flat (not
folded or rolled) at the first class postage
rate of 3^2 ^n ounce.
10. The decisions of the judges and of
the editors of Scholastic Magazines are
final.
1 1 . All scripts receiving national awards
become the property of Scholastic Corpo-
ration, and no other use of them may be
made wit'nout written permission.
12. No scripts will be returned. (Stu-
dents should keep carbon copies of their
entries.)
Awards
Students
1st. Prize (in each classification) — $25.00
2nd. Prize (in each classification) — $15.00
3rd. Prize (in each classification) — $10.00
4th. Prize (in each classification) — $ 5.00
(There wdl be five 4th Prizes m each
classification.)
Teachers
Teachers of students winning first place
in each classification — 25 Audiodiscs, 3
Sapphire Recording Audiopoints. 3 Sap-
phire Playback Audiopoints.
Supplementary Award
Fijr each script submitted found suitable
for publication in booklet form — $10.00.
(Short scripts of skits 200-900 words —
maximum playing time 6 mins. — that
other school groups can produce are espe-
cially welcome.)
Sounds (Recorded) In The Night
Just to make positively sure thst all sounds
on the RIP LAWSON, ADVENTURER! re-
corded show are authentic, producer James
Allen (throwing hand cue in background) of
Soundscript Productions, Hollywood, takes his
cast right out into the street for a busy street
sequence on one of the programs. The sound
man though on this show must be quick with
the records for jet-propelled planes, atomic
bombs and many other scientific gadgets are all
integral parts of the popular recorded juvenile
thriller.
fl^llft^lfy
PUBLISHED BY AUDIO DEVICES, INC
Vol. 4, No. 9
444 Madison Avenue, N. Y. C.
December, 1948
N.Y. Philharmonic Symphony Program Offers High
School Students Special "Week End With Music"
Voice Recordings Help Judges Make
Final Selection of Musically Talented
Students
Tlic New York Philharmonic Symphony
program, broadcast every Sunday after-
noon over CBS stations, offers an unusual
musical opportunity for talented high
school students all over the country.
Every week, three students arc given a
two day trip to New York City, including
the "rounds" of the finest operas, ballets,
musical theatres, and concert halls — as
guests of the Standard Oil Company (New
Jersey), sponsor of the Philharmonic
broadcasts. These fortunate and talented
students are given an opportunity to meet
some of the most celebrated artists of our
time, and their week-end of exciting be
hind-the-scenes adventures in Nev»- York's
musical life is climaxed by an "on the air"
interview with Mr. Deems Taylor, noted
composer and commentator. This interview
is a 10-minute feature of the New York
Philharmonic Symphony broadcasts, giving
America's most talented musical students
an opportunity to tell the vast CBS radio
audience about the high points in their
"Week End With Music," and about their
own musical experiences and accomplish
ments.
The "Week End With Music" National
Advisory Board has adopted the following
plan for the nomination and selection of
the student participants in the program.
Any student, 16 years of age or over, en-
rolled in the 10th, 11th, or 12th grades of
any U. S. public, private, or parochial high
school is eligible. Each high school in the
United States is invited to nominate the
student or students who are best qualified
to appear on this program. After reviewing
the official Nomination Forms sent in by
the school principals, the Board selects a
group of candidates — with the advice and
assistance of the experienced Scholastic
Awards staff of "Scholastic Magazine."
The chosen candidates are then requested
to visit their nearest CBS or other local
radio station for a voice recording. These
(Cdiitniiied on page }, Col. 1)
Above: Deems Taylor (right) conducts Phil-
harmonic broadcast discussion with guest
students — left to right, Ervin Fennel, DuBois.
Pa.; Carolyn Stanford, Chester, South Carohna;
and Dorothy Jones, Shreveport, La.
At Right: Lauritz Melchoir (left) of Metropol-
itan Opera, radio and screen, entertains
Philharmonic's guest students — left to right,
Thora Vervoren, West Green Bay, Wise; Joyce
Ristine, Maple Falls, Washington; and Dorothy
Ruddell, Parkcrsburg, West Va.
RADIO'S No. I PROBLEM
by William C. Speed, President
Audio Devices, Inc.
W. C. Speed
As competition
begins to stiffen
between broad-
casters, managers
naturally turn a
watchful eye on
unnecessary ex-
penditures. Yet. at the same time, it is in
their own interests, as well as the inter-
est of their sponsors, to maintain or
increase their listening audience. The ob-
vious conflict between these two factors —
maximum operating economy and audience
appeal — is probably the basic cause of
radio's No. 1 problem. For when "econ
omy" IS earned to the point where it affects
the listening pleasure of a program — it
ceases to be economical. Worse yet, it not
only cuts down the listening audience — it
may reflect unfavorably on the broadcast-
ing industry as a whole.
Any normally critical listener today
knows that the general trend of program
quality (as far as fidelity and easy listen
ing are concerned) is definitely not upward.
In fact many specific instances could be
cited where transcribed program material
(Continued on page 2, Col. 1)
AUDIO RECORD
December, 1948
CLudlali^ reccrrcL reproduction quality gets "psychoanalyzed"
AT ROCHESTER FALL MEETING
VOL. 4, NO. 9
DECEMBER, 1948
Published monthly hy Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed without
cost to radio stations, recording studios, motion
picture studios, colleges, vocational .schools and
recording enthusia.sts throughout the United
States and Canada.
Radio's No. I Problem
{Contimied from page 1 )
in particular is far from satisfactory. This
situation is doubly unfortunate — and
doubly questionable — when we consider
these facts. A broadcast stations transmit
ting equipment represents an investment
of several hundred thousand dollars and is
fully capable of sending out fine, distor
tion-free programs. The sponsor invests
perhaps hundreds of thousands of dollars in
obtaining the finest talent and program
material. But somewhere along the line, the
quality of the entire program has been
sacrificed in the name of economy.
This, of course, is no news to the station
engineers. They know where the trouble
lies, but are not in a position to do anything
about it — for they do not hold the purse
strings. No engineer, for example, likes to
use worn out music recordings — to see
appropriations for transcription pickup
heads and good points become tighter and
tighter — or to have to use the same so-called
permanent point pickup day after day in-
terchangeably on shellac pressings, lacquer
and vinyls. Yet it too often has to be done.
Nor does the engineer like to use cheap
wire recorders to delay a top quality pro-
gram which cost a small fortune to produce.
Because a good tape machine, costing
around $3,000, can do an unusually fine
job, it is too often the custom to use any
tape on any machine with any bias, ignor-
ing the end result — listening discomfort!
Economy-minded studio executives may
say — "After all, what difference does it
make. The vast majority of radio sets arc
miniatures and you can't tell the difference
anyway." The fallacy of such thinking is
obvious to the engineer. In the first place,
it simply isn't true. Distortion added to
distortion spells listener discontent even if
he doesn't know just why. Moreover, it's
the big set owners who often represent the
highest purchasing power in a community
— and they will unconsciously dial over to a
"more agreeable" station. No broadcaster
can afford to economize on his recordings
if it means compromi.se with fidelity. It's
not fair to the artists, the spon.sors, the
engineers, or to the public.
All broadcasters know that recording is
a most important link in program presen-
tation. They also know that high quality
recording equipment is available — equip-
ment that represents but a small percentage
of the total station investment. But do they
C. J. LeBel, Vice President of
AUDIO DEVICES, INC., Presents
Paper on "Psycho-Acoustics"
The topic of high quality reproduction
was attacked from a new viewpoint at
the RMA Rochester Fall Meeting on No-
vember 10 in Rochester, New York. This
forum where radio set designers discuss
their problems included a symposium on
"What Constitutes High Fidelity," with
the following speakers: Messrs. Harvey
Fletcher of Bell Telephone Laboratories.
John K. Hilliard of Altec-Lansing Corp.,
and C. J. LeBel of Audio Devices. All
three speakers stayed well away from that
badly abused term "high fidelity," concen-
trating instead on the more significant
problem of practical home reproduction.
The subject of Mr. LeBel's talk, "Psycho-
Acoustic Aspects of Higher Quality Re-
production," was admittedly a challenging
one. For it is a subject which seems to have
been avoided, intentionally or otherwise,
by all too many of the country's radio set
designers.
In his talk, Mr. LeBel applied scientific
principles in a frank appraisal of the ever-
present but seldom recognized problem of
listening fatigue — what causes it, how to
measure it, and what can be done to min-
imize it.
The quality of sound reproduction which
is considered as "acceptable" to the aver-
age radio listener is a far cry from the
sound quality that assures easy listening.
And in designing to such minimum stand-
ards, radio and phonograph manufacturer?
are inadvertently limiting the use of their
product. For when the listener gets tired,
he simply turns off the set — without reahz-
ing why he has ceased to enjoy the program.
The cause is not immediately apparent for
the reason that listening fatigue does not
occur in the ear itself, but in the under-
standing centers of the brain.
According to Mr. LeBel, experienced
realize how seriously a pooc i/iui!itv record-
ing can affect their listening audience? If
they don't, the problem is simply one of
education. If they do — and still insist on
"cutting corners" to cut costs, — they must
recognize that they will eventually be cut
ting down their own income. There's no
future in that.
To some of you, this may seem like an
unfounded complaint. It's not. Here's a
typical example. Not long ago, while travel
ing through the midwest, I called on the
chief engineer of a station just recently on
the air. I was shown a beautiful new lokw
transmitter — a splendidly treated studio- -
excellent and expensive audio input equip
C. J. LeBel
merchandisers believe that the reproduction
quality of a radio, phonograph, or hearing
aid has a definite effect on product sales, as
well as on the extent of their use. Certain
particularly successful manufacturers have
had designs which consistently have been
less fatiguing than competitive designs in a
comparable price class. The inexperienced
listener, who never heard of "psycho-
acoustics," expresses his appreciation for
sound quality of reduced fatigue factor by
such expressions as: "It sounds very
natural," "The announcer seems right here
in the room," and "This is very easy to
listen to."
In the hearing aid field, it has ixx-n
demonstrated that a drastic reduction in
fatigue effect, with no visible change in the
instrument, doubled sales within a period
of months. The listener response to a hear-
ing aid, however, is more positive than to
a radio set, since the former must be used
twelve to sixteen hours a day — and it
cannot always be turned off when the
listener becomes fatigued.
There are many factors that contribute
to listening fatigue. Mr. LeBel listed ex-
traneous "noise" as the worst offender,
followed by harmonic and intermodulation
distortion, artificially peaked loudspeaker
response, and inadequate frequency re-
sponse. As to the practice of slightly attenu-
ating high frequencies, he stated that this
was an effective interim way of rendering
slightly distorted wide band reproduction
(Continued on page 3, Col. 1)
ment. By this time. I expected to see equalK-
modern and excellent recording apparatus.
But no — here was economy. Two wire
recorders costing less than $150 each! Later,
I checked with many of the local listeners.
The general opinion was that a lot of this
station's programs "didn't sound so good."
We are all in this radio broadcast busi
ness together. Set sales mean more listeners,
improved transcribed shows mean more
listeners, distortion free recordings mean
more listeners. Radio's economic health
depends on more listeners. These all ini
portant listeners cannot be held with ]^ihn-
programs whether poor in material or
ruined with poor fidelity.
December, !948
AUDIO RECORD
Psycho-Acoustics
{Continued from page 2)
more palatable. He estimates that while
only 50% of the listeners would be satis-
fied to have available an upper eutofF
frequeney of 5 Ke, 90% would be satisfied
with 8 Kc, and 99% with 10 Kc. This, of
eourse. assumes a system relatively free
from fatigue factors — and without distor-
tion or attenuation in the upper frequen-
eies. It also recognizes that unwanted high
frequencies could be removed by a tone
control, whereas insufficient high frequen-
cies to begin with, could not be later
increased in bandwidth.
With reference to the recording aspects
of the problem, Mr. LeBel stated that
lacquer disc recording quality has, for the
past 10 years, been more than adequate to
meet the demands of the most critical ear
with minimum listener fatigue. Much im-
provement, however, is still called for in
improved consistency of manufacturing
quality of higher quality pressings, and the
improvement of amplifier circuits and
speaker designs of reproducing equipment
in the medium price radio field.
Mr. LeBel summarized his remarks by
saying that "the typical set engineer is very
wrong in thinking that the auditory system
is easy to deceive, and that perpetrating an
acoustic fraud upon it will have no reper-
cussions. The auditory system is inarticu-
late, not uncritical. Whereas the eye
rebels very fast at unsatisfactory conditions,
the ear is slow to anger. Even when very
angry, it does not directly reveal the cause
of its rage. Yet, in the end, it enforces its
desires surprisingly well. Every time a
listener yawns and turns off his set his ear
has won a victory."
Week End With Music
(Ci'ntinued from page 1)
recordings are submitted to the National
Advisory Board to help in determining the
final selection of the students. This phase
of the selection helps the judges to decide
on those students whose "voice person-
ality" will assure maximum interests in the
broadcasts. As it is obviously impractical
for the judges to hold personal interviews
with each candidate, the voice recordings
provide a very effective substitute.
Any high school principals who are not
already familiar with this "Week End
With Music" program, can obtain nomina-
tion forms and complete details by writing
to the National Advisory Board, "Week
End With Music," 48.S Madison Avenue.
New Y.irk 2 2. N. Y.
I.D.E. OFFERS NEW SERIES OF
TRANSCRIBED DRAMAS
Top-Flight Artists and Authors
give "STORIES TO REMEMBER"
Outstanding Audience Appeal
The Institute for Democratic Educ.ition
has recently completed thirteen new l.v
minute recordings, in a series entitled
"Stories to Remember." This is the 12th
presentation of I.D.E.'s famous "Lest We
Forget" series, which has been aired by
leading independent and network stations
from coast to coast.
"Stories to Remember" feature such
outstanding artists as Raymond M.issey.
Geraldine Fitzgerald. Melvyn Douglas,
Vera Zorina, Alan Ba.xter, Ralph Bellamy,
Bambi Lynn, and Jay Jostyn, in radio
adaptations of stirring, down-to-earth stor-
ies by such well-known authors as B. J.
Chute, MacKinlay Kantor, Dorothy Can-
field Fisher, Irwin Shaw and Carl Click.
These widely read works have been adapted
for r.idio by ace script writers Sigmund
Miller, Milton Wayne, Jack Bentkover.
and Harold Franklin. All programs were
produced by Harold Franklin, program di-
rector of the Institute, under the skillful
direction of Earle McGill.
Recordings were made at Columbia
Records, Inc., in New York, on 17l^ inch
master AUDIODISCS. at 3 3 '/J rpm. The
initial production includes 600 16-inch
Vinylite pressings of each of the 1 3 pro-
grams. Additional pressings will be made
as required, to keep pace with the demand
This new series is offered free of charge
to the nation's radio stations and networks
as a public service, to help remind all
Americans that prejudice and discrimina-
tion have no place in our truly American
way of life.
Mr. Franklin states that, as in the past,
the new "Stories to Remember" recordings
will be made available to schools and col-
leges as soon as the radio broadcasts have
been completed. I.D.E.'s previous series,
"THE AMERICAN DREAM," is cur-
rently being prepared for special release to
.schools and colleges as an audio-education
aid. For this purpose, it is planned to fol-
low the procedure used so successfully by
many radio stations in broadcasting these
programs. The 13-minute transcriptions
were followed by a 1 .vminute live panel dis-
cussion, in which prominent local citizens
expressed their opinions, with particular
reference to local problems and conditions.
These panel discussions were recorded by
the radio stations, and it is planned to in-
clude them on the reverse side of each of
the "AMERICAN DREAM" pressings.
Since the Institute is a non-profit organ-
ization, devoted to the improvement of
human relations, these discs are being of-
fered for school use at cost. The thirteen
recordings in previous series, together with
a teachers' handbook, can be obtained com-
plete for $l.T.OO, by writing direct to the
Institute for Democratic Education, 41.")
Lexington Avenue, New York 17, N. Y.
The use of top-flight talent — artists,
authors, scripters, and directors — has al-
ways characterized the I.D.E. productions,
and has contributed largely to their out-
standing success and audience appeal. Last
year's series, for example, won a special
award in Variety's annual Showmanage-
ment competition — received another first
award at Ohio State University's 18th
Institute for Education by Radio — and was
honored by a Citation of Distinguished
Merit from the National Conference of
Christians and Jews.
Director Earle McGill, actress Geraldine Fitz-
gerald, and Harold Franklin, Program Director
of I.D.E., prepare to record "The Lesson," by
Mary Leslie Harrison — one of the thirteen
transcribed dramas in the Institute's new series,
"Stories to Remember."
ATTENTION
The Editors of Audio Record welcome
contributions from its readers. Any news
concerning your recorded programs or
other recording activities, that you believe
will be read with interest by recordists, can
be used. Photographs, drawings, or graphs
needed to illustrate your material will be
appreciated also. Address all contributions
to: — The Editor, Audio Record, 444 Madi-
son Ave., New York 22, N. Y.
AUDIO RECORD
December, 1948
H
ow
(Ed. Note: This
subi(
fe
«hich Pro-
Gritfir
qualified to speak, for
lie tutored all ttiree
Special Class Winners
in the l?48 AER No-
tional Script Writing
contest.)
George D. Griffin
In the course of reading some three
thousand radio scripts written by students
;it New York University, I have discovered
;i fact which should have been obvious but
was, for a time, obscured by the routine of
trying to give personal attention to the
problems of many individual writers — that
my students do their best work when con-
fronted with obstacles.
Beset with an eager group of young
talents enchanted with the medium of radio
and completely fascinated with the idea of
being writers for that medium, I have found
that my goals for them are reached most
quickly, with less wear and tear on me as
an individual and writer, if I see to it that
they have little opportunity to indulge
themselves.
For instance, told to write a commercial,
they flounder about in their freedom and
wind up with something entirely too rem-
iniscent of a well-known advertisement.
Assigned a public service announcement,
they tend to write about matters which are
obviously of little interest and importance
even to them. And given the assignment
of writing a thirty-minute dramatic script
on subject matter of their own choice, they
go off on the familiar tangent of the visitor
to or from Heaven, they get on a soap bo.x
and philosophize (in very poor radio)
about the faults of mankind, or they throw
themselves with great relish into the psy-
chological abyss and wallow about with
various kinds of demented souls — usually
the variety seen on the local movie screen
last week.
Worse yet, they repeatedly make every
error in the radio writing tradition: lack
of self-identification, long sentences and
speeches, multi-directional plots, ineffective
characterizations, weak tag lines, overload-
ing of sound cues, and so on ad infinitum.
In short, they waste both their time and
mine.
But — forewarned that the budget for a
.show necessitates restricting the cast to
tour or five characters, they produce a tight
.•script with clear-cut conflict and character-
izations. Assigned a script about a country
doctor to be played by Jean Hersholt, they
iinalyze the program in great detail ;ind arc
rca.sonably effective even if they hiive a
healthy disgust for such personalities. Sup-
posedly transported to a community whose
To Get the Best Out of Student Scripters
by Prof. George D. Griffin
N. Y. University
radio programs are produced by amateurs
with no sound effect records, they quit
asking for the sound of a whipporwill heard
above the roar of an airplane engine. The
result: the development of real feeling for
the special char:ieteristies of the radio
medium.
One of the most successful assignments I
hiive given has been a script for the contest
conducted by the Association for Education
by R.idio, and in particular that classifica-
tion sponsored by AUDIO DEVICES.
INC. Writing an interesting five-minute
dramatization designed for production in
the home or school is a real challenge, re-
quiring, ;is it does, great economy and
clarity of expression, simplicity of produc
tion demands, and single direction of plot.
It makes almost impossible the most com
mon faults of the student writer. And I
cannot recommend it too highly to other
teachers whose students have talent but arc
prone to ignore the fundamentals of prac-
tical radio writing in their enthusi:ism tn
ape Oboler and Corwin.
^
Testing-1, 2, 3
Testing-l, 2, 3
Testing-1, 2, 3
Here's how coiithwal testing
assures consistent, uniform,
and lasting quality in
every flllfllOQISC
All incoming lacquer mate-
rials are tested for:
1. Chemical purity
J. Uniformity
3. Physical properties
Each lacquer mix is tested he-
fore going into production:
1. For solids
2. For viscosity
3. A test coating is made
and checked for fre-
quency response, sur-
face noise, wear, and
thread throw
Coating process checks
oughout the day hy plaul
ngineers:
1. Temperature contr(d
2. Humidity control
3. Evaporation rate and fi-
nal cure
/<uA„Asr< .ii-f munuliiclurtJ ,n lit,'
Final inspection of finished
discs:
1. Visual grading by trained
inspectors
2. Spot checking by chief
inspector
3. Production discs tested
for surface noise, wear
ami thread behavior at
regular intervals
In addition, sample discs of
each day's production are filed
by serial number, with the com-
plete history of actual record-
ing behavior under controlled
conditions. This practice, which
has been followed for the past
10 years, has helped us make
many refinements and im-
provements in lacquer formu-
lation and control.
IF you want to be SURE
of matchless recording qual-
ity—ask your dealer for
AUDIODISCS.
■J.S.A. under exclusive license jrom
Audio Devices, Inc., 444 Madison Ave., N. Y. C.
York 16, N. Y.
CLudlocLiscs
£n^y^y)AeaX. £^ £neffi.)e/i/e^
q^llf|_lfy
recoTcL
PUBLISHED BY AUDIO DEVICES, INC
Vol. 4, No. 9
444 Madison Avenue, N. Y. C.
December, 1948
N.Y. Philharmonic Symphony Program Offers High
School Students Special "Week End With Music"
Voice Recordings Help Judges Make
Final Selection of Musically Talented
Students
The New York Philharmonic Symphony
program, broadcast every Sunday after-
noon over CBS stations, offers an unusual
musical opportunity for talented high
school students all over the country.
Every week, three students are given a
two day trip to New York City, including
the "rounds" of the finest operas, ballets,
musical theatres, and concert halls — aj
guests of the Standard Oil Company (New
Jersey), sponsor of the Philharmomc
broadcasts. These fortunate and talented
students are given an opportunity to meet
some of the most celebrated artists of our
time, and their week-end of exciting be-
hind-the-scenes adventures in New York's
musical life is climaxed by an "on the air"
interview with Mr. Deems Taylor, noted
composer and commentator. This interview
is a 10-minute feature of the New York
Philharmonic Symphony broadcasts, giving
America's most talented musical students
an opportunity to tell the vast CBS radio
audience about the high points in their
"Week End With Music," and about their
own musical experiences and accomplish
ments.
The "Week End With Music" National
Advisory Board has adopted the following
pl.ui for the nomination and selection of
the student participants in the program.
Any student. 16 years of age or over, en-
rolled in the Kitli, 11th, or 12th grades of
any U. S. public, private, or parochial high
school is eligible. Each high school in the
United States is invited to nominate the
student or students who are best qualified
to appear on this program. After reviewing
tiie official Nomination Forms sent in by
the school principals, the Board selects a
group of candidates — with the advice and
assistance of the experienced Scholastic
Awards staff of "Scholastic Magazine."
The chosen candidates are then requested
to visit their nearest CBS or other local
radio station for a voice recording. These
(Cmitniued on pa^e }, Col. 1)
Above: Deems Taylor (right) conducts Phil-
harmonic broadcast discussion with guest
students — left to right, Ervin Fennel, DuBois.
Pa.; Carolyn Stanford, Chester, South Carolina;
and Dorothy Jones, Shreveport, La.
Al Right: Lauritz Mclchoir (left) of Metropol-
itan Opera, radio and screen, entertains
Philharmonic's guest students — left to righ*.
Thora Vervoren, West Green Bay, Wise; Joyce
Ristinc, Maple Falls, Washington; and Dorothy
Ruddell, Parkersburg, West Va.
RADIO'S No. I PROBLEM
by William C. Speed, President
Audio Devices, Inc.
W. C. Speed
As competition
begins to stiffen
between broad-
casters, managers
naturally turn a
watchful eye on
unnecessary ex-
penditures. Yet, at the same time, it is in
their own interests, as well as the inter-
est of their sponsors, to maintain or
\ncrease their listening audience. The ob-
vious conflict between these two factors —
maximum operating economy and audience
appeal — is probably the basic cause of
radio's No. 1 problem. For when "econ-
omy" is carried to the point where it affects
the listening pleasure of a program — it
ceases to be economical. Worse yet, it not
only cuts down the listening audience — it
may reflect unfavorably on the broadcast-
ing industry as a whole.
Any normally critical listener today
knows that the general trend of program
quality (as far as fidelity and easy listen
ing are concerned) is definitely not upward.
In fact many specific instances could be
cited where transcribed program material
(Continued on page 2, CoJ. 1)
AUDIO RECORD
December, 1948
fS llftlff #. reCffirl REPRODUCTION QUALITY GETS ■'PSYCHOANALYZED""
AT ROCHESTER FALL MEETING
VOL. 4, NO. 9
DECEMBER. 194H
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed without
cost to radio .stations, recording studios, motion
picture studios, colleges, vocational schools and
recording enthusiasts throughout the United
States and Canada.
Radio's No. I Problem
(Cmitiruted from I'dof 1)
in p.irticul.ir i.s far I'mm satisfactory. Thi.s
.situation is doubly unfortunate — and
doubly questionable — when we consider
these facts. A broadcast station's transmit
ting equipment represents an investment
of several hundred thousand dollars and is
fully capable of sendini; out fine, distor
tion-trce proi;rams. The sponsor invest.^
perhaps hundreds of thousands of dollars in
obtaining the finest talent and program
material. But somewhere along the line, the
quality of the entire program has been
.sacrificed in the name of economy.
This, of course, is no news to the station
engineers. They know where the trouble
lies, but are not in a position to do anything
about it- for they do not hold the purse
strings. No engineer, for example, likes to
u.sc worn out music recordings — to see
appropriations for transcription pickup
heads and gtxid points become tighter and
tighter — or to have to u.se the same .so-called
permanent point pickup day after day in-
terchangeably on shellac pressings, lacquer
and vinyls. Yet it too often has to be done.
Nor does the engineer like to use cheap
wire recorders to delay a top quality pro-
gram which cost a small fortune to produce.
Because a good tape machine, costing
around $.^,000, can do an unusually fine
job, it IS too often the custom to use any
tape on any machine with any bias, ignor-
ing the end result — li.stening di.scomfort!
Economy-minded studio executives may
say--"After all, what difference does it
make. The vast majority of radio sets are
miniatures and you can't tell the difl^crence
anyway." The fallacy of such thinking is
obvious to the engineer. In the first place,
it simply isn't true. Distortion added to
di.stortion spells listener discontent even if
he doesn't know just why. Moreover, it's
the big set owners who often represent the
highest purchasing power in a community
--and they will unconsciously dial over to a
"more agreeable" station. No broadcaster
can afford to economize on his recordings
if it means compromise with fidelity. It's
not fair to the artists, the spon.sors, thc
engineers, or to the public.
All broadcasters know that recording is
a most important link in program pre.scn
tation. They also know that high >.|uality
recording equipment is available equip
ment that represents but a small percentage
of the total station investment. But do they
C. J. LeBel, Vice President of
AUDIO DEVICES, INC., Presents
Paper on "Psycho-Acoustics"
The topic of high qu.ility reproduction
was attacked from a new viewpoint at
the RMA Rochester Fall Meeting on No-
vember 10 in Rochester, New York. This
forum where radio set designers discuss
their problems included a symposium on
"What Constitutes High Fidelity," with
the following speakers: Messrs. Harvey
Fletcher of Bell Telephone Laboratories,
John K. Hilliard of Altec-Lansing Corp..
and C. J. LeBel of Audio Devices. All
three speakers stayed well away from that
badly abused term "high fidelity," concen-
trating instead on the more significant
problem of practical home reproduction.
The subject of Mr. LeBel's talk. "P.sycho-
Acoustic Aspects of Higher Quality Re-
production," was admittedly a challenging
one. For it is a subject which seems to have
been avoided, intentionally or otherwise,
by all too many of the country's radio set
designers.
In his talk, Mr. LcBel applied scientific
principles in a frank appraisal of the ever-
present but seldom recognized problem of
li.stenmg fatigue— what causes it, how to
measure it, and what can be done to min-
imize it.
The quality of sound reproduction which
is considered as "acceptable" to the aver-
age radio listener is a far cry from the
sound quality that assures ea.sy listening.
And in designing to such minimum stand-
ards, radio and phonograph manufacturers
are inadvertently limiting the use of their
product. For when the listener gets tired,
he simply turns ofi" the set — without realiz-
ing why he has ceased to enjoy the program.
The cause is not immediately apparent for
the reason that li.stening fatigue does not
occur in the ear itself, but in the under-
standing centers of the brain.
According to Mr. LcBcl, experienced
realize how seriously a poor quality record-
ing e.ui affect their listening audience? If
they don't, the problem is simply one of
education. If they do — and still insi.st on
"cutting corners" to cut costs, they must
recognize th.it they will eventually be cut
ting down their own income. There's no
future in that.
To some ot you. this may seem like an
unfounded complaint. It's not. Here's a
typical example. Not long ago, while travel-
ing through the midwest, I called on the
chief engineer of a station just recently on
the air. I w.is shown a beautiful new lukw
transmitter- a splendidly treated studio
excellent and expensive audio input equip
C. J. LeBel
merchandisers believe that the reproduction
quality ot a radio, phonograph, or hearing
aid has a definite effect on product sales, as
well as on the extent of their use. Certain
particularly successful manufacturers have
had designs which ct)nsistently have been
less fatiguing than competitive designs in .i
comparable price class. The inexperienced
listener, who never heard of "p.syeho-
aeoustics," expresses his appreciation for
.sound quality of reduced fatigue factor by
such expressions as: "It sounds very
natural," "The announcer seems right here
in the room," and "This is very easy to
listen to."
In the hearing aid field, it has been
demonstrated tli.it a dr.istic reduction in
fatigue effect, with no visible change in the
instrimient. doubled sales within a period
ol months. The listener response to a hear
ing aid, however, is more positive th.ui to
a radio set, since the former must be used
twelve to sixteen hours a day — and it
cannot always be turned off when the
listener becomes fatigued.
There are many factors tli.it contribute
to listening fatigue. Mr. LeBel listed ex
traneous "noise" as the worst offender,
followed by harmonic and intermodulation
distortion, artificially peaked loudspc.ikcr
response, and inadequate frequency re
sponse. As to the practice of slightly :ittenu
ating high frequencies, he stated that this
was an effective interim way of rendering
slightly distorted wide band reproduction
(ContiHiied i))i fidge .i. Col. 1)
ment. By this time, I expected to see equ.ilK'
modern and excellent recording apparatus.
But no — here was economy. Two wire
recorders costing less than $1.^0 each! Later.
I checked with many of the local listeners.
The gener.il opinion was that a lot of tlii<
.station's programs "didn't sound so good."
We are all in this radio broadcast busi
ne.ss together. Set sales mean more listeners.
improved transcribed shows mc.in more
listeners, distortion free recordings me.iii
more listeners. Radio's economic lie:ilth
depends on more listeners. These all im
portant listeners cannot be held with poor
programs whether poor in ni.iten.il or
ruined with poor fidelity.
December, 1948
AUDIO RECORD
Psycho-Acoustics
(Continued from /^tifje 2)
more p.ihitahlc. He cstim;itcs tli.it wliilo
only 30'; of the listeners would he satis
tied to have available an upper cutoff
frequency of 5 Kc, 9t)''/( would he satisfied
with S Kc, and W^r with 10 Kc. This, of
course, assumes a system relatively tree
from fatigue factors — and without distor-
tion or attenuation in the upper frequen-
cies. It also recognizes that unwanted high
frequencies could he removed by a tone
control, whereas insufficient high frequen-
cies to begin with, coukl not be Liter
increased in bandwidth.
With reference to the recording aspects
of the problem, Mr. LcBcl stated that
lacquer disc recording qu.dity has, for the
past 10 years, been more than adequate to
meet the demands of the most critical ear
with muiimum listener fatigue. Much im
provemeiit, however, is still called tor in
improved consistency of manufacturing
quality of higher quality pressings, and the
improvement of amplifier circuits and
speaker designs of reproducing equipment
in the medium price radio field.
Mr. LcBcl summarized his remarks by
saying that "the typical set engineer is very
wrong in thinking that the auditory system
is easy to deceive, and that perpetrating an
acoustic fraud upon it will have no reper-
cussions. The auditory system is inarticu-
late, not uncritical. Whereas the eye
rebels very fast at unsatisfactory conditions,
the ear is slow to anger. Even when very
angry, it does not directly reveal the cause
of its rage. Yet, in the end, it enforces its
desires surprisingly well. Every time a
listener yawns and turns off his set his ear
has won a victory."
Week End With Music
(Ccntniiiecl jrtnn l>a;j,c 1)
recordings are submitted to the N.itional
Advisory Board to help in determining the
final selection of the students. This phase
of the selection helps the judges to decide
on those students whose "voice person-
.ility" will assure maximum interests in the
broadcasts. As it is obviously impractical
for the judges to hold personal interviews
with each candidate, the voice recordings
|irovide a very effective substitute.
Any high school principals who are not
already familiar with this "Week End
With Music"" program, can obtain nomina-
tion forms and complete details by writing
to the N.itional Advisory Board, "Week
End With Music," 4S.S Madison Avenue.
New Y.irk 2 2, N. Y.
I.D.E. OFFERS NEW SERIES OF
TRANSCRIBED DRAMAS
Top-Flight Artists and Authors
give "STORIES TO REMEMBKR"
Outstanding Audience Appeal
The Institute for Deniocr.itic Educ.itioii
has recently completed thirteen new l.'i-
minute recordings, in . a series entitled
"Stories to Remember." This is the 12th
presentation of I.D.E.'s famous "Lest We
Forget"" series, which has been aired by
le.iding independent and network stations
from coast to coast.
".Stories to Remember"" feature such
outst.mding .u'tists as Raymond Massey.
CJeraidine Fitzgerald, Melvyn Douglas,
Vera Zorina, Alan Baxter, Ralph Bellamy.
Bambi Lynn, and Jay Jostyn, in radio
adaptations of stirring, down-to-earth stor
ies by such well-known authors as B. J.
C21uite, MacKinlay Kantor, Dorothy Can-
field Fisher, Irwin Shaw and Carl Click.
These widely read works have been adapted
for radio by ace script writers Sigmund
Miller. Milton Wayne. Jack Bentkover.
,ind Harold Fnmklin. All programs were
produced by Harold Fr.mklin, program di-
rector of the Institute, under the skillful
direction of Earle McCill.
Recordings were made at (2olumbi,i
Records, Inc., in New York, on IV',/, inch
master AUDIODISCS. at 3.V.', rpm The
initial production includes 600 Id inch
Vinylite pressings of each of the \y pro
grams. Additional pressings will be made
as required, to keep pace with the demand.
This new series is offered free of charge
to the nation's radio stations and networks
.is a public service, to help remind all
Americans that prejudice ,ind discrimina
tion have no place in our truly Ami'rican
way of life.
Mr. Franklin states that, as in the p.ist,
the new "Stories to Remember"" recordings
will be made available to schools and col-
leges as soon as the radio broadcasts have
been completed. I.D,E,"s previous series,
"THE AMERICAN DREAM," is cur-
rently being prepared for special release to
,schools and colleges as an audio-education
aid. For this purpose, it is planned to fol-
low the procedure used so successfully by
many radio stations in bro.idcasting these
programs. The l.S-minute transcriptions
were followed by a 1 .Vminute live panel dis-
cu.ssion, in which prominent local citizens
expressed their opinions, with particular
reference to local problems and conditions.
These p.iiiel discus-sions were recorded by
the radio stations, and it is planned to in-
clude them on the rever.se side of each of
the "AMERICAN DREAM"" pressings.
Since the Institute is a non-profit organ-
ization, devoted to the improvement of
human relations, these discs are being of-
fered tor school use at cost. The thirteen
recordings in previous series, together with
a teachers" handbook, can be obtained com-
plete for $l.=i.OO, by writing direct to the
Institute for Democratic Education, 41.'^
Lexington Avenue, New York 17, N. Y.
The u.se of top-tlighl talent — artists,
.lulhors, scripters, .md directors- has al-
ways characterized the IDE. productions,
and has contributed largely to their out-
standing success and audience appeal. Last
year's series, for example, won a special
•iw.ird in Variety's annual Showmanage-
ment competition -- received another first
award at Ohio State University's ISth
Institute for Education by Radio — and was
honored by a Citation of Distinguished
Merit from the National Conference of
Christians and Jews.
Director K.irlc McGill, actress Geraldinc Fitz-
gerald, and Harold Franklin, Program Director
of I.D.E., prepare to record "The Lesson," by
Mary Leslie Harrison — one of the thirteen
transcribed dramas in the Institute's new series,
"Stories to Remember."
ATTENTION
Ihe Lditors of Audio Record welcome
contributions from its readers. Any news
concerning your recorded programs or
other recording activities, that you believe
will be read with interest by recordists, can
be used. Photographs, dr.iwings, or graphs
needed to illustrate your material will be
appreciated also. Address all contributions
to: — The Editor, Audio Record, 444 Madi-
son Ave., New York 22, N. Y.
AUDIO RECORD
Decamber, 1948
How To Get the Best Out of Student Scrlpters
by Prof. George D. Griffin
(Ed. Note: This Is a
subject on which Pro-
fessor GriHin is well
qualified to speak, for
he tutored all three
Special Class Winners
in the 1946 AER Na-
tional Script Writing
contest.)
George D. Griffin
In the course of reading some three
thousand radio scripts written by students
at New York University, I have discovered
a fact which should have been obvious but
was, for a time, obscured by the routine of
trying to give personal attention to the
problems of many individual writers — that
my students do their best work when con-
fronted with obstacles.
Beset with an eager group of young
talents enchanted with the medium of radio
and completely fascinated with the idea of
being writers for that medium. I have found
that my goals for them are reached most
quickly, with less wear and tear on me as
an individual and writer, if I see to it that
they have little opportunity to indulge
themselves.
For instance, told to write a commercial,
they flounder about in their freedom and
wind up with something entirely too rem-
iniscent of a well-known advertisement.
Assigned a public service announcement,
they tend to write about matters which are
obviously of little interest and importance
even to them. And given the assignment
of writing a thirty-minute dramatic script
on subject matter of their own choice, they
go off on the familiar tangent of the visitor
to or from Heaven, they get on a soap box
and philosophize (in very poor radio)
about the faults of mankind, or they throw
themselves with great relish into the psy-
chological abyss and wallow about with
various kinds of demented souls — usually
the variety seen on the local movie screen
last week.
Worse yet, they repeatedly make every
error in the radio writing tradition: lack
of self-identification, long sentences and
speeches, multi-directional plots, ineffective
characterizations, weak tag lines, overload-
ing of sound cues, and so on ad infinitum.
In short, they waste both their time and
mine.
But — forewiirned that the budget for a
show necessitates restricting the cast to
lour or five characters, they produce :i tight
script wMth clear-cut conflict and ch;iracter-
iziitions. Assigned a script about a country
doctor to be played by Jean Hersholt, they
analyze the program in great detail and arc
reasonably effective even if they have it
licidthy disgust for such personalities. Sup-
po.sedly tnmsported to a community whose
N. Y. University
radio programs are produced by amateurs
with no sound effect records, they quit
.isking h)r the sound of a whipporwill heard
above the roar of an airplane engine. The
result: the development of real feeling for
the special characteristics of the radio
medium.
One of the most successful assignments I
have given has been a script for the contest
conducted by the Association for Education
by Radio, and in particular that classifica-
tion sponsored by AUDIO DEVICES.
INC. Writing an interesting five-minute
dramatization designed for [production in
the home or school is a rc:il challenge, re-
quiring, as it does, great economy and
clarity of expression, simplicity of produc
tion demands, and single direction of plot.
It makes almost impossible the most com-
mon faults of the student writer. And I
cannot recommend it too highly to other
teachers whose students have talent but are
prone to ignore the fundamentals of pr;ic-
tic;il radio writing in their enthusi;ism to
ape Oboler and Corwin.
^
/Hi*
Testing-1, 2, 3
Testing-1, 2, 3
Testing-1, 2, 3
Here's how continual testing
assures consistent, uniform,
and lasting quality in
every ClIlcllOcllSC
All incoming lacquer mate-
rials are tested for:
1. Chemical purity
2. Uniformity
3. Physical properties
Each lacquer mix is teslcil Ite-
fore going into produi liun:
1. For solids
2. For viscosity
3. A test coaling is nia<lr
and checked for fre-
quency response, sur-
face noise, wear, and
thread throw
Coating process clucks
throughout ihe day hy plant
engineers:
1. Temperature conlml
2. Humidity control
3. Evaporation rate and fi-
nal cure
Final inspection of finished
1. Visual grading by trained
inspectors
2. Spot checking by chief
inspector
3. Production discs tested
for surface noise, wear
and thread behavior at
regular intervals
111 addition, sample discs of
each day's production are filed
hy serial number, with the com-
plete history of actual record-
ing behavior under controlled
Condi lions.This practice, which
has been followed for the past
10 years, has helped us make
many refinements and im-
provements in lacquer formu-
lation and control.
IF you want to be SURli
of matchless recording qual-
ity—ask your dealer for
AUDIODISCS.
<cluied In llie U.S..4. undr,
PYRAL, S.A.R.L., Pans.
Audio Devices, Inc., 444 Madison Ave., N. Y. C.
Ni» Ygrk 16. N. Y.
CLudlodlscs
tAeyM,/iAeaA £c^ Cnefn^ie^c
^„Mt^
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PUBLISHED BY AUDIO DEVICES, INC.
Vol. 5, No. 2
444 Madison Avenue, N. Y. C.
February, 1949
WPIC Transcribes Complete Series of Dickens Novels
Distincrive program feature sets a new
high in enduring literary value
by Evelyn Keller, Publicity Director,
Radio Station WPIC, Sharon, Penna.
More than three years of writing and
research preceded the inauguration, over
Radio Station WPIC, Sharon, Pennsyl-
vania, on September 26, 1948, of a new
series of weekly half-hour radio plays based
on the works of the English novelist,
Charles Dickens.
From the beginning, it was obvious that
the huge cast? involved largely composed
as they were of non-professional talent,
would make it impossible ... or at least, in-
advisable ... to attempt to maintain a
weekly schedule of live broadcasts. (In
"Nicholas Nickelby," for example, there
are thirty-four different characters. Fortu-
nately, they do not all appear in any single
episode!) All the programs, have, there-
fore, been produced in WPIC's studios and
transcribed on 16-inch Audiodiscs.
The aim of the series is to present, in
half -hour episodes, the complete series of
novels by Charles Dickens, numbering
fourteen in all, if one includes the unfin-
ished mystery, "Edwin Drood." The intent
of the series is to give the radio audience
dramatic programs of greater literary value
and more lasting interest than soap operas.
While individual Dickens works have been
produced over the air, this series, so far as
is known, marks the first time the entire
fourteen novels have been adapted for
broadcast use. Much care has been taken
to present each work in a form that will
be easy for the listener to follow, while yet
(Continued on Page 2, Col. 1)
1
' consisting of students, amo-
>rding for a future broadcast
The partial cast of "Great Expectati.
teurs, ond ex-professionals, mal(es a
over Stations WPIC and WPIC-FM.
("Estella") t. Bonnie tvlassy (Control
|.,p. ,,| Operator-Studio Engineer)
7. Raymond Daly ("Maqwitch")
1. Phyllis Williams
2. David MacArthu
3. Harold Smith
(Announ
ator)
I Hickn
4. Mary McCullough
("Bentley Drummie")
(fur'ntable operator) 1- William Pound ("Joggers")
5. Evelyn Keller (Director) 10. Edv,in Good
II. Helen Sloss ("Miss Havisham")
("Herbert")
Tense Moments of History Brought to Life on
were quietly at work, engraving a perman-
ent record of the drama that unfolded day
by day.
The vast library of historical reference
recordings and transcriptions filed away in
the archives of the country's leading broad-
cast stations can tell one of the most dra-
matic stories of all time. They can bring to
vivid life events long gone by — they can
speak to us with voices of those no longer
here.
These priceless historical recordings,
however, have not previously been avail-
able to the public. But Columbia's recently
released album entitled "I Can Hear It
Now" brings a collection of dramatic his-
torical selections to all who want to hear
and remember. It is available in an album
of five 12-inch discs and also on a single LP
Microgroove record. This collection was
(Contmued on Page 2, Col. 2)
New Columbia Discs
Priceless Historical Recordings, from
1933 to 1945, Dramatize One of the
Most Eventful Eras of All Time
The past decade holds many unforget-
table memories for all of us. Memories of
world shaking events and screaming front-
page headlines. But, perhaps more clearly
than anything else, we remember the radio.
How we used to listen tensely, eagerly,
anxiously to the news broadcasts — to the
voices of commentators, correspondents,
and men who were making history both at
home and abroad.
Few of the general public, however, re-
alized that at the same time these memor-
able voices were coming to us over the air,
the recording turntables back at the station
AUDIO RECORD
cuuUa ^ recorrd
February, 1 949
VOL. 5, NO. 2
FEBRUARY, 1949
Tense Moments of History
(Continued from Page 1)
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed without
cost to radio stations, recording studios, motion
picture studios, colleges, vocational schools and
recording enthusiasts throughout the United
States and Canada.
Transcribes DIcltens Novels
(Continued from Page 1)
retaining tlae majority of tlie myriad char-
acters and the thread of the many plots
and sub-plots. Each hook is allowed to run
its natural course, so that while "Barnaby
Rudge" was presented in only four half-
hour episodes, "Nicholas Nickelhy" will
require ten.
The transcribed programs arc broadcast
at 2:30 P.M. each Sunday afternoon over
WPIC and re-broadcast at 8:30 P.M. each
Monday evening over its Frequency Modu-
lation affiliate, WPIC-FM. Much interest
has been evoked among schools and colleges
in the area, and many requests have already
been received for permission to use the
scripts or the transcribed shows in class-
room work. In several speech courses the
Sunday shows are required listening, and
each episode is discussed in class the fol-
lowing day.
The current schedule, which began in
September, 1948, and will run through
May, 1949, includes si.x books: "Bleak
House," "Barnaby Rudge," "David Cop-
perfield," "Hard Times," "The Old Curi-
osity Shop" and "Dombey and Son." The
series will go off the air for the summer
months, and resume in the fall of 1949
with "Great Expectations."
To date, "David Copperfield" has met
with the most enthusiastic public response,
and small wonder: It was Dickens' best
work and lent itself to the most fluent radio
adaptation. But it is hoped that the lesser
known works will make a lasting impres-
sion on listeners, too, if only to lead them
to the D section of the public library. There
are low spots in Dickens, as there must be
in all such prolific authors. "Little Dorrit" is
one of these "lows," but it will be pro-
duced, for what it is worth, in seven
episodes.
No attempt has been made to include
the much overworked "Christmas Carol"
in the series, though it is planned to use one
of Dickens' other Christmas books . . .
probably "Cricket on the Hearth" ... at
Christmas-time, 1949.
Casts are recruited from among the
speech students of Youngstown and West-
minster Colleges (including one professor
from the Drama Department of Westmin-
ster), from the members of the Youngs-
town (Ohio) Playhouse, and local amateurs
and ex -professionals. One of the mainstays,
for example, a man who has appeared in
some role in every Dickens book to date.
prepared by Edward R. Murrow, radio
news reporter, and Fred W. Friendly,
radio producer and script writer. The com-
pilation of this material was, in itself, a
monumental task. Over a period of more
than 2 years Mr. Murrow and Mr.
Friendly played back a total of more than
500 hours of old broadcasts. Over 100
hours of this material were recorded from
the lacquer to magnetic tape. This pro-
vided a flexible medium from which the
final selections were made, and re-recorded
on disc form, with narration by Mr. Mur-
row. His commentary unifies and explains
the historical selections, leading the listener
effortlessly through the highlights of a 13
year period, from 1933 to 1945. The events
recorded are not necessarily included in
their precise chronological order, but rather
are arranged to give the maximum dramatic
effect to the entire presentation.
The first famous voice to be heard is
that of Will Rogers, from a recording made
in 1932. This is followed by the very
familiar voice of Franklin D. Roosevelt, in
his message of encouragement to the nation
on March 4, 1933. His voice is heard again
and again — the last time in his report to
Congress on the Yalta meeting. Then comes
Huey Long — the Duke of Windsor in his
abdication address — Fiorello H. La Guar-
dia — Alf Landon — and John L. Lewis.
You hear a dramatic on-the-spot account
of the Hindenburg disaster — the voice of
Neville Chamberlain telling a falsely re-
lieved world that, after the acquisition of
Sudetenland, Hitler will make no further
territorial claims . . . and then the fanatical
voice of Hitler himself, in an address to
Edward Benes.
Other voices tell of the invasion of Po-
land — Italy's entry into the war — the
fall of France. And later the tense mo-
ments of December 7, 1941 are brought
startlingly to life, with John Daly inter-
rupting a regular musical broadcast, in-
forming a shocked and horrified narion of
the Pearl Harbor attack. Then there is the
U. S. declaration of war — the tremendous
impact of D-Day — the Nazi invasion of
Russia — and finally Hiroshima and the
Japanese Surrender.
This is but a suggestion of the full his-
toric contents of "I Can Hear It Now."
Not only does it bring back memories more
dramatically than could possibly be done
by the written word — it points out the
as yet untouched possibilities that actual
historical recordings can play in the educa-
tional field. It is to be hoped that this
Columbia Album is but the first of many
similar record collections which will be
ofi^ered to the public. For there is certainly
a wealth of this interesting and instructive
material available — both in the extensive
files of the recording and broadcast com-
panies, and in the hundreds of thousands of
disc recordings made by government agen-
cies such as the OWI and the Library of
Congress.
Mr. Edward R. Murrow, noted reporter-analyst,
is largely responsible for the compilation of
Columbia Records new album of historical
recordings. Mr. Murrow, an eye witness to many
of the events covered in the album, is the nar-
rator for this collection of actual recorded
voices of the outstanding personalities who
made history during the crucial period from
1933 to 1935.
is an old-time stage actor who is now the
manager of a local liquor store!
Direcrion and production work is
handled by the writer, assisted by a studio
engineer, a cutting engineer, a turntable
operator for sound effects and music, and
a staff announcer. Each half-hour episode
is rehearsed and transcribed in one eve-
ning's work.
For the writer, this has been an exciting
and fruitful experience. The end is not
yet in sight, and the whole project may
well consume five or six years. They will
have been well spent. As a free-lance (for
such shows as "Suspense" and the Kate
Smith hour, in radio, and for other media) ,
the writer cannot help but be tremendously
influenced by so intimate an acquaintance
with an author who could devote an entire
page to the description of the buttons on
a man's vest, making each button an object
of interest and a source of humor.
The success of this series leads one to
wonder whether there are not other authors
of Dickens' caliber and prolificness to
whose well radio might not regularly and
profitably carry its bucket. When "Edwin
Drood," the fourteenth and final Dickens
book, is completed, we mean to go further
afield. Conrad? Hawthorne? W'ilkie Col-
lins? Stevenson? Perhaps, some day, even
Shakespeare.
February, 1949
AUDIO RECORD
^^^tfie T^eayulUt
MICROGROOVE IN YOUR STUDIO
Part 2, Equipment Requirements
by C. J. LeBel, Vice President,
AUDIO DEVICES, Inc.
In our last issue
we discussed the
three steps in the
transition from
standard to micro-
groove recording,
steps which may he
taken by any re-
cording organiza-
tion.
In taking these
steps it is necessary
to make certain
changes in equip-
ment. The most important is provision for
cutting at micro pitch — in the range of
224 to 260 hnes per inch. Probably 224 to
240 lines is the most desirable range for
most applications.
Some equipment already made has pro-
vision for this without change — that
originally designed to provide continuous
variation of feed pitch. In other apparatus
some change is necessary. An overhead feed
mechanism relies on a change of leadscrew
for change of pitch. To make the shift,
then, it is only necessary to purchase and
insert a new leadscrew.
The swinging arm type of feed mechan-
ism requires a little more effort. The feed
action is produced by the operation of a
worm and gear sector. The manufacturer
of the machine can remove the worm and
C. J. LeBel
substitute another of different character-
istics. He also has a removable worm ar-
rangement so that the machine can be
changed hack and forth between micro and
standard groove. The change is not as easy
as desired, for the chassis has to be lifted
up in the case. However, such a change is
not one to be made often, and the arrange-
ment is satisfactory.
Some recording machines have too much
vertical vibration to be used for micro-
groove, unless an advance ball is used. The
machine manufacturer can advise on this
point, and can supply an advance ball rig
if necessary. Inexpensive semi-professional
swinging arm feed type machines are most
likely to need this attachment.
The electrical characteristics are even
simpler to achieve. When recording regu-
lar 16" transcriptions with standard groove
spacing and microgroove radius, we would
use normal transcription recording charac-
teristics. This would be either the NAB
standard 16 db boost at 10,000 cycles) or
the 10 db boost which many studios have
found to be their usable limit. Columbia
microgroove characteristic is the same as
NAB, except that the response is slightly
higher below 100 cycles. A simple equal-
izer will take care of this. For a great deal
of work the difference is negligible, and
standard transcription equalization can be
used.
We have carefully refrained from com-
menting on the 33 'i vs. 45 rpm situation.
At the start, the average studio will have
only 33J/^ rpm equipment, so there will be
no question of choice. Only time and ex-
periment will indicate whether 4.S rpm
will become a serious factor in the average
studio.
It is evident that the transition to micro-
groove is an easy one from the equipment
point of view.
The subject will be discussed further in
our next issue.
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Wendt's "Wax Works"
The Story of a Record-Making Musical Family
Bill Wendt, a 16 year old student at
Thomas Jefferson High School, Richmond,
Virginia, was one of the three talented
students selected to appear on the Philhar-
monic Symphony's CBS program "Week
End With Music," on October 17, 1948.
That's how we first heard about Bill, who is
not only an accomplished musician on the
violin, piano, cello, string bass, and bells,
but is also an up-and-coming recordist. As
this is a rather unusual combination of
talents, we felt that our readers would be
interested in hearing about his recording
activities. So here's the story in his own
words, as quoted from his letter to the
editor of Audio Record :
"I have been doing my own recording
work for approximately ten months, hav-
ing been introduced into this field by my
oldest brother, Frank, who first became
interested in audio work about seven years
ago. When he entered the service he passed
on to me his information on recording.
While he was away my interest in this
field grew considerably with the cutting
of numerous discs, but as yet I have not
had time to become well acquainted with
the more technical side. All of the equip-
ment was built by my brother with the
exception of the recorder itself which is a
Rec-O-Kut 16 inch recording table with
the same make overhead feed; a combina-
tion that has served quite well considering
the relatively low price. The cutter is a
Presto 1-D which is driven by an amplifier
using a pair of 6B4's and a UTC out-put
transformer ^LS-5.t. Fifteen watts, how-
ever, is not sufficient for recording piano
with its ever-present peaks, and I am now
helping Frank build a 60 watt amp. You
see, this recording hobby is a sort of mutual
(Continued on Page 4, Col. 3)
Bill Wendt prepares to record
orchestral programs in his home :
ment Ave., Richmond, Virginia.
AUDIO RECORD
Feb
ruary,
1949
Report on "Madame X,"
RCA Victor's New 45 RPM Record
We have received a number of requests
for information on the new RCA Victor
45 rpm record, "Madame X." No technical
information has yet been released, but we
have collected the available data on the
subject. Here it is in brief.
X is a thin 7" pressing of pure vinyl. The
center hole is large — about 11/2 inches in
diameter. Maximum playing time is 5^2
minutes. Fine grooves are employed, and
the playback stylus radius is 1 mil. Price is
slightly under that of an ordinary shellac
pressing of the same playing time. So far
as we can tell, the recording characteristic
is the same as that used on standard Victor
records.
The large center hole permits the use of
a special record changer of very interesting
properties. The record stack is carried on
the large size center spindle; there are no
outside supports. As a result the changer
is extremely compact and extremely rapid.
Several observers have timed the change
cycle at II/2 seconds. To simplify the mech-
anism, all discs are of the same diameter,
regardless of playing time. Record changer
i
7^
ENGINEERING
SHOW EXHIBITS
GRAND CENTRAL PALACE
HOTEL cVkMODCRE
^ MARCH 7 to 10 ^
c
d
WDIO DEVICES wM be there. 0
ourse — wUh an up-to-the-minute proc
uct exhibit in Booth AJo. 2i3.
-
ATTENTION RECORDISTS
PROFESSIONAL AND AMATEUR
We know of a company that is inter-
ested in contacting recordist who can
give part time work to recording in their
localities. The recording would be on
tape and arrangements can be made
with this group to obtain the proper
type tape machine for this work. Those
interested should write the Editor,
AUDIO RECORD, giving information
as to their qualifications.
manufacturers are getting ready for pro-
duction, and it is rumored that the sim-
plicity of the mechanism will permit a net
price of $5.
The point which has aroused the widest
controversy is the speed: 45 rpm. It is
rumored that 33;^ rpm was tried and dis-
carded because of difficulty in securing
reliable processing in mass production,
when using the slower speed. A moment's
consideration will show that for a given
diameter, 45 rpm will give 35% higher
linear groove velocity than will 33 'j rpm.
It would be possible to get the same linear
groove velocity at 33J/j rpm by increasing
the outside diameter to 9'/2 inches, which
would increase the vinyl cost 82% over
the 7 inch size. In short, the higher speed
is a means of exchanging playing time for
wider frequency range and reduced track-
ing distortion (with a fixed outer di-
ameter) .
Our readers will be interested to know
that RCA Victors engineers have prom
ised us an article on "Madame X" for our
March issue.
Two More Questions
and Answers on
LP Records
In the November issue of the "Audio
Record" we asked if there was anything
else our readers would like to know about
LP microgroove records. Here are two of
the questions received which we believe
are of general interest and are not covered
in the questions and answers previously
given.
«
1. Question: Is more volume required in
playing the new LP microgroove records
on duo-speed record players because of
the decrease of amplitude in the grooves?
Answer: One needs about 3 db more
volume.
2. Question: In what ratio is sound to
surface noise compared to both LP and
standard pressings?
Answer: LP is about 15 db better than
standard pressings. In other words, the
sound to surface noise ratio being about
40 in standard pressings is 55 for LP.
Wend+'s "Wax Works"
(Continued from Page 3)
affair between us; I learn from my brother
by helping him.
The mixer unit shown employs three
channels with 200 ohm T pads as mixers
and has D.C. applied to the filaments. The
W.E. 63 3 A dynamic mike, G.E. variable
reluctance cartridge, and a Jensen JAP-60
woofer-tweeter combination all add up to
fine recording and listening. Other equip-
ment includes several more amps of ten
and forty watts, an audio oscillator, and a
5" scope, all built by my brother.
Our recordings from the radio are com-
posed mostly of programs presented by the
New York Philharmonic, N.B.C., Phila-
delphia and Detroit Symphonies. I prefer
to record works that have never been issued
by record companies; consequently, most
of our recordings are unavailable elsewhere.
I might add that our most prized recording
is the first made on the present equipment.
It IS the "Symphony in A" by John Powell
played by the Detroit Symphony. Mr.
Powell has used this recording to make
corrections on the copy of his score as well
as for criticism. We were hoping to have
the Philadelphia perform this work some-
time this year, but evidently it could not
be worked into their program.
I have made recordings of my own
voice for speech practice, but Frank has
made most of the recordings of our family.
We are all musical, all six of us, which
offers a lot of material for recording. Sev-
eral months ago my other brother, Don,
startled his friends by recording himself
playing the flute, violin, clarinet, oboe,
bassoon, and bass all at the same time.
It sounded like a full orchestra.
Our record library consists of about 100
hours of classical music at 33',! on 16" J
discs, twenty or thirty albums of commer- I
cial records, and ten Columbia LP records *
which are very fine. My one big trouble is
finding time to listen.
As yet I am not certain, but I will
probably major in music on the string bass
and try for a symphony position or go
into radio production. Frank has definitely
decided to make music and the audio field
of electronics his profession, and I might J
add that he is now engaged in recording I
Virginia's foremost pianist and composer,
John Powell, at the piano. Some ef these
recordings have already been pressed and
released to the public. I am proud to say
that they have been rated by critics as equal
to any commercial piano recording released
by the large companies.
Well — that just about covers the high
spots. I hope it will be of interest to you
and your readers.
P.S. I have yet to find a better disc than
the red label Audiodisc, and I'm very glad
that you have licked the humidity problem.
That gave me problems, also."
f^^ll^fflfy
rscoTcL
PUBLISHED BY AUDIO DEVICES, INC
Vol. 5, No. 3
444 Madison Avenue, N. Y. C.
March, 1949
The How and Why of RCA Victor's New Record and Player
By D. D. Cole
Chief Engineer
RCA Victor Home Instrument
Department
In the fifty years sinee the birth of the
record and phonograph industry, many
types of records and phonographs — of
various sizes, revolving speeds, and design
— have been developed. But for the first
time in the history of recorded music, there
has now been evolved a record with a
matching player, a player with a matching
record. RCA Victor's new music repro-
ducing system for the home consists of the
first record and player designed as comple-
mentary units — a combination which pro-
vides unprecedented quality, service and
efficiency.
Our introduction of the new system was
carefully considered. As the only manu-
facturer of both phonographs and records,
we had a great deal at stake. We based
our decision on our confidence that this
system is the best we have ever put on the
market, and our sincere belief that it is the
best that anyone has ever put on the mar-
ket.
We east our future on a new recording
and reproducing system that requires a new
player and a different type record, but pro-
vides in return a record-changing mecha-
nism that is free from the conventional
troubles, and a record that provides a new
high in reproductive quality, low cost, and
a convenient size.
We began, fifty years ago, with a simple
record player — a single-play, manually op-
erated player. Through the years, we have
called upon the player to perform more and
more difficult operations and services. The
consumer wanted the player to handle
large numbers of records, to change them
automatically, and to be adjustable for
records of various sizes.
While the industry was able to meet
these requirements, it found that in meet-
ing them it was running into new prob-
lems. Automatic changers were developed,
improved, and simplified, but many diffi-
culties persisted — perhaps chief among
them the problem of damage to records
during changer operations.
More than 10 years ago, RCA Victor
began in its laboratories a program of study
and development by which it hoped to
solve, once and for all, the problems which
had piled up on the industry since the be-
ANO GUARD
PICKUP RE
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SECORO
CHANGER
BUTTON
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TURNTABLE
1
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RCA VICTOR'S NEW 45 RPM PHONOGRAPH AND RECORD
— first in the history of the industry to be designed specifically
to complement each other. Operation at 45 rpm provides up to
5 minutes and 15 seconds of playing time on each side of the
small, vinyl plastic records, or up to 42 minutes when eight rec-
ords are stacked on the automatic record-player, which contains
the fastest record-changing mechanism ever devised.
ginning of recorded music. We were will-
ing to stake our future on a system that
would solve the problems still encountered
with all conventional record changers and
provide optimum reproduction quality,
economy, and convenience.
Initially, we sought to do these things:
1. Provide a means of automatic record
changing without damage to records.
2. Eliminate the need for adjusting a rec-
ord changer for records of different
sizes.
3. Reduce the time required for record
changing and make the operation silent.
4. Eliminate from the overall player as
many as possible of the conventional
moving parts.
.r Reduce the overall size of the player
and record, which we considered larger
than necessary, and which required
large phonograph cabinets and exces-
sive record storage space.
We tackled the record changing prob-
lems. In most conventional systems, the
drop mechanism operates from one or two
posts located along the outer rim of the
turntable. This calls for a large changer,
since the post or posts, to handle 12-inch
records, must be about 7 inches from the
center of the turntable. It also calls for
indexing mechanism so that the post can
be adjusted to handle 10-inch, as well as
12 -inch records. Changer blades in most
conventional systems also present record
chipping problems, since the design re-
(Continued on page 2, Col. 1)
AUDIO RtCORD
March, 1949
OLudla )ii. reccrrcL
VOL. 5, NO. 3
MARCH, 1949
Published monthly by Audio Devices^ Inc.,
444 Madison Avenue, New York City, in the
interests of better disc recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout
the United States and Canada.
The How and Why (Cont./roni p. ], Co!.3)
Ljuires them to force themselves l^etween
the stacked records.
The solution soon became clear to us.
We could not solve the overall changer
and record problems by designing a new
record to fit conventional changers, or by
designing a new changer to handle con-
ventional records. We had to design hotli
a new record and a new changer, com-
plementary units that together would eli-
minate the basic problems of record chang-
ing.
It was found that problems of size and
inde.xing could be solved with a changer
mechanism operated from the center of the
record. By eliminating outside record posts,
it was possible to reduce the dimensions
of the player's motorboard from 15 to 11
inches to 10 by 7 inches.
Accordingly, we developed a changer
with a drop mechanism which could be
housed in a I'/j i'l^^h center spindle.
By designing our record with a raised
shoulder between the playing area and the
rim of the center hole, we were able to
produce a wafer-thin disc that had the
necessary rigidity, and provided air spaces
between the center rims of the stacked rec-
ords for the operation of the changer blades.
The shoulder also provided air cushions
between the playing surfaces, eliminating
scratching of recorded grooves.
The blades of the new changer never
touch the recorded grooves of the record.
On the center spindle are two supports or
shelves, which form the support for the
record stack. When records are changed,
the two shelves recede into the spindle, and
simultaneously two changer blades move
out through slots in the spindle and into
tiie air space to form a shelf for all the
records stacked above the bottom record.
As the bottom record drops gently to play-
ing position, the shelves emerge again to
take over the holding job from the blades,
which then disappear into the spindle.
Since the shelves are latch-type projec-
tions, records cannot be forced down over
them, but records being removed from the
turntable automatically depress the shelves
as they are brought up over the spindle.
Through novel design, we developed not
only a simple record-changing mechanism
but the fastest one in the industry. On the
underside of the turntable we designed a
cam track that swings the arm up and out
from the records, drops a new record, and
brings the arm back to playing position in
about two seconds.
The large center spindle and the design
of the trouble-free drop mechanism called
for the designing of a new type of record
to fit our new player.
With our changer and player plans for-
mulated, we turned our attention to the
record. Our plans called for a record as
unique in its characteristics as the player.
Again, let us look to the past. Here, the
record, too, has undergone a steady evolu-
tion of progress and advancement.
As we advanced from acoustic to elec-
tric recording, and from acoustic to electric
pickups, recorded music became finer and
truer. But, as we cut down some covering
noise, such as motor rumble and needle
chatter, record surface noise became audi-
ble.
Conventional records also posed other
problems which we insisted on solving.
Here are the objectives we sought:
1 . Elimination of discernible surface noise
and distortion, even at wider frequency
ranges which may be used as better and
better instruments are developed.
2. Reduction of the size and weight of
records, making for lower cost, easier
handling, more convenient storage, and
faster and quieter action of the changer
mechanism.
Distortion is caused by the inability of
the stylus to track properly in the record
groove. On standard records, this becomes
more apparent as the stylus moves from the
outside groove of the record toward the
center.
Whether we use the standard 78 rpm,
the conventional transcription speed of
3?- 1/3 rpm, or the new 45 rpm, the stylus
will cover a greater distance in any given
interval in the outside groove, and less and
less as it moves toward center. Although
the turntable revolves at a constant rpm
rate, the stylus will track the groove at an
increasingly slower linear speed as it ap-
proaches center. Beyond a certain point,
the modulations are crowded so close to-
gether that the stylus has difficulty in track-
ing, and distortion results. The area up to
that point in the record is called the quality
zone, where there is no discernible distor-
tion. Beyond that critical point on any rec-
ord, of any size or revolving speed, distor-
tion is set up and becomes more and more
apparent, the closer the stylus moves to-
ward center. We determined, then, that
our new records would not be recorded
past the critical point — the music would
be recorded entirely within the quality
zone of the record.
While we desire to reduce the size of
the record, we also wanted to maintain
the playing time associated with standard
12 -inch discs — up to five and one-third
minutes — and we wanted to put the en-
tire five and one-third minutes within the
quality zone of the record. We also wanted
to eliminate the need for records of more
than one size. We sought a one-size rec-
ord that could handle all classifications of
music — popular, classical, hillbilly, and
rhythm.
Having established the size of our center
spindle, we knew we required a record
with a center hole IV2 inches in diameter.
We had to allow space for the raised shoul
der and the label, and additional space for
the lead-out groove which carries the tone
arm to the tripping point for operation of
the changer mechanism.
The new step was to determine the min
imum overall size required to offer five and
one-third minutes of "quality-zone" music.
By scientific and listening test, we estab-
lished the critical point beyond which we
could not record without discernible dis-
tortion. With that point established, v.'e
began to buildout — to provide the small-
est record providing the desired playing
time. The tests indicated that our new rec-
ord, to meet all of our goals, should be 6yg
inches in diameter, and operate at 45 rpm.
We made our records of non-breakable
vinyl plastic for minimum surface noise,
and developed a tone arm that exerts only
five grams of pressure on the record. The
stylus has a .001 -inch tip r.idius. The com-
bination of fine-point stylus and light pres-
sure makes for less record wear and a
more sensitive pickup. RCA Victor's fam-
ous Silent Sapphire permanent-point pick-
up is employed in the new tone arm, though
it is only approximately one-third the size
of the standard Silent Sapphire cartridge.
We have been asked by those who are
not familiar with record engineering why
we did not design our new system for op-
eration at the familiar home phonograph
speed of 78 rpm or the conventional tran-
scription speed of .33-1/3 rpm. The simple
answer is that at either speed we would
have been required to make a larger rec-
ord — thicker and without the raised
shoulder feature, at 78, or larger in diam-
eter, if we were to maintain the same
quality level, at 33-1/3. Nothing would be
(Continued on page 3, Col. 1)
March, 1949
AUDIO RECORD
Questions and Answers on the New RCA Victor Record Playing System
(Prepared for Audio Record by RCA Victor)
Q. Why was the new RCA Victor Rec-
ord Playing System developed?
A. With the advent of the automatic
changer, mechanical difficulties were en-
countered because of the lack of standard-
ization of records. The cost of repairing
changer units, plus the inconvenience to
the consumer, prompted RCA Victor to
commission its engineers to develop a new
system based on the following objectives:
1. To develop a trouble-free automatic
mechanism for changing records.
2. To design a record with the folUm--
ing features:
a. Distortion-free reproduction
b. Minimum surface noise
c. Maximum quality and tone
d. Smallest practical size
?. To disregard all limitations or re-
strictions formerly placed on the de-
signer of both players and records.
Q. Why 43 Revolutions per minute?
A. For the size record selected, and the
extremely high quality standards adopted,
it was determined mathematically that 43
rpm was the slowest speed that would ac-
complish the desired results.
Q. How does it work?
A. Contrary to present methods, the new
system is based on the principle of a 7-
inch record with the size of the grooves
reduced, revolving at 45 rpm on a specially
designed player, and reproduced by a light-
weight jewel-point pickup. All of these
factors contribute to greatly improved
quality of reproduction.
Q. Why a 7-inch record?
A. The 7 -inch record has many advan-
tages: easy handling . . . small, efficient, at-
tractive ... no storage problems . . . stur-
dier product with less wear . . . same
amount of music as recorded on a 10 or
12-inch record ... the entire recorded sur-
face limited to the quality zone.
Q. Is this a long-play record?
A. No, the new record has a playing time
of up to five minutes twenty seconds with-
in its "Quality Zone". . . undistorted re-
production . . . approximately the same
playing time as standard records. However,
with the development of the new RCA
Victor rapid changer, the lapse between
records has been greatly reduced.
Q. How does the new Rapid Record
Changer work?
A. The changer operates entirely from the
center hole of the record. The spindle of
this changer, which is II/2 inches in diam-
eter, houses the trigger action mechanism
which drops the records swiftly and silently
to the turntable below. The entire opera-
tion takes only two secondsl This is the
world's fastest record changer — and also
the simplest mechanically.
Q. Can I use this system w-ith my present
radio?
A. Yes, you may purchase an attachment
which will play through your present radio
or phonograph, regardless of make.
The How and Why (Cont. /romp. 2, Col. 3)
gained by such a compromise, since use of
the unique and vastly improved record
changer would require a record of com-
plementary design, regardless of operating
speed. Since the advantages of the new
system could only be made available to the
consumer through the combination of a
new record and a new player, there was
no advantage in clinging to an old stand-
ard. This left us free to make the system
in every respect the best ever developed
at low cost.
As previously stated, RCA Victor will
continue to serve the standard market by
making all selections recorded for the 43
rpm system also available on 78 rpm rec-
ords. To insure a smooth transition, we
will also make Victrola radio-phonographs
with playing facilities for both types of
records, as well as instruments incorporat-
ing only the new system.
Summing up, then, we have in our new
disc a record that provides up to five min-
utes and 20 seconds of music that is free
from discernible distortion and surf.icc
noise, with every note recorded in the es
tablishcd quality zone of the record.
Having a standard size disc that will
take both the popular and classical cate-
gories of music, we have eliminated the
confusion of indexing changers and have
gone a long way toward solving the record
storage problem in the home, the ware-
house, and the dealer's shop. The small
record and changer will also permit an
overall reduction in the size of console in-
struments and give the stylist unprece-
dented latitude and flexibility in cabinet
design.
The changer itself has solved many of
the problems encountered with conven-
tional changers. From the consumer stand-
point, this changer assures a gentle han-
dling of precious records, and the blades
cannot scratch, chip, or break the records.
It also provides silent operation and the
fastest changing action of any mechanism
yet devised.
Our complete faith in the quality, serv-
ice and merit of this new system is implied
in the simple fact that we are planning
around it our future in the record and
phonograph business, in which we have
the largest stake of any organization in the
industry.
Q. What types of instrument will be
available with this new system?
A. The new RCA Victor system will be
available not only in the attachment which
you can use with your present radio, but
also in complete table model phonographs,
table model radio-phonographs, console
radio-phonographs, and console combina-
tions with television, radio and phono-
graph. These instruments all have the
famous "Golden Throat" tone system.
Q. How many records will the Changer
hold at one time?
A. The changer accommodates 10 records,
which change automatically without atten-
tion, providing up to 30 minutes of listen-
ing pleasure at one sitting.
Q. What type of Needle is used with this
new player?
A. There is no needle. This system uses
an improved "silent sapphire" permanent
point pickup.
Q. How heavy is the tone Arm?
A. The tone arm exerts a pressure of only
five grams on the record. Obviously this
reduces record wear.
Q. Is it expensive?
A. No. the new RCA Victor system was
developed with low cost in mind — both for
the record playing equipment and the rec-
ords themselves. As a matter of fact, the
savings in record purchases will pay for
the player in an amazingly short period of
time.
Q. How much cheaper are the records?
A. Up to 33% in albums, and 24% in
single records, depending on the type of
entertainment you want.
Q. Will the fine grooves present a prob-
Icm^'
A. No. The records are so designed, with
a center shoulder providing air space be-
tween each record, that the playing sur-
faces do not touch while the records are
on the changer or in storage. Further, the
large center hole and the size of the rec-
ord itself permits easy and careful han-
dling; fingers never need touch the playing
surface of the record.
Q. Are all the records 7-inch?
A. Yes. all seven inch, a complete stand-
ardization of records, but there is a color
code for each type of entertainment.
Q. What do you mean by a color code?
A. Each musical category will be recorded
on a different color record. For example:
Red Seal music — red record — Popular
music — black record — Country and West-
ern music — green record — Children's
Entertainment — yellow record — Blues
and Rhythm music — cerise record — In-
ternational music — sky blue record —
Popular classics — midnight blue record.
AUDIO RECORD
March. 1949
W£ T^eayudU
C. J. LeBel
MICROGROOVE IN YOUR STUDIO
PART III THE STYLUS
by C. J. LeBel, Vice President,
AUDIO DEVICES, Inc.
Wc are contin-
uing our discussion
of the problems of
microgroove re-
cording with a
study of the most
difficult problem,
that of the cutting
stylus. It will be re-
called that a record-
ing stylus has a
burnishing facet
which "breaks" the
cutting edge. This
polishes the groove walls, removing some
of the scratches of cutting, and making a
quieter groove. The effect is just like that
of the dulled edge (on a lathe tool) used
to produce a shiny cut in turning metal. In
1942 the writer published a studyf of the
effect of the length of this burnishing facet
on the high frequency response. The longer
the facet, in terms of groove wavelength,
the more the attenuation. A facet length
of less than .15 wavelength produces no
attenuation. While the original study in-
volved transcription size grooves, undoubt-
edly the results are not far off when applied
to microgroove, as we will do.
Questions and Answers
(Cont'd, ^rom page 3, Col. 3)
Q. How many selections are recorded on
one side of the new records?
A. The records are recorded just as you
are accustomed to hearing them on 78
rpm records, side for side.
Q. Will only RCA Victor make this new
type record?
A. Other manufacturers, in addition to
RCA Victor are planning to make this
new type record. Others are planning to
make the new player.
Q. Are you still going to make the con-
ventional record?
A. Yes, all selections recorded for the 45
rpm system will also be available on 78 rpm
records.
Q. How long did it take RCA Victor to
develop this new system?
A. Research and experimentation began
in 19.^9. By 1942 the first model was per-
fected. Then followed years of testing and
refinement from which finally emerged the
new RCA Victor record playing system.
The data presented covers only the di-
ameter effect produced by the facet — that
is, the recording loss only. Reproduction
by a stylus of finite size produces a repro-
duction diameter effect, which adds to the
recording loss. Reproduction or tracing loss
is fixed by the groove velocity and stylus
size, and we can do little about it, so that
recording loss is all that we can minimize.
The data is presented in terms of the
relative loss, that is, the difference in diam-
eter loss between 1,000 cycles and the fre-
quency under discussion. There is a small
loss at 1,000 cycles, too, but this can be
compensated for so easily that it is not
AJorth considering.
In modern transcription work, cutting
at 136 pitch for a maximum of 15 minutes,
we come in to a minimum diameter of 8
inches. We then observe the following:
Frequency, kc
8 8
Burnish length, 'i
.4 ,5
.■\ttenuation, db
l!/2 3
41/2
For ordinary transcription work, if wc
are willing to accept a loss of 3 db at 8 kc
or 41/2 db at 10 kc, at 8 inch diameter, then
a facet length of ,5 mil is the largest we
can use. For those who wish to make tran-
scriptions with a fine-bottom groove, for
reproduction with either standard or micro
stylus, we have available a stylus with small
tip radius and restricted facet length, our
type # 1 4 SM (standard microgroove) .
This dural shank recording sapphire sells
at the same price as our present #14 and
can be resharpened at the same price.
fReferei-ce : Properties of the Dulled Lacquer Cutting
Stylus, C. J. LeBel, Jour. Acoust. Soc. Amer.. Vol. 13,
No. 3. pc 265-273. lanuary 1942.
Which ingredient is the secret
of cuuLlocUsc' leadership?
/. NITROCELLULOSE
2. PLASTICIZERS
3. RESINS
^. OIL
5. DYE
6. SOLVENTS
7. MOISTURE RESISTING
AGENT
The first six of these ingredients pre to he lound m any lacquer
for professional discs. Tlie seventh is an exclusive AUDIODISC
development that provides permanent resistance to humidity.
Thi-'^. however, is a fairly recent improvement, and therefore does
not account for the consistent uniform quality that has made
AuDiODiscs the first choice of discriminating recordists for the
past 10 years.
The "secret" lies not i
ingredient, but in the correct
selection, exact proportioning, and precise chemical control of
all of ihem. In the ultra filtration, quality control, uncompromising
inspection, and patented precision coating process. All of these
factors, backed by continual research and (
■ matchless
rding
alitv
shaustive production
every AuDiODISC.
Audio Devices, Inc., 444 Madison Ave., N.Y. C.
lUrii .St.. .Ntvs Yukk 16. N.Y.
Cnet^ ^AeiiA ^^ lnstn4e/fed
auciLOciiycs
i
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 5, No. 4
444 Madison Avenue, N. Y. C.
April, 1949
Tips on Teaching
the Teachers
by Evelyn Oelen
Director of Public Relations
State Teachers College
Montclair, New Jersey
I was very interested in George D. Gnt-
fin's article, "How to get the best out of Stu-
dent Scripters," in the December AUDIO
RECORD, and I was glad to see his view
point in print. Teaching radio writing and
directing in a teachers college from a com-
mercial standard, I too have used the
h'mitcd outlook as an incentive to better
student production.
Our college was asked to use NO sound
effects when we first requested commercial
station time to air our own scripts. That
meant the station wouldn't operate any for
us. not even recorded ones or music, be-
cause of their own personnel limitations.
It was easy to make well-written transitions
the price of going on the air. Later, when
(Continued on Page 2, Col. 2)
^^^^^^^^^M
^^^^^^^H
■^
ft^^m
ib-TITUr
■9BB
■
ABOVE —
John Yaege
. iludi
H
to the script
writing clas
s for the le
m, take
.1
sound cue in
the script v
ith M
s. l)e
en. who
ns
to be on the
writer's side.
The cc
llepe
tnakes s
anda
rd
broadcast tra
iscriptions o
voice
and
Tiuslc prograr
ns
with th<e equipment shown
AT RIGHT
— Charles F
ronztitt
is do
uble-cha
IkeH
lo
keep him fro
m booming c
n mik(
by Instructor
Oel
?n
as she sets u
p a test cut
for sc
ripter
Eleanor
Bak
r.
waiting to mt
erpret one o
f her o
wn ch
aracters.
HOW RECORDINGS HELP THE HARD OF HEARING
Three students at the Franklin School, and Miss Anna May Langi
to a recording made by Mary Anne Begalka, left. The greatest proble
solve is speech deficiency. Elgin schools are helping their students o
the aid of modem sound recording and reproducing equipment.
aring instructor, listen
e hard-of-hearing must
>me this difficulty with
by Anna May Lange
Hearing Room
Franklin School
Elgin, Illinois
"Hor-ree'-bul, perfectly hor-ree'-bul."
Mary was working on the speech for a play
we had written. We stopped and tried to
correct her pronunciation of 'horrible."
Mary is hard-of-hearing. Her hearing loss
is so severe that even with her hearing aid.
she cannot hear speech as one with normal
hearing does. She reproduces the sounds
she hears. Unfortunately she does not hear
the same sounds in the same way that we
who hear do. One of the greatest problems
for those working with the deaf and hard
of -hearing is to get normal speech from the
auricularly-handicapped persons. The disc
recorder is a great help. By recording
Mary's voice on an Audiodisc and then
letting her hear the recording amplified we
began correcting her "hor-ree'-bul." Recog-
nition of the problem was the first step.
The second step was recognition of the cor-
(ConUnued OJi Page 4. Col. 3)
AUDIO RECORD
April. 1949
cLudla lit^ record
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 5, NO. 4 APRIL, 1949
Teaching the Teachers
{Continued from Page I, Col. 1)
we had proved ourselves, the station sug-
gested we might like some of the effects in
their library. But we never had to unlearn
the art of writing footsteps!
Actual broadcasting also clarified an-
other limitation — that is, to represent our
institution in somewhat the manner the
public would expect. Griffin's point about
"demented souls" and the imitation of the
local movie screen by new script writers
gave me a satisfied laugh because students
don't like to emphasize demented souls
about the campus, so they write about use-
ful, earnest, believable humans whom they
know. Two and a half years ago when I
first offered script writing here, our first
commercial show was based on the visit of
a l^ew Tor\ Herald Tribune reporter to
the campus to investigate our building
needs. The next term we broadcast "A
Campus United" dealing with good inter-
group unity at Montclair. For this we got
fanmail lauding us, as a state institution,
tor giving attention to this subject. At
present we are waiting a 19 station schedule
on this term's first show, written and pro-
duced in the class. It tells about the making
of RESOURCES LIMITED at the Col-
lege, a 16 mm. state conservation movie
with the same title. Along with second year
college and extension students in the class
we used ninth grade demonstration high
school students, who had helped make the
movie, as actors. This is not only good radio
experience for the teacher-in-training but
good educational experience as well.
In my classes I am not training profes-
sional radio workers. I am trying to develop
the teacher-to-be in sensitivity to material
at hand — principally the school environ-
ment — and in understanding how far
average individuals can go in dramatizing
situations which can be worked over into
good scripts. In radio writing the student
handles no equipment; student engineers
are assigned to each class period and work
with me. In radio directing students handle
microphones, sound effects and tape record-
ers but not the cutting equipment.
We use recording constantly after the
first few meetings in script writing to begin
to work out central scenes from script ideas
which have been brought in by individuals.
As soon as we feel one or two of these are
going to be good college broadcast material,
the individual completes his writing and we
commit ourselves to an actual station broad-
cast time. Usually the show goes on with
little rehearsal, for we have built it to-
gether, and we understand thoroughly
what we are trying to say to our audience.
The best measure of our success is that we
receive many invitations to be on the air,
and that the college has provided us with
more and more equipment until from one
microphone in the faculty lunchroom for
a studio, we now own half a dozen good
ones, a Fairchild cutting head and table,
AM-FM tuner, amplification units, and
two Soundmirrors. A large classroom with
director's booth and a smaller anteroom is
now our exclusive studio space.
Occasionally we cut our own transcrip-
tions for broadcast, although I prefer that
the group works in various commercial sta-
tions where they learn a lot more as partici-
pants than they would if I just took them
on observation trips. I buy 16-inch audio-
discs for all my work so that even in the
early stages of working out scenes, different
voice teams are on one record or different
methods for solving scene problems are
recorded close together for study. The large
discs take our full fifteen minute shows
when we are ready to produce a completed
script. Each student is helped, as he feels
he needs it, by voicing and discussion in
class; he does his own casting and direction
on interpretation for these trial records. He
also does all his own writing.
Radio directing is taught alternate terms
with script writing from the same point of
view: that the teacher needs professional
know-how to get and keep time for his stu-
dents on the air. Auditioning, timing, cut-
ting script, microphone perspective and
sound effects, including music, arc taught
within the range of our equipment. Here
recording is essential. I am surprised at
the skill with which these student "direc-
tors" handle shows. They bring in their
own effects, increasing our studio resources,
and their own casts from outside the class.
if they wish, and even from off'campus. In
the near future I hope to offer local outlets
not only student-written and student-acted
shows, but also transcriptions that are
student-directed. The student is asked to
solve his own problems after the script
choice has been passed on. He uses the
studio extensively out of class time to pre-
pare his dry run and cutting session which
must be presented to the class as his course
requirement.
It would be unfair to leave the impres-
sion that the radio classes, which are rela-
tively small, are the cause of all the expan-
sion in equipment which Montclair State
Teachers College has had during my two
and a half years teaching radio. The speech
department uses 8-inch audiodiscs for be-
ginning and end of term analysis for each
student in foundations of speech, tape re-
cording for reading for oral interpretation
and in clinical work.
Mr. Howard Fox, drama instructor,
heads the staff of student engineers who
operate the studio. This group records
many shows off the air and recently taped
an hour mock trial at a teaching aids con-
ference at the college. This is now being
sold on audiodiscs. Mr. Fox and myself co-
operated in transcribing four fifteen minute
shows with commentary using our orches-
tra, trio, band and a cappella choir. We did
this work over several hundred feet of wire
with no amplifying unit, monitored over a
field telephone connecting the library (used
as studio) with the recording equipment in
the basement. A major local station played
these transcriptions last summer as a series
and we are now offering them to smaller
stations throughout the State. Thanks to
making a public spectacle of ourselves on
this job more people here understand the
complexities of working with sounds. Dur
ing the summer our music department
moved from the main building to a tem-
porary building about onc-tcnth mile from
the recording studio. We are now tape
testing the large bandroom in the new
building and looking into wire prices to
solve a new problem.
AER AND SCHOLASTIC MAGAZINES
NATIONAL SCRIPT-WRITING CONTESTS CLOSE
It's all over now but the judging! The
two nation-wide radio script contests, both
sponsored by Audio Devices, have now
passed their official closing dates, and the
fate of the winners is in the capable hands
of the contest judges.
The Scholastic Magazines" 1949 Radio
Script Writing Competition, for high
school students, closed on March 4th, and
the Association for Education by Radio's
National Script Contest, for college stu-
dents, closed on March ?lst.
Mr. William D. Boutwell of Scholastic
Magazines, and Dr. Sherman P. Lawton,
AER Contest Chairman, both report that
the number of entries received has been
most gratifying — that scripts from all parts
of the United States continued to pour into
their offices right up to the deadline. This
tremendous response is indicative of the
rapid growth of school radio workshops,
and reflects the increasing student interest
in the script-writing phase of radio work.
It is planned to announce the winners
of both contests at the Institute for Educa-
tion by Radio meeting which will be held
in Columbus, Ohio, on May 5th, 6th and
7th.
April, 1949
AUDIO RECORD
me T<^sayulUt
C. J. LeBel
by C. J. LeBcl, Vice President,
Audio Devices, Inc.
RECORDING TAPE TO DISC
A new field for
the recordist has
broadened aston-
ishingly in the last
year. This is the
practice of making
recordings in the
field on tape, then
re -recording the
material onto discs
in the studio.
Using the light
weight and im-
proved quality of
the latest tape recorders, and the erasable
feature of tape, a considerable number of
studios have made a very successful career
out of recording professional and amateur
orchestras, church choirs, and the like.
Generally, a single recording will lead to
the sale of twenty-five or fifty discs.
The erasable feature of tape is particu-
larly helpful with groups which are not
used to recording procedure. Errors can
be edited out with a pair of scissors, or the
tape simply re-recorded.
Fidelity Requirements
In re-rccording the high frequency at-
tention and distortion effects are additive,
so that both tape and disc recorders must
be better in quality than if either were used
alone.
Home type machines appear very attrac-
tive for this work due to their light weight,
but caution should be exercised. The older
machines had excessive distortion and lim-
ited range. Some of the newer machines
have excellent distortion characteristics, but
the frequency response is uniform only to
.S,000 cycles. Rebuilding such a machine,
modifying the equalization to extend the
frequency range, would appear attractive.
Extending the frequency range probably
will call for raising the bias frequency. This
should be done carefully, to maintain the
same bias current as nearly as possible.
System Adjustment
If the tape recorder is fitted with tone
controls, these should be adjusted for the
most uniform overall response. In most
cases this means turning the high frequency
control up all the way. The disc system
should then be adjusted for most uniform
response, plus preemphasis if used.
It occasionally may be desirable to vary
the overall response, but this should be
done with great caution. It is better to do
such modification in recording, rather than
in the original tape. A serious mistake,
then, cannot ruin the original recording.
Modification of response characteristics
should be done very rarely, only if abso-
lutely necessary.
Tape Recorder Improvements
While we believe it desirable to spend at
least $400 for the tape recorder, there are
many studios with limited budgets which
will want to buy a lower priced machine
and rebuild it themselves.
First, a 500 ohm output impedance is
highly desirable. A simple change in out
put transformer will take care of this.
Secondly, fit a volume indicator motor
if the recorder is normally supplied only
with a newon lamp for level indication.
In this connection, remember that VU
meters are available in small size on spe-
cial order, and that they are much better
than the old style general-purpose volume
indicator which is more readily available
in the smaller case.
Next; reduce the amplifier distortion by
change of tubes or addition of negative
feedback if necessary. Certain older home
recorders need such improvement if they
are to be used at all.
Finally, be sure to use a microphone of
professional quality. The microphone gen-
erally supplied with a home recorder has
limited frequency range and a strong peak.
This change may require the addition of a
pre-amplifier stage if the professional
microphone has as low sensitivity as many
do.
Tape Recording Level
Commercial tape recorders do not have
as great signal to noise ratio as their lab-
oratory prototypes, and lower cost home
machines are, of course, poorer than pro-
fessional units. Some home machines can
be improved by rewiring, proper shielding,
and correct position of ground connections,
and time so spent is well invested.
Nevertheless, there is a great tendency
to record at too high a level for the sake
of achieving as high signal to noise as pos-
sible. The cure is worse than the disease.
Tape recorded at excessive level seems to
have a veil over the higher frequencies, and
the effect is most objectionable. A home
type tape recorder will have a usable-sig-
nal to noise ratio of the order of J 5 db,
and a professional machine but little over
50 db if at all. Use the range available and
be content. Do not tr>' to stretch it at the
expense of poor sound. The fault is no
more excusable because it is so common.
Pay no attention to the siren call of adver-
tising literature with its ever louder claim
of lower and lower noise levels. We have
heard demonstrations in which the tape
level was so high that heavy volume com-
pression was taking place. Nothing will so
quickly destroy the character of a record-
ing as to have 10 db of the peaks removed
by the compression action of overloaded
tape. Summarizing, set your recording level
by ear and meter tests, and not by catalog
claims.
THF \A/IKIMPR^« shown here, with President Truman at the white House, are
I ri C VYIININtlXO. ,j,g (jjyf talented winners of the "Voice of Democracy" con-
test. These winning student contestants, whose spoken essays were chosen from a total of approxi-
mately 250,000 high school entries, are, left to right — George Morgan, Jr.. Hutchison, Kansas;
Kerron Johnson, St. Paul, Minn.; Charles Kuralt, Charlotte, N. C; and Richard Caves, Everett,
Ohio. During a memorable week in historic Washington, these four boys each received a $500
scholarship and certificate, presented by Attorney General Tom C. Clark.
The job of picking the winners was not an easy one — for voice and oral delivery were important
factors in the selection. Preliminary eliminations in individual schools were started last November
after which came the community competitions. Later, the State winners were selected on the
basis of transcriptions made by local broadcast stations. The final winners were selected from the
winners of the State contests.
The "Voice of Democracy" contest was sponsored by NAB, RMA, and U. S. Junior Chamber
of Commerce, with the support and cooperation of the U. S. Office of Education.
AUDIO RECORD
April, 1949
The 1949 National Convention and
Show ot the Institute of Radio Engineers,
held March 7-10 in New York's Grand
Central Palace and Hotel Commodore,
chalked up a record-breaking attendance of
over 16,000 persons. Prominent among the
show's 225 exhibits, was The Audio De-
vices booth, shown above. Featured m the
center panel are three gold-sputtered Mas-
ter Audiodiscs of recordings made at 78
rpm (96 grooves per inch, 45 rpm (264
grooves per inch) and 33-1/3 rpm (224
grooves per inch), each accompanied by an
actual shadowgraph magnifying a'section
of the recorded surface 250 times. Also dis-
played were the various steps in the manu-
facture of Audiodiscs — and the complete
line of Audiopoints. At this booth, more
than 2500 copies of Audio Records were
distributed, and approximately 800 new
"subscribers" were signed up.
(This Audio Devices exhibit will also
be on display at The Radio Parts Show in
Chicago, May 17-20, in Booth No. 24.)
Something New Under the Sun . . . and Stars!
The uses of Audiodiscs are manifold
and multiform — some of them undreamt
of in our philosophy. Here, for example
is a most unusual application — quoted
from a letter written to our editor by
Philip W. Rhys, of Rhys fe? Walsh, Astro-
logical Recordings, 330 East 32nd St
Brooklyn, N. Y.
"For the first time, Astrology has been
combined with recordings. To some this
may strike an odd tone. The general opin-
ion of Astrology, born out of distorted
knowledge (or none, at all) of its princi-
ples, is that it is a sort of fortune-telling
or witchery, about which everything is sort
of vague.
When I was twelve years of age, I began
my studies in Astrology. "Does one have to
study it?" you may ask. Yes, indeed, for
many years. Although this was an unusual
age to begin, I idvanced rapidly. I became
more and more aware, through the years,
that there was .i higher type of Astrology,
which is called Astrosophy. As I became
convinced, as a matter of experience, ob-
servation and study, that Astrosophy was
an art of a very high moral and educational
nature, I also became awakened to the nec-
essity of letting others know that Astro-
sophy existed. And surely there are few
who know.
I had to find some way of impressing
people with the difference between the rub-
bish handed out under the title Astrology,
and the true material. I had to find a way
of impressing upon people a respect for
the true type of Astrology — Astrosophy.
I thought of the idea of making the char-
acter analyses and forecasts that the pub-
lic was accustomed to, but a higher type of
reading that is not charlatanry or fortune-
telling. These I have made on recordings
because the recording is able to do one thing
that a book or picture cannot — it can
carry the human voice with all its expres-
sions and meanings to the ears of the lis-
tener. My partner and I started out with
next to no knowledge about recording and
have been continually delighted with the
clarity and noiselessness of Audiodiscs. And
so it is that recordings — Audiodiscs - -
have entered the century-long conflict of
Astrosophy with its worst enemies — char-
latans, and those who condemn without
knowledge of what they condemn."
Hearing Helps (Cont'd from Page I )
rcct sound. From then on the work was
merely routine drill.
■'I sopped at the sore." Jim was alibiing
for being late. Unbeknown to him, the
Recordio was turned on, as it often is to
catch natural speech of the youngsters. On
being reminded that there was a 't' in both
'stopped' and 'store,' Jim insisted he had
put the sound in these words. This was just
.mother one of the many cases in which our
problem is to show the student where his
mistakes are. Once he recognizes his diffi-
culties and is anxious to correct his faults,
half the battle is over.
"Do you think I'll ever be able to talk
right?" It's one of those gloomy days when
one feels as though he has done nothin'j;.
Peggy is worried about her speech. We get
out old recordings. We listen to recordings
of her voice made last fall. She recognizes
faults she has since cleared up. We play
parts of recordings she has made through-
out the year. "It doesn't seem possible I
talked like that!" Peggy exclaims. If there
were no recordings to prove it, Peggy
would not realize she has made progress
and that she can expect to continue to im-
prove her speech.
Mary, Peggy and Jim are among the deaf
and hard of-hearing children who attend
the public schools of Elgin, Illinois. In the
old days, they would have been put in spe-
cial classes. Now the handicapped attend
school with their out-of -school friends.
They are equipped with hearing aids and
are in classes with teachers who understand
their problems and work hard to help in
their adjustments. They go to the Hearing
Room once a day for individual assistance.
Here they receive help in Speech and
Speech Reading and are given Auricular
Training and remedial help in any subject
matter which is bothering them in their
classrooms.
The Hearing Room is sound-proofed and
very v,/el! equipped. Recording with Audio
discs is frequent, as can be noted by the
percentage of the time the sign Recording
hangs from the door. The children like to
record and we feel the benefit resulting is
well worth the small cost. At Hallow'en
the older children made a clever radio skit
that we recorded and then played for the
classes in which they were. At Christmas
time each child made a record for his
parents. Many parents told us that the
recordings were the nicest gifts they re
ceived. The children had practiced to have
perfect speech and the records showed the
parents what we can expect of their chil-
dren.
It's been a long time since education for
the deaf in the United States was begun.
It's been 135 years. Tremendous progress
has been made during these years. Amplifi
cation of sound and recording of voice have
played a great part in this progress.
q^Htlffy
PUBLISHED BY AUDIO DEVICES, INC
Vol. 5, No. 5
444 Madison Avenue, N. Y. C.
May. 1949
WINNERS OF SCHOLASTIC MAGAZINES' RADIO SCRIPT WRITING COMPETITION
Price — Original Radio First Pri~e — General Radm Script. First Pri;e Radio Drama Adap-
tation. Margery Schneider. Forest
Hills, N. Y.
Elena Joan Svagzdv,, Broikto.
SCRIPT CONTESTS ANNOUNCE WINNERS
Scholastic Magazine and AER
Nanae Winners in Nation-wide
Contests for High-School and
College Students
The two big student competitions in
radio script writing — Scholastic Magazines"
1949 Radio Script Writing Competition
for high school students, and the Associa-
tion for Education by Radio's National
Radio Script Contest for college students
— announced their respective winners at
the annual luncheon of the AER, in Co-
lumbus, Ohio, on May 7th.
Both of these contests, which were co-
sponsored by Audio Devices for the second
consecutive year, drew an all-time record
of entries. And, according to reports from
the contest judges, entries were definitely
up in quality as well as quantity.
Mr. William D. Boutwell, of Scholastic
Magazines, reports that high school stu
dents entered a total ot 440 radio scripts winners of classification 5 in aer contest
,^ , ri ^ /-> 7 ■ \ First Prize — Fred A. Brewer, Second Prize — Herbert Rube, Third Prize — Carl C. Naumann.
(Continued on fage 2, (^01. 1) Bloon-.inston, Indian:. Yonkers, New York. Passaic. New Jersey.
m 10 MM m Cllll After 2'/2 years of research and de-
Audiotape Now Available! :^:'^pi>^::z^!:^^:
■ netic recording tape
simple product. The article by Mr. LeBel,
on pages 3 and 4, however, will give some
idea of the complexity and magnitude of
the task.
To meet the most rigid requirements,
and to assure premium performance in a
variety of different recording and repro-
ducing machines, it soon became evident
that two different types of tape would be
needed. For the frequency response, output
level, and signal-to-noise ratio bear a defin-
ite relation both to the bias current used
in a particular machine, and to the coer-
cive force of the magnetic oxide coating
of the tape. Many non-professional-type
recorders on the market do not have a bias
adjustment, and as the bias varies in dif-
ferent machines, a tape which would give
optimum results with one machine would
not give such good performance on a dif-
ferent, fixed-bias machine. Two difi^erent
types of Audiotape were therefore devel-
(Continued on Page 4, Col. 2)
Audiotape has the unique distinction of
being both the newest and the oldest mag-
netic recording tape in this country. For
Audio Devices first started work on the
development of Audiotape more than 2i/;
years ago, at the time when samples of
German tape recording equipment were
first brought to this country for study and
improvement. A plastic-base Audiotape
which proved far superior to even the best
German magnetic tape was produced well
over two years ago. This tape would have
been placed on the market immediately —
except for one thing.
The product was good — but was it good
enough to bear the "Audio-" trademark?
Audio devices' engineers, acting as their
own severest critics, felt that there was
still some room for improvement, and that
Audiotape should not be released until
they were thoroughly convinced that it
had achieved the highest possible degree
of perfection in every respect. So additional
months of research and experimentation
followed — to devise a still better, more
uniform coating that would assure the
finest, noise-free recording in a wide
variety of machines, from low-cost am-
ateur equipment to the most costly pro-
fessional tape recorders. The problems in-
volved in the perfection of Audiotape were
more numerous and perplexing than the
layman might expect with such a seemingly
AUDIO RECORD
May, 1949
cmdlq i^ reccrrd
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 5, NO. 5
MAY, 1949
Contest Winners
(Continued from Page 1)
in the national contest alone — not count-
ing the hundreds of scripts that were sub-
mitted for the 15 regional preliminaries
throughout the country. This is by far
the largest number of entries ever received
for these Scholastic Writing Awards. Mr.
Boutwell, who made the announcement of
the Scholastic Award winners at the Chi
cago meeting, stated that there was a very
marked increase in both the number and
quality of scripts entered in Classification
No. 3, General Radio Scripts — including
many excellent examples of interviews, con-
tinuity, music, sports, and related subjects.
The AER Contest also chalked up sub-
stantial gains over last year's competition
— with a greater number of entries, many
of them of really professional quality. It
is reported that the selection of the win-
ners was a difficult one in both contests.
And the judges report that most of the
contestants show great promise of attain-
ing successful careers in the radio writing
field.
An unusual aspect of the AER contest
was the fact that the second and third
prizes in Classification No. 5 (Scripts for
Home Recording — sponsored by Audio
Devices) were both awarded to students in
the same school — New York University.
Still more significant, they were both in-
structed by the same professor — George
D. Griffin, who also instructed the first,
second, and third place winners of the
same classification in last year's contest!
Following is a list of the national win-
ners of the Classifications sponsored by
Audio Devices in both the Scholastic
Magazines' and AER Contests.
Prof. George
D. G
riffin
of New York
University
tutored sccon<
and
hird
place winners
in Cla
ss 5
of 1949 AER Conte
t
and first, se
ond.
and
third place v
nnner
in
Special Class
of
948
Contest.
SCHOLASTIC MAGAZINES'
Radio Script Writing Contest
(High School Students)
Judges: Mrs. Gertrude Broderick, Director
of Script and Transcription Exchange,
Office of Education, Washington, D. C.
Miss Judith Waller, Director of Pubhc
Service, N.B.C., Midwest. Robert P.
Heller, Executive Producer, C.B.S.
Award Winners:
Origmal Radio Drama
First Prize — $25; Richard Jackson, Jr.,
17, St. Gertrude School, St. Clair Shores,
Mich.
"Sometime Tomorrow"
Teacher — Sr. M. Bcrnita, S.S.J.*
Second Prize — $15; Neil Jackson, 17.
Redford High School, Detroit, Mich.
"The Dream"
Teacher — Marjorie Stevens
Third Prize — $10; Juanita Pennell, 15,
North Sr. High School, Binghamton,
N. Y. "The Janitor's Tale"
Teacher — R. D. Merchant
Fourth Prizes — $5
Louis A. Freizer II, 17, Stuyvesant
High School, New York, N. Y.
Teacher — Mrs. Dobkin
Winthrop Griffith, 17, Burlingamc
(Cal.) High School.
Teacher — Fern Harvey
Doris Kummer, 17, Lutheran High
School, St. Louis, Mo.
Teacher — Mrs. Constable
Richard McMahon. 17, Johnson City
(N. Y.) High School
Teacher — Mrs. Sullivan
Marian E. Tyrrell, 17. Owego (N Y )
Free Academy. Teacher — Mrs. Turner
General Radio Scripts
First Prize — $?5: Elena Joan Svagzdys,
18, Brockton (Mass.) High School
"An Imaginary Interview with G. B.
Shaw". Teacher — Ruth T. Cosgrove*
Second Prize — $15; Mary Carol Massi.
16, Union-Endicott High School,
Endicott, N. Y.
"High School Psychology"
Teacher — A. Alderson
Third Prize— $10; Richard Wallace, 14.
Evanston (111.) Twp. High School
"The Story Behind the Label"
Teacher — Pierce Ommanney
Fourth Prizes — $5
Nancy Banks Bakke, 17, Montgomery
Blair High School, Silver Springs, Md,
Teacher — Mary Wood
Jim Erickson, 15, Roosevelt High
School, Minneapolis, Minn.
Teacher — Mrs. Doherty
David Kiplinger, 15, Redford High
School, Detroit, Mich.
Teacher — Marjorie E. Stevens
Mary Jane Mills, 17, Union-Endicott
High School, Endicott, N. Y.
Teacher — Mrs. Edna A. Finch
Joel Rankin, 17, Bnickton (Mass.)
High School
Teacher — Ruth T. Cosgrove
Radio Drama Adaptation
First Prize — $25; Margery Schneider,
17, Forest Hills (N. Y.) High School
"Footfalls" by Wilbur Daniel Steels
Teacher — Mrs. Adele B. Tunick*
Second Prize — $15; Barbara Kingsbury,
Battin High School, Elizabeth, N. J.
"Downfall of the Dalton Gang"
Teacher — Albert Komishane
Third Prize — $10; Christine Dolores
Dolsen, 17, Cooley High School,
Detroit, Mich.
"The Open Window" by Charles Dobie
Teacher — Leslie G. Carter
Fourth Prizes — $5
Mary Catherine Franklin, 18, Ancilla
Domini High School, Donaldson, Ind.
Teacher — Sr. M. Lorenza
Myra Lou Hart, 1 6, Mackenzie High
School, Detroit, Mich.
Teacher — Glendora Forshee
Ann Ivester, 16. Wyandotte High
School, Kansas City, Kans.
Teacher — Mr. H. A. Billingsley
Enid F. Karetnick, Weequahic High
School, Newark, N. J.
Teacher — Mr. I. Gt)ldbcrg
Mary Ann Wershing, Academy of
the Holy Angels, Fort Lee, N. J.
Teacher — Sr. M. Ellen
AER
National Radio Script Contest
(College Students)
Judge: Henry Lee Ewbank, Professor of
Speech, University of Wisconsin
Classification 7\[o. 5. Scripts for Home and
School Recording
First Prize— $100; Fred A. Brewer, De-
partment of Radio, Indiana University,
Bloomington, Ind.
"How the Roc\ing Chair Got Its
Squeak"
Teacher — Dr. Henry J. Skornia*
Second Prize — $60: Herbert Rube, New
York University, New York, N. Y.
"Rendezvous"
Teacher — Prof. George D. Griffin
Third Prize — $40; Carl C. Naumann,
New York University, New York, N. Y.
"Vallum Hadriani'
Teacher — Prof. George D. Griffin
♦Received 2^ Audiodiscs, 3 Sapphire Recording Audio-
points and 3 Sapphire Playback Audiopoints.
Audio Devices will again publish a
collection of the prize-winning scripts from
both the Scholastic and AER contests,
which should be ready for distribution
.shortly after the opening of the new school
year in September. Students whose work
is selected for this purpose will receive
special awards.
May, 1949
AUDIO RECORD
3
ttie t\€ayidut
C. J. LeBcl
by C. J. LeBel, Vice President,
Audio Devices, Inc.
RESEARCH PROBLEMS OF TAPE
This paper dis-
cusses the problems
faced by our Re-
search Department
in the course of our
tape development
program. The solu-
tion in some cases
is visible in the
statement of the
problem. In the re-
maining cases a dis-
cussion of the an-
swers would take many pages, and we will
have to defer studying them until sub-
sequent issues of the Audio Record.
Our Original Tape
About two years ago we brought out
our Type A tape. This consisted of an
oxide with a coercive force of about 120
oersteds and a remanence of about 500
gausses, coated on vinyl copolymer with a
vinly acetate binder. The design was based
on German developments brought over by
the U. S. Department of Commerce, and
was designed for 30 inch per second speed.
It was decidedly better than the German
tape as regards frequency range and signal
to noise ratio.
Marketing experience with this tape
showed that there were only about a half
dozen professional machines (operating at
30 inches per second) in the whole country,
but that there were many thousand ama-
teur type machines, operating at 7V2 inches
per second, and requiring different bias
characteristics. It was also evident that
American recording machine design was
developing differently than European, and
that entirely different tape characteristics
would be necessary in the future.
The American Trend
From the experience of those users who
were rebuilding home machines into semi-
professional jobs, it was possible to make
an accurate estimate of the probable trend
of design and operating practice.
It was evident that slower tape speed
would be required. Thirty inches per sec-
ond uses up tape very fast, and we guessed
correctly that the professional standard
would be in the fifteen to eighteen inch per
second range. Late 1948 saw an NAB com-
mittee settle on fifteen inches.
At the same time we could see that
wider frequency range would be necessary :
to 7500 cycles at l^/i inches per second,
and to 15000 cycles at 15 inches per sec-
ond. A combination of the change in speed
and the change in frequency range made
the tape requirement three times as rigor-
ous as European demands.
We could also see that equipment would
have to run with less attention to head
cleaning and the like.
The Basic Problems
With the basic assumptions made, it
was possible to outline the basic problems
for the laboratory. These could be allocated
to the fields of: base, oxide, binder, dis-
persion and application.
Base
A plastic base would have to be found,
with greater strength than the old vinyl,
and which could be made in long lengths
without splices. It would have to be per-
fectly smooth, and the thickness would
have to be extremely uniform. It would
have to be available in a thickness of
.0015".
Paper Strength
We felt that :f a very high grade paper
base could be made it would be possible to
use paper instead of plastic for many more
applications, at a substantial saving to the
customer. So the development of a special
paper was put on the agenda.
Tape paper must have extremely good
smoothness, for this improves frequency
response and reduces noise and distortion.
This smoothness must be inherent — in the
type of paper machine and processing. It
is easy to make a rough, porous paper, then
fill the pores with white pigment. This
makes a poor base, however. The white
pigment tends to rule off onto the capstan,
producing slippage. It is possible to bond
the pigment to the paper by adding a
plastic resin to the paper pulp in the beater.
This tends to stiffen the paper. If too much
resin is used, the paper is stiffened so much
that it fails to contact the heads properlv
and high freauency response is impaired.
It will also fail to wind compactly and the
reel will be overfilled. If too little resin is
used, the pigment will tend to rub off. The
balance between chalking off and excessive
stiffness is hard to maintain, and there
really is no optimum compromise.
Knowing this, we decided to do it right
— the hard wav — and work with a paper-
maker on an unfilled paper of great smooth-
ness. This would insure best freauency re-
sponse, lowest noise and lowest distortion.
We were correct in judging that this would
be a long job — it was. Part of the problem
lav in getting adequate breaking strength
— five pounds — while still retaining all
other desirable characteristics.
Oxide
As everyone knows, recording tape con-
sists of a non-magnetic base coated with
iron oxide. A wide variety of oxide chem-
ical compositions and lattice structures are
possible. Correspondingly, a wide range of
magnetic properties are possible — a coer-
cive force may be anywhere between say
90 and a maximum of 400 oersteds.
As was said before, wide frequency
range was recognized as absolutely essen-
tial. It was also evident that low noise
level would be required, to permit of as
wide volume range as possible.
We guessed, correctly, that a wide var-
iety of bias values would be in use, and that
it would not be possible to get optimum per-
formance at all conceivable biases with
only one oxide. One oxide suited to high
bias operation and another optimized for
medium bias would be necessary. This
raised another problem. Previous attempts
at a high bias oxide had not been of pro-
fessional grade due to excessive noise and
modulation noise. The latter sounds like
fuzziness to the ear and is highly objection-
able. An improved high bias oxide was
necessary.
One of the first handicaps in this work
was the misleading nature of published
studies on the relation of magnetic prop-
erties to recording characteristics. As ap-
plied to successive batches of a given oxide,
coercive force and remanence have signi-
ficance, but in comparing two entirely dif-
ferent materials the magnetic properties
have but little more than a second order
effect. Other factors may outweigh the
magnetic properties in significance by
twenty or thirty db. The need to actually
coat and record on every experimental
oxide was very time consuming, but in the
end it proved worth while.
Binder
The iron oxide is held on the base by a
binder. This binder must withstand high
temperature without softening, if the tape
is to be used on some of the earliest home
type machines used by broadcasters. It
must not have a tendency to rule off and
foul the heads. Finally, it must not have
a high coefficient of friction, or its motion
over the heads will not be smooth. This
coefficient of friction must not increase
with time or use.
The friction must be reduced by proper
formulation and not by roughening the
coating. The slightest shade of roughness
will reduce friction (a curious phenom-
enon), but it will impair output and high
frequency response also. Do not confuse
smoothness with gloss — a tape which is full
of little bumps may still be very glossy.
Dispersion
An oxide works best if the individual
particles are separated from one another
by binder, just as the particles in a mag-
netic dust core are so separated. If the
particles agglomerate together in clumps,
the modulation noise increases. It was ne-
cessary to study the problem of dispersing
(Continued, on Page 4, Col. 1)
AUDIO RECORD
May, 1949
One-Man Organization Turns Out Top Transcriptions
Radio- Video Associates, 322 East 55th
St., a New York package agency actively
engaged in the production of transcrip-
tions for various non-profit organizations
throughout the country has an office staff
of one, in the person of 26-year-old Jack
Lloyd, one of radio's busiest young actors.
When not behind the mike. Jack spends
most of his time carrying out his duties
as R.V.A.'s producer, director, script edi-
tor, talent buyer and public relations man.
By working as a one-man organization and
hiring writers, artists, etc. for each indi-
vidual project, he is in a position to produce
his shows on a budget well within the
reach of his clients. E.xcept for a few spot
announcements and talks, most of the
shows which R.V.A. distributes to hun-
dreds of stations are 15 -minute transcribed
Research Problems of Tape
(Continued from Page 3)
oxide in binder very carefully. Unlike the
paint and abrasive industries, the problem
of dispersion was one of perfection, not
of speed.
The importance of the dispersion prob-
lem may be realized when we find that a
poor dispersion will have 10 db more mod-
ulation noise.
The viscosity of the coating solution
must be carefully controlled, lest it fail to
apply properly in the coating machine.
Every coating machine, of any type, re-
quires exact solution viscosity for the most
perfect results.
Application
This brings us to the problem of apply-
ing the coating. Recording tape coating is
a precision job, entirely unlike that of coat-
ing sandpaper or adhesive tape. The toler-
ances are much smaller, for .0001" change
in thickness will give over a db change in
output.
We found, after checking test runs made
on standard commercial coating machines,
that none would give us the uniformity
we felt was necessary. So we went back
to the new type machine we had developed
for our first tape, and concentrated on
improving it still further. One of the prob-
lems, curiously, was that of measuring the
tape thickness. When you start worrying
about fractions of one ten-thousandth, you
begin to have trouble with commercial
measuring devices used in the shop. Regu-
lar measurements of a standard are neces-
sary to check any drift in the gauge setting.
Conclusion
This has been a survey article, designed
to show our friends why it took so long to
develop the new tapes. We believe the
time was fairly well spent, and expect to
put a lot more time on still further per-
fecting the new medium.
Madeleine Carroll, Peter Lawford and
dramas. Since Jack firmly believes in the
power of a "name" to put across a
message, he works hard to engage a Broad-
way or Hollywood star for his shows.
Among the stars who most recently con-
tributed their talents on shows for such
worthwhile organizations as the Save the
Children Federation, The Foster Parents
Plan for War Children and The National
Conference of Christians and Jews, are
Margaret O'Brien.
Recordings are usually made at the NBC
Recording Studios, and are processed by
RCA Victor. These transcriptions are be-
ing broadcast by approximately 600 radio
stations, which donate their time as a pub-
lic service.
Producer-director Jack Lloyd discusses last minute details with film star Madeleine
Carroll and announcer Len Sterling, before transcribing a drama for the benefit
of the Foster Parents Plan for War Children.
Audiotape (Continued from Page 1)
high-coercive, black give best results with all of the various
oped — one with
oxide coating, and the other v.-ith
cive, red oxide coating.
Now — after 21/2 years of research, ex-
perimentation, and continual improvement
— Audiotape is ready for the market.
Audio Devices' engineers are confident that
it is the finest product of its type available
— a product that will, in every way, live
up to the exacting standards of quality and
uniformity which have characterized Au-
diodiscs for more than a decade.
Paper-base Audiotape, in both the
high-coercive and medium-coercive types,
is now in quantity production — in stand-
ard 1250-foot, all-aluminum reels designed
to fit all makes of machines. Audiotape
will be available through Audio Devices'
more than 300 distributors, conveniently
located from coast to coast. Through these
distributors, it will also be available to
retail dealers, who can obtain large or
small quantities for profitable re-sale to their
own customers. Distributors and dealers
will be provided with complete instructions
on the use of Audiotape — including recom-
mendations on the type of tape which will
commercial tape recorders now available.
Audio Devices is now working on a new
line of plastic-base Audiotape, which will
offer certain advantages for professional
use. The new tape will be announced
shortly.
Audiotape is now a full-fledged, tried
and proven product. Its development was
a "natural" for Audio Devices — a com-
pany with more than 10 years of experi-
ence in the manufacture and distribution
of recording discs. For the production of
recording tape has much in common with
the production of recording discs. Both
involve a precision coating process —
wherein the sound-sensitive material must
be applied to a suitable base in a perfectly
smooth and uniform coating. Also, both
involve the same basic principles of audio
engineering, and call for the same high
standards of quality control and continual
factory testing to assure the most perfect
sound recording medium available.
Like Audiodiscs, Audiotape "speaks
for itself."
fl^ll^ff^lff
record
Vol. 5, No. 6
PUBLISHED BY AUDIO DEVICES, INC.
444 Madison Avenue, N. Y. C.
June-July, 1949
RECORDINGS HELP "VOICE OF AMERICA"
PENETRATE RUSSIAN JAM SESSION
Discs and tape play important role in keeping
the Voice on the air 24 hours a day
To news-hungry Russians, the Voice of
America broadcasts, and those of the BBC,
have long constituted the sole Hnk with
the world beyond the Iron Curtain. In an
effort to weaken this link, Soviet trans-
mitters started jamming the Russian-
language broadcasts in February of last
year. Up until about two months ago, how-
ever, these efforts were only partially suc-
cessful. But now the Soviet stations are
engaged in an all-out offensive to strangle
the Voice of America before it can reach
any Russian ears. And since the Voice
refuses to be silenced, we are in what
amounts to an international struggle for
supremacy of the air.
The Russian jamming efforts take sev-
eral forms — broadcasting assorted loud
noises on the same wave length; broadcast-
ing on a slightly different wave length, to
produce a loud squealing "beat" of audio
frequency; and broadcasting on a varying
frequency which straddles the undesired
wave length, resulting in a loud, pulsating
whistle. The noises superimposed on the
jamming waves include bagpipe squeals,
ducks' quacking, and, more recently, a
multi-tone signal of 8 musical notes at high
power.
This full-scale program presented some
real problems in the way of planning and
executing effective counter-measures — a
job which is in the capable hands of George
Q. Herrick, chief engineer of the Voice
of America programs. According to Mr.
Herrick, our counter-offensive has so far
employed five methods of attack.
First — keeping the Voice on the air
continuously, 24 hours a day.
Second — using additional transmitters.
ft is timely to remember:
ALL AUDIODISCS are
humidity resistant!
(Patent Pending)
and broadcasting on so many different
frequencies that it is difficult to jam all of
them.. The voice nov.' employs a maximum
of 36 stations, and the BBC, 2.^.
Third — changing frequencies suddenly
and often, at irregular intervals — keeping
the "enemy" on the jump to catch dodging
programs.
Fourth — using a new "de-cmph,isizing
(Continued on Pdge 2, Co!. 1)
He
ike of A
70 pe
icribed
's recording room ■">**•
'f the original progr,
i and later broadcast
"Ranger Bill" Rides Again
Station WNYE Transcribes Second Series
of U. S. Forest Service Programs
Many of the students in the New York
Ctty Schools have never seen a real forest.
Yet chances are, they know more about
forestry than many of their country-bred
brothers and sisters. For, thanks to the
medium of educational radio, the .students-
in 750 New York Schools have thrilled to
the fascinating and instructive adventures
of "Bill Scott — Forest Ranger" I- i',
series of transcribed radio programs. Bill
Scott, his young niece June Cameron, and
two teen-agers, Joe McGuire and Sam
Freeman, bring the tense drama and un-
forgettable lessons on forestry and forest
conservation right into the classrooms.
The second series of "Bill Scott" pro-
grams, consisting of si.x fifteen-minute re-
(Co)itinned on Page 2, Col. 2)
of WNVE, Broadcasting Station
AUDIO RECORD
June-July, 1949
cuulla ii record
"Ranger Bill" Rides Again {Continued from Page 1, Col. 3)
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture >tudios, colleges, vocational
.■schools and recording enthusiasts throughout the
United States and Canada.
VOL. 5, NO. 6
JUNE-JULY, 1949
Voice of America
(Continued from Page 1, Col. 2)
and pre-emphasizing clipper," developed
by Mr. Herrick and his assistants. Although
this distorts voices somewhat, it makes the
speech much more intelligible and harder to
drown out with interference.
Fifth — Altering the program material
to eliminate musical features, talks and
documentaries, and transmit only news,
news headlines, brief commentaries, press
reviews and economic round-ups. In this
way, if only parts of a program get through,
they are sure to be vital and mtormative
parts.
It is in the first of these counter-measures
— the round-the-clock operation — that
recordings play a vital role, both in the
original programing and in repeat broad-
casts. Present Voice broadcasts to the
Moscow area are sent out from American
.stations on the following schedule — 10: 15-
10:45 A.M., 2-3 P.M., 5-5:30 P.M.
and 11:15-11:45 P.M. This represents a
greatly increased schedule as compared to
the pre-jamming days. But by the increased
use of disc recordings, it has been possible
to handle this added work load with ex-
isting personnel. Mr. Herrick states that
about 70 per cent of the program material
is aired from transcriptions, which are
cordings, is the result ot the outstanding
success of a similar series originally pro
duced in 1946 — a series which received a
special citation (highest award) at the
Tenth School Broadcast Conference in
Chicago, on October 28, 1947. The contest
judges commended the programs for their
effective combination of "exciting" forest
drama with practical conservation messages.
The "Bill Scott, Forest Ranger" pro-
grams are written by Bill Bergoffen of the
U. S. Forest Service, and are produced by
student actors in New York City's School
Radio Workshop, under the skillful super-
vision of Van Rensselaer Brokhahne, pro-
duction manager for Station WNYE. New
York City offers an excellent opportunity
for putting such an educational effort into
effect. For the New York Board of Educa
tion operates its own broadcasting station.
WNYE, and with receiving sets in 750 of
the schools, it has an air channel to every
classroom. And to help the students get the
most out of these IJ. S. Forest Service pro-
grams, 1500 teachers were provided with
appropriate instruction material to supple-
ment their own information in this field.
Also, more than 6000 students were given
special Bill Scott notebooks — collections
of short and interestingly written articles
on the various phases of forestry, forest
conservation, fire prevention, reforesta-
tion, etc.
The use of the "Bill Scott" programs,
however, is by no means limited to the
New York City Schools. Hundreds of
transcriptions have been distributed to
radio stations, forestry groups, schools and
colleges throughout the entire United
States. They have been broadcast to homes
and schools, and reproduced directly in
classrooms and at summer camps. The
scripts have also been widely used for local
dramatization by student bodies.
Production of the second series of pro
grams was begun early this year, and al
ready, requests for transcriptions have
been received from 23 states and Wash-
ington, D. C. Readers of Audio Record
who would like to obtain transcriptions and
complete sets of the scripts of "Bill Scott,
Forest Ranger" programs for their own use,
are requested to get in touch with Mr.
C. W. Mattison, Forest Service, Washing-
ton, D. C.
chief of the Engineering
made whenever personnel and facilities arc
available, and put together later for broad-
casting at the scheduled time.
Safeties of all programs are cut and
filed for 24 hours. This gives back-up pro
tection, so that if any of the European
relay stations should fail temporarily and
notify us of such failure, the remainder
of the program could be broadcast from
the safeties, direct from the Voice's Amer-
ican stations.
The four programs originating here arc
recorded by the American Relay Base at
Munich, and rebroadcast from as many as
4 European relay stations during the per
iods that the American stations are not on
the air. The programs are recorded at
Munich on both disc and tape. As soon as
the American broadcast is completed, the
program is repeated locally by transcrip
tion. The disc recording is used first, as thi.-;
is instantly available, without having to
wait for revi'inding, as in the case of the
tape recordings. Subsequent repeats are
made from tape. Duplicate tape recordings
are used, so that one can be rewound and
made ready for immediate airing as soon
as the other has finished playing.
According to the present repeat broad-
cast schedule, the one-hour program is aired
three times, once direct from America and
twice by local rebroadcast — two of the
half-hour programs arc not repeated— -and
the remaining half-hour program is re
peated for a total of 20 hours!
As to the effectiveness of our counter-
measures in this battle of the air waves.
Mr. Herrick states that results are difficult
to measure accurately. One thing is cer-
tain, however. Our Voice programs are
forcing the Soviets to tie up a large part
of their transmitter facilities for jamming
operations. On May 25 th, for example.
BBC monitors actually located a total of
205 jamming stations on the air, and there
were probably many more local jamming
stations that could not be detected. At the
same time, BBC reported that the Soviet
Home Service programs were being aired
over only 13 transmitters instead of the
usual 25. Although it must be admitted
that the Russian jamming operations are
pretty effective in limiting the amount of
Voice programs that actually break
through, it is at best a Phyrric victory —
extremely costly in both rubels and fa-
cilities
Psychologicallv, it probably has just the
opposite nf the desired effect on potential
Russian listeners — serving to arouse their
curiosity and make them more anxious
than ever to do a little surreptitious listen-
ing. Plavine un this aspect of the situation,
all of the Voice's Russian-language pro-
grams carry this punch line: "Obviously
.somebody considers it dangerous to let the
Soviet people listen to truthful information
from a free radio."
This war of the kilocycles isn't over yet
— for Mr. Herrick hasn't exhausted his
bag of tricks by any means. And even aow.
the Russians must realize that they are
pitting their engineering skill against a
worthy adversary.
June-July, 1949
AUDIO RECORD
w i^eco'idUt
C. J. LeBel
by C. J. LeBel, Vice President,
Audio Devices, Inc.
NEW METHOD OF
MEASURING BIAS
In keeping a tape
recorder in top
notch operating
condition, and in
adjusting a record
ing room full of
machines so that all
perform alike, it is
very helpful to be
I able to measure the
intensity of the su-
personic bias at the
itape. It IS not
enough to measure the bias current
j through the recording head, for successive
I heads from the same maker may differ 507f
j in the effect of a given current. One must
measure the effective bias right in the tape
itself.
This problem of measuring effective bias
first came to our laboratory in the form
of a need for data on the bias of various
commercial machines. The difficulty was
enhanced by the fact that various manu-
facturers use different core shapes and
differing numbers of turns on the cores, in
building their heads.
The first method tried was the old one
of measuring the erasing effect of bias flux
on a tape recorded to saturation. This
proved to be somewhat indefinite, because
a saturated signal is not as exact as one
would think. A 99% saturated signal is
markedly easier to erase than one which is
99.9% saturated, yet the difference in out-
put between the two is less than one tenth
of a db at the start. Other difficulties make
the method still less reliable.
At this point in the research, the labor-
atory came up with an idea which has
proven entirely successful. They spliced a
few feet of tape (coated with red oxide)
to a few feet coated with black oxide, and
used the difference in output between the
two (which varies with bias) as an index.
If we record on tapes coated with en
tircly different oxides, we get a result like
figure 1. In making these measurements a
mid-range frequency such as 400 cycles
may be used, at fixed (normal) recording
level. Bias current is varied and the tape
output measured.
It can be seen that for bias currents
under 7 ma, through this particular record-
ing head, tape A has higher output than
AUDIOPOINTS "Speak For Themselves" Too
The following letter was received from
.Station WWL in New Orleans by one of
our distributors, Charles A. Levie, Radio
Parts, Inc.
14, magnified 4 tit
irding Sapphire Audiopoint
"Dear Charlie; —
The attached needle recorded its swan song
in a burst of glory. It has been resharpened
for the last time but the final resharpening
recorded 104 sides of 16 inch records at
33 1/3 revolutions per minute. This
amounts to 26 hours of continuous record-
ing before breaking down. We think this
is something of a record.
This IS an Audiopoint and was used on
Audiodiscs exclusively.
Yours very truly,
J. D. Bloom, Jr.
Chief Engineer"
tape B. At higher biases, the situation re-
verses and tape B has higher output.
If we measure the difference between
the two curves, we get a result like figure 2.
This curve is taken from data on another
pair of test tapes.
In order to determine the bias of any
tape machine, it is only necessary to run
the pair of tapes, measure the difference
in output (both magnitude and sign), and
refer to the calibration curve. The bias
current of these curves is given in milli
amperes through our laboratory head, but
similar data can be secured on any record
ing machine equipped with adjustable bias,
.uid ,1 meter for reading bias current.
We have applied a test tape of this sort
to a considerable number of recording
machines, with results that will interest
our readers:
Mac/ii7ie
Ec7
lit'jlent ^\ai
A (warm)
3
A (cold)
4
B
5
C
8
D
10
E No. 1
4
E No. 2
5
E No. 3
8
F No. 1
5
F No. 2
5.5
Machines A, B, C, D are very light, non-
adjustable bias home style machines that
have been widely used by broadcasters for
portable work. An oxide that has adequate
sensitivity on machine A (bias of 3 to 4)
Vv-ill lose high frequency response if run
on machine D (bias of 10). An oxide that
■.lO
M« A
•fS
t / /taps a
..<,
■^
/
::
/
BlAi tUHRiNT.MA
Current Versus Output for Diffe
has good frequency response at a bias of
10 will distort badly when run at a bias
of only 4. It is apparent that optimum re-
sults can be achieved by operating a ma-
chine with the correct tape for its bias
characteristics.
Machine E is a professional type with
non-adiustable bias, and the variation be-
tween machines is excessive. The designer's
intention was to achieve a bias of 5 or 6,
but the target has been missed in two out
of these three trials. We strongly advocate
the use of a test tape on all the machines in
the recording room once a week to catch
such variations as this. Machine F has
adjustable bias, and the tests were run with
the manufacturer's own bias settings. Evi-
dently his machines are uniform.
Just one precaution in using one of these
test tapes: be sure to use the same fre-
quency for your test as was used for the
original calibration of the tapes. A shift
from 400 to 1,000 cycles, for example, will
shift the current at which both tapes have
equal response from seven ma to six ma.
It is possible to make up a test tape pair
from any two dissimilar oxides, but op-
timum results arc secured if the two curves
are as different in slope as possible. Tapes
we have used in our bias research program
have therefore been prepared by the lab-
oratory rather than the factory. If there is
enough demand to warrant it, we may
make test tapes and individual calibration
curves available.
Acknowledgment is due Mr. E. W.
Franck, Research Director of our Com-
pany, who devised this method of test and
who has prepared the tapes used.
.,o
\
ID
---^_
1
» 1 4 « 9 1
BIAS CUfineNT, MA
"
AUDIO RECORD
June-July, 1949
"SELF-SERVSCE SOUND"
SELLS AUDIO COM-
PONENTS BY EAR
Sun Radio's push-button sales room gives
instant comparison between ordinary and
High-Fidelity reproduction
"Self-Service Sound," an unusual con-
cept in sound demonstration, is featured
in the new, 1000 sq. ft. Sound and Tele-
vision Demonstration Studio of the Sun
Radio & Electronics Co., Inc., 122-124
Duane Street, New York 7, N. Y.
By merely pushing a button, the shopper
himself may select from 2600 possible com-
binations of audio components, including
radio tuners, amplifiers, microphones,
record changers, and speakers. This gives
instant comparison between ordinary sound
reproduction and full-color, High-Fidelity
reproduction.
Behind this effective approach to the
demonstration of sound equipment lies
Sun Radio's "Sound Demonstration Con-
trol Panel," a master switching system de-
signed by Irving Greene, I.R.E., Manager
of Sun Radio's Sound fe? Television De-
partment.
From both the practical and merchandis-
ing points of view, it was necessary to
design a sound demonstration studio which
avoided the usual plug-pulling, wire-ravel-
ing ceremonies which would otherwise be
required in the demonstration of sound
equipment.
High-Fidelity, in which Sun's new studio
specializes, can best be demonstrated by
instant comparison with ordinary repro-
duction. The new Demonstration Panel
accomplishes this, at the same time making
it easy and pleasant for the shopper,
whether he be layman or engineer, to
select the desired components. Leading
equipment in all price ranges is displayed.
The speakers and record changers each
have their own illuminating device to in-
dicate which one is in operation. These
lights work automatically as the equipment
is switched on.
The studio has been deliberately de-
signed to be neither acoustically perfect
nor sound-proof. It is "sound-conditioned,"
that is, there is no attempt to demonstrate
sound under such ideal conditions that
the customer is disappointed at what he
hears in his own home. Wall and ceiling
have been constructed to keep external
noise out, and to prevent studio noise from
disturbing the rest of the organization.
■Qi
Tuners, amplifiers, changers, and speakers are arranged for easy visibility and identification in Sun Radio's
Sound-TV Studio. All can be demonstrated from the push-button control panel which can be seen in the photo.
Not visible in this picture are the Recording and Television Sections.
NO MORE
HOT-WEATHER
PROBLEMS
whe7i you
recoi
d on audladlscs
DON'T BE BASHFUL! If you have any recording
stories that you think would be of interest to our
readers, send them in. Audio Record is now distributed.
by request, to 1480 radio stations, 3950 schools and
colleges. 3J00 recording studios and recordists, and
950 distributors and dealers. Address contributions to:
Editor. Audio Record. 444 Madison Ave., New York
22, N. Y.
•«<«■
J.S. (>«, Of.
To the recordist, the hot. summer months have gen-
erally meant plenty of trouble — not because of the
heal, but due to the accompanying high humidity.
For moisture which is absorbed by the lacquer of a
recording disc has a serious effect on the cutting
characteristics. The noise level increases progres-
sively while recording, and the cut gets greyer and
greyer. This problem has affected the entire lacquer
disc industry. But, with Audiodiscs, it is a problem
no longer. You can now record as well on the hottest
and dampest day as you could on a crisp day in fall
or winter.
This freedom from humidity troubles is the result
of an exclusive Audiodisc improvement perfected in
1947. It is an improvement wliich goes far beyond the
control of atmospheric conditions during manufac-
ture—for that alone doesn't prevent moisture absorp-
.«»/<«:
lion later on. The moisture problem has been solved
at its most vulnerable point — in the lacquer itself!
By the addition of a special moisture resisting
agent — without any change in the basic formulation
— Audiodisc lacquer has been made permanently
resistant to humidity. Its outstanding "all weather"
performance has been proved by countless tests in
our "weather room", under the most severe condi-
tions of temperature and humidity. But the most
conclusive proof of all has come from the field. For,
during the summer of 1948, one of the most humid
on record, none of our customers have reported any
difiicullies in recording or reproduction due to mois-
ture conditions.
See for yourself what a big difference this improve-
ment can make in your summer recordings. Ask your
dealer for Audiodiscs!
AUDIO DEVICES, INC.
444 MADISON AVE., NEW YORK 33, N. Y.
Export Dept.: Rocke International, 13 East 4Uth St., New York
flUfitfy
record
j^
Vol. 5, No. 9
PUBLISHED BY AUDIO DEVICES, INC.
mamamssm
444 Madison Avenue, N. Y. C.
November, 1949
Prize-Winning Script of '49 A.E.R. Contest
Broadcast Over 13 Stations
Tape Recording of "How The Rocking
Chair Got Its Squeak" is Aired
on Indiana University's
"School of the Sky"
"How the Rocking Chair Got Its
Squeak", the prize winning script in the
1949 Association for Education hy Radio
script contest, division five which was
sponsored by Audio Devices, Inc., was
broadcast this Autumn throughout In-
diana, IlHnois and Ohio on the Indiana
University "School of the Sky" program.
The script, written by Fred Brewer, a
graduate assistant at Indiana University,
is one of many programs heard each week-
day by school children in the area covered
by thirteen radio stations which air the
series.
"The School of the Sky" is now in its
(Continued on Page 2, Col. 1)
Student Recordists Get Early Start in Westfieid Scitoois
Audiodiscs used in all phases
of primary training
By William M. Mohoney, Principal
Moseley School, Westfieid, Moss.
The Moseley School m Westfieid, Mass
achusetts is well aware of the potentialities
of disc recording in the elementary grades.
Much has been written concerning the
virtues of using the recorded voice in the
high school — for language study, speech,
English, dramatic, and similar classes,
sometimes to the point of minimizing the
effectiveness of the device in the elementary
school. However, the function of the disc
recorder as an aid in early speech correc-
tion, oral reading, music, social studies,
and as an excellent motivator in all phases
of the elementary school curriculum is
gaining added impetus throughout the
country as the emphasis on the unit-activity
method of instruction continues to be
t Moseley School record Fire Departn
Yellow Label Audiodis
Stressed. There is hardly a unit of work
being taught in most courses of study for
the first six grades, where the recorder can-
not be used to great advantage.
The accompanying picture shows Teach-
ing Aids Director LaDoyt K. Teubner and
Miss Anna Lillis, second grade teacher of
the Moseley School making use of the
recording session as a culminating activity
on a unit of work about the fire department.
Several days of teaching, planning, and
(Continued on Page 2, Col. 2)
AUDIO RECORD
November, 1949
cLudIa ^ record
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 5, No. 9 NOVEMBER, 1949
Prize-Winning Script
{Continued from Page 1, Col. 1)
third consecutive year. Its programs, de-
signed for in-school listening, cover history,
news, science, books and guidance.
George C. Johnson is the general super-
visor of the series, and Fred L. Gerbcr
directs and produces all the programs
which total 126 during a school year. Harry
J. Skornia, chairman of the I. U. Depart-
ment of Radio, originated the educational
series which is now considered by edu-
cators as one of the finest programs offered
to children.
The programs go not only to Indiana
stations, but are broadcast in Chicago and
Louisville; and the Minnesota Department
of Education is distributing last year's
series throughout Minnesota schools by
electrical transcriptions.
This year "The School of the Sky" is
making extensive use of magnetic tape re-
cordings for the first time, and with much
success. Tapes are sent to the radio stations
one week in advance of the broadcast date.
The series uses only student talent.
Mr. Brewer, who wrote the "Rocking
Chair" script, also writes the news program,
and contributes scripts to the history and
science series. Writing is an old business to
him — a newspaper sports editor before the
war, contributor to magazines, and the
winner of several scholarships and prizes
for his script writing, he plans making the
writing of educational radio and television
scripts his life's work.
Westfield Schools
{Continued from Page 1, Col. 3)
learning preceded the actual job of record-
ing. Members of the fire department were
invited to the class and demonstrated how
a fire alarm is sounded. Many questions
were asked and, from the answers, stories
were written and the best ones chosen by
the class. Then a similar process was under-
taken to appoint readers for each story.
Finally, the class, as a music activity, com-
posed a song about the fire department and
it was sung by the entire group for the
recording.
What do we have now that the record-
ing is made? Just another notebook or
some bulletin board material to file away
until next year? Certainly not! We have
an addition to our library of activities for
that room that is alive and real and which
the children can and do play over and over
for group and self criticism, for compar-
ison, and for personal enjoyment. We also
have another source of research informa-
tion that other classes can use from time
to time when they are studying similar
material.
These recordings, besides being good
stimuli to the children, make excellent pub-
lic relations material at PTA, Woman's
Club, Kiwanis, and other meetings. The
playing of the recording mentioned above,
to a PTA group resulted in the purchase
of a new transcription player for us.
To be sure, we, in the elementary school
are not going to be push-button teachers
and either make or play records as our
only diversion from traditional teaching,
but we most certainly can and should use
this excellent type of teaching aid to com-
plement a well-rounded school program.
Send for your FREE SAMPLES
of The New Au
diotape!
A rcquesl on your busines
bring you a 200-foot sample
plastic-base Audiotape — c
sample reels of paper base
with red oxide and the other
coaling. Write to Dept. T-1
Inc., 444 Madison Ave., Nc«
s letterhead will
reel of the new
r two, 200-foot
Audiotape, one
with black oxide
Audio Devices,
York 22, N. y.
Which Twin Has the Tonsils?
Although we hear our own voices every
day, few people know what they really
sound like — until they make a recording.
The result is usually quite a surprise. Here's
a typical case in point, submitted by Mr.
William S. Tacey, Assistant Professor of
Speech at the University of Pittsburgh.
"Recently I was recording the voices of
the students in a class in Public Speaking.
After several people had spoken, we started
the playback. The first voice was that of a
girl. As she heard her own words coming
back she turned to me with a quizzical look
and said, 'Why, that's my twin's voice!
When did you record her voice?' I asked
her if she was sure. She replied, 'Yes, I'm
very sure. We are identical twins but our
voices are much different.' It required a
second recording to convince her that her
twin's voice was not the one that she was
hearing over the machine."
by C. J. LcBel, Vice President,
Audio Devices, Inc.
A TAPE POLL
C. J. LeBel
While the rest of the country has been
occupied with a mere political election, we
have been checking into another type of
preference — for tape. We have been busily
checking the recommendations of tape re-
corder manufacturers, and so this issue
presents the first published table of record-
ing machine tape requirements — direction
of wind, type of oxide and base material.
It is interesting to examine these re-
commendations in the light of possible
industry trends. We note that of 23 man-
ufacturers, 18 use the oxide-in style of
wind. This surely registers an overwhelm-
ing preference — 78% — and we can only
hope that the remaining 22%' will fall in
line in future models. In the meantime, the
manufacturer and dealer have to stock
every variety of tape in both styles of wind.
When we come to the question of oxide,
the matter becomes one of engineering
choice, rather than random draftsman's
whim. Seventeen have preferred red oxide,
4 take black and 2 have compromised with
both.
For base material 16 take plastic, 4 take
paper and 3 have compromised.
Without having conducted any exten-
sive survey, we strongly suspect that many
of the designers who picked red oxide did
so mainly because they had to take it if
they wished a plastic base. Now it is pos-
sible to get plastic base, paper base, black
oxide and red oxide in any combination.
This opens up certain possibilities not
hitherto feasible, and should induce the
engineer to do a little experimenting.
A little listening has convinced us that
on the highest grade professional machines
the difference in sound between plastic and
AUDIO RECORD
November, 1949
paper base is not as great as results from
the less perfect bias waveform of poorer
machines. We would suggest, therefore,
that the large radio station reduce its cap-
it,d investment in tape by using red oxide
paper base tape for legal record recording.
There is no reason why a tape of a quiz
show, destined for filing for three months
before final erasure, should be temporarily
stored on the same high quality material
as is used to preserve a world-famous artist's
performance for posterity. Since the same
oxide IS used on both bases, the machine
bias will not require readjustment. In
many ways this parallels the disc record-
ist's practice of using a Red Label blank
for important work, and a Yellow Label or
Reference disc for less significant record-
ings.
Another possibility opened up by our
complete Ime is of help to the owner of a
home machine designed to use black oxide.
For his most important recordings he can
use Audiotape No. 1240 or 1241 which are
combinations of plastic base and the black
oxide he needs.
So, by making a complete line of tape
available, we make it possible for the en-
gineer to use whatever type best fills his
needs for the job in hand.
TAPE RECORDER
MANUFACTURER
RECOMMENDED TAPE
Base
Coating
Wound with
AMPEX
Ampex Electric Corp., 11 55 Howard Avenue, San
Carlos, California
Plastic
Red Oxide
AUDIOGRAPH
Audiograph Co., 1434 El Camino Real, San Carlos,
California
Plastic
Red Oxide
RE-CORD-O-FONE
Bell Sound Systems, Inc., 1183 Essex Avenue, Colum-
bus 3, Ohio
Plastic
Red Oxide
SOUNDMIRROR
Brush Development Co., 3405 Perkins Avenue, Cleve-
land 14, Ohio
Paper
Black Oxide
EICOR
Eicor, Inc., 1500 W. Congress, Chicago 7, Illinois
Paper
Black Oxide
FAIRCHILD
Fairchild Recording Equipment Corp., 154th St. S" 7th
Ave., Whitestone, N. Y.
Plastic
Red Oxide
LEKAS
Lekas Mfg. Co., Ann Arbor, Michigan
Plastic
Red Oxide
MAGNECORDER
Magnccord, Inc., 360 N. Michigan Avenue, Chicago 1,
Illinois
Plastic
Red Oxide
MASCO
Mark Simpson Manufacturing Co., Inc., 3 2-28 49th St.,
L. I. C. 3, N. Y.
Plastic
Red Oxide
Oxide
Coating
In
PELCO
Pelco Industries, 629 Second Avenue, New York, N. Y.
Plastic
Paper
Red Oxide
Black Oxide
PRESTO
Presto Recording Corp., P. O. Box 500, Hackensack,
N.J.
Plastic
Red Oxide
RCA
Radio Corp. of America, RCA Victor Div., Front y
Cooper Sts., Camden 2, N. J.
Plastic
Red O.xide
RANGERTONE
Rangertone, Inc., 73 Winthrop Street, Newark 4, N. J.
Plastic
Red Oxide
REVERE
Revere Camera Corp., 320 E. 21st St., Chicago 16,
111.
Plastic or
Paper
Red Oxide
Rack Mounted Recorder,
PORTATAPE 6? MINITAPE
Stancil-HolTman Corp., 1016 N. Highland Ave., Holly-
wood 38, Calif.
Plastic
Red Oxide
TAPETONE
Tapetone Maufacturing Corp., 1650 Broadway, New
York 19. N. Y.
Plastic
Paper
Red Oxide
Black Oxide
EKOTAPE
Webster Electric Co., Racine, Wisconsin
Paper
Black Oxide
RECORDIO
Wilcox-Gay Corp., Charlotte, Michigan
Paper
Black Oxide
TWINTRAX
Amplifier Corp. of America. 398 Broadway, New York
13, N. Y.
Plastic
Red or
Black Oxide
ULTRATONE
Audio Industries, Michigan City, Indiana
Plastic
Red Oxide
MAGICTAPE
Crestwood Recorder Corp., 218 S. Wabash, Chicago
4, 111.
Pla.stic
Red Oxide
Oxide
Coating
Out
DuKANE
Operadio Manufacturing Co., St. Charles, 111.
Plastic
Red Oxide
ASTRASONIC
Pentron Corp., 611 W. Division Street, Chicago 10,
111.
Plastic
Red Oxide
J
AUDIO RECORD
November, 1949
Tape Recordings Invade Literary Field
Tape-Recorded Interviews Used as Editorial
Feature in "Journal of Metals"
When Mr. T. W. Lippert, Editor of the
Journal of Metals, and Manager of Pub-
lications for the A.I.M.E., called on Henry
Kaiser for an editorial interview, the usual
note pad and pencil were conspicuously
lacking. Instead, Mr. Lippert carried a
Crestwood portable tape recorder — set it
up on Mr. Kaiser's desk — plugged it into a
power outlet — and started shooting ques-
tions at the famed industrialist. These
questions, and the answers, in Mr. Kaiser's
exact words, appeared as an editorial fea-
ture in the September issue of the Journal
of Metals, under the heading — "Henry
Kaiser Says ... (a tape recorded inter-
view)".
Mr. Lippert has long been a proponent
of the direct interview technique of edi-
torial reporting. And he has tackled the job
from every angle. Trying to jot down a
person's words in abbreviated longhand
was too slow — and not accurate enough.
He has tried taking a stenographer along
to record the conversation in shorthand.
But the presence of a third party was not
always desirable, and inhibited a free and
natural flow of conversation. Also, this
method of transcribing was not 100 per
cent accurate either — especially when the
dialogue was rapid, as is apt to he the case
when a man really warms up to his subject.
The tape recorder, on the other hand, has
proved the ideal solution to the problem.
Easily portable (weighing considerably less
than the average stenographer), it assures
an accurate word-for-word picture of the
entire conversation — recorded in no more
time than it takes to tell it.
To simplify transcribing interviews from
tape to typewriter, Mr. Lippert has had
his recorder equipped with a special foot
switch attachment which plugs into the
machine, and controls the tape drive. Dur-
ing transcription, the playback circuit is
kept energized and the typist uses the foot
switch to start and stop the tape as de-
sired. It has been found entirely satisfac-
tory to use the loudspeaker included in the
equipment for transcription, without the
need for a headphone attachment.
These tape recorded interviews have
been adopted as a regular feature of the
monthly Journal of Metals, at present ap-
pearing in every other issue. For the No-
vember issue, Mr. Lippert and his tape
recorder have recently completed a tour
through the Youngstown, Cleveland, and
Pittsburgh areas, where he interviewed
about twenty strikers picketing steel plants
— getting their first-hand reactions not
only on the strike, but on associated prob-
lems as well. As his recorder had to be
connected to a power source which was not
available on the picket lines, Mr. Lippert
set up his equipment in a nearby barber
shop or garage, then engaged the pickets
in conversation and withdrew them one at
a time from the picket line to his temporary
"field headquarters". He states that the
novelty of the tape recorder, and the in-
stant playback feature, were a big asset in
eliciting the cooperation of the strikers.
They got quite a "kick" out of listening
to the playback, and hearing their own
voices probably for the first time in their
lives. They were also fascinated by the fact
that their interviews were being recorded
on the same reel of tape which contained
the interview with Henry Kaiser — parts of
which were played back to them before
they went "on the tape".
Mr. Lippert states that he selected tape
instead of wire for this recording project,
in order to obtain higher fidelity, more
natural voice quality for easier transcrip-
tion, and greater strength, with freedom
from danger of breaking and snarling of
the recording medium either during re-
cording or playback. The Crestwood re-
corder which he uses is a dual-channel unit
with a recording speed of 7^2 inches per
second, providing up to one full hour of
recording on a 7-inch reel of tape. This is
more than adequate for any interviews
which he expects to make.
Just as "the pen is mightier than the
sword" — so tape recording has proved
itself mightier than the pen, at least for
this type of article.
Quick Facts on Two More New Tape Recorders
(Additional information con be obtained by writing to the manufacturer)
EICOR, INC. • CHICAGO
Model 15
Portable
PELCO INDUSTRIES
629 Second Ave., New York 16, N. Y.
SOUNDMASTER
Model 44
Portable, dual-channel recorder with lYi" per
second tape .speed, giving 1 hour of continuou.s
recording on a 7" reel. Replaces original Eicor
Model 1000, with addition of more simplified
controls, time markings, faster re-wind, and
jacks for professional recording and reproduc-
tion. Weight, 27 Ih.
Price to
Distributors
Around $85.00
List
Around $150.00
Portable, single-channel recorder with tape speed
of iYj," per second. One hour continuous play-
ing. Frequency response (3 db), 80-5000 cycles.
Percentage of WOW, 0.2%. Rewind time, 3 min.
61 2" PM Speaker. Neon lamp recording indi-
cator. By adding tone arm, machine can be used
as 78 rpm phonograph. Weight. 38 lb.
q^Htflff
rec(TrcL
PUBLISHED BY AUDIO DEVICES,
INC.
Vol. 5, No. 10
444 Madison Avenue, N. Y. C.
December, 1949
SOUNDS -he brings 'em back alive!
A good reporter is said to have a nose for
news. But Thomas J. Valentino, not being
a reporter, can afford to be different. He
has a nose for noises! In fact he has spent
the past fifteen years collecting them —
not merely as a hobby, but as a fascinating
and profitable vocation. Proof of this is
the fact that the sound effects catalog of
Thomas J. Valentino, Inc., New York
City, lists disc recordings of over five
hundred different noises — "From a cat's
meow to a lion's roar — a pistol shot to
a world war."
That quotation, incidentally, is Mr.
Valentino's trade slogan — one that gives
a pretty good idea of the scope of his
collection. There are soft, peaceful, pas-
toral sounds — like the chirping of crick-
ets and croaking of frogs in the dead of
night. Busy, active, crowded sounds — like
the din of heavy traffic in New York's
Times Square. Quick, urgent sounds —
like the fast, rhythmic clack-clack of a
battery of teletype machines in a busy
news room. Exciting, dangerous sounds —
like the stacatto barking of a machine gun
and the whine of ricochetting bullets.
Name just about any kind of sound you
can think of, and chances are you'll find
Mr. Valentino already has a recording
of it. Take bells, for example. He can give
you ambulance bells, burglar alarm bells,
church bells, dinner bells, door bells, fire
alarm bells, locomotive bells, telephone
bells, ship's bells, and even the melan-
choly clang of a bell buoy. Or, suppose
you want airplane noises. Take your choice
of these: Air-cooled motor, fast; airplane
crash; dive bombers diving for attack,
zooming; Navy bi-plane; PB-40, zooming;
twin-motor transport; fast bomber; flight;
landing; propellers winding; squadron
takes off; squadron passing; start motor;
starts, takes off, flies; stunting; take-off,
tri motor; twin-engine bomber; twin en-
gine bomber, one engine missing. And of
course there are all the associated sounds,
too — like air raid sirens, falling bombs,
crashing buildings, ack-ack, etc.
Mr. Valentino explains that his sound
effects recordings sound so real because
they are real — recorded from life on
sound film, then re-recorded on Audiodiscs
in the studio,
(Continued on Page 2, Col. 1)
Two Audio-Sponsored Script Contests
Seek New Talent in Student Writers
For the third ci)nsecutive year. Audio
Devices is sponsoring both the Scholastic
Magazines' and AER radio script writing
contests for 19.=i().
These two nation-wide competitions —
Scholastic Magazines' Radio Script 'W^rit-
ing Ci)ntest. for high school students, and
the AER National Radio Script Contest
for college students — offer all aspiring
(and perspiring) scripters an excellent op-
portunity to win valuable cash awards,
and still more I'alnabJe recognition for
their creative talent.
As the trend, for the past two years,
has been steadily upward — in both qual-
ity and quantity of scripts submitted — it
looks as though the 1950 contests will pass
all previous records in both respects.
So come on, students — sharpen your
pencils and your wits, and start now to
lay a foundation for your future career as
a radio script writer, by entering the
Scholastic Magazines' or AER contest.
Complete rules and instructions for the
high school students' contest have already
been published in Scholastic Magazines, so
they will not be repeated here. But don't
forget that the closing date for the Na-
tional Contest is March 1, 1950. And if
you're entering one of the many Regional
Contests, scripts must be submitted by
around February 15th — which can sneak
up on you mighty fast.
The National AER Contest, in which
Audio Devices is again sponsoring the
Special Classification of Scripts suitable
for home recording, will close on March
30, 1950. For complete rules and instruc-
tions for preparation of scripts, write to
Dr. Sherman P. Lawton, AER Script Con-
test Chairman, University of Oklahoma,
Norman, Oklahoma.
AUDIO RECORD
December, 1949
audlq^recarci
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 5, No. 10
DECEMBER, 1949
SOUNDS: {Continued froyn Page I, Col. 1)
On Record No. SOMA, for example,
you hear the sound of subway turnstiles,
the rumble and roar of an approaching
subway train, the click of the wheels on
the rails, the hissing of air brakes, the open-
ing of the doors, the surging shuffling foot-
steps and grunts of the passengers getting
off and squeezing on. the closing doors,
the train starting up and rumbling away
into the tunnel again. This recording was
made in the Lexington Avenue subway
station at 116th Street. Mr. Valentino's
recording equipment was parked in a sta-
tion wagon near the entrance, and he
carried the microphone on a long line
right down to the platform. This is real-
ism — for nothing sounds quite as much
like a subway train as a subway train!
It's not always an easy matter to get
exactly the sound effects he wants. In
making recordings for the Broadway
show, "Casey Jones", for example, he was
asked to reproduce the sound of a loco-
motive hurtling along at 90 miles an hour,
Valentino finally got the New York
Central Railroad to "loan" him a loco-
motive and a mile of straight track at
Harmon, New York. But even that didn't
solve the problem, for the engineer said
the best speed he could possibly develop in
that distance would be a scant 60 miles an
hour (provided the engine would hold the
rails). Not to be daunted by such a tech-
nicality, he had the rails coated with
grease. Then the locomotive rolled along
at 40 miles an hour, with the wheels
spinning madly at 90 miles an hour or
better! This was one of Mr. Valentino's
favorite assignments — one, incidentally,
on which he was accompanied by Mr.
William C. Speed, president of Audio
Devices.
Once, when selecting sound effects
records for the Broadway production
"The Farmer Takes a Wife", playwright
Marc Connelly wasn't exactly satisfied
with the numerous "baby crying" records.
"I want something like this", he explained
— and proceeded to demonstrate by emit-
ting a most realistic infantile wail. Where-
upon Valentino grabbed a mike, asked for
a repeat performance, and recorded it on
(Continued on Page 3, Co!. 2)
First Audio Fair
Outstanding Success
C. J. LeBel, retiring president,
honored for contributions to
Audio Engineering Society
Tiie Audio Engineering Society's Audio
Fair and first Annual Convention was
held in New York City on October 27.
28 and 29. This, the first convention and
exhibition devoted entirely to audio equip-
ment, occupied the entire 6th floor of the
Hotel New Yorker. The 56 exhibitors each
had private rooms in which were dis
played their latest equipment.
One of the high spots of the convention
proceedings was the presentation of the
Audio Engineering Society Award to C.
J. LeBcl, vice president of Audio Devices,
in recognition of his many contributions
as one of the founders of the organization
and its first president. Mr. LeBel was suc-
ceeded by Theodore Lindcnberg, of the
Fairchild Recording Equipment Company.
The Audio Fair chalked up a total
registration of 3,022 — more than four
times the membership of the sponsoring
organization. Attendance at the technical
sessions averaged 250. Exhibitors, visitors,
and members of the Society all evinced
great enthusiasm — which augurs well for
an even bigger and better Audio Fair in
1950.
The Audio Devices exhibit featured the
new plastic-base Audiotape which at that
time had just been released to the trade.
Demonstrations of recorded music on both
plastic and paper base Audiotape gave
eloquent proof of the fidelity, brilliant
high-frequency response, uniformity, and
freedom from background noise and dis-
tortion which are made possible by this
new and perfected recording medium.
Tomorrow's Hucksters Taught with Tape
— m new
radio advertising
course at
Montana
State
University
Sterling Soderlind, M.
tape of his 13 rad:
and Larry Wilkinson, (right) anothe
After the tape has been played, they
in a critical analysis of the recording
State University jo
Prof. O. J. Bue (left!
of the class, prepare to listen,
class members will participate
A course in radio advertising is being
taugiit for the first time this fall at the
Montana State University Journalism
School, Missoula, Montana. Prof. O. J.
Bue is in charge of the course — "Radio
Commercials".
Students in the class learn the theories
of radio selling and get considerable prac-
tice in the preparation of commercial copy.
They each prepare and make tape record-
ings of a series of 13 commercials for each
of 12 different products. The copy will be
submitted to local stations for criticism
and suggestions.
An extensive collection of recorded
commercials als« is used for classroom
analysis. In another phase of the course the
young writers study the report on radio
advertising recently prepared by Joske's
of Texas. Audience studies and analyses
of listening habits also come in for con-
sideration by the students. All the students
have completed a course in principles of
advertising.
Professor Bue, veteran journalist, is one
of the first journalism teachers in the
United States to be selected for a summer
radio internship. He served at Station
KVOO in Tulsa, Okla., in 1945. He has
taught the radio journalism courses at
MSU — newscasting, radio editing, and
special events — since their inception.
December, 1949
AUDIO RECORD
by C. J. LeBel, Vice President,
Audio Devices, Inc.
MODULATION NOISE
T.ipc rccdrdiii',;
is .ifflictcd with a
species of noise
vvliichisof no prac-
tical significance in
disc recording.
Sometimes it mas-
querades as distor-
tion, sometimes as
ordinary ground
noise, hut in any
case modulation
noise must he
suspected.
We may distinguish hetween ordinary
ground noise and modulation noise when
we recall that the former is constant in
intensity, whereas the latter varies with
the signal and is modulated hy it. In Fig. 1
wc have exaggerated the effect for greater
clarity. The ear interprets this as distor-
tion, for the result has heen the creation
of innumerahle intermodulation products
which make the tone fuzzy.
C. J. LeBel
Modulation noise is a function of the
character of the o.xide and of the uni-
formity of coating. Many of the natural
oxides seem to he very had in this respect.
Since they also seem to he rather poor
recording media, this additional fault
poses no special prohlem. Synthetic oxides
with good recording characteristics seem
satisfactory as regards modulation noise,
and indeed certain procedures that lead
to best results in one respect also are
heneficial in the other.
Variation in coating thickness will also
introduce modulation noise. Perfection of
the coating surface in contact with the hase
material is determined, of course, by the
smoothness of the base, and a plastic-base
tape, therefore, has about 15 db less
modulation noise than the smoothest paper
hase material. A poor paper-one that has
not heen supercalendared will have 5 to
1 .S db more noise than the best paper. We
have exaggerated the effect in fig. 2 so that
it can more easily he seen.
The professional user will naturally use
A plastic hase tape for all critical work,
hut he will not thereby assure the lowest
possible modulation noise. It is possible
to have a rather uneven coating top-sur-
face, and, therefore, much noise. Some
plastic tape presently marketed has con-
siderable modulation noise in the 40 to
60 cps range due to coating machine im-
perfection. However, our engineers, with
more than ten years experience in the
construction and use of disc coating ma-
chines, were able to design and build
coating equipment that makes the tape
free from such low frequency components.
If the recording machine's bias wave-
form is even slightly assymetrical, the re-
sulting dc component will create modula-
tion noise. Since this will be as steady as
the bias current, it will masquerade as
ground noise. Most machines on the mar-
ket suffer from this defect, in varying
degree. If there is a 40 to 60 cps com-
ponent in the modulation noise, it will
show up as a hoarsely raspy hum m the
background, when run on such a machine.
SOUNDS: {Cor\tinxi.ed.\yom?age 2, Co!. 1)
the spot. And when the show opened, the
audience never suspected that what they
actually heard was the voice of Marc
Connelly, crying like a baby — literally,
that IS.
Up until fairly recently, all of Mr.
Valentino's original recordings were made
on film before being transferred to Audio-
discs. But, now that high fidelity portable
tape recorders are available, many of his
original recordings are made on Audiotape,
and then re-recorded in permanent form
on Audiodiscs.
Readers of this article who would like
a copy of Mr. Valentino's latest sound
effects catalog can obtain a copy from
their local sound equipment dealer, or by
writing to Thomas J. Valentino, Inc., 150
West 46th Street, New York 19, N. Y.
NAME YOUR PROBLEM:
From Choosing a Mate, fo Raising a
Family, You'll Find the Answer on Discsl
Raising a family presents plenty of
problems these days, aside from financial
ones. Solving many of these growing
problems, from the cradle to the altar, is
the objective of a series of 24 recordings,
entitled "The Family Grows Up" — pro-
duced hy the Department of Extension
Teaching and Information (N. Y. State
Colleges of Agriculture and Home EcO'
nomics, Cornell University), in coopera-
tion with the Department of Child De-
velopment and Family Relationships.
This record loan library was started as
a means of filling the many requests from
Child Study Clubs in the state for help
from the college. But the records are also
available to other organizations, schools,
PTA's, etc., which are interested in using
them as a basis for discussion. Topics
cover all phases of family life. Each record
runs about 10 minutes in length, and when
it is sent out to a group, a copy of the
script, suggested questions for discussion,
references for further reading, and direc-
tions for playing the recording are in-
cluded in the packet.
The programs are under the supervision
of Dr. Russell Smart, Associate Professor,
Department of Child Development and
Family Relationships. Each program con-
sists of an interview hetween Nita Albers,
Radio Editorial Assistant, and either Dr.
Smart or Mr. Edward Pope, Assistant
Professor in the same department. Some
of the records have been dramatized to a
certain extent. For example, the first half
of several of the programs consists of a
skit, and the second half is a discussion of
the problems brought out in the skit. It is
suggested that the first half be played,
then followed by a discussion period by
the group, and the last half played as a
summary.
The recordings of these programs are
made at 78 r.p.m. Rental fee is $1.00;
purchase price is $3.50 each. A complete
list of the available programs can be
obtained hy writing to Film Service, Mail-
ing Room. Roberts Hall. Ithaca. N. Y.
Ted Richards, editorial a
drops the cutting stylu
cording another program
int and recording engineer,
1 a fresh Audiodtsc. re-
"The Family Grows Up".
AUDIO RECORD
Recording of ''Columns Write"
Makes Double Discussion-Time
For Eds
When Radio Station WPAT's (Pater-
son, N. J.) "Columns Write" goes on the
air every Sunday morning at 10:00, its
participants are to he found anywhere
else hut at the station's studios.
Most Hkcly, at that precise moment they
will be surrounded hy a group of their
community's intellectuals, vociferously go-
ing over every point with the editor no
sooner than he has made it over the air.
This seeming impossibility of a man
being in two places at once and engaging
in a discussion with two groups simultane
ously, is easily explained. Here's how.
"Columns Write" is the oldest pane
discussion program on WPAT and prob-
ably the oldest newspapermen's program
on the air today in continuous broadcasts
(five years). Each week, it features from
two to four different editors of leading
New Jersey newspapers in a discussion ot
state, national and international problems
as viewed through their own editorial
policies and opinions of their readers.
Reflecting varied and individual thoughts
by men who have no hesitation about voic-
ing them emphatically, the program has
always been a lively one — and possesses
one of the finest adult listening audiences
for its time in the metropolitan area.
But the newspaper editor — a busy indi-
vidual, and jealous of his Sundays off —
began to demur, after the program had
been on the air for a couple of years.
He liked the program, the station, the
fine job the program was doing, but he
definitely did not like this travelling from
every part of the state to Paterson on his
one sacred day to make the broadcast.
What could WPAT do about it?
The answer was simple. Let's record the
program on a day and time most con-
venient to you gentlemen and broadcast
it Sundays as usual. The editors said okay;
and for the last three years this procedure
has been followed.
But, to everybody's satisfaction? Why,
no. While the station is eminently satis-
fied with the arrangement, v^jhat's hap-
pened to the editors?
Well, the editors still do not have their
Sunday's free. Should they not be present
where their townspeople can be with them
at the time WPAT's "Columns Write"
goes on the air to see if their opinions
were correctly presented by the editor on
the program, and to take exception to any
opinion he may give on the show with
which they disagree, he hears from them
for the rest of the week.
NOW AVAILABLE
on plastic or paper base
with red or black oxide
Audio Devices now offers you a
complete line of professional quality
magnetic recording tape — designed
for matched performance
in any tape recorder.
• You would have read this announce-
ment two years ago — except for one
thing. Our engineers were not content
to oiTtr you a recording tape that was
merely "good" by existing standards of ;
comparison. They wouldn't put their
seal of approval on Audiotape until it
had been so perfected in every detail
that it would match the quality and uni-
formity which have characterized Audio-
discs for the past decade.
Paper base Audiotape reached that
goal last May, after more than 2% years
(if research and development. And now
plastic base Audiotape has also grad-
uated from the laboratory — with a de-
gree of engineering excellence which is
an unqualified recommendation to all pro-
fessional recordists.
DEVICES, INC.
ion Ave., N. Y. 22, N. Y
SEND FOR YOUR FREE SAMPLES and let Audiotape speak for itself. We will be glad lo send you a 200-foot
sample reel of plastic or paper base Audiotape. Write to Dep't. T-l.
q^ll^fllff
rBCOTcL
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 6. No. I
444 Madison Avenue, N. Y. C.
January, 1950
THE PROTESTANT RADIO CENTER, INC.
An Example of Cooperation
in In+er-denonninational
Recording and Broadcasting
There recently opened in Dec.itur,
Georgia, a part of greater Atlanta, a
unique radio and audio visual production
center which is attracting national notice.
It is known as the Protestant Radio Center.
It is not a radio station, but it has the
finest equipped studios for broadcasting,
recording, and producing programs for
radio and for audio visual aids. It is unique
in that it is the only inter-denominationally
owned and controlled institution of its
kind in America.
The Center is a venture in Protestant
cooperation, and the one word which sums
up its purpose is just that — cooperation.
Cooperation among the denominations.
Four years ago four denominations inter-
ested in producing religious radio programs
formed the Southern Religious Radio Con-
ference. They have produced one or more
programs every week ever since January 1,
1946.
Cooperation with the radio stations. The
Conference started with 26 stations which
accepted the programs on a sustaining
basis. There are 97 stations now affiliated
with the Conference. This is one of the big-
gest networks for a sustained religious
radio program in the nation today. The
stations at present extend from Washing-
ton, D. C. to Amarillo, Texas and Gallup,
N. M.; from Kearney, Nebraska to Miami,
Fla. Most of the fifty thousand watt sta-
tions in this territory accept these programs.
Cooperation in production. These de-
nominations, with this large number of
stations, felt the need of a production
center, jointly owned and controlled by the
members. Consequently an application for
a non-profit charter was drawn up and
filed by the late Allen W. Clapp, one of
the outstanding Atlanta attorneys. The
charter was granted by the state of
Georgia, and the corporation has been
recognized by the Federal Government as
a tax-exempt corporation, gifts to which
(Co?itniued on Page 2, Col. 1)
Protestant Radit
HOW WE USE RECORDINGS IN
THE ST. LOUIS SCHOOLS
By Llewelyn Lieber — Director of Audio-Visual Education
"Oh, how I wish my students could have
heard that!" is no longer a familiar cry in
the St. Louis public schools. For now tape
and disc recordings bring treasured audi-
tory experiences right into the classroom.
The Division of Audio-Visual Education
maintains a recordings library which in-
corporates all the regular uses of record-
ings and a few which may be unique. For
instance, at an Open House two exchange
students from Bangkok were guests. They
were escorted into a room and a recorder
took down their impressions of education
in the United States and their answers to
questions concerning the Siamese system.
And when the Freedom Train visited St.
Louis, it called forth the presentation of
two radio programs on the Revolutionary
Era. The Division of Audio- Visual Educa-
tion made recordings of these broadcasts
so that they might be used for future his-
tory classes; for demonstrations on recorder
techniques; and for the personal benefit of
the participating students.
The in-service teacher training program
has benefited from the synchronizing of
Kodachrome slides with magnetic record-
ings. This device has been used to show
student-teachers how a St. Louis teacher
in .special education, developed a Christ-
mas program — how deaf children are
taught in Gallaudet School. These sound-
picture projects have been used in talks to
parent groups, members of the Board of
Education, and to other civic groups.
Radio programs originating from the
Division of Audio-Visual Education have
{Continued on Page 2, Col. 2)
AUDIO RECORD
January, 1950
cutdia il^ record
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 6, No. 1
JANUARY, 1950
Protestant Radio Center
(ConUnued from Page 1, Col. 1)
may be deducted m estimating federal in-
come tax.
The basis of the corporation was ex'
tended to church affiliated educational in-
stitutions and inter-church agencies. The
charter authorizes radio production, re-
cording, audio-visual aids, laboratory re-
search and teaching.
The founders of the corporation were
Emory University, Candler School of
Theology, Agnes Scott College, Columbia
Theological Seminary, the Southeastern
Inter-Council Office, and the radio commit-
tees of the Methodists, Presbyterians, Epis-
copalians and Lutherans (United). Aided
by an anonymous grant, the Center starts
off with assets of $2.\000 cash and equip-
ment.
The Center is installed in the music
building of Agnes Scott College, one of the
finest of its kind in the land. The equip-
ment is of the latest model. The Center has
a portable tape recording unit for remote
use. It is equipped to cut recordings for
radio use; 16 inch at 33 1/3 rpm. It can
also cut phonograph recordings at the con-
ventional 78 rpm and also the long playing
microgroove type.
Cooperation on the national level. The
Protestant Radio Center is the official re-
gional outlet for the programs of the newly
organized national Protestant Radio Com-
mission of New York. In addition to that
the Center produces programs for the na-
tion-wide networks. This fall it produced a
program for the Mutual net. A program
for the Columbia Church of the Air orig-
inated here. For four months during the
summer of 1950 the NBC National Radio
Pulpit will originate at the Center.
Dean H. B. Trimble of the Candler
School of Theology is the President. Dr.
John M. Alexander, secretary of the Radio
Division of the Presbyterian Church US,
is the Executive Vice President. Dr. John R.
Brokhoff, pastor of the United Lutheran
Church of the Redeemer, is secretary, and
Mr. George H. Mew, of Emory University,
is the Treasurer. Mr. Warde Adams, Jr.,
is the Production Manager, and Mr. M. F.
Adams, Jr., is consulting engineer.
Recordings in St. Louis Schools
(ConUnued from Page 1, Col. 3)
profited from the use of tape and disc re-
cordings, for it is a most effective way to
develop new series. For example, Dr. John
Whitney, Consultant in Science at Harris
Teachers College, inaugurated a new series
of programs designed to guide elementary
children with scientific experiments in the
classroom. Before going on the air, tape
recordings were made and taken into class-
rooms where the teachers and pupils list-
ened critically for flaws in technique. These
were corrected and a new recording tried
out on other groups until pace, content,
and voice quality were satisfactory. Finally,
a disc was made and tried out with a regu-
lar elementary classroom on their school
stage following the recorded directions
while an audience of teachers and prin-
cipals observed the entire procedure from
the auditorium. Acceptance was unanimous
so the series was put on the air.
All radio programs sponsored by the
Division of Audio- Visual Education arc
recorded on discs, and these are auditioned
by a committee of ten St. Louis Public
School teachers who make a written evalu
ation of each program. At the conclusion
of the series a tally of the recommenda-
tions is made and if the teachers believe
the programs merit inclusion in the record-
ing library, dubs are made and placed in
service for issue to the schools whenever
teachers request them.
To celebrate "Writer's Day," Blewett
High School invited Miss Clarisa Start,
feature writer for the St. Louis Post-Dis-
patch, Robert Hereford, author of "Old
Man River" and feature writer for the
Globe-Democrat, and Mrs. Fannie Cook,
author of "Mrs. Palmer's Honey" and
other novels, to speak to the student body.
The speakers told the techniques employed
when writing for a newspaper and when
writing a book. Now future English classes
can benefit from these authorities for the
Division of Audio- Visual Education made
a recording of the entire program.
When eighth grade pupils of Cupples
School visited Missouri's capital in Jeffer-
son City, the Division of Audio- Visual Ed-
ucation made a recording of their impres-
sions of the trip after they returned. Sev-
enth grade pupils of the same school in-
terrogated the children who had made the
excursion and this resulted in a clarifica-
tion of benefits derived from the trip, a
review of facts learned and a permanent
record for future reference.
Celebrities visiting the Division of
Audio-Visual Education arc usually inter-
viewed with a recorder so that a library of
talks by outstanding authorities on various
subjects is gradually being assembled. This
is available for use in public relations work,
teacher training, work.shop courses and
special subject classes, and will be valuable
to posterity as a means of hearing famous
people express themselves.
The Division of Audio- Visual Educa-
tion follows the routine procedure of using
recorders for perfecting speeches to be
made by staff members; for correcting er-
rors in children's classwork in English,
dramatics and reading; and for recording
radio programs for school use which come
over the air after school hours or at in-
convenient times during school hours. Yes,
the schools have really "gone on record"
here in St. Louis.
AUDIOSCRIPTS 1949
NOW AVAILABLE
A collection of
16 Prize-Winning
Scripts from the
AER and Scholastic
Magazines'
Contests
Audio Devices has prepared, in con-
venient booklet form, a collection of 16
complete prize-winning radio scripts, se-
lected from the 1949 Scholastic Magazines'
Script Writing Contest (for high school
students) and AER National Radio Script
Contest.
These outstanding scripts are the cre-
ative work of the best student writers in
the country — many of whom may well be
among the ace scripters of tomorrow. Their
work will be of great interest to all teach-
ers and students, as well as to anyone con-
cerned with the preparation of scripts for
radio or other recording applications. They
will, of course, be of particular value to
high school and college teachers whose
students are entering the 1950 contests.
School and home recordists will find this
collection very worth-while for still another
reason, too. For practically all of these
scripts — particularly the original radio
dramas — make excellent material for re-
cording in the classroom or at home. This
booklet. 81/2 by 1 1 inches in size, is being
offered at actual cost, as a service to edu-
cators and others interested in script writ-
ing. It sells for $2.00 List per copy. Readers
of Audio Record, however, can obtain
copies at $1.00 each. Send check or money
order to Audio Devices, Inc.. 444 Madi-
son Ave. New York 2 2, N. Y. (Dep't S- 1 ) .
January. 1950
AUDIO RECORD
by C. J. LeBel, Vice President,
Audio Devices, Inc.
REMARKS ON MAGNETICS
With the advent
of magnetic record-
ing, many engi-
neers have sudden-
ly developed a new
interest in magnet-
ic fundamentals, a
subject carefully
forgotten since col-
lege days. To ap-
pease them we will
proceed to discuss
some basic mag-
netics, using indus-
try practice in terminology rather than the
official AIEE standard. Finally, we will
give magnetic data on both red and black
AUDIOTAPE.
In Fig. 1 we show a typical relation
between the magnetizing force applied to
a material and the resulting magnetic in-
duction (magnetization). This curve show's
what happens when you start with a com-
pletely de-magnetized material, and in-
crease the magnetizing force progressively.
Note that the curve levels off at the upper
end as saturation is approached (point
A). If we now Aeciease the magnetiz-
ing force from its peak value A back
down to zero, the magnetic induction will
fail to retrace the curve previously fol-
lowed. Instead, it will decrease much more
slowly, following the dotted line AB shown
in Fig. 2. Even when the magnetizing force
has dropi^ed to zero, a certain amount of
residual magnetization remains (point B) .
To remove this, it is necessary to apply a
C. J. LeBel
P.^
Fig. 2 Development of typical hystt
ally varying magnetic 6eld.
magnetizing force of opposite polarity. The
curve will then be as shown by the dotted
line BC in Fig. 2. Then, if this negative
magnetizing force is progressively in-
creased, the curve will continue along
dotted line CD, approaching negative
saturation and returning along dotted line
DEFA as the magnetizing force is reduced
to zero and then increased positively again.
This failure of the curve to retrace its orig-
inal path is called hysteresis, and the dotted
curve shown in Fig. 2 is a hysteresis loop,
the magnetization curve which results
when we increase and decrease the mag-
netizing force cyclically.
Actually, we have oversimplified the
matter in Fig. 2, because we do not ordi-
narily get back exactly to the starting point
(A) the first time around the loop. After
thirty or forty cyclic variations the loop
retraces itself exactly, and it is this which
is ordinarily shown, rather than the first
loop traced after the initial magnetization
curve (line OA).
In Fig. 3, we show typical hysteresis
loops for plastic and paper base AUDIO-
TAPE. In these illustrations we have, for
the first time, introduced units. Magnetiz-
ing or magnetic force (usual symbol H) is
measured in oersteds, one oersted being the
value which would produce a magnetic in-
duction of one flux line per square centi-
MAGNETIZING FORCE
BLACK OXIDE
meter in air. Magnetic induction is meas-
ured here in maxwells (usual symbol B),
the maxwell being a unit indicating the
total induction. Another unit of magnetic
induction is the gauss, a measure of flux
density. One gauss is equivalent to one
maxwell per square centimeter.
A great deal of magnetic testing equip-
ment is calibrated in gausses, because it was
originally built for testing wire. Since a
curve tracer fundamentally reads total in-
duction, the gauss scale is produced by as-
suming an area of 160 circular mils, a
standard wire area. On tape the total coat-
ing cross-section will vary, but the cus-
tomer really buys and uses the total induc-
tion, so all of our test data are given in
maxwells.
It is easier to classify materials if their
characteristics can be summarized in a few
numbers, rather than by the infinite num-
ber of values given by curves. In the case
of magnetic oxides it has become customary
to use two index values : the retentivity and
the coercive force.
Retentivity is the magnetic induction at
which the rnagnetizmg ^orce is zero, in a
symmetrical cyclically varying magnetic
field. It is marked Br in Fig. 3. The other
number is coercive force, which is the mag-
netizing force at which the rrwgnetic in-
duction 15 reduced to zero in a cyclically
varying magnetic field. It is marked He in
Fig. 3. Coercive force and retentivity well
define the characteristics of most magnetic
materials at 60 cycles, but they are some-
what indefinite as a guide to recording
properties, as will be discussed later. As a
matter of actual practice, the retentivity is
generally determined by application of a
60 cycle field with a peak value of 1,000
oersteds, which is well beyond saturation.
The following are the magnetics of
plastic base AUDIOTAPE:
Red:
Black:
He
Br
He
Br
240
270 oersteds
..i — .58 maxwell
300 — 340 oersteds
.5 — .58 maxwell
Paper base AUDIOTAPE will have the
same coercive force. Retentivity will nor-
mally be in the same range, but it is subject
(Continued on Page 4, Col. 2)
8 m MAxyruu
RED OXIDE
Fig. 1 Magnetizing fo
for a lypical magnetic n
and initial magnetic induction
loops for typical AUDIOTAPES.
AUDIO RECORD
January, 1950
TAPE-RECORDED PROGRAM REVEALS FACTS OF LIFE
"It's Your Life" lifts the lid
on hitherto taboo subjects,
in its continuing battle for
better health
Chicago's tape-recorded, award winning
documentar>' radio program, "It's Your
Life", has blazed many important trails in
the broadcasting field. Noteworthy among
these has been the fearless and straight-
forward manner in which they have tackled
the delicate problem of sex education. This
subject, which has so long been discussed
only in whispers or behind closed doors,
was given the full treatment in a unique
two-part program which pulled no punches
and did not obscure its important message
with mincing references to the birds and
bees.
The first program featured Chicago
children discussing se.x education with a
prominent physician. Segregated groups
of 12 year olds told their problems, de-
scribed physical changes, and explained
their feelings on the subject. And the doc-
tor answered all their questions in an
equally frank manner. In recording such
a discussion, one may readily appreciate
the advantages of using tape — -with its easy
editing (and easy censoring) qualities.
The second program in the series high-
lighted the lives of two girls — one who
suffered tragic consequences as a result of
improper sex education, and another who
had the benefit of intelligent guidance. The
contrast in the lives of these two girls ef-
fectively dramatized the importance of sex
knowledge in helping adolescents to adjust
themselves normally to the physical and
mental changes coincident with "growing
up".
These two programs achieved a two- fold
purpose. One, to give helpful suggestions
to parents and point out the value of in-
telligent sex education in the lives of their
children; and two, to instruct the boys and
girls themselves who were listening at their
radios.
Produced by Ben Park, who has an out-
standing record in the Mid-West as a pro-
ducer of award winning documentary
radio programs, "It's Your Life" is designed
to show how better health means better
community living. Since its inception little
more than a year ago, the program has won
five awards for excellence as the "most
outstanding program of the year" and
gained nation-wide attention in the health
education field.
In collecting material for "It's Your Life",
interviewer Don Herbert and his tape re-
corder visit homes, hospitals, nurseries, wel-
fare agencies — wherever in Chicago people
live and fight battles for better health. For
the first time in radio history, listeners have
been taken behind the scenes of such real-
life dramas as the delicate blue baby opera-
tion performed in a Chicago hospital; the
birth of a baby in a Chicago home; the
treatment for such ills as alcoholism, men-
tal illness, tuberculosis and venereal dis-
ease.
"It's Your Life" is produced for the
Chicago Industrial Health Association — a
non-profit agency made up of 39 member
agencies for the good of Chicagoans — and
sponsored by Johnson ^ Johnson, makers
of surgical dressings. All programs are re-
viewed by a medical advisory board for
authenticity before being presented over
the air. These programs are broadcast at
.V?0 P.M., Sundays, over Station WMAQ.
the NBC outlet.
Producer Ben Park (left* and inlerviewer Don Herbert
time "It's Your Life" with a ruler instead of a slop
watch. An average half-hour broadcast requires hours.
and sometimes days, of actual recording. The completed
reels are edited down to comprise th-e finished program.
Remarks on Magnetics
(Continued from Pd<>e J. Col. 1)
to variation over a rather wider range due
to variation in paper thickness.
A number of writers have expounded
the theory that the high frequency re-
sponse of a magnetic recording medium
correlates directly with its coercive force.
This may be termed a cornerstone of the
classical theory. Unfortunately, the class-
ical theory is badly oversimplified, and the
gap between theory and practice is too wide
to be overlooked. The correlation between
coercive force and high frequency response
exists only when comparing successive
batches of nominally identical oxides. It is
a fairly satisfactory production control
tool, but very dangerous if applied to re-
search results. For example, in comparing a
red with a black oxide, it becomes entirely
valueless.
Classical theory also indicates that re-
tentivity correlates directly with low fre-
quency response. Again, this is a very
oversimplified picture, for the relation
works well as a production tool on nom-
inally identical oxides, but fails hopelessly
when comparing hundreds of oxides in re-
search. The error may then be as much as
20 or 30 db.
It is possible to derive another magnetic
characteristic by producing a series of hy-
steresis loops with diff^erent values for Hm,
the maximum magnetizing force. We get
a series of values for He and Br corres-
ponding to various values of Hm. The more
useful relation is the one between Hm and
Br, which we have shown in Fig. 4.
A useful index point which can be de-
rived from this curve is the saturation
magnetic force, which is marked on Fig. 4.
This is of interest because a tape has to be
saturated, at least momentarily, to erase it.
The higher the saturation force, the harder
to erase. For the particular oxides shown
in Fig. 4, the values are 810 oersteds for the
black and 710 oersteds for the red.
Seeing that magnetic characteristics are
so far from linear, we can only marvel at
the effect of AC bias in linearizing the
transfer characteristics.
q^ll^fflff
recoTcL
PUBLISHED BY AUDIO DEVICES, INC.
Vol. 6, No. 2
444 Madison Avenue, N. Y. C.
February, 1950
Irs. Marjorie Taylor uses n. w s\^i,in in District 14 Country School near /imnit-rni
I singing, with a recording of top quality chorus of voices. (Photo, courtesy of The
nn. — leading her
apolis Star).
NEW STATE-WIDE PROGRAM GIVES MINNESOTA SCHOOLS
TAPE RECORDINGS AT ROCK-BOTTOM COST
Mail-Order Tape Service
opens vast nev/ field for
use of educational recordings
It all began last spring — at the Spring
English Conference held at the University
of Minnesota. Here, teachers made a strong
plea for a lower cost source of recorded
material for classroom use. Particular men-
tion was made of the many radio programs
on the air which would be of great edu-
cational value if they could he brought
into the classroom at times when their
message or content would be most appro-
priate.
Since this Conference left no doubt as to
the need for good recorded material — at a
price within the range of even the smallest
schools — the Minnesota Department of
Education decided to do something about
it. So, with the help and cooperation of
the University of Minnesota and a private
business concern, a radically new system
of making and distributing recordings has
been established. This program, organized
on an experimental basis, is now in full
swing — offering a unique, low-cost record-
ing service to all of Minnesota's 7000
schools.
Final details of the program were worked
out largely by Richard C. Brower, audio-
visual-radio director for the Minnesota De-
partment of Education, and Betty T
Girling and other staff members of the
University of Minnesota Radio Station
KUOM. Here's how the program works.
The state education department is
building up an extensive library of master
tape recordings — covering the complete
range of subjects appropriate for classroom
use. These recordings are being secured
from Station KUOM, from the networks,
and through the U. S. Office of Education
in Washington, D. C. A catalog of the
available recordings, with monthly supple-
ments to keep it up to date, is distributed
to all interested schools.
In order to participate, the only invest-
ment required by the individual schools is
the purchase of suitable tape recorders and
reels of recording tape. A teacher desiring
(Continued on Page 2, Col. 1)
What Do Users Think
About Audiotape?
They "speak for themselves" — in
these comments on the performance
of the free samples we sent out
A Rddio Station: "Superior in ever)- way
to any tape we have used so far."
A College; "Found your tape a very ex-
cellent product, and plan to stock it ex-
clusively. Lower hum level most noticeable
improvement."
A Vocation School: "Of several brands of
tape tried 'Audiotape' has the lowest con-
sistent noise level. Response is exceptionally
constant for all parts of each reel."
A Radio Station: "Have tried the plastic
tape — find it equal or better than other
makes. We are now regularly using it for
all tape recording work."
An Industrial Firm: "Thanks for the
sample of plastic base Audiotape. I find
that It excels all other makes now on the
market in quietness, range, and easy hand-
ling. Have disposed of all other makes and
am using only Audiotape."
A High School: "Have tested the samples
of Audiotape and we are much pleased
with it. For our machines your red oxide
paper is as satisfactory as the plastic tape
we had been using. Our school system is
now using this red oxide paper tape as an
economy measure over the other plastic."
A Church: "Your tape is excellent and we
will buy it from now on. Also thanks for
the 'Audio Record' with articles on tape
recording."
A University: "After trying samples of
your paper tapes, ordered 20 rolls. I be-
lieve they are the best buy in paper tapes
now available."
(Continued ui)i Page 2, Col. 1)
AUDIO RECORD
February, 1950
CLudla^reccrrcL Cleveland jobbers new quarters
SIMPLIFY PURCHASE OF AUDIO COMPONENTS
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 6, No. 2
FEBRUARY, 1950
Minnesota Schools
{Continued from Page 1, Col. 1)
any of the listed subjects simply fills out
an order form specifying the programs
wanted, the type of machine on which they
will be reproduced, and the desired record-
ing speed in feet per second. This form is
then sent in to the Department of Educa-
tion, together with the required number
of reels of "blank" tape. The desired selec-
tions are then recorded from the master
tape onto the "blank" reels, which arc
promptly returned to the teacher.
The recordings thus made can be used by
the school as desired — cither played back
and then erased, kept on file for future
reference, or transcribed onto discs for per-
manent record. Thus, the actual cost for
obtaining these educational recordings is
only the required postage and the tape
itself.
As a result of this program, the world's
outstanding authorities are now doing im-
portant teaching jobs in the Minnesota
schools — via low-cost, high-fidelity tape
recordings.
The Radio 5? Electronic Parts Corp.,
Cleveland. Ohio, has recently moved to a
completely new building which has been
specially designed throughout to give better
"Service to the Customer."
One of the first things that Repco patrons
are impressed with is the large parking lot
planned for their convenience — a distinct
contrast to the Company's previous quar-
ters in the heavily congested, trafiic-choked
downtown area. And, once inside the
building, it is evident that this same spa-
ciousness and convenience has been fol-
lowed through in every detail of planning.
The main salesroom (where you can buy
anything from an Audiodisc to an Audio-
point — and a few million other things)
has large, roomy aisles, a variety of self-
service island displays, and 60 feet of
counter space.
Repco's sound department is of particu-
lar interest. Located on a mezzanine ex-
tending the full length of the building, it
is based on the idea that the best way to
give the customer exactly what he wants
is to demonstrate it in actual operation.
Here, the prospective purchaser can sec and
hear practically any conceivable combina-
tion of audio and video components. An-
tennas, tuners, amplifiers, microphones,
speakers and recorders can be quickly
hooked up as desired and demonstrated on
the spot. The arrangement provides for
instantaneous switch-over from one com-
part?, Repco president (righl) explains
oom setup to Al Kahn (lejl), president
-Voice, Inc., and William J. Doyle
ales manager of the Astatic Corp.
bination to another, giving an accurate
comparison of the relative merits of the
different components. Take TV antennas
for example. There are eight different an-
tenna installations on the roof of the build-
ing, and the salesman can show a customer
the differences in the various models as a
function of the image on the television
tube.
Radio and Electronic Parts Corp. has
been a distributor of Audio Devices prod-
ucts for the past ten years. They now
handle the full line of Audiotape, Audio-
discs and Audiopoints.
Comments on Audiotape
(Contnmed from Page 1, Col. 3)
A Radio Station: "It is the best tape on
the market to date — less noise and under
a microscope it is the cleanest tape I have
seen. It is the tape we will use here you
can be sure of that."
A Broadcasting School. "Thank you for the
Audiotape samples. They are the best we
have tried to date. Same high quality as
your Audiodiscs. Will order more locally."
A College: "The plastic base tape I re-
quested was completely satisfactory. There
was a distinct reduction in amplitude mod-
ulation of high frequencies over a similar
competitive tape."
A Film and Sound Service: "Received
sample tape; our findings show after being
put through the 'acid test' that Audiotape
is far superior to anything we have used
yet and we have pretty well covered the
field. Prefer the black oxide for excellent
bass frequency response."
A High School: "Excellent — I use record-
ings in my English classes and find your
tape of unusual fidelity."
A Radio Station: "Like your plastic tape.
It does a much better job than any other
tape that we've used. Audiotape gets our
bid!"
A Sound Studio: "It was immediately ap-
parent after initial comparisons that paper
Audiotape is of a far superior quality.
Have been using it exclusively where a
paper base tape was indicated. Reels are
not subject to scraping or damaging of
tape as often the case with other brands."
A Radio Station: "Very well satisfied with
your tape, particularly the plastic. Have
the assurance of our chief engineer that
we will be in a position to use your plastic
tape exclusively when our tape recording
operations get into full swing. Our tests
indicate that plastic Audiotape is superior
in every way to any other."
A College: "We are using your plastic
base Audiotape exclusively for the original
recording of our radio programs. We find
that there is practically no loss from dub
bing from tape to disc."
A Radio-Ham: "Have used the plastic base
tape with surprisingly excellent results.
Recordings made of organ music on Audio-
tape were transferred to discs with no dis-
cernible loss of fidelity. Your product is
what the trade calls 'a fine article', and
in the words of one radio-ham friend who
sees a good thing, 'I'll buy some of that!'
Thanks again."
A Research Lab: "Have found your record-
ing tape to be the best for my recorder.
Very low noise level and very uniform
characteristics are its outstanding qualities.
The price is also attractive."
A Radio Station: "We have found that the
samples of Audiotape meet all the claims
you have made for it. We are using some
of your plastic tape, which we purchased
on the strength of your name and adver-
tisements alone, and have found this tape
superior to any we have ever used at this
station."
To date we have received many hundreds
of these cards commenting favorably and
enthusiastically on the performance of
Audiotape. The remarks quoted above are
typical. We wish to thank all of these
users for the overwhelming vote of
confidence.
AUDIO RECORD
by C. J. LeBel, Vice President,
Audio Devices, Inc.
MORE ON MODULATION NOISE
Tape m a c h i n c
noise IS a highly
variable factor —
it seems to increase
under these many
changes in condi-
tion: from the fac-
tory test floor to the
recording room,
during recording
room use, and from
one make of ma-
chine to another.
Since these increas-
es range from 5 to
be ignored.
Some increases reflect changing amounts
of hum, but much results from an increase
in tape hiss. We propose to examine the
reasons why a given tape may be so much
quieter on one machine than on another;
or so much quieter in one recording room
than in another, on the same type machine.
Most of the increases referred to result
from a change in the character of the ef-
fective bias on the tape. Particularly, we
believe that they reflect an increase of
modulation noise' caused by a dc com-
ponent of bias flux; or by its equivalent,
assymetrical distortion of the bias flux. An
actual dc component can origmate in dc
leakage through one of the head coils, or in
permanent magnetization of the core of a
head; assymetrical distortion arises in the
bias oscillator or its amplifier, particularly
when not push pull.
TAPE
RECORD
REPRODUCE
HgH
In order to determine the effect of dc
leakage, we set up the circuit of figure 1.
An adjustable amount of dc could be passed
through the recording head simultaneously
with any desired value of bias, and the
currents could be measured separately.
^
-—
-
s
■^
^
^
/
/
5
/
/
/
0
/
DC CURRENT
•K OF BIAS CURRENT
■ Effect of dc component o
1.9 MA
30 %
/
y
20
/
y
/
/
Ul
<
/
z
/
2
/
/
f
/
/
0
/
•r. ASYMMETRY
FIG. i — Effe
The bias used was ,S ma at 74 kc, which
was a representative bias for this type of
head.- The tape used was our red oxide
on plastic base. Results are shown in fig-
ure 2.
If we study this figure we note that noise
increases 5db with the passage of only .2
milliampere, which with a JOO volt dc sup-
ply would correspond to a leakage resist-
ance of I..S megohms. Since a number of
home units have used a blocking condenser
whose insulation resistance could easily fall
to \.^ megohms after a spell of humid
weather, it appears that some attention to
leakage conditions might be in order.
We felt that it would be interesting to
compare our dc results with J. W. Gratian'^
work on erase assymetry,-' so have changed
his data to a db basis and replotted it in
figure 3 He states that his results are appli-
cable to bias fault as well as to erase. Both
curves seem to have essentially the same
shape, but Gratian's work seems to reflect
much greater sensitivity. We are not sure
whether this stems from the greater effect
of assymetry, or whether the use of an en-
tirely different oxide is the cause.
In any case, we agree with Gratian's ob-
servation that bias assymetry may be neu-
tralized in effect by the addition of proper
amount of dc of correct polarity. Perhaps
some broadcasters using home machines for
remote pickups might use this idea to im-
prove their signal to noise ratio.
While noise may be created by poor
erase waveform as Gratiain shows, we find
that much of this noise is erased by the bias
flux.
Another source of noise is permanent
magnetization of the recording head as
a result of transients in the signal. A ma-
chine may start the day with a signal to
noise ratio of 61 db. and be down to 54 db
by night, due to this efi'ect. Hence, profes-
sional machine manufacturers recommend
frequent demagnetization of the recording
head. Usually they can supply equipment
for doing this, and some machines have
built-in demagnetization means. If you
cannot secure a demagnetizer from the
manufacturer, you may wish to have one
built, like figure 4. Most of the dimensions
are not critical, but the radius on the tips
of the poles must be a good fit to the curva-
ture of the recording head. The coil may be
either random wound, or layer wound with
.0015" glassine between layers.
To use, plug into 115 volt AC, and
apply pole tips to recording head. Slide
sideways and gradually remove from the
head. Do not connect to the power line for
over 10 seconds at a time, for the coil
overheats with great rapidity.
(ContmuiA 0)1 Pdge 4, Col. 1)
400 TURNS *»22
ENAMELLED COPPER WIRE
v.- MAKE RADIUS TO FIT RecOROING HEAD
C: MAKE OF SILICON STEEL"reiAY BAR','
OR SOFT IRON
FIG. 4 — Head demagnetizer.
AUDIO RECORD
February, 1950
Unique Centralized Recording Studio
Serves U. of I. School of Music
"^■^"---4
--
^4HP
■^i"-
XBS^I^^
-
»^
1^^
^
-«■ '.«
PI
- K
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=^?<^
'■:'
w^
i 1
k«i
Wolfgang Kuhn. Assisiant
in the new recordtnf
Located high at the back of a large re-
cital hall, in a remodeled projection room, is
one of the most compact — and one of the
busiest recording rooms in this country.
It's the new, centralized recording installa-
tion of the University of Illinois School of
Music.
Here, transcriptions are made from the
stage of the Recital Hall - - or from any
class room or rehearsal room in the entire
school. And facilities permit instant play-
back of any recording to whatever room it
originated from. In addition, recorded
music as well as live radio programs can
be channeled directly from "headquarters"
to any of the class rooms, as an aid in
teaching and learning the performance of
music.
This installation also serves as a remote
control room for the University Radio Serv-
ice, WILL, which carries weekly programs
performed by the faculty and the students.
and by the various choral and instrumental
organizations of the School of Music.
The University of Illinois School of
Music is collecting a permanent file of past
MODULATION NOISE
(Continued from Page 3, Col. 3)
Recording heads should be demagne-
tized at least once a day for good results,
and twice a day if the best signal to noise
ratio is desired.
REKERF.NCES
J. C. J. LcBel, Moiliilalion Nui.u; Audio Re,,i,d, Di-crmher
19*9.
1. C. I. LcBcl, Ketv Method u/ Mraturing Bia,. .iud,u
Record. June-July, 1949.
3. J. If. Gratian. None in Magnetic Recording System, as
Influenced by the Characteristics of Bias and Erase Sig-
nals, Jl. Acoust. Sue. Amer. ml. 21, no. 2, pp 74-81.
March 1949.
programs for reference, class-room use and
future broadcast. Works already on file
comprise one of the largest and most repre-
sentative collections of contemporary' music
— as performed, during the annual Con-
temporary Arts Festival, by the U. of I.
Sinfonetta and Orchestra, conducted by
John M. Kuypers, director of the School of
Music, the Walden String Quartet, and
other ensembles, choral groups and famous
guest artists.
The recording studio was installed last
March, and has been under the able direc-
tion of Wolfgang Kuhn, Assistant Profes-
sor of Music. Since then, the demands for
service from this department have increased
so rapidly that now, besides Mr. Kuhn,
two engineers spend most of their time at
the controls.
AUDIO DEVICES WILL BE THERE, of
course — with an up-to-the-minute product ex-
hibit in Booth No. 231. YouMI see the complete
new line of Audiotape, Audiodiscs and Audio-
points.
HAVE YOU READ
THESE PRIZE-WINNING
SCRIPTS YET?
Audioscripts
1949 is a collection
of 16 complete
radio scripts — ■
written by high
school and college
students and se-
lected from prize-
winning entries in
the 1949 Scholas-
tic Magazines and
AER contests. These scripts are essential
reading for all budding script writers, and
their teachers. Moreover, they make excel
lent material for dramatizing and recording;
in the classroom or at home. All sound
cues and sound effects instructions are in
eluded. The contents are listed below:
SCHOLASTIC MAGAZINES'
RADIO SCRIPT WRITING CONTEST
(High School Students)
Original Radio Drama
First Prize — Sometime Tomorrow, By Richard
Jackson, Jr.
Second Prize — The Dream, By Neil Jackson.
Third Prize — The Janitor's Tale, By Juanita
Pennell.
Fourth Prizes — The Laying Place, By Richard
McMahon.
Alone, By Louis Freiier.
Chubby the Carrot, By Marian E. Tyrrell,
Pier 51, By Winthrop Griffith.
General Radio Scripts
First Prize — An Imaginary Interview with
George Bernard Shaw, By Elena
Joan Svagzdys.
Second Prize — HiGH SCHOOL PSYCHOLOGY, By
Mary Carol Massi.
T/iird Prize — The Story Behind the Label.
By Richard Wallace.
Fourth Prir,es--DECISI0N, By David Kiplinger,
In Session, By Jim Erickson.
Radio Drama Adaptation
Fourth Prize — A Prudent Woman. Adapted
from the Bible, by Mary Catherine
Franklin,
A. E. R. NATIONAL
RADIO SCRIPT CONTEST
(College Students)
Classification No. 5 — Scripts for
Home and School Recording
First Prize — How the Rockim; Chair Got
It.s Squeak, By Fred A. Brewer.
Second Prize — Rendezvous, By Herbert Rube.
Third Prize -^Vallum Hadriani, By Carl C,
Naumann.
This collection is offered at cost — $1.00
net each. Send check or money order to
Audio Devices, Inc., 444 Madison Ave.,
New York 44, N. Y.
q^Hff_t<y
Vol. 6. No. 3
PUBLISHED BY AUDIO DEVICES, INC
444 Madison Avenue, N. Y. C.
March 1950
INSIDE WFAA
— The story of a modern
high-fidelity recording room
By M. W. Jeffers
WFAA Recording,
Dallas, Texas
In 1946, Station WFAA, Dallas, de-
cided to improve their recording room
set-up — to provide the Southwest with
the last w'ord in modern high-fidelity sound
recording facilities. Plans were drawn and
redrawn — ideas exchanged — innumer-
able conferences held. Here is the cumula-
tive result of more than two years of plan-
ning and construction — a room 19' by 13',
filled to capacity with the most modern
recording equipment, including 6 racks, 4
recording machines, 2 dubbing and play-
back tables and record -storage space.
While the equipment is fairly conven-
tional in itself, the finished layout is of
particular interest from the standpoint of
appearance, performance and operational
features.
The entire system was designed for high
quality and high fidelity from beginning
■ of WFAA's recording
to end. Each piece of equipment was
thoroughly inspected and tested. Distor-
tion, frequency response, gain, etc., were
measured before installation, resulting in
overall performance that leaves little to be
desired.
Fig. 1 shows a partial view of the equip-
ment from the entrance — ■ including three
of the six racks and two of the four disc
recorders. The other two recorders are on
the opposite side of the room, and the dub-
bing and playback tables (shown in Fig. 2)
(Continued on Page 2, Col. 1)
Audiotape Now Available in 2500-foot Rolls
. . . with five important advantages
to all professional recordists
Plastic-base, red oxide Audiotape is now
available in professional-size, 2500 foot
rolls — wound either on standard NAB
aluminum hubs, or on complete aluminum
reels. This latest addition to the Audio-
tape "family"" offers these five significant
advantages.
1. Exceptionally Low Cost. Audiotape
Type 25.S1H (on hub only) has a list
price of $10.00. Audiotape Type
2.'i51R (on completed reel) has a list
price of $12.85. These prices, of course,
are subject to the usual discounts to
dealers, radio stations, recording stu-
dios, schools, and industrial firms. Note
that the additional price for the alu-
minum reel is only $2.85 list.
(ConUnued on Page 4, Col. 1)
AUDIO RECORD
March 1950
audla il recard
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 6, No. 3
MARCH, 1950
Inside WFAA
{Continued from Page 1, Col. 3)
are located at the left, adjacent to the en-
trance. A combination record storage and
desk is located at the right of the entrance.
The racks are installed over "wells" across
the rear of the room, with three feet of
space between wall and racks to allow
ample room for maintenance work.
The recording room receives its programs
from poly-cylindrical studios via a 12-feed,
6-channel master control room.
— Dubbing and playback tables,
rubber cups and cork sheeting
Four program circuits are normalled to
the selective switch system located on each
recording table. One other program and
two phone circuits are available to be
patched at will.
Since all recording channels are identical,
only -one will be described in detail. Across
each input is a preset master-relay-operated
switch system. This feeds a 50,000 ohm-to-
linc bridgmg coil — then to the limiting
amplifier (only 3 db or less of compression
is used) . The high bridging-coil impedance
is used so that all four recording channels
can be placed across one 500-ohm program
source without any impedance upsets. The
limiter feeds a volume control with a V U
meter across the output, located on the re-
cording table for convenience. Next, a relay
operated by a cutter switch, also on the con-
trol panel, allows program tone to be inter-
rupted to each individual head without
affecting any other, should more than one
channel be across a single source. The NAB
recording filter and head equalizers follow,
and feed the 40-watt Altec recording am-
plifier which feeds the temperature-con-
trolled RCA MI-U850C recording head.
A monitor amplifier and speaker are con-
nected across each recording head, to
permit checking circuit continuity, noise,
distortion, etc., at the last possible point
before it goes on the disc. The frequency
response of this amplifier has been modified
to complement the recording pre-emphasis.
NAB recording standards are used and
closely maintained.
Racks 2, 3, 4, and 5 are all identical —
like the two left-hand racks shown in Fig. 1 .
Equipment consists of (top to bottom) :
recording amplifier, jack strips, band-pass
filter, limiting amplifier, bridging coil, re-
cording equalizer, monitor amplifier and
relays. Rack 6, at right in Fig. 1, contains
(top to bottom) meter for tube checks,
utility circuit, pre-amplifiers, tra,nsmJssion
measuring set, jack strips, audio oscillator,
program amplifiers and power supply for
preamps and roving monitor amplifier. This
amplifier, together with a 15" Altec 604
high-fidelity speaker, can be switched across
any program circuit in the recording room.
Fig. 3 shows a close-up of one of the four
Scully recording machines. On table at
front (left to right) are the motor start
switch, control panel and recording-head
heater switch and pilot light. On the post
behind the carriage is the channel V U
meter and attenuator. The large box on the
wall behind the machine houses a metal
sack made of #80 mesh brass hardware
cloth, to catch the removed cutting thread.
Each machine has its own separate thread
collector.
A Spencer central suction plant housed
in another part of the building furnishes
suction for all four machines. A valve lo-
cated beneath each thread collector controls
the suction at the individual machine.
The dubbing channel equipment illus-
trated in Fig. 2, is interesting in that the
turntables are mounted on Neoprene rub-
ber cups set on a 6" platform mounted on
1" cork. This is done to eliminate building
vibration. The entire assembly is so con-
structed that the turntables are waist high,
for convenience in operating from a stand-
ing position. The dubbing channel circuit.
®
500/1
ATTEM 1
500 n
HIGH-FREQ.
EQUALIZER
PROGRaiVI
AMR
BA 3A
diagram of dubbing channel circuit.
50Mn
I ^OW^
500a tee pad
SET FOR 32 DB UJSS
GIVES CORRECT NAB
ROLL-OFF FOR HIGH
FREQUENCIES
TO PICKUP TO PREAMP
LOW-FREQUENCY EQUALIZER
Fig. 3 — Equalizer circuit, with low-frequency porti<
HIGH-FREQUENCY EQUALIZER
left and high-frequency portion at right.
March, 1950
AUDIO RECORD
shown in Fig. 4, consists of two pre-ampli-
ficrs feeding a two-position mixer and a
high -pass filter to further eliminate any
possible effect of building vibration on the
discs being dubbed. The program amplifier
supplies the same signal (+ 8 V U) output
as the master control, allowing any or all
recording channels to be bridged across it.
The heads were selected after exhaustive
tests on all leading high-quality pickups on
the market. These heads, with a modified
arm and an equalizer of our own design,
provide reproduction of the NAB record-
ings within ± 1 db from 30 to 10,000 cycles.
The excellent low-frequency response of
the pickups led to the extreme steps neces-
sary to eliminate the effects of building
vibration.
Amazing even to us, was the fact that
the pick-up that gave the best results was
a relatively low-priced, high'impedance
unit.
However, after equalizing and matching
to low-iinpedance, the output was still
within limits as to output (- 63 db) .
The equalizer circuit, shown in Fig. 5,
excels anything tried, which included every
one we had ever seen or heard of — even
equalized amplifiers.
After installation was complete and cir-
cuit continuity was established, frequency
and distortion runs (with pre-emphasis)
were made on the complete channels. The
overall response is ±2 db, 30-16,000 cycles;
and ± I db, 20-20,000 cycles, without the
limiting amplifier. The distortion is less
than '/t of 1 % over the frequency range.
Next, the heads were connected and ex-
haustive runs were made by actually cut-
ting the frequency runs and checking the
resulting cuts by the light pattern method.
Equalizers were installed and adjusted
until less than ±1 db variation resulted
between 800 and 10,000 cycles. The pre-
cmphasis equalizers were then inserted and
frequency runs repeated until the recorded
results were well within NAB limits. A
frequency run from a resistance capacity
oscillator through the recording channel,
played back through the dubbing channel
and measured on a distortion meter showed
a maximum of 1% distortion for all the
equipment involved.
Periodic frequency runs and distortion
measurements are made, and each needle
and disc is noise tested by actually playing
and measuring the test cuts on the dubbing
channel.
A routine check of the overall system
noise level revealed the following: After
recording continuously for 9 hours on each
of the four recorders, one was picked at
random and the playback noise from a test
cut, as measured on a G. R. Noise Meter,
showed a ~50 db noise under normal pro-
gram level of 6 cm. stylus velocity. Needles
used were Audio's Microgroove No. SM
14, and the disc, of course, was a Red
Label Audiodisc.
by C. J. LeBcI, Vice President,
Audio Devices, Inc.
TAPE BASE MATERIAL
As every experi-
enced engineer has
found, it is not pos-
sible to make a
product which is
the ultimate in
every single respect,
because many prop-
erties are achieved
only at the expense
of others. In short,
a good design is one
in which conflicts
have been resolved
to yield the best overall performance. The
cellulose acetate we use for a tape base
material is no exception to this rule.
It will be recalled that two years ago wc
discarded vinyl copolymer base, and
adopted cellulose acetate, because the de-
sirable properties of the vinyl were at-
tained at the expense of too many faults.
Cellulose acetate seemed to have a better
balance of characteristics, and time has
verified this judgment.
There are a number of grades of cellulose
acetate, differing in the degree of plasticiz-
ing. The minimum amount of plasticizer
produces a hard, brittle material. Increased
amounts increase the flexibility, until finally
a very soft, rubbery characteristic is
produced.
In choosing our base material it was
necessary to conform to NAB standards,
and this indirectly fixed the thickness of
the base at .0015 inches. Adequate strength
had to be provided, in this thickness. Nor-
mal recording machine tension would have
to produce as little permanent stretch as
possible, otherwise the program would take
longer to reproduce than it should. At the
same time, the material would have to
withstand the shock of rapid machine re-
versal, so that impact strength was also
necessary.
These stringent requirements ruled out
the heavily plasticized acetate, leaving only
the light and medium plasticizing to be
compared. Recording-wise, the medium
grade was preferable, for its improved flex-
ibility allowed the tape to maintain better
contact with the head, a guaranty of better
high frequency response and smoother mo-
tion through the machine. The question
was, would the strength prove adequate?
Upon measuring the permanent stretch
with various loads, we were surprised to get
the result shown in figure 1 . Both minimum
and medium degrees of plasticizing produce
the same permanent stretch at all loads up
to 2.5 lbs., and the curves diverge only
above that value. At higher loads the greater
resilience of the medium plasticizing allows
more stretch. We can better evaluate these
results if we recall that normal recorder
tape tension is of the order of % to 54 lbs.
The peak tension during reversal, machine
manufacturers tell us, is never over IV4
lbs. In the normal working range, then,
the two acetates stretch identically. At
heavy peak loads the medium material can
give resiliently, where the light would
prove too brittle.
Since the breaking strength for both ma-
terials was in the 41/2 to 5 lb. range, we
standardized on the medium plasticizer
content.
It is interesting to note that the break-
ing strength of tape is seven to twenty
times the normal working stress. This is a
factor of safety worthy of the bridge
builder, and certainly very conservative.
.RESULTING TIMING ERROR
IN SECONDS PER 30-MINUTE PROGRAM
TAPE TENSION, LBS
FIG. 1 — Relation bctwc
corresponding timing erro
en tape tension and permanent stretch after tens
r if continued for 30 minutes.
AUDIO RECORD
Audiotape Now Available
in 2500-foot Rolls
(Continued from Page 1, Col. 3)
2. The full measure of 2500 feet gives
4% more tape than the usual 2400-foot
reel.
3. There are absolutely no spliees in the
entire 2500-foot roll. It's guaranteed
to be all one piece.
4. Audio Devices also guarantees that
volume deviation within a 2500-foot
reel, at 1,000 cps, is not more than ±%
db — and not more than ±V2 ^^ from
reel to reel. These are outside limits —
not averages!
5. A unique, specially-designed package
(patent pending) makes handling and
storage of the tape much easier and
safer than ever before — especially
when used or stored on the hub alone.
The new Audiotape package is illus
trated in detail in Figures A, B, and C. Tiie
outside section of the container is made
of stiff, durable cardboard, while the
folded-over inner section which holds the
tape is of rigid corrugated board to provide
extra stiffness for easy handling. One side
of the inner section has a wide slot, as
shown in Fig. B, while the other side, shown
raised up in Fig. C, contains a wooden
core which fits snugly into the aluminum
hub. To transfer a roll of tape on the hub
from the box to the horizontal turntable of
a professional recorder, it is only necessary
to hold the inner container and tape in
the position shown in Fig. C — place it
over the turntable hub, and then slide the
container out from under the tape. In this
way the tape itself is firmly supported at
all times, and there is no danger of its
slipping from the hub or becoming un-
wound. After use, the roll of tape on the
hub can be easily returned to the con-
tainer by reversing the above operation.
Simply slip the slotted side of the con-
tainer under the tape, then fold over the
other side until the wooden core engages
with the hub, and it's all ready to pick up
and slide back into the box.
Conversion from hub to reel is also
greatly facilitated by this unique container.
Side flanges can be screwed onto the hub
while it is still in the container, as shown
in Fig. D and E. With the slotted portion
down, simply place the flange over the
hub and drop the bottom halves of the
three sleeve screws into place as in Fig. D.
Then fold the solid portion of the container
down onto the reel. This will hold the
sleeve screws in place and the container
can be turned over so that the flange is on
the bottom of the roll. Then lift up the
slotted portion, place the top flange over
the hub, and insert the other halves of the
FIG. B. — Inner se
ction of Audiotape box, with slotted
FIG. C— Inner section of be
X tu
med over, with
portion raised, show
ing 2500-foot roll on hub. engaged
of Audiotape on hub resting
over
slotted portion -
with wooden hub-co
re on bottom portion.
position for placing tape on
Hzontal tumtabl
sleeve screws, as in Fig. E. There's no
danger of dropping the screws, or letting
the tape slip from the hub. The side flanges
from a complete reel can also be easily
removed from the hub while the tape is still
in the container.
When the tape is stored on the hub in
the container, it hangs from the fixed hub-
core so that the tape does not rest on itself.
Thus, there is no danger of flattening the
bottom of the roll or damaging the edges
of the tape. And since reel flanges can be
attached to the hub so quickly and easily,
it saves the expense of storing tape on the
reel, even when complete reels are required
for use on a particular machine.
The new Type 2551 Audiotape is packed
5 boxes to a carton, and is now available
through local Audiotape and Audiodisc
suppliers all over the country.
gts-dtg
r&c9rdl
•ol. 6, No. 4
PUBLISHED BY AUDIO DEVICES, INC
444 Madison Avenue, N. Y. C.
April 1950
PORT[ AITS IN SOUND'
Veteran recordist, C. Art
Foy gets all set to record
a church weddii '. — un-
known to the I . ide and
groom. The microphone
is skillfully concealed in
a basket of flowers, as
shown by the arrow in the
insert above.
A New Idea In Tape Recording
That Has Been Made Into
a Flourishing Business
A little more than two generations ago
a bride posed rigidly with her new husband
to the tune of "Hold it — Hold it" while
a camera took endless minutes to record
her new state for posterity.
Today there is a new wrinkle in such
portrait taking. A young army veteran has
set up shop under the name of Magnetic
Recording Company and is making a lively
business of taking what he calls "Portraits
in Sound".
No fly-by-night, Art Foy, who spent
nearly four years as a technical adviser in
the Army Airways Communications Sys-
tem, is fast becoming a respected young
businessman in his community.
His friends call him a recording demon.
No matter what he has to work on and no
matter how adverse the circumstances —
which usually refers to acoustics — he man-
ages to iron out the difficulties and come
{Continued on Page 2, Col. 1)
Music Goes Round the World
— Via International Music Program
of American Junior Red Cross
The use of recordings to promote inter
national friendship has found a new vehicle
in the American Junior Red Cross Inter-
national Music Program. Five hundred
albums of American school music have been
sent to Red Cross societies in fourteen
foreign countries to be played in schools.
The object of the program is to let children
in other countries hear for themselves the
songs American children love to sing and
play, providing another bond of interest
and affection among world youth.
Each album contains six records of school
orchestras, bands, choruses, and instru-
mental ensembles from all over the United
States. The twelve selections were chosen
from 1 74 recordings which were submitted
for consideration from 51 school music
groups. Some of the original recordings
were made on tape, but most of them were
(Continued on Page 4, Co!. 2)
Swing Choir at Hillsboro, Oregon recording "Com
Thru The Rye" for Jr. Red Cross Record Albu
AUDIO RECORD
April 1950
cuixLla #. record
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 6, No. 4
APRIL, 1950
Portraits of Sound
(Continued from Page 1, Co!. 3)
through with a high class professional re-
cording. Like the time he boarded the New
Columbian of the B & O Railroad and re-
corded its initial run along with the com-
plete ceremony, or recording in a huge
cathedral where echoes are everywhere.
Thus the phrase of "Magnetically Re-
corded by Foy" has come to be used.
Although unmarried, he seems to be par-
ticularly fond of recording weddings, and
he likes best to take his wedding "Portraits
in Sound" when the couple is unaware that
they are being recorded. "I always get a
kick out of their exclamations of surprise
when they find out that Mom and Dad had
the foresight to have the whole thing re-
corded. They always want to know where
on earth I had the microphones!"
Art and his staff take pride in the places
they manage to conceal their microphones.
"We choose our spots well, and sometimes
we are like a bunch of kids hiding Easter
eggs." Art has been using egg-size micro-
phones but now that he has found one the
size of six dimes stacked up, he is in re-
corder's seventh heaven.
Whether he is recording a wedding, a
college concert, a speech or an operetta, he
makes it a point to be on hand an hour or
so before the event and have his equip-
ment completely set up and out of sight
with his tiny microphones hidden in plants,
chandeliers, behind vases or what have you,
and even though the performers know he is
on the spot, they are completely unaware
of his presence. One chance remark over-
heard while leaving a church following a
wedding still has Art patting his back. One
lady said to another "I couldn't hear the
bride and groom at all", with the reply of
"Oh, well, we'll hear them when we hear
the recording".
Art, who fell in love with radios at the
age of eight and was operating his own
hand-made ham station fully equipped
with an FCC radio license at the age of
fourteen, and was one of the first amateur
radio operators on the air in the U. S.
occupied zone of Germany, now has his
own radio shows over Evanston's AM and
FM stations. On WEAW, called "On-thc-
Spot", many of his recordings arc aired
and also on WNMP called "Your Church
Choir" plus special feature shows where on
the spot recording is necessary. He also
works with WOAK (FM) in Oak ark and
has weekly transcriptions aired on WCFL
in Chicago.
Art likes to point out that his business
is possible only because of the great ad-
vancements that have been made in the
high-fidelity recording field. "Just think",
he says, "Out in Des Moines right now a
radio station may be playing a record of a
church choir that was tape recorded in a
Columbus, Ohio church and then sent to
me to be made into a disc recording. That
sort of thing makes a guy in the recording
business feel that he is well, you might
say," he finished ruefully, "helping to knit
the people of the United States closer to-
gether." Sitting in his place of business at
1465 Sherman Avenue, Art surprisingly
declared, "My studio is portable." He ex-
plained that instead of having people such
as singers, speakers, musical instrumental-
ists, or choral groups, come to him to make
their records, he preferred to go to them on
their home ground where they can feel per-
fectly natural and at ease. As he facetious-
ly pointed out, "You know if it's their
piano that shows up with an out of tune
note on the recording, they can't blame
me." His customers are particularly pleased
to find out that tape recordings can be
played back right away; the sour spots
found and erased. Thus, they may repeat
their performance over and over until they
are completely satisfied and then have the
final approved recording transferred to a
10 inch or 12 inch record to be preserved.
When Art recorded the almost two hour
long Sonja Hcnie Ice Show he learned a
new trick. Any show he records for later
airing he edits very carefully, selecting the
highlights and cutting out mistakes to make
a jam-packed thirty minute show. He
found that to splice tape is wasteful since
it can be erased and re-used; so he hit on
the idea of working the Sonja Henie show
where any time. Here. Mr. Foy sets up his
by recording the parts desired on another
tape — the result, no tape wasted.
Art and his recording equipment are a
familiar sight at school and college musical
and dramatic productions. But he gets the
biggest thrill from recording younger chil-
dren in their recitals and activities. They
are tremendously interested in his equip-
ment to begin with and then, as he says,
there is no greater fun than standing back
and observing their expressions when they
hear how they sound on record. Art ex-
plained. It's this way — "Here is Little
Janie who plays the violin and at home she
really doesn't sound so very good, but mom
keeps her practicing. Yet, when she gets to
school with all the others in the band or
orchestra they begin to sound really good.
Well, when Janie takes home a profes-
sional record of her playing she has a defin-
ite pride of accomplishment and the record
has invoked in Mom and Dad at home an
interest far deeper than before. Janie prac-
tices harder, too. That sort of thing makes
me feel like I'm helping build our com-
munity in a small way. Guess I just like chil-
dren anyway," he said. Mothers who have
discovered that their wax recordings of
Junior's lispings to Santa or the Easter
Bunny made by department stores can be
put on a permanent 10 inch record are
losing no time in bringing their cardboard
discs to Art.
Tight spots are no novelty to Art. At
one large concert, he could not find a place
for an overhead microphone which was
needed to pick up the orchestra and choir.
Not at all stumped he quickly canvassed
the neighborhood and found a house wife
who was willing to lend him her much be-
knotted clothesline. He hurried back to the
church and before the guests arrived he
had the clothesline nestled cable-fashion
among the rafters out of sight with two
microphones pinned on it. We learn as we
go along, he said, and now a clothesline is
a permanent part of his equipment.
April 1950
AUDIO RECORD
Art laughingly recalls one of the first
weddings he worked on. He recorded the
ceremony and submitted the tape recording
for approval before making the twelve inch
idiscs. "I knew this was one time I had
wasted a lot of effort ; no one would buy a
recording as full of extracurricular noises
as this one. Imagine my surprise! They
smiled at the airplane roaring into the
middle of the prayer; they chuckled when
the dog barked as the soloist sang, and they
laughed outright when the fire engine broke
into their vows, as it clanged by the church
windows." They wanted the recordings
just as they were. He has found that such
noises practically sell the recording. One
young bride laughed and laughed when
she identified the clunking sound, as her
father stumbling against the pew as he
stepped back to his place after giving her
away.
The son of a Methodist minister. Art
has no trouble finding his way about in
churches. Ministers and Priests often chat
with him. They all seem to like the idea of
couples having the opportunity to hear
their vows at leisure and without the strain
of the wedding day. As one minister said,
"There might be a much less chance of
couples separating if they had the record-
ing of their vows to listen to at times of
marital strife."
Art recorded his first wedding in 1935 as
a stunt to surprise the bride and groom.
The married couple's pleasure gave him an
idea as to just how successful recording
weddings could be. And today he is cer-
tainly proving it. "After all," he says,
"recordings aren't any more expensive than
a set of wedding pictures and listening to
yourself is just as much fun as looking at
yourself."
Improved Lacquer Formulation
Gives Audiodiscs Lowest Surface
Noise at all Diameters
The problem of surface noise has long
been a "headache" to professional as well
as amateur recordists — particularly the
progressive increase in noise as the cut
approaches the center of the disc.
Audio Devices' chief chemist, George M.
Sutheim, has now found a practical solu-
tion to this problem — by perfecting an
improved lacquer formulation that gives
lowest surface noise at all diameters. And
the variation in noise level is only about
2 db from 3 " to II " recording diameters.
Other discs normally have a variation of
about 10 db between these same limits.
This important development, now in full
production on all Audiodiscs, will be dis-
cussed in detail in the next issue of Audio
Record.
by C. J. LeBel, Vice President,
Audio Devices, Inc.
SOME REMARKS ON
EDUCATIONAL RECORDING
C. J. LcBel
Our subject for this month is somewhat
of a departure from the usual technical
aspects of recording. It is a very important
one, however, and we believe it will be of
interest not only to educational recordists,
but also to others who are concerned with
the problem of making good recordings
under unfavorable conditions.
The writer recently had an opportunity
to speak to a group of high school teachers;
this was followed by a short research pro-
ject with Prof. William J. Temple of
Brooklyn College, reported on at the re-
cent Eastern Public Speaking Conference.
The contrast between these two activities
was so great that an article seemed desir-
able.
After watching the high school teacher
at work, looking over his equipment, and
hearing the acoustical performance of his
studio (the classroom), only one conclusion
is possible: he is trying to do a man's job
with, almost literally, boys' tools.
The work with Prof. Temple indicated
that a recorder which is to be useful in all
speech applications must have surprisingly
wide frequency range. In general, an edu-
cational recorder is not used to show the
well trained teacher the student's faults! It
must reproduce the student's mistakes of
diction, etc., clearly enough so that the
student himseJf can hear them clearly. The
outcome is a need for uniform response to
at least 7.5 kc. This is one aspect of the
faithful vs. pleasing reproduction debate
that has gone on for years. Very clearly,
the teacher needs photographic realism.
complete faithfulness, in his recording
system.
Such a degree of faithfulness cannot be
achieved by using an ordinary home re-
corder bought from the most persuasive
salesman — it calls for a professional ma-
chine and professional accessories.
The average classroom is so reverberant
that its use for recording can be condoned
only by custom. If you have such a room,
heavy (fireproofed) drapes, spaced several
inches from the wall, can reduce the fault
if not eliminate it. The only fundamental
solution is to have an acoustical contractor
treat the room.
If the classroom is too reverberant, it is
almost mandatory to use a unidirectional
microphone of the cardioid or super car-
dioid type. This will at least minimize the
pickup of reverberation. To use the ordin-
ary inexpensive omnidirectional micro-
phone often supplied with the recorder is
merely to compound the original acoustical
error. If the microphone has a high im-
pedance output, it can even be used to feed
the most inexpensive home recorder di-
rectly. If the microphone has only a low
impedance output, matching transformers
are obtainable that can be fastened directly
to the microphone cable.
When making a dramatic-class record-
ing, it is heart breaking to try to get proper
balance of cast and effects with a single
microphone, and lost time or a poor per-
formance surely will be the outcome. Two
microphones and a two-position mixer
would save a lot of time and trouble. If
standard professional technique is to be
used, a third microphone and mixer posi-
tion for the announcer would be desirable.
Ail of this makes it desirable to provide a
control room where the program balance
can be set properly. Monitoring through
headphones is not a good way to maintain
the balance of a complex production.
We conclude with a pair of sharp re-
marks. The first is a paraphrase of a bit of
Prof. Temple's recent article in "Audio En-
gineering" magazine. You cannot convince
a student that he lisps if the recording ma-
chine itself suffers from a permanent lisp.
Secondly, we seem to be going through a
cycle very similar to that pursued during
the early days of educational disc record-
ing. At first, the educators bought the
cheapest home type machines. Finding re-
sults disappointing, they changed to better
and better professional machines. Today,
the average educational disc recorder is of
thoroughly professional quality. In the
magnetic recorder field, the colleges have
already begun to change to the $500-$800
class of professional machine, and it is only
a question of time before the high schools
do the same. History seems to repeat itself
with annoying regularity.
AUDIO RECORD
April 1950
The Telephone That Answers Itself
. . . with magnetic recording tape
The Swiss have a name for it. They call
it the Ipsophone. We call it one of the
most ingenious applications of tape record-
ing that we have seen so far. In fact it
"thinks" — "remembers" — and has the au-
dacity to talk back, too!
Briefly, the Ipsophone — a Swiss inven-
tion — is an automatic telephone answer-
ing device that records messages on mag-
netic tape and plays them back later, v,?hen
called for. No "operator" is required any-
where along the line, where dial systems
are in use. Here's how it works.
You have an urgent call to make to your
friend, Mr. Jones. You dial his number. If
he doesn't answer after the first three rings,
Ipsophone swings into action and a re-
corded voice says, "Hello, hello. This is the
residence of Mr. Jones. Your message is
being recorded automatically. Ready!
Please speak now." And if you're not too
surprised to remember what you wanted to
say, you go right ahead and give your
whole message, just as if Mr. Jones were
there himself.
Then, when Jones gets home, he calls the
Ipsophone number. As before, the tape re-
corded voice answers, saying "Hello, hello.
This is the residence of Mr. Jones. Your
message is being recorded automatically.
Ready!" Right there (before it says "Please
speak now") Jones breaks in, saying
"Hello, hello." That makes the Ipsophone
change its mind, and instead of recording a
message, it automatically plays back the
part of the tape that you recorded, giving
your message, in your own words, exactly
as you said it.
The operation described so far is a fairly
simple one. Where it gets really compli-
cated — and quite ingenious — is in the
system which enables one master Ipsophone
to handle many different subscribers, yet
keep messages strictly confidential, to be
played back only to the individual for
whom they are intended. If you want the
confidenual service, your telephone is pro-
vided with a code key, on which you set a
secret combination of code numbers known
only to yourself. Then, when you call Ipso-
phone for a message, it automatically reads
off a series of numbers, beginning with zero
— stopping for 4 seconds after each num-
ber. You simply say the magic words, "hello,
hello", after each of the code numbers you
selected. Your message is then transcribed
back to you from the tape, as before. How-
ever, if anyone tries to "break" your code,
and misses a single number, he either gets a
busy signal or is disconnected. You can
change your code numbers as often as you
want, so there's practically no possibility of
anyone "breaking" your code.
The Ipsophone recording mechanism is a
compact and complicated assembly of tele-
phone relays, timing devices, sequence
switches and other sensitive electronic
equipment — arranged for proper control
of the multiple tape recorders.
Although a newcomer to this country,
the Ipsophone has already found extensive
use abroad. Department stores use them for
recording after-hours orders. Banks use
them to take important massages after clos-
ing time. The Geneva Journal uses them
to record messages from foreign corre-
spondents all over the world — as also does
Reuters, the British news agency. In fact
the Ipsophone is being widely applied for
most of the applications where we, in this
country, have been using a personal tele-
phone answering service. Ipsophone, how-
ever, has the added advantage of absolute
privacy — plus the infallible accuracy of a
tape recording.
We may see — and hear — a lot more
about this telephone recorder. For an
American corporation is making arrange-
ments with the Swiss company to mass-
produce thousands of them over here. So
Ipsophone mechanism with casing removed multiple
tape recorders and associated control equipment for
fully automatic operation. {Photos and data, LOU)tesy of
Mcchanix Illustrated.)
don't be too surprised if your next tele-
phone message is automatically recorded
on tape.
Music Goes Round the World
(Continued from Page 1, Col 1)
put on discs. Nearly all were made in radio
studios or recording studios. The final re-
cordings were made of unbreakable viny-
lite in a bright blue color. The album has
a colorful patriotic jacket.
Screening of the 174 offerings submitted
was done by a national committee made up
of members of the American Junior Red
Cross staff and members of the Music
Educators National Conference, co-spons-
ors of the program. After listening for
three days to Negro spirituals, love songs,
folk music, classics and light opera, they
chose a concert band, three full concert or-
chestras, three mixed choruses, two boys'
choruses, three a cappella choirs, two vocal
ensembles, a wood-wind ensemble, and two
informal numbers. The committee selec-
tions were made upon quality of perform-
ance, quality of recording, and securing a
good program balance in the six-disc album
which would also represent all parts of the
country.
The albums have been made available to
all countries through the League of Red
Cross Societies in Geneva, Switzerland.
Thus far, the following countries have re-
quested, and have been sent, an average of
30 albums each : Austria, Belgium, Czecho-
slovakia, Denmark, France, Germany, Iran,
Japan, Norway, Sweden, Sv;itzerland,
Yugoslavia, Puerto Rico, and Australia.
The future of this novel experiment in
international understanding is uncertain.
There has not yet been time to receive an
evaluation of the foreign reception of these
albums. No plans are being made to go
ahead until this has been done. If the re-
sponse is favorable, streamlined methods of
handling the technical details must be de-
veloped before the program can be offered
to a larger number of schools enrolled in
Junior Red Cross.
It is hoped, however, that like the Junior
Red Cross school correspondence and the
international school art program, the ex
perimental music program will develop an
understanding among the youth of many
nations, providing one more "get ac-
quainted" avenue to world peace.
DON'T BE BASHFUL! If you have any record
ing stories that you think would be of interesi
to our readers, send tlrem in. Audio Record i:
now distributed, by request, to 1480 radio sta
tions, 3950 schools and colleges. 3300 recordins
studios and recordists, and 950 distributors anc
dealers. Address contributions to: Editor, Audit
Record, 444 Madison Ave., New York 22, N. Y
'fltlfilff
PUBLISHED BY AUDIO DEVICE
Vol. 6, No. 5
444 Madison Avenue, N. Y. C.
May. 1950
WINNERS ANNOUNCED in Radio Script Contests
Scholastic Magazines and AER
Name Prize Winners in Nation-wide
Contests for High School and
College Students
The two big student competitions in
radio script writing — Scholastic Mag-
azines' 1950 Radio Script Writing Com-
petition for high school students, and the
Association for Education by Radio's
National Radio Scnpt Contest for college
students — have announced their respective
winners. The awards have been presented,
and the talented young writers have
achieved national recognition for outstand-
ing ability in the radio field. To the win-
ners — and to the hundreds of other con-
testants who submitted such excellent
scripts — we extend our sincere congratu-
lations.
Both of these contests, which were co-
sponsored by Audio Devices for the third
consecutive year, drew an all-time record
of entries — making the job of final selec-
tion a more difficult one than ever before.
(Continued on Page 2, Coi. 1)
WINNERS OF SCHOLASTIC MAGAZINES' RADIO SCRIPT WRITING COMPETITION
Finl Prize General Radio Scripl.
Bernard H. Mcrcms, Ncu York,
N. V.
WINNERS OF CLASSIFICATION 5 IN A E R CONTEST
How Sound Engineering Helped "Showboat"
Win Grand Prize
By Ernest C. Knight
Diacoustic Laboratory
Pasadena, California
The 1950 Pasadena Tournament of
Roses theme, "Our American Heritage",
was a well chosen one and opened the way
for great beauty and imagination in float
design. But, in the float that took Grand
Prize, this beauty was more than skin deep
It could be heard as well as seen.
The Southern California Edison Com
pany's Grand Prize winner, the "Show
boat", portrayed life down along the Mis
sissippi and was the largest float to be
entered in any Rose Parade. As this rose
studded replica of an old-fashioned Missis
sippi side-wheeler rolled down the parade
(Continued on Page 3, Col. 1)
••— Soulhem Califon
Life like !>ound elT<
ol this beautiful exbibit.
AUDIO RECORD
May, 1950
cmdlq^reccnxt
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 6, NO. 5 MAY, 1950
Winners Announced
(Continued from Page 1, Col, 1)
Mr. William D. Boutwell, of Scholastic
Magazines, reports that high-school stu-
dents from all over the country entered a
total of 569 scripts in the national contest
alone — not counting the hundreds of
scripts that were submitted for the many
regional preliminaries throughout the
country.
In the AER contest, too, the trend was
upward — indicating greatly increased in-
terest in radio work among the students of
the nation's colleges and universities.
Following is a list of the national win-
ners of the Classiitcations sponsored by
Audio Devices in both the Scholastic Mag-
azines and AER Contests.
SCHOLASTIC MAGAZINES'
Radio Script Writing Contest
(High School Students)
Judges: Leon Levine, Columbia Broadcast-
ing System; Olive McHugh, Chairman
of AER Committee on Script Writing;
Gertrude Broderick, U. S. Office of Edu-
cation Script Exchange; Wade Arnold,
National Broadcasting Company; Lu-
cile Fletcher, radio writer; and Eric Bar-
nouw, instructor in radio and television
at Columbia University.
Aivard Winners;
Original Radio Drama
First Prize ^ $25.00; Richard O. Justa
Orange High School, Orange, N. J.
"Of Sand and Stars'"
Teachers — Muriel E. Pons* and Florence
J, Leonard
Second Prize — $15.00; Ann Keller
Edwin Denby High School,
Detroit, Mich.
"Your Loving Sister Madeline"
Teacher — Mrs. Ethel Tincher
Third Prize — $10.00; Pattie Ann Lewis
lohnson City High School,
Johnson City, N^Y.
"It Happens Every Day"
Teacher — Mrs. Rose Sullivan
Fourth Prizes — $5.00;
Roger Lee Paulson
Elkhart Senior High School.
Elkhart, Indiana
"Escape From Libby"
Teacher — Galen L. Wenger
Ronald Wolfe
St. Wendelin High School,
Pittsburgh, Pa.
"The Best Things in Life"
Teacher — Sister Mary Bernarda
Joy Longworth
Buchanan High School,
Buchanan, Mich.
"The Fallen Angel"
Teacher — Mrs. Velma E. Dunbar
Robert McGowan
Walla Walla High School,
Walla Walla, \Vash.
"The Perfect Likeness"
Teacher — Marshall Alexander
Karl Allen Lamb
Centennial High School,
Pueblo, Colorado
"Greater Love Has No Man"
Teacher — Miss G. C. Knoop
Radio Drama Adaptation
First Prize — $25.00; Richard Green
Oak Park and River Forest High School,
Oak Park, 111.
"Station Q-E-D"
Teacher — Mildred Linden*
Second Prize — $15.00;
Enid F. Karetnick
Weequahic High School, Newark, N. J.
"Especially Father"
Teacher — Marie E. O'Connor
Third Prize — $10.00; Bill Rollins
Richard J. Reynolds High School,
Winston Salem, N. C.
"Lucius and the Child of Bethlehem"
Teacher — Mrs. Elizabeth Ritter
Fourth Prizes — $5.00;
Monica F. Kelly
St. Vincent Academy, Newark, N. J.
"The Long Exile"
Teacher — Sister Josephine Marie
Clare Marie Murphy
CoUingwood High School,
Cleveland, Ohio.
"Mammon and the Archer"
Teacher — Mrs. Finley
Sharon Kyle
Edwin Denby High School.
Detroit, Mich.
"Cupid on the Loose"
Teacher — Mrs. Ethel Tincher
Stanley Phillips
South High School, Denver, Colorado
"Almos' A Man"
Teacher — Harold Keables
Karl Allen Lamb
Centennial High School,
Pueblo, Colorado
"A Municipal Report"
Teacher — Miss G. C. Knoop
General Radio Scripts
Fir.st Prize — $25.00;
Bernard H. Merems
Stuwesant High School,
New York, N.Y.
"Atomic Era One"
Teacher — Irving Robbins*
Second Prize — $15.00;
Janice Anne Chaskes
Brockton High School, Brockton, Mass.
"Raising of the Dead"
Teacher — Ruth T. Cosgrove
Third Prize — $10.00; Morton Hytner
Scott High School, Toledo, Ohio
"The Voice of Tomorrow"
Teacher — Roberta B. Shine
Fourth Prizes — $5.00;
Barbara Halladay
Cheyenne High School
Cheyenne, Wyoming
"Exploring the Mayas"
Teacher — Mildred U. Beck
Barbara Ann Black
Brockton High School, Brockton, Mass.
"An Interview v,'ith Hopalong Cassidy's
Dad"
Teacher — Ruth T. Cosgrove
Ellen Van Dusen
Union-Endicott High School,
Endicott, N. Y.
"The Teen-Age Bookshelf"
Teacher — Mrs. Edna A. Finch
William T. Reedy, Jr.
Reading Senior High School,
Reading, Pa.
"Red and Black on the Air"
Teacher — Joseph G. Plank, Jr.
Gene L. Walker
Edwin Denby High School,
Detroit, Mich.
"Roving Reporter"
Teacher — Mrs. Ethel C. Tincher
AER
National Radio Script Contest
(College Students)
Judges: Virginia Edwards, St. Louis Public
Schools; Helen Kinsella, Chicago Public
Schools; Martha Boyer, Lindenwood
College; Jesse Burkett, Oklahoma School
of Air.
Classification No. 5. Scripts for Home and
School Recording
First Prize — $100.00;
John Suchy
Montana State University,
Missoula, Montana
"Runaway Christmas Bus"
Teacher — Ansel Resler*
Second Prize — $60.00;
Miss Janaan Noonan
Clarke College, Dubuque, Iowa
"Life of WiHiam Blake"
Teacher — Sister Mary Aquin
Third Prize — $40.00;
Robert Lee
New York University, New York, N. Y.
"My Last Duchess"
Teacher — Dr. Robert S. Emerson
*Rcceived 25 Audiodiscs, ? Sapphire Recording
Audiopoints and 3 Sapphire Playback Audio-
points.
May, 1950
AUDIO RECORD
Showboat (Cotitnmed /I'OJii Page 1)
line, the multitude of speetators was en-
thralled to hear the nostalgic strains of a
steam calliope playing such familiar favor-
ites as. "Here Comes the Showboat",
"Waiting for the Robert E. Lee" and
"Cruising Down the River" — punctuated
by the deep-throated note of a river-boat
histle.
Actually, there was no steam calliope on
the float, and no boat whistle either. De-
spite the startling realism, it was all done
with recorded sound — on Audiodiscs and
Audiotape!
How best to make this music sound alive
had a great deal to do with the construction
of the float. The total dimensions of the
structure were 50 feet long, 20 feet wide
and 17 feet high. It had three decks and,
when completed, weighed 12^/2 tons, so the
added weight of any live band, or of a
real steam calliope, was out of the question.
Mr. Lee Stratton in charge of float build-
ing for the Walter Garbctt Company, con-
sulted with us here at the Diacoustic Lab-
oratory in Pasadena, to determine the most
effective way to handle the sound and music
on the float. Since we have for years been
well acquainted with sound recording in
both radio and the motion picture fields,
our suggested solution to the problem was
to record all music and necessary sound
effects on Audiodiscs and then to edit the
music and sound on Audiotape.
A great deal of technical checking and
rechecking had to be done as the calliope
music, sound effects and the whistle of the
river-boats had to sound as real and live
as possible with full level recording and no
distortion. The music was first recorded on
12" Red Label Audiodiscs, for approval by
the Edison Company Float Committee.
After the most suitable music and sound
effects had been selected, these were then
transposed onto Red 0.\ide, Plastic Base
Audiotape, making a half hour reel at V'/,
inches per second. This then was the parade
reel and was played almost continuously
over the entire 7 mile parade route.
Then for the Post Parade! After the big
parade, all the floats (this year there were
67) were assembled in the post parade
area. This gave the visiting public a chance
to view the floats at close range and to see
how magnificent they really were. The
"Showboat" contained over 1,200,000
blossoms.
For this post parade even a special reel
of Stephen Foster's melodies was made on
Red Oxide, Plastic Base Audiotape. This
reel played continuously for thirteen hours,
except for one minute rewind every half
hour. No break occurred in the tape either
during the parade or post parade playing
of the reels and no loss of level or quality
was noticed.
All tape recordings were made and
played back on a Magnecorder No. PT6R
University of Tennessee's WUOT
Uses Tape and Discs Extensively
From a two year program of ground-
work in which disc recordings played a
major role, the University of Tennessee
began FM broadcasting on October 27,
1949, with WUOT, 3000 watt outlet. A
series of eight weekly programs, most of
them disced with Rek-O-Cut heads on
Audiodiscs, was started in the fall of 1947
when Kenneth D. Wright came to the
University from ten years in commercial
radio. Wright organized a student Radio
Workshop and produced the eight shows
weekly on various subjects of adult infor-
mation. Usually the programs were re-
corded and mailed to out of town stations
in Tennessee. In 1948 the series was ex-
panded to ten programs weekly, one of
which was awarded an honorable mention
in the Ohio State Exhibition of Educational
Radio Programs. This show, "Songs of the
People," was recorded on Audiodiscs and
broadcast on WBIR in Knoxville, Ten-
nessee.
With the heightened interest in radio
and the growth of the Radio Workshop,
the LJniversity constructed WUOT this
year. Operating five and a half hours daily,
Monday through Friday, the station offers
fine music, drama, news, discussions, docu-
mentaries, and popular music. One of the
major principles behind the station is to
experiment with in-school listening pro-
grams for elementary' and high schools of
East Tennessee with a vievv- to expanding
this phase later. The station is operated
with student personnel, directed by two
professionals.
WUOT now has two Brush Sound-
mirror tape recorders, used primarily for
student training and occasional remote
spots, two Rek-O-Cut cutting heads, M-5,
used for auditions and rehearsals, and a
Fairchild Unit 5.i9-G for discs to be used
on WUOT and commercial stations.
All of the informational programs on
commercial stations in the state, now num-
UNIVERSITY OF TENNESSEE RADIO WORK-
SHOP students transcribing "Make Believe Party" for
broadcast on WUOT Fridays. 6:30 P.M.
WUOT, UNIVERSITY OF TENNESSEE FM
VOICE, uses Fairchild Recorder for many shows each
bering seventeen periods weekly, are
grouped under the general title of the
University of Tennessee "Campus of the
Air." With the four-fold purpose of AM
extension programs, operating WUOT,
student training, and experimentation in
classroom listening, the Radio Department
of the General Extension Division has un-
dertaken a full program of bringing more
mature radio from the campus of the state
university.
Rack job, driven by Audio Pacific Com-
pany's Model No. 3 Amplifiers and repro-
duced by four multi-speaker units; a total
of sixty-eight speakers which were mounted
inside the float. The volume and tone of
both the music and sound effects were con-
trolled from duplicate sets of Magnecord-
ers — operated by myself and my tech-
nician, Mr. Hubert P. Starke of Hollywood.
A smoke-making machine provided the
smoke for the stacks of the "Showboat"
and a 5 kw electric generating plant, op-
erated by its own gasoline engine, provided
power for the sound equipment and the
motors which turned over the paddle
wheels. There was even an engineer for the
main power plant which drove the float,
and a driver, located thirty feet forward,
to steer the massive structure along its way.
Despite the great artistic beauty of the
"Showboat", it is safe to say that the real-
istic atmosphere created by the extremely
life-like recording was a big factor in
awarding the coveted Grand Prize.
AUDIO RECORD
May. 1950
C. J. LcBel
by C. J. LeBel, Vice President,
Audio Devices, Inc.
AN IMPROVED LACQUER
FORMULATION
Shortly after the ^
end of the war, a
number of our best
customers began
clamoring for a bet-
ter lacquer-formu
lation especially de-
signed for use as a
master. This would
have noise level at
the inside diameters
as low as at the out-
side, but the wear
resistance could be slight.
Work on this project began in 1946 and
was carried on intensively. By 1948 pre-
war microgroove development had been
revived, and the pressure for something be-
came still more intense. A considerable
number of master formulae were developed
and tested, but they all had one fault or
another. Perhaps the worst was a tendency
for the cut groove to become noisy in time.
The more miraculous the groove quietness,
the worse this effect became.
Emphasis finally shifted to a repropor-
tioning of our standard formula as our
faith in the magic of any one new ingredi-
ent dropped to zero. As is well known, a
recording lacquer contains many ingredi-
ents, and the optimum proportions are
found by experiment rather than by theory.
Hundreds of tests were made, and in the
summer of last year the reproportioning
led to an interesting master formula. It was
as quiet at the inside as at the outside, and
it had none of the bad habits which the
radically new developments had been
cursed with. Particularly, there was no
tendency for the cut groove to become
noisier with time. The groove would with-
stand only three playings, but this was no
fault in a master.
When we began to think of production
we ran into an obstacle: It is not easy to
change lacquers in our coating system, for
the pipes have to be emptied of lacquer,
then cleaned thoroughly. Since the demand
for masters is small, this would have in-
volved shutting one lacquer system down
for a day to permit a day's run on masters,
or else installing an additional fabulously
expensive stainless steel pipe system to be
used a small part of the time. Either meth-
od would have led to very high costs.
At that point it occurred to us that most
of the improvement might be incorporated
in our regular formulation. Tests were
made, and it appeared that most of the
master quietness could be incorporated in
a general purpose lacquer without sacrific-
ing wear resistance or any of the other
good properties. Pilot runs were made and
the results tested successfully by a number
of leading recording organizations, so in
the late fall we started to modify the pro-
duction formulation slightly in the direc-
tion indicated. As everyone seemed pleased,
and the complaints were nil, more and
more modification was used, with a field
test of each change before it was put into
production. By mid-January we had gone
over completely to the new version.
The present formulation has been used
continuously since then, and any discs in
your stock will be of the latest type, or
within 900; of It.
Fit;ure 1 shows the noise characteristic
(if the modified lacquer, for a standard
transcription groove. Since it is very easy
to keep a groove quiet at diameters of 12
to 16 inches, we have started our graph at
1 1 inches. For comparison, data on two
other makes of disc is included, with all
three tests run with the same stylus.
Figure 2 shows the result of a test under
microgroove conditions, using a micogroove
stylus instead of the standard model used
in figure 1.
In both graphs the reference velocity is
S cm per second, and the speed of rotation
33.3 rpm. Standard NAB test conditions
were observed, except that the reproducing
stylus radius was in accord with the type
of groove to be reproduced.
The tests show that a standard transcrip-
tion groove in AUDIODISC is practically
as quiet at 7" diameter as at the outside.
Other makes have not done as well. In
microgroove the problem is more difficult,
but here, also we have succeeded in greatly
reducing the increase. So, the signal to
noise ratio is better than 30 db from 5 inch
diameter out, and better than 55 db from
6I/2 inches out. As the curves show, this
is a significant improvement. In other re-
spects — long wear, good thread-throw,
stability of noise level with time, foolproof
processing, and humidity proofing, the
characteristics are unchanged.
While touching on the subject of micro-
groove noise, it might be well to mention
something noticed on many discs sent in
for criticism : The average newcomer to
microgroove work cuts much too fine a
groove. Whereas 70:30 groove: land ratio
is considered necessary, these brave souls
are cutting 40:60 groove: land. Apart from
the serious increase in noise which results,
such a groove will not be tracked reliably
in many home reproducers. So, avoid an
excessively fine groove. The added recording
level which it would permit only causes
excessive tracing distortion, which is re-
sponsible for the fuzzy sound (on peaks)
of so many microgroove discs.
If we may be permitted to moralize, it is
interesting to note that the result was ob
tained by using Buckner Speed's old
"method of the 10%" — by pyramiding
many small improvements — after the trial
of "miracle ingredients" and radically new
materials had wasted much time with no
STANDARD STYLUS AT 33'/3 RPM
-48 -^
. All cuts made
ime stylus. Ref-
velocity, 8 cm
^^---....^
/Disc A
■^■"^^
^-^
/Disc B
\ "'^
-Audiodisc
s
7^
- /__
"^>J
— -/~^
"
— '
~
-~4C_____
Fig.
2_Noise
level vs
diameter, for
disc
. using a
micro
ve. All cu
IS made
with
same sty
us. Ref
eren
ce velocit>
8 cm
per
second.
-38
-40
-50
MICROGROOVE STYLUS AT 33'/3 RPM
s.
^>.
N
\
\ \
\
\
^Disc A
\
><'
/Disc B
^sV
\
/
Audiodisc
^
\
^•^^^^
L^v
"■"=::::::;
^^^^^»^
L "^N
^^ss:
5" 6" 7" 8" 9" 10" 11"
RECORDING DIAMETER
q_Hftiqr
Vol. 6, No. 6
PUBLISHED BY AUDIO DEVICES, INC
444 Madison Avenue, N. Y. C.
June-July, 1950
Muzak Transcription
Division Makes
Recording an
Artistic Science
Here, In one of Manhattan's
leading studios, musically
talented technicians turn out
top quality recordings for
discriminating clients
To most people, the word "Muzak"
brings to mind soft lights and sweet music
from the strains of Brahms or Beethoven
to the latest hits from Broadway shows,
accompanied by the clink of cocktail
glasses. And a menu that says "Music by
Muzak."
Actually, the Muzak Franchise Service
— the wired music so familiar to patrons
of finer hotels and restaurants throughout
this country, Canada, Mexico, Hawaii, and
Puerto Rico; and to employees in many
(Co)itimied on Page 2, Col, 1)
S Making Records with the Personal Touch"
Mrs. Neta Kaye Stolcely's
Personalized Discs Delight
Youngsters from Coast to Coast
It all began with an idea. The idea that
children's story-records could be made
much more interesting if they were given
the "personal touch." And putting this
idea into practice has enabled Neta Kaye
Stokely (Mrs. Roy Stokely), of Oklahoma
City, Oklahoma, to develop a unique and
profiable recording business that she con-
ducts in her own home, in her "spare
time."
Now — instead of just listening to or-
dinary recorded stories about mythical
fairy-tale characters — youngsters can hear
about themselves, their pets, their play-
mates, and interesting events in their own
lives.
At the start, Mrs. Stokely decided to try
out the idea with her own two children,
Craig and Jean. So, calling upon her own
extensive background of radio broadcast-
ing experience, she wrote a couple of short
fairy tales, with Craig and Jean as the
principal characters. These were recorded
on tape and transcribed onto 10" discs.
The records made a big hit with the
youngsters. They would listen by the hour.
They brought their friends in to listen, too
— and their friends brought their friends.
It wasn't long before the news was all over
town — and Mrs, Stokely found herself
with a flood of orders on her hands. Other
parents wanted records about their "kids",
too. They supplied the information —
names of the children, their pets, their
playmates, and their habits (both good and
had). These Mrs. Stokely skillfully wove
(Continued on Page 3, Coi. 3)
AUDIO RECORD
June-July, 1950
CLudLta )i reccrrd
Published monthly by Audio Devices. Inc..
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 6, NO. 6
JUNE-JULY, 1950
Muzak Transcription Division
{Continued froyn Page 1, Col. 1)
industrial plants and business offices —
is hut one of Muzak's diversified recording
operations.
Another, very familiar to the radio field
but not too widely known by the general
public, is Muzak's Associated Program
Service. This up-to-the-minute "Basic
Library" of scripts, sales aids, and recorded
music is a vital and continuing source of
high quality musical program material for
broadcasting stations from coast to coast.
More than five thousand recorded selec-
tions are available in this library — and
new ones are continually being added and
distributed to subscribing stations on ,i
"lend-lease" basis.
Keeping these two transcription services
supplied with top-quality recordings is a
man-sized job of itself. Yet it is but a part
of the work handled by the Muzak Tran
scription Division. Their recording studios,
located at 151 West 46th Street, just off
Times Square, make no claim to fame a.s
the largest of their kind. But they are one
of the oldest and newest in existence — old
in years of service to the recording art and
experience of their personnel; new in ideas
and equipment for the modern recording
application.
In addition to turning out all recordings
for Muzak Franchise Service and Associ-
ated Program Service, the Transcription
Division handles a wide variety of special
work for broadcasters, industrial firms,
government agencies, music societies, edu-
cational institutions, program producers,
and advertising agencies. They also re-
corded and processed and pressed all Sil-
vertone Records — distributed nationally
by Sears and Roebuck in addition to many
nationally known independent labels.
The main recording studio, conveniently
located on the ground floor, is big enough
for a concert orchestra, and contains a
full complement of percussion equipment
— from a Hammond organ to chimes and
kettle drums. The walls of the room are
provided with a combination of fixed and
adjustable baffles which enable the en-
gineers to obtain any desired acoustical
effects for any recording applications, from
full orchestra to one or two voices. At one
end of this studio is the control room —
considerably more spacious than most, and
Editing
a lapp
recorded
prog r J III
in Mil
ak'
ccn-
ImI rot
trcil ro
om
Iho
m.isier cc
ntrol p.,
nel.
»hich
mcmiris
Ihr pul
e o
CM-rj
rt'tocdin^
opiTjt
on
n the
.nlire de
p.irtnun
. li
sho^«n
III ihi' h
.likgroill
d
With all controls at the fingertips of the
recording engineer.
Immediately behind this is the studio re-
cording room, containing the disc recorders
for cutting the original studio masters. All
of these masters are cut in duplicate, using
vertical rather than lateral recording. The
inherent advantages of the vertical record-
ing provides a studio master of as life-like
quality as it is possible to obtain. Although
all pressings for the Franchise Division and
Associated Program Service are vertical,
the original masters for the other types of
discs are recorded vertically, and then
dubbed from vertical to lateral on Audio-
discs for manufacturing and distribution
purposes. In so doing, it is felt that the
final recording is of superior quality.
The central control room — virtually
the nerve center of the entire department
— is located on the floor above. Here a
large master control panel, designed by
their own engineers, measures the pulse of
every operation going on in any of the
various recording rooms. A unique fea-
ture of this panel is the fact that all circuit
elements are in duplicate, with provision
for automatic and instantaneous change-
over in case of failure of any unit. Also
located in this room is another bank of disc
recorders for dubbing and cutting master
Audiodiscs from tapes and other recorded
sources.
As far as the actual recording equipment
goes, the Muzak studios are not greatly
different from those of other major re-
cording firms. Muzak, however, takes p.ir
(Continued on Page 4, Col. 2)
June-July, 1950
AUDIO RECORD
C. J. LcBel
by C. J. LeBel, Vice President,
Audio Devices, Inc.
RECORDING, HALF PROFESSION
AND HALF MEDIEVAL CRAFT
Three years ago
the writer scribbled
an indignant article
for the "Audio
Record", bewailing
the old tradition of
secrecy in disc re-
cording (and other
branches of audio
engineering), a tra-
dition which was
keeping it in the
class of an ancient
craft. It was felt that the time had come to
turn a craft into a profession.
Well, three years have passed, and much
has happened. We now have a professional
society devoted entirely to the audio en
gineering field, and its local sections meet
monthly to discuss audio engineering mat
ters. We have had the first Audio Fair, the
first audio convention ever held. Neverthe-
less, a great deal more remains to be done.
With the encouragement of the Audio
Engineering Society, we have seen free
verbal discussion of audio problems become
generally accepted. It is not hard to get
speakers on an audio subject. Everyone
seems willing to share his ideas with his
immediate neighbors, and this is a vast step
of improvement over several years ago. But
how about sharing them with the whole
country? Ah, that is where the battle starts.
After a year or two of prodding, poking,
and pushing, it may be possible to extract
an article for publication, or again it may
not.
Audio engineering will not become a
full fledged profession until free publica-
tion becomes as well established as free
discussion. We will have to make publica-
tion as automatic in our field as in the older
field of radio engineering. One of the ear-
marks of the medieval craft was it willing-
ness to exchange ideas within the town,
and Its complete lack of interest in sharing
ideas with other towns. By this token, re-
cording is still a craft.
Now that our readers have been thus
prodded, we hope to see more contributed
papers on recording problems in the
"Audio Record" and elsewhere.
Here are a few subjects that need more
attention than they have received in print
in the past:
1 . Tape recording bias — there is too wide
a gap between theoretical explanations of
rf bias operation, and the actual rules of
thumb used in the field. These rules are
simple, but they lead to irreconcilable re-
sults if applied to nominally identical
oxides whose bias-output curves differ even
slightly.
2 . Tape recorder maintenance — how
nften should heads be demagnetized or
cleaned, or clutches adjusted? How about
noise reduction compensating voltages?
,>. Tape recorder operation — how about
a more extended discussion of editing time
savers?
4. Disc recording styli — there is toi;
much disparity between published data on
improved stylus characteristics, and ex-
perimental results. More experimental re-
sults should be published.
.i. Hot stylus process — What experi-
ences have you had with this new method
of cutting? What average and maximum
stylus life is achieved?
6. Recording room layouts — In my
travels a lot of nice ideas are encountered,
but nobody is energetic enough to write
about his improvements.
7. Speech input system improvements —
these also need more attention.
8. Finally, how about circuit ideas and
convenient gadgets?
The "Audio Record" would welcome
articles in its field. If you have some more
fundamental thoughts, the Audio En-
gineering Society would welcome a chance
to consider them for publication. Such
manuscripts should be sent to the Audio
Engineering Society. Box F, Oceanside,
N.\.
We are looking forward to hearing from
you.
Making Records with the Personal Touch
(Continued /)on! 'Page I. Co/. 3)
into the same basic story patterns she had
first developed — one about "The Gallop-
ing Butterfly" and the other about "The
Absent Minded Cricket."
From this simple beginning, Mrs.
Stokely has expanded to a profitable mail-
order business, with customers in practi-
cally every state in the country. The extent
to which her fame has spread is indicated
by the fact that she was recently featured
in the "Interesting People" section of The
American Magazine. Purchasers fill out a
"MY OWN STORY" questionnaire order
form, giving the pertinent information
about the child for whom the record is
intended. Mrs. Stokely does all the rest
— "personalizing" the story, making the
original tape recording, and having it tran-
scribed onto an unbreakable ten-inch disc.
Normal delivery is about two weeks — the
cost, $3.50 per record. Readers who are
interested in this unique recording service
can obtain complete details and question-
naire order forms by writing to Neta Kaye
Stokely, 1620 Northwest 44th St., Okla-
homa City, Oklahoma.
Mrs. Stokely makes all of her original
recordings on Audiotape, right in her own
home, using a portable tape recorder. She
has found that she can record about five
stories an hour. The tape is then sent to a
local sound studio, which transcribes it into
disc form so that it can be played back on
any home phonograph.
The convenience of magnetic recording
tape — its ease of editing and erasure —
have done much to help make this venture
so successful. Mrs. Stokely says: "I'm so
thankful there are such things as tape re-
corders, or my little project would be much
more difiicult to execute. Three cheers for
Audiotape."
How to Apply Paper Labels
to Audiodiscs
We have received a number of inquiries
as to the best method of applying paper
labels to Audiodiscs. In all such cases we
recommend the method used at our factory,
for it has been successfully tested on several
million Audiodiscs. Also, it is a method
that can easily be used in any recording
studio or at home, without any special
equipment.
First, lightly soak the label in a small
quantity of solvent, such as acetone, which
can be purchased in any drug store. Even
nail polish remover can be used if desired.
After soaking, the excess solvent should be
removed by drying the label between the
folds of a handkerchief. When all free
liquid has been absorbed but while the
paper is still moist, carefully apply the
label to the disc surface.
When dry, the label becomes perma-
nently affixed to the disc, as the lacquer
itself serves as the "adhesive".
It should be noted that lacquer solvents,
such as acetone, must be handlcA with
caution, as they are highly inflammable.
Also, it must be remembered that if any
solvent is dropped on the surface of a disc
it will damage the surface and make it
unsuitable for recording at that point. We
therefore suggest that this procedure be
practiced on a few old discs that have no
further value, before using it to label new
recordings. Once the technique has been
mastered, it will be found extremely simple
and effective.
AUDIO RECORD
June-July, 1950
Talking Displays Offer Newest Selling Aid
"Advox" Magnetic Tape Unit
Enables Merchandise to Give
Its Own Sales Talk
Tomorrow's shopper is in for a surprise
or two. For the age of mechanization has
now been extended to the age-old art of
salesmanship.
Suppose you're shopping around for a
new car. You go into a sales roorn and start
looking around at the various models on
display. Maybe you're a little relieved to
find that no fast-talking salesman has but-
tonholed you. Emboldened by your free-
dom, you open the door of one of the cars
to get a better look inside. Suddenly a soft,
pleasant voice from out of "nowhere" in-
vites you to step inside — to sit behind the
wheel. As you do so, the voice continues
to point out the many desirable features of
the car. If you're particularly observant,
you'll notice that the quiet, conversational
voice — speaking to you alone — is com -
ing from the loudspeaker of the car radio.
It's just as if the car itself were speaking to
you. A little surprised and considerably
impressed, you listen to the end of the one
or two minute sales message. It's told you
a lot of the things you wanted to know
about the car — except where it got its
voice. You'd find the answer to that in the
trunk compartment — a compact, mag-
netic tape reproducing unit, connected to
the car radio and operated by a concealed
switch on the car door. It's the new Advox
unit — developed by Audio Displays, Inc.,
241 West 17th Street, New York City.
The possible applications of Advox in
the merchandising field are limited only by
the imagination and ingenuity of the user.
A typical example is the talking refriger-
ator, which gives its message when the
shopper opens the door. The speaker is in-
side, while the reproducing unit is con-
cealed behind the machine, or in some other
out-of-the-way place. Or the talking wash-
ing machine, that starts to speak as soon as
the lid is lifted. In one installation, the
Advox unit is concealed in a food bin at a
large supermarket. It is operated by a hose
switch under a rubber mat in front of the
exhibit. Whenever a shopper strolls by
with her "pushcart", Advox automatically
tells its story through an external loud-
speaker. And, taking advantage of the fact
that the shopper always looks around for
the source of the voice, this unit is wired
up to turn on a lighted transparency over
the bin.
Through the modern medium of tape re-
cording, Advox makes sure that the pros-
pective purchaser always gets the desired
sales message — whether a clerk is around
or not. And, still more important, it makes
sure that the message is always given ex-
actly as the producer of the merchandise
wants to have it told. It never forgets a
point — never stutters. And the very nov-
elty of it goes far to impress the listener.
The sales message, up to two minutes in
length, is recorded on an endless roll of
magnetic tape. Messages can be changed
as often as desired, by substituting new
tapes, which are contained in a special easy-
loading cartridge. The tripping arrange-
ment that sets the unit in operation can be
of any desired type — from a simple door
switch to an electric eye.
The Advox reproducer unit, developed
especially for talking-display service, is un-
usually compact — measuring only 8%"
high by 10'/2" wide x T^/i deep, and
weighing only 15 pounds. The tape speed
is 3.75" per second, and frequency range,
100 to 6000 cycles. It operates from any
1 10'115 volt, 60-cycle power supply.
Muzak Transcription Division
(Contnnied \rom Page 2, Col. }■)
ticular pride in the experience and back-
ground of their personnel.
The type of work handled covers the
complete range of the recording art —
turning out everything from 16" studio
transcriptions to special 3" records for a
novelty item — from conventional to
microgroove recordings — from tape to
special wire recordings for mobile equip-
ment.
The Muzak Transcription Division
makes all of its own virgin vinylite
pressings from exclusive formulations de-
veloped and manufactured in their plant,
and they have recently opened a new and
ultra-modern processing and pressing
plant in Kentucky. The processing masters
are shipped to the plant in specially de-
signed containers which assure safe arrival
at their destination.
The Muzak philosophy, if you could
call it that, could probably be summed up
as follows:
Recording is both a precise science
and an art. As such it requires the finest
precision equipment, and the artistic
skill of recordists who know both their
subject and their medium. Having these
things. It is no great problem to main-j
tain the highest standards of recording
quality with minimum lost motion —
and with minimum wear and tear on
the client.
Behind the Scenes (and Sounds) at WMGM
q^Hfltff
rscoTcl
PUBLISHED BY AUDIO DEVICES, INC.
/ol. 6, No. 7
444 Madison Avenue, N. Y. C,
August-September, 1950
Picture-Story of Recording
Activities at one of America's
Leading Producers of ET Shows
1 In less than a year, Metro-Goldwyn-
Mayer Radio Attractions has developed
into one of the country's leading tran-
scribed show-makers, with more than 200
stations in the United States, Canada,
Hawaii and Alaska carrying its award-
winning features.
Working on both coasts, M-G-M Radio
Attractions turns out a roster of eight
first-rate open-end ET shows which was
awarded Variety's 1949-50 "New Pro-
gram Development Award." The half-
hour programs are based on familiar Metro
screen properties like "The Hardy Family,"
"The Story of Dr. Kildare," "The Adven-
tures of Maisie," and "Crime Does Not
Pay." The quarter-hour commentary and
interview shows feature top film personali-
ties Lionel Barrymore, George Murphy,
and Paula Stone.
Singled out by Variety as "particularly
outstanding" was the "M-G-M Theater of
the Air" hour-long version of popular films
with star casts including such notables as
Frederic March and Florence Eldridge
(above) , Marlene Dietrich, Maurice Evans,
Charles Laughton, Raymond Massey and
Pat O'Brien. It is a series that, both
Variety and The New York Times agree,
"stood up favorably in comparison with
'Lux Radio Theater.' "
(Continued on Page 2, Col. 2)
A SIMPLE PROCEDURE FOR STEREOPHONIC SOUND RECORDING
by James F. Nickerson, Director,
Psychology of Music Laboratory,
University of Kansas
Stereophonic sound is not new but how
to demonstrate its function in normal hear-
ing has been difficult and expensive. The
effect of two-eared orientation to a complex
sound field and especially to music is of
much concern to the staff of the Psychol-
ogy of Music Laboratory at the University
of Kansas. The task of affording classroom
demonstration of stereophonic effects has
been simplified by the prerecording of
various types of sound and the presenta-
tion of these materials both monaurally
and binaurally. Of particular interest is the
contribution of stereophonic principles to
recording and transmission of music. Or-
chestral music so recorded seems to possess
a vitality and brilliance far beyond that of
our finest high fidelity single channel re-
cordings. Even with limited fidelity of
equipment the two-channel system affords
a subjective realism and vitality to the
recorded sound not experienced in present
Slereophonic recording equipment in use at Psychology
of Music Laboratory, University of Kansas. Set-up shown
includes two Pcntron recorders in tandem, matched right
and left 6cld speakers, and binaural headset.
radio broadcast and recording techniques.
By means of two Pentron Astra-Sonic
(T-3) tape recorders the Music Laboratory
has been able to record conveniently musi-
cal events on the campus, and set up class-
room demonstrations of the phenomenon
of stereophonic listening.
Essentially the phenomenon is produced
by the slight differences to be found in
the sound wave patterns at either ear.
These slight differences in time, intensity
and quality are sufficient to afford the
mind additional means of organization and
orientation to the sound field not available
in our single channel recording processes.
The slight and subtle differences to be
found between the two patterns are cru-
cial not only to right-median-left orienta-
tion to sound but to some extent to all
directional orientation. This directional
orientation afforded by the mind's reaction
to the contrast in stimuli at each ear is re-
sponsible for the marked gain in "fidelity"
and reality of recorded sound, particularly
music.
To achieve a simple means of two-channel
recording in order to preserve these subtle
differences in recording, the recording shoes
of one of the tape recorders (T-3 Pentron
Astra-Sonic) were removed and re-in-
serted with the brass magnetic insulation to
the top. On the standard Pentron recorder
the brass strips are on lower half of shoe
thus making the recording on the upper
half of the tape as it passes the recording
shoe. Linking the two recorders in tandem
(Continued on Page 2, Col. 1)
AUDIO RECORD
August-September, 1950
CLudla ^ reccrrd
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
Behind the Scenes at WMGM
(Continued from Page 1, Col. 3)
VOL. 6, NO. 7
AUG.-SEPT., 1950
Stereophonic Recording
{Continued from Page 1, Col. 3)
by passing the tape from left to right as
indicated in the diagram below, one chan-
nel was recorded on the lower half of the
tape and the second channel on the upper
half. In case of any marked discrepancy
in drive shaft speed between the two
machines, the rubber pressure wheel can
be removed from the machine to the right.
^1.^
As long as the positions of the two record-
ers remained unchanged the time relation-
ship between the two channels was main-
tamed. Any alteration of position of either
recorder would result in gross distortion.
For demonstration purposes each chan-
nel can be carried to the same speaker but
the stereophonic phenomenon does not
emerge. Using a single microphone for
pickup, identical signals can be placed on
each channel. Even though the two signals
are carried to separate right and left speak-
ers the stereophonic effect does not emerge.
Slight shift in the position of the two
recorders can simulate the stereophonic
effect or produce echo effect when chan-
neled through the same speaker. The opti-
mum in producing the stereophonic effect
seems to be achieved by spacing the two
microphones about fifteen inches apart and
facing outward at an angle of 45° from a
line drawn from sound source to a point
midway between the two microphones.
The field speakers should be spaced well
apart and turned inward slightly toward
the center of the room.
A simple check on the amount of error
introduced by the possible differences in
capstan speeds of the two recorders was
achieved by use of Lissajous figures on an
oscilloscope. Fluctuations observed when
(Continued on Page 10, Col. 1)
2 But sharing equal billing with scripts
and casts was the first-rate quality of the
platters. When M-G-M Radio Attractions
entered the program transcription busi-
ness, the company built what knowledge-
able recording engineers consider one of
the finest recording set ups in the United
States. It involved an investment of more
than $100,000 in precision equipment to
meet all professional standards of perform-
ance. Shows produced on the East Coast
originate in the modern studios at 711
Fifth Avenue where they are under per-
sonal supervision of Production Chief
Raymond Katz and Director Marx B. Loeb
(seated). The special RCA 10-position
console has facilities for filters and feeding
to echo and reverberation chambers.
4 Tape goes to editing room for editing
and timing by Edgar Small (right), assist-
ant to Production Chief Katz. Following
the script. Small eliminates fluffs, coughs
and other extraneous noises, tightens cues.
In addition to "M-G M Theater of the
Air" and "Crime Does Not Pay," both of
which are transcribed in New York, shows
taped on the West Coast are flown East
for editing and mastering.
5 Actual cutting, inserting and splicing
of tape is done by a staff of four recording
engineers under the direction of Paul C.
Baldwin (right), chief recording engineer.
3 Shows are piped from control room
mixing consoles to one of the recording
rooms (above) where a master and a safety
are recorded simultaneously on Ampex
tape recording machines. Compact record-
ing rooms also contain Scully Lathes, Cook
Cutters and Amplifiers, Fairchild playback
machines, Fairchild cutting machines, and
Cook re-recording consoles featuring qual-
ity control amplifiers.
6 After editing, show is returned to
recording room where it is transferred
through re-recording console and a special
quality-control amplifier to a master disk
on the Scully lathe.
Resultant platters have earned for them-
selves an immediate acceptance from sta
tions throughout the country, Canada,
Alaska and Hawaii.
audio ^ record
QUICK FACTS ON MAGNETIC TAPE RECORDERS
(Additional Information can be obtained by writing to the manufacturer)
Model and Price
Frequency
Response
Data
Tope
kMPEX
LECTRIC
:ORPORATION
loward Ave.
It Laurel,
an Carlos,
lifornia
Portable
Model 400
$750.00
50-15,000
cycles (±2 db)
at IS'Vsec.
70-10,000
cycles (±2 db)
ot 7! j" set.
Portable, dual-track recorder, with tape
speeds of 1 5 and lYz" P^'' second. Signal-
to-noise ratio, over 55 db at either speed.
Either half-track or full-track recordings can
be played back without changes in adjust-
ment. Separate record and playback heads.
Instantaneous starting. Rewind time, 1 '/2
mm. Simultaneous monitoring. Weight —
approx. 60 lb.
Console
Model 300C
$1,575.00
50-15,000
cycles (±2 db)
at IS" sec.
Professional-type, single-track recorder, with
tape speeds of 1 5 and 7'/2" per second.
Signal-to-noise ratio, over 60 db. Separate
record and playback heads and amplifiers.
Rewind time, 1 min. for full NAB reel. De-
sign flexibility permits modifications for spe-
cial applications, including multi-channel
recording and response beyond 30 KC. Also
available in portable and rack-type units.
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Recommended
AMPLIFIER
CORPORATION
OF AMERICA
396-398
Broadway,
New York 13,
N. Y.
in-Trax Magnemuse"
Model 810B
(7V2", sec.)
$285.00
50-9,000
cycles (±3db)
at 7V2" sec.
Model 810C
(15" sec.)
$345.00
30-13,000
cycles (±2 db)
at 15"/ sec.
Portable, dual-track recorder, with automa-
tic reversal — giving up to 1 hour continuous
play on 7" reel. Dynamic range, 45 db. In-
put channels for microphone and radio-
phono. Total distortion, less than 3%.
Shuttle speed in both directions. Weight —
42 lb.
'Magnemaster
Consolette"
$395.00
50-15,000
cycles, at
15"/ sec.
50-10,000
cycles, at
7'/j"/sec.
Single or dual-track recorder with tape speeds
of 15 and TYl" P^'' second. Separate heads
for erase, record and monitor. Simultaneous
monitoring while recording. Dynamic range,
50 db. Shuttle speed in both directions.
"Twin-Trax
Magnerama"
50-9,000
cycles (±3 db)
at 7'/2"/sec.
Portable, dual-track recorder, with 7I/2" tape
speed and automatic reversal — giving 4
hours continuous play on W/i" reel. Tape
speed, 71/2" per sec. Microphone included.
Weight — 55 lb. Other data same as for
"Twin-Trax Magnemuse" above.
Wound
with
OXIDE
OUT
Red or
Black
Oxide,
Plastic
or Paper
Base
AMPRO
CORPORATION
2835 North
Western Ave.,
Chicago 18,
III.
"Ampro-Tape
Model 731
$109.50
100-7,000
cycles, at
3V4"/sec.
Portable, dual-track recorder with 3f^"
tape speed — giving 2 hours playing time on
7" reel. Input channel for microphone, radio
or phone connection. Rewind time, 4 min.
for 7" reel. Includes microphone, 5"x7" PM
speaker, and jack for external speaker or
earphones. Weight — 17 lb.
Red Oxide,
Plastic Base
BELL
SOUND
SYSTEMS, INC.
555 Marion Rd.,
Columbus 7,
Ohio
«« '^♦,V, "RE-CORD-O-fone
Model RT-65
70-8,000
cycles (±3db)
at 7V2" sec.
Portable, dual-track recorder with 7' '2" tape
speed. Rewind ratio 6 to 1. Includes crystal
microphone, 6" PM speaker, inputs for
microphone and radio-phono, and head-
phone monitoring jack. Weight — 3 3 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
Model and Price
Frequency
Response
BERLANT
ASSOCIATES
4917 West
Jefferson Blvd.,
Los Angeles 6,
Cal.
40-15,000
cycles (±2 db)
at IS'Vsec.
40-7,500
cycles (±2 db)
at 7'/2"/sec.
Professional type single or dual track re-
corder mechanism and electrical chassis for
console installation. Tape speeds, 1 5" and
lYl" per sec. Signal-to-noise ratio, over 50
db. Fast forward and rewind time, 1 min.
for iOYi" reel. Separate record, erase, and
playback heads. Monitors while recording.
Carrying case and console available. Weight
— 50 lb., in case, with 8" speaker.
»♦«♦♦
THE BRUSH
DEVELOPMENT
CO.
3405 Perkins Ave.;
Cleveland 4,
Ohio
"Soundmirror"
Model BK-414
$199.50
To 5,000
cycles, at
7'/2"/sec.
Model BK-414S
$209.50
To 3,800
cycles, at
3y4"/sec.
Portable, single-track unit, available with
lYl or 3%" tape speeds — providing 30 to
60 minutes recording time. BK-414 has auto-
matic rewind. BK-414S has manual mechan-
ism. Signal-to-noise, 40 db. Flutter, 0.3%
RMS. Fast forward and rewind, 7?"/sec.
Inputs for microphone, radio-phono. Output,
3 ohms +30 dbm. Includes 6" PM speaker
and crystal microphone. Weight — 38 lb.
"Soundmirror"
Model BK-411
$199.50 (mahogany)
$209.50 (blond)
To 5,000
cycles, at
7V2"/sec.
Model BK-427
$209.50 (mahogany)
$219.50 (blond)
To 3,800
cycles, at
3y4"/sec.
Table model, single-track units available
with lYi or 3f4" '"ipe speeds — providing 30
or 60 minutes recording time. BK-411 has
automatic rewind. BK-427 has manual mech-
anism. Signal-to-noise, 40 db. Flutter, 0.3%
RMS. Fast forward and rewind, 75"/sec.
Inputs for microphone, radio-phono. Out-
put, 3 ohms +30 dbm. Includes 8" PM
speaker and crystal microphone. Weight —
34 lb.
t
"Soundmirror"
Model BK-428
$249.50 (mahogany)
$259.50 (blond)
To 7,000
cycles, at
7'/2"/sec.
Educational Model, similar to BK-411 above,
except as follows. Has higher output and
superior quality and volume for large class-
rooms. Includes RCA accordion cone speak-
er. May be played through radio, separate
speaker, amplifier or PA system. Manual
mechanism. Cabinet has handles for easy
carrying.
CRESTWOOD
RECORDER
CORP.
624 West
Adams St.,
Chicago 6,
III.
"Magictape"
Model
CP-201
$189.50
Model
CP-201 FF
$199.50
50-8,000
cycles, at
7'/2"/sec.
Portable, dual-track recorder with lYl" tape
speed. Rewind time, less than 2 min. Micro-
phone and radio-phono input channels. In-
cludes crystal microphone and 6"x9" speaker.
Model CP-20IFF has fast forward time of 1
min. 20 sec. for 7" reel. Weights — 27 lb.
(CP-201), and 29 lb. (CP-201FF).
EICOR,
INC.
1501 West
Congress St.,
Chicago 7,
III.
Portable
Model
115
$144.95
80-7,500
cycles, at
7'/2"/ sec.
Portable, dual-track recorder with tape speed
of lYl" pet sec. Removable capstan permits
conversion to 3J<t" per sec. Rewind speed,
6 to 1. Crystal microphone and speaker in-
cluded. Weight— 27 lb.
FAIRCHILD
RECORDING
EQUIPMENT
CORP.
154th St. and
7th Ave.,
Whitestone,
N. Y.
Console
Model
Unit 125
$2,750.00
50-15,000
cycles (±1 db)
at 15"/sec.
Professional type, single-track recorder with
1 5" tape speed (lYl" and 30" models avail-
able). Total noise and distortion -64 db
(ref. 21/2% dist.). Adjustable bias. Speed
tolerance, 0.1%^. IJuilt-in VU meter and cir-
cuit checking. Unit-type, plug-in chassis.
Automatic stop — instant braking and re-
versal.
Manufacturer
Model and Price
Frequency
Response
Top*
Portable Model R-5P $2,025.00
RANGERTONE
INC.
73 Winthrop St.,
Newark 4,
N. J.
45-15,000
cycles (^i2 db)
at 15" sec.
50-£,000
cyc:es (±2 db)
cit 7' 2" sec.
Console
Model
R-5C
45-15,000
cycles (±2 db)
at 15" sec.
50-3,000
cycles (±2db)
at 7'/2"/see.
Professional-type, single-track, dual-speed re-
corders, with choice of 354". '^Vl", 1'" or
30" per sec. tape speeds. Distortion less than
2% total harmonic. Maximum signal-to-tape
noise, 55 db. Peak flutter, less than 0.1% at
15"/sec. Rewind speed, 0 to 250"/sec.
Meets all NAB adopted standards. Complete
monitoring and mixing facihties. VU meter,
signal indicator and footage counter. Also
available with positive "sprocketless" syn-
chronization for motion picture and TV ap-
plications. Weight of portable model — drive
ur>it, 65 lb.; playback amp., 52 lb.; record
amp., 37 lb.
Wound
with
OXIDE
IN
Red or
Black Oxide,
Plastic Base
RCA
A new RCA Professional Tape Recorder, Type RT-llA, will be available in February, 1951. This will be described
in a later issue of Audio Record. Vor information, write to RCA Victor Division, Camden 2, New Jersey.
REVERE
CAMERA
CO.
320 East
21st St.,
Chicago 16,
III.
Portable
Model T-100
$159.50
Model TR-200
(with radio)
$199.50
To 7,500
cycles (±3 db)
at 3% "/sec.
Portable, dual-track recorder with 3J4"
speed — giving up to 1 hour recording on 5"
reel. Signal-to-iioise ratio, over 45 db. Re-
wind speed, 102.5"/sec. Fast forward, 37.5"/
sec. Neon recording level indicator. Inputs
tor microphone and radio-phono. Outputs
for external speaker or headphones. Micro-
phone and 5"x7" PM speaker included.
Weight-- 25 lb.
Wound
with
OXIDE
IN
Red or
Black Oxide,
Plastic Base
Portable Model RPA-1
$275.00
SONAR
RADIO
CORP.
59 Myrtle Ave.
Brooklyn 1,
N. Y.
40-9,500
cycles
(±1Vi db)
at 7 '/j "/sec.
Portable single and dual -track recorder
(automatic reverse), with lYi" tape speed.
Harmonic distortion, less than 2%. Signal-
to-noise ratio, 50 db. Fast forward and re-
verse, 30"/sec. Includes VU meter, attenu-
ator, equalizer and 5" dynamic monitor
speaker. Weight — 40 lb.
Portable Model T-10 $395.00
35-9,500
cycles (±2 db)
at 7' j" sec.
Portable dual-track recorder (automatic re-
verse) with lYi" tape speed. Harmonic dis-
tortion, 1%, Signal-to-noise ratio, 55 db.
Rewind, 30"/sec. Four input channels, VU
meter, attenuator, equalizer, gain and tone
controls. Power supply and speaker in sepa-
rate case.
Wound
with
OXIDE
OUT
Red Oxide,
Plastic or
Paper Base
THE
STANCIL-
HOFFMAN
CORP.
1016 North
Highland Ave.,
Hollywood 38,
Co I.
"Minitape"
Model M4
100-5,500
cycles (±2db)
at 7' 2" or 15"
Portable, single-track recorder with tape
speeds of 3J<j, lYi and 15" per sec. Signal-
to-noise ratio, at least 3 5 db. Completely
self-contained battery operated unit (record-
ing only). Weight — 13 lb.
$1,670.00
50-15,000
cycles (±1 db)
at 15"/ sec.
Portable, professional-type, single-track re-
corder with tape speeds of 71/2 and 15" (or
15 and 30") per sec. Signal-to-noise ratio,
over 60 db. Separate record and playback
heads and amplifiers with independent moni-
tor amplifier and speaker.
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Model and Price
Frequency
Re»ponte
Portable Model PT6-JA
$548.00
50-15,000
cycles (±2 db)
at 15"/sec.
Portable, single-track recorder, with inter-
changeable capstans for 15 and IVi" tape
speeds. Two separate heads. Combination
record/playback amplifier. Low impedance
mike input, bridging input, monitor speaker,
O-level output terminal, VU meter, termi-
nal for external speaker.
MAGNECORD
INC.
360 North
Michigan Ave.,
Chicago 1,
III.
Portable
Model
PT63-JA
$721.00
50-15,000
cycles (±2 db)
at I5"/sec.
Same as above, except with three separate
heads for erase, record, and playback for
monitoring from tape while recording.
PT63-J amplifier has separate record and
playback amphfiers, and switch for equaliza-
tion at 71/2 and 15" tape speed.
Portable Model PT7-A Recorder
and PT7-P Amplifier
$908.00
50-15,000
cycles (±2 db)
at 15"/see.
Portable, single-track recorder, with 15 and
7I/2" t^pe speeds. Three separate heads.
Safety-interlocked push button controls.
Signai-to-noise ratio, over 55 db. Separate
record and playback amplifiers — equalization
at both speeds. Three microphone inputs
and bridging input. Includes VU meter,
monitor speaker, and output for external
speaker.
Console
Model
PT7-CC
$950.00
50-15,000
cycles (±2 db)
at 15"/sec.
Complete console combination including
PT7 recorder (as above) and PT7-C hne-
level amplifier. Separate record and playback
amplifiers. Headphone jack. Switch for lYi
and 15" equalization. Switch for record,
playback or bias reading on 4" VU meter.
Black enamel finish with burn-proof Formica
top and chrome trim.
Portable Model
PT-900
$799.00
To 15,000
cycles, at
15"/sec.
Portable, professional-type, single-channel,
dual-speed recorder, operating at 15 and
71 2" per sec. Three separate heads, for erase,
record, and playback. Three microphone
channels. Fast forward and reverse. VU
meter.
PRESTO
RECORDING
CORP.
p. O. Box 500,
Hackensacic,
®
Model RC-10-14
$684.00
Model RC-10-24
$761.00
To 15,000
cycles, at
Professional, single-channel, dual-speed re-
corders (15" and lyi'Vsec.) for rack
mounting. Three separate heads, permitting
monitoring from tape while recording. Three-
motor drive mechanism. Fast forward and
reverse. RC-10-14 controlled by rotary type
selector switch. RC-10-24 completely push-
button controlled. Can be arranged for re-
mote operation.
Console
Model
SR-9S0
$2,785.00
30-15,000
cycles (±1 db)
at 15" sec.
Professional, single-channel recorder, with
15 and 71/2" tape speeds (15" and 30" op-
tional). Signal-to-noise ratio, over 60 db
below max. signal. Fast forward and reverse,
240 ft. /sec. Three separate heads. VU meter.
Amplifier and power supply units on hinged
panel.
Manufactur
Mode) and Price
Frequency
Response
Tape
THE
GENERAL
INDUSTRIES
COMPANY
I Elyria,
• Ohio
Tape-Disc Recorder Assembly
Model 250 $79.50
(depends on
amplifier
used)
Combined disc and tape recorder assembly
for installation in console or portable case.
Tape speed, 3J^"/sec., dual track. Fast for-
ward and reverse. PM erase. Takes 5" reels.
Disc recorder cuts and plays back up to 10"
discs, at 78 rpm. Records from tape to disc
and vice versa — and from microphone or
radio to disc or tape.
MARK
SIMPSON
MFG. CO.
INC.
32-28 49th St.,
Long Island City 3,
"MASCO"
Model LD-37
$169.50
Model LD-37R
(with radio)
$199.50
"MASCO"
Model DC-37
$179.50
Model DC-37R
(with radio)
$209.50
80-8,500
cycles (±3 db)
at 7' 2" sec.
80-5,000
cycles (±3db)
at 3^4" sec.
"MASCO"
Model D-37
$179.50
Model D-37R
(with radio)
$209.50
Portable, dual-track, dual-speed recorders,
arranged for instant change from 71/2 to
3f^" per sec. Up to 2 hours recording time
available on 7" reel. Signal-to-noise ratio,
45 db at lYi" ■ Automatic equalization. Neon
recording level indicator, volume and tone
control, monitor switch, 6" PM speaker,
and microphone. AC erase and bias. Micro-
phone and radio-phono inputs. External
speaker and amplifier outputs. Available with
or without built-in AM tuner. Weight of
mechanism (less case), 28 lb.
Models LD-37 and 37R, without carrying
case.
Models D-37 and 37R, with two-tone tweed
carrying case.
Models DC-37 and 37R have metal cover
with carrying handle. Cover operates inter-
lock switch and can be locked with key.
Wound
with
OXIDE
IN
Red or
Black Oxide,
Plastic or
Paper Base
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
OPERADIO
MFG. CO.
St. Charles,
III.
Portable
$189.50
50-8,000
cycles, at
7' j" sec.
Portable, dual-track recorder with lYi" tape
speed. Power output, 7 watts. Input channels
for microphone and radio-phono. Output
jacks for headphones and external speaker.
Rewind time, 80 seconds for 7" reel. Micro-
phone and built-in 6"x9" speaker included
Weight— 26 lb.
Portable Model 9T3
THE
PENTRON
CORP.
Chicago 16,
III.
50-8,000
cycles, at
7'/2"/sec.
50-5,000
cycles, at
3V4"/sec.
Portable, dual-track, dual-speed unit (lYi"
and iy^") — providing 2 hours recording on
7" reel. Signal-to-noise ratio, 50 db. Flutter
less than 0.5%. Fast forward and rewind
ratio, 20 to 1. Inputs for microphone and
radio-phono. Outputs for headphones, ex-
ternal speaker, and PA system. Includes 6"
PM speaker and crystal microphone. Weight
— 28 lb. Other models also available.
Wound
with
OXIDE
OUT
Red Oxide,
Plastic or
Paper Base
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
PERMOFLUX
CORPORATION
4900 West
Grand Ave.
Chicago 39,
III.
Permoflux "Tape-Riter"
$279.50
'V
Ample for
all voice
recording
A desk-type magnetic tape recorder designed
primarily for office use as a dictating ma-
chine— also applicable to many other busi-
ness purposes. Features special "cartridge"
loading which eliminates threading. Auto-
matic erase. Simplified controls. Microphone
includes stop-start switch. Weight — 20 lb.
Wound
with
OXIDE
IN
Black Oxide,
Paper or
Plastic Base
Manufacturer
Model and Price
Frequency
Response
TAPETONE
MFG. CORP.
Sales Office:
Broadcasting
Program Servic
23 W. 45th St.,
New York 19,
N. Y.
Portable Model
$229.00
100-8,000
cycles, at
7 'A "sec.
100-6,000
cycles, at
3^i"/sec.
Portable, single-track recorder operating at
7I/2" per sec. (S^-lt" optional), with built-in
78 rpm record player. Hum level, 40 db be-
low normal operating level. Rewind time,
7 min. Neon volume indicator lamp. 8" PM
speaker and crystal microphone. Weight —
approx. 40 lb.
UNIVERSAL
ELECTRONICS
SALES CORP.
1500 Walnut St.,
Philadelphia 2,
"Reelest"
Model C-1-A
$219.00
70-8,000
cycles (±3 db)
at 7 V2 "/see.
Portable, dual -track recorder with 7I/2" tape
speed and automatic reversal, giving 1 hour
continuous play on 7" reel. Signal-to-hiss.
60 db. Signal-to-hum, 50 db. Fast forward
and rewind. Electronic recording level indi-
cator. Inputs for microphone, phono and
radio. Output for external speaker or PA
system. Weight — 34 lb.
"Ekotape Pla-Mote" Model 109
$156.50
60-4,000
cycles, at
3 3/4 "/sec.
Portable, dual-track recorder with 354 " '^pe
speed — giving 2 hour recording time on 7"
reel. Fast forward and rewind, 75" per sec.
Neon recording level indicator. Input jacks
for microphone and radio-phono. Output
jack for external speaker. Includes 5"x7"
PM speaker and crystal microphone. Weight
—34 Ih.
WEBSTER
ELECTRIC
CO.
Racine,
Wise.
Ekotape" Portable
Model 101-4
$369.50
Model
102-4
$407.00
60-7,000
cycles, at
7'/2" sec.
Portable, single-track recorder with lYz"
tape speed. Fast forward and rewind, 75"
per sec. Electronic eye recording level indi-
cator. Inputs for microphone and radio-
phono. Output for external speaker. Includes
8" PM speaker. Weight— 50 lb.
Model 101-4 includes crystal microphone.
Model 102-4 has 500 ohm input and addi-
tional 500 ohm output for telephone lines.
Ekoptope Network"
Model 105
$595.00
70-7,000
cycles (±3db)
at 7' /j"/sec.
Portable, single-track recorder with 71/'/'
tape speed. Signal-to-noise ratio, over 35 db.
Total speed variation, less than 1%. Fast
forward and rewind, 75"/sec. VU meter.
PM and HF erase. Jacks for 2 low level or
1 bridging input. Two 500 ohm (0 dbm)
outputs and 1 monitoring jack.
WILCOX-GAY
CORP.
Charlotte,
Mich.
"Record!©"
Model 1B10
85-6,000
cycles, at
1.875" sec.
Portable, dual-track unit giving 2 hours re-
cording on 5" reel. Includes phonograph
turntable and pick-up for recording from
disc to tape. Rewind time lYi min. for 5"
reel. Jack for external speaker. Recording
level indicator. Includes 6" oval speaker and
crystal microphone. Weight — 21 lb.
"Recordio"
Model 1C10
65-8,500
cycles, at
1.875" sec.
Portable, single-track unit giving I hour re-
cording on 5" reel. Includes disc recorder
and reproducer. Records from tape to disc
and vice versa, and from microphone or
radio-phono to disc or tape. Fast forward and
reverse. Automatic stop. Recording level in-
dicator. Jack for external speaker. Includes
5"x7" oval speaker and microphone. Weight
—27 lb.
NOTE; All prices listed
al dealer for
list and others tiet.
August-Sepf ember, 1950
AUDIO RECORD
pointe/^
C. J. LeBel
by C. J. LeBel, Vice President,
Audio Devices, Inc.
A SURVEY OF TAPE
RECORDERS
Last year we
published a survey
of the many tape
recorders then
reaching the mar-
ket, and consider-
able interest was
expressed by our
readers. Now an-
other season has
rolled around, and
we present the
newest develop-
ments once again. Over 40 machines, from
24 manufacturers, are listed.
Although three different applications
cover most uses of tape recording (home,
educational, and broadcast), one business
recorder has also been listed. The needs
of these fields differ widely, and the tabu-
lated data should enable one to select the
most suitable machines for a given job.
Some Trends
It is interesting to note that only 7%
of the machines call for black oxide tape
alone. 93% use red oxide or either type.
At this rate, black oxide tape will probably
be obsolete in another year. The same de-
gree of standardization has not yet been
achieved in direction of wind, though
already over 75% of the machines and
over 80% of the manufacturers prefer
the oxide-in wind. As older designs are
scrapped, we may expect the oxide-out
wind to disappear.
When we said that the limit to fre-
quency response lay in the machine and
its heads, and not in the tape — they all
laughed. But recent developments have
vindicated us, for many of the latest ma-
chines have increased the frequency range
per inch of tape speed by 50% or more, as
compared to previous practice. This has
led to lower tape speeds, wider use of
smaller reels, and smaller and lighter ma-
chines, without loss of recording time or
quality. The use of twin recording tracks
has also helped this trend, and about half
of the machines listed are of that variety.
In the professional machine field, the
year has seen improvement in drive sys-
tems. Three-motor designs have become
available at lower cost, and friction clutches
of improved quality have also come into
use. As a result, flutter is now often less
than it has been.
At the same time, reduced distortion
and improved signal to noise ratio have
resulted from improved purity of bias
wave, and from better amplifier design.
Experience of the past year has served
to better define the requirements in vari-
ous fields, to the point where a little com-
ment might be in order.
Home Applications
Home uses for tape machines may be
divided into two classes — wide and nar-
row range.
For speech only — party entertainment,
baby's first words, and the like, uniform
response to 5 kc is surely adequate. For
music, particularly long selections and full
programs, the range must be greater if the
quality is to even approximate that of the
latest microgroove recordings. An accept-
able range would be to 8 kc, but 10 kc
would be closer to the quality of many
discs. Home equipment of this nature is,
surprisingly, available from many manu-
facturers.
A magic eye tube makes a much better
volume indicator than does a flashing neon
lamp, and where recording overload must
be avoided the former is essential. A meter
would be even better.
While the typical home recorder has a
signal to noise ratio of the order of 40 db.
it should be remembered that many micro-
groove discs achieve 50 db.
Education
Gradually, it has been realized that a
recorder for general school use must pro-
vide faithful reproduction, not merely
pleasing sounds. Some aspects are less
stringent, but the most important applica-
tions demand this very rigorously. Experi-
ments by Prof. William J. Temple and the
writer seem to indicate a need for uniform
response up to at least 7.5 kc in these cases.
The frequency range cited is from micro-
phone input to speaker output, so that a
good microphone is essential. Because the
usual classroom is too reverberant, a direc-
tional microphone is preferable. This in
turn demands higher pre-amplifier gain
than is sometimes provided.
Since the built-in loudspeaker is usually
inferior in quality to the recorder itself,
it is necessary to provide an external wide-
range speaker and circuit means to feed it.
If regularly needed, as in a speech class,
the speaker could well be fastened to the
classroom wall. In other cases it could be
mounted on the same cart as the recorder.
For volume indication a meter is prefer-
able, though a magic eye tube is acceptable
for less critical applications. If a meter is
provided, it would be very handy to be
able to use it to check bias. Any machine
used as often as in schools should have
front panel means for checking bias every
day.
While the most common school-need is
for a machine with one high gain (micro-
phone) input and one medium gain (radio)
input, dramatic work may demand three
or four input positions for as many micro-
phones, used simultaneously. In that case,
the only recourse is to a broadcast type
machine. Many colleges have done this.
Broadcasting
Frequency range requirements have been
well standardized by the NAB, but there
is considerable need for a light AC oper-
ated portable machine of full broadcast
quality. Too many stations have been
forced into using poor equipment for re-
mote jobs, because 60 or 70 pounds of
equipment was too much to carry.
Such a machine might have only a single
microphone input, but it would have full
frequency range and signal to noise ratio.
Because of the importance of at least
approximately correct bias, it would be
very desirable to include provision for
checking bias current by meter.
Yes, tape recorder designs have im-
proved a great deal in the past year.
Don't Forget that
YOUR OLD DISCS
ARE WORTH MONEY
Used recording discs that are "worth-
less" to you may be worth much more than
you think! For you can easily convert them
into cash by taking advantage of Audio
Devices' long-standing policy of buying
used aluminum-base discs of any make.
The prices you can get range from 4
cents to 15 cents per disc, depending on
size, as follows:
10" — 4 cents each
12" — 8 cents each
I3V4" — 10 cents each
16" — 15 cents each
17%" — 15 cents each
What's more. Audio Devices will pay
cheapest- way freight* on all shipments of
100 pounds or more.
All used discs should be shipped to:
The Audio Manufacturing Corporation
25 Parker Ave., Glenbrook, Connecticut
Every year Audio Devices pays thou-
sands of dollars for the return of these old
discs. So don't overlook this excellent op-
portunity to reduce your recording disc
costs.
Why not pack up your used blanks and
ship them to the above address. You'll be
surprised at how big the check can be.
•Freight Classification: Scrap aluminum for remelt pur-
poses only.
10
AUDIO RECORD
August-September, 1950
Stereophonic Recording
{Continued from Page 2, Col. 1)
one channel was introduced to the vertical
plates and the other channel to the hori-
zontal plates were no greater than those in-
troduced when either recorder was checked
against an identical signal from a signal
generator.
Classroom demonstrations are being
achieved by use of two matched right and
left field speakers and by means of binaural
headsets. Since all demonstration sound
can be pre-recorded the task of classroom
demonstration is considerably simplified
and made more eflFective.
The Psychology of Music Laboratory
sponsored by the Department of Music
Education at the University of Kansas
expects to continue demonstration and
research m the area of stereophonic orien-
tation to sound. The staff feels that stereo-
phonic sound is here to stay in recording
and transmission of sound. It is a prac-
ticable and realizable recording condition
for commercial developments, for the home
phonographs, for amateur recordings and
perhaps for sound motion pictures.
Master Audiodiscs
Now Available in
LCL* Shipments
*Less than Carton Lots of 25
From time to time we have had re-
quests for Master Audiodiscs packa::cd in
quantities of less than 25 discs per box.
To meet such requirements, double face
Master Audiodiscs, in I3I/4" and 17%"
sizes are now available packaged 5 discs
per box.
The unit price for these discs, when pur-
chased in quantities of 5 per box, is the
same as for quantities of 25 per box — $3.05
list for 131/4" double-face Masters, and
$5.10 list for 171/4" double-face Masters.
This alternate method of packaging has
been made available only on double-face
Masters.
Heigh-Ho/
COME TO THE FAIR!
The AUDIO FAIR for 1950 will be
held at the Hotel New Yorker, New York
City, on October 26th, 27th, and 28th —
in conjunction with the Second Annual
Convention of the Audio Engineering
Society.
This second AUDIO FAIR — the only
exhibition devoted exclusively to sound re-
cording materials and equipment — promises
to be even bigger and better than the first
one, which was held last year, at the same
place. Two whole floors have been reserved
for exhibitors, and visitors will have an
opportunity to see — and hear — the latest
developments in every field of sound re-
cording and reproduction. There is no
charge for admission.
Audio Devices will be there, of course.
And we cordially invite you to visit our
exhibit, in Room 651.
Magnetic Sleuths Track
Down Elusive Data
Magnetic tape recorders are now avail-
able for the recording and interpretation
of variable or transient data — for ground
applications or airborne use under severe
shock accelerations.
The Cook Research Laboratories, 1457
Diversey Parkway, Chicago 14, 111., has
developed the following multi-channel re-
corders — designed for incorporating into
vehicles, aircraft or other mobile equip-
ment. When used with suitable coupling
equipment and sensing instruments, they
provide a complete data recording system.
.w^;^
Type MR- 3 — Includes 6 information
plus 1 reference channel, with a recording
time of 3 minutes at tape speed of 10" per
sec. Its small size (8% x ly^ x 3y4") and
light weight (3 lb.) make it especially suit
able for guided missile and airborne use.
Type MR- 12 — Includes 50 informa-
tion, 4 reference, 2 marker and 6 spare
channels. It has a tape speed of 14.2" per
sec. and a recording time of 5 minutes. It
is designed for airborne use, to withstand
impact shocks of 15 G's. Weight, 25 lb.
with tape.
Further information on these, or other
custom-built data recorders, can be ob-
tained by writing to Cook Research Labor-
atories.
ANY QUESTIONS? If you have any questions on the operation or application of disc or
tape recording equipment, please send them to Audio Record, 444 Madison Ave., New York 22,
N. Y. We will refer them to our technical experts and publish the answers in a subsequent issue.
AUDIOSCRIPTS 1950
12 Complete, Prize-Winning
Scripts from Scholastic Magazines'
and AER Contests for 1950
This new collec-
tion of student-
written radio
scripts brings you
— in one conven
lent volume — the
prize-winning en-
tries from the
Scholastic Maga
zines' and AER
contests. These 12
complete scripts
are "essential reading" for both teachers
and students who are planning to partici-
pate in next year's radio writing contests.
Each script is complete with all necessary
sound cues and sound effects instructions
— making excellent material for dramati-
zation and recording in the class room or
at home.
The prize-winning scripts contained in
this 1950 collection are listed below:
SCHOLASTIC MAGAZINES'
RADIO SCRIPT WRITING CONTEST
(High School Students)
Original Radio Drama
First Prize — Of Sand and Stars, by Richard
O. Justa
Second Prize — YouR Loving Sister Made-
line, by Ann Keller
Third Prize — It Happens Every Day, by
Pattie Ann Lewis
Fourth Prizes — Escape from Libby, by Roger
Lee Paulson
The Best Things in Life, by Ronald Wolfe
General Radio Scripts
First Prize — ATOMIC Era One, by Bernard H.
Merems
Second Prize — Raising of the Dead, by
Janice Anne Chaskes
Third Prize — The Voice of Tomorrow, by
Morton Hytner
Fourth Prize — Exploring the Mayas, by
Barbara Halladay
A. E. R. NATIONAL
RADIO SCRIPT CONTEST
(College Students)
Classification No. 5 — Scripts for
Home and School Recording
First Prize — The Runaway Christmas Bus,
by John Suchy
Second Prize — The Life of William Blake,
by Miss Janaan Noonan
Third Prize — My Last Duchess, by Robert
Lee
AUDIOSCRIPTS 1950 is offered to you
at cost — $1.00 net each (less than 10 cents
per script) . Send check or money order to
Audio Devices, Inc., 444 Madison Ave.,
New York 22, N. Y.
q_||ff^iqr
recoTcL
PUBLISHED BY AUDIO DEVICE
UttmUlife
Vol. 6. No. 8
444 Madison Avenue, N. Y. C.
October-November, 1 950
Notes on the Development of Hot Stylus Recording
The hot stylus method of disc recording,
\ developed by Columbia Records, Inc., is
the result of extensive research to de-
termine the limiting factors affecting the
variations in surface noise and frequency
response at different groove diameters.
Since hot stylus recording is now beini;
applied by a number of professional record
ists — and equipment for its commercial
use has been made available by the Fair
child Recording Equipment Corporation
— It will be of interest to examine the
underlying principles which explain the
resulting improvements in recording char
acteristics.
To go back to some basic fundamentals,
it has long been known that disc recording
styli involve a compromise between signal-
to-noise ratio and frequency response. In
1941 it was shown that as we modify stylus
dimensions to cut a smoother groove, with
lower background noise, the loss of high-
frequency response increases — particu-
larly as the cut approaches the inner di-
ameter of the disc, with correspondingly
reduced groove velocities.
Although signal-to-noise ratio was iden-
tified as a function of the cutting stylus
and recording lacquer, the decrease in
high-frequency response was originally at-
tributed to the reproducer. In other words,
it was considered as a playback loss rather
than a recording loss.
One school of thought maintained that
reproducer tip radii of .002" to .0025"
were too great successfully to trace wave-
lengths of approximately the same mag-
nitude.
Tests were therefore made by Columbia
under carefully controlled conditions, to
allocate the frequency response loss as a
function of the recording stylus — the
recording lacquer — the reproducing stylus
and the reproducing head.
Fig. 1 shows a set of curves in which
frequency response is plotted as a func-
tion of wavelength of recorded waves, for
various types of cutting styli and disc
coatings. The lower group of curves on the
same chart shows the relation between
wavelength and groove diameter for vari-
ous frequencies, at 33J<j and 78 rpm. The
five different frequency vs. wavelength
(Continued on Page 2, Col. 1)
University of Kentucky engineering
student, John Curry, at the controls of
WBKY's portable Magnecorder, mak-
ing an on-the-job recording at the Ash-
land Oil and Refining Company, Cat-
lettsburg, Kentucky.
Employees of the Ashland Oil and
Refining Company listen to a playback
of the tape recording while WBKVs
Bill Gordon. U. K. Radio
Arts major, listens in on the head-
ph
Visiting Kentucky's Industries
via Tape Recordings
Unique Programs by University of
Kentucky Record the Pulse Beat
of Industrial Activity
"If a tape recorder could only talk!"
This was the way a WBKY engineer
characterized one of the University of
Kentucky station's Magnecorder units
after an especially adventuresome day in
the field. This engineer had just completed
recording one of the University's "Visiting
Kentucky's Industries" broadcasts from a
Kentucky coal mine.
Several hundred feet in (and down)
the mountain the radio group from WBKY
was at a cutting face. First the sound and
description of the undercutting machinery
was etched on tape. Then came the drill-
ing. Next the powder tube was inserted in
the hole, and the electrical discharge wire
strung out. Came the recording of the blast
(successful only after several trys) . Quick-
ly the loading machinery came in and
scooped up the coal just shot down.
Now came a difficult part of the pro-
gram, a recording of a ride on the coal
train from the shooting face out to the
{Continued on Page 5, Col. 2)
AUDIO RECORD
October-November, 1950
cLudla ^ record
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 6, NO. 8
OCT.-NOV., 1950
Hot Stylus Recording
(Continued from Page 1, Col. 1)
curves all have the same general character-
istics, but with varying degrees of fre-
quency response loss at the shorter wave
lengths, as the cut approaches the center
of the record. The optimum condition,
with minimum loss of response, was ob-
tained with a wax cutting stylus on a wax
disc.
These differences are apparently due to
two factors — the shape of the cutting
stylus and the cutting characteristics of the
recording disc lacquer.
When lacquer-coated discs were first in-
troduced, it was found that the cutting
styli which had been used for wax were
not suitable, resulting in a noisy cut. Spe-
cial styli were therefore developed for the
lacquer discs, the cutting edges being
modified or "dubbed" to include burnish-
ing facets on the leading edges of the
cutting point, as shown by the drawing in
Fig. 2. The burnishing edges gave a high
polish to the side walls of the groove, re-
sulting in extremely quiet cuts. The surface
noise, though satisfactorily low, still tended
to increase as the groove approached the
center of the disc. And since this was true
even for an unmodulated groove, it was
apparently due to the reduced cutting
speed at the smaller diameters.
Columbia's engineers assumed, there-
fore, that the smoothing action of the
burnishing facets on the cutting stylus was
the result of heat generated by friction,
which tended to "flow" a smooth surface
on the cut groove. As cutting speed dimin-
"^
^
^
c^
X
?^
-3
y
y
^ y
A
y
y/^
/
/
^/
X
/ /
/ /
/
in
z
/ y
/ /
/ /
<n
Curves A SB: Ronge of values, obtained with
typical locquer cutting styli on
lacquer.
Curve C '. Wax cutting stylus on lacquer.
Curve D : Wax cutting stylus on special soft
lacquer.
Curve E: Wax cutting stylus on wox. (Playback
of vinylite pressing from wax
master )
(T
/ /
/ /
-9
/
4 /d
/c /
r
/ /
/,
/ /
/ /
/
/ /
■12
1
Freq.(kc)at 33 l/3 rp
n 1Q/
V/
A
/
/
/,
o 10
z
o:
;!^ 8
UJ
<
o
/
/ /
/
6/
/
/
/'
/
/
/
/
/ ^
/;
^/
/
/
/
/
/
/
// /
1 //
' y
/V
/
/
/
/
/
10/
/
/
-^
y
■ Freq. (kc)
at 78rpm
.003
WAVELENGTH
.005
INCHES
Fig. 1. Cur
coarings. Lo
Sapphire
Burnishing Facet
Burnishing Edge
Fig. 2. Enlarged drawing of lacquer cutting stylu
showing burnishing facets which give high polisli lo
groove side walls.
ished, so would the amount of heat gen-
erated, and the smoothing action as well.
This theory would explain the increase
in surface noise. But what about the re-
duction in high-frequency response?
The shape of the cutting stylus gave an
important clue here also. Since wax cut-
ting styli, without burnishing facets, gave
less high-frequency loss than lacquer styli
It could be seen that the burnishing facets
introduced additional resistance to lateral
movement of the cutting tool. This would
also explain why the response tended to
fall off more sharply at reduced groove
diameter, too. For, with a fixed frequency,
the relative proportion of lateral move-
ment for a given forward travel increases
as cutting speed decreases with inward
travel of the groove. The reduced tempera-
ture of the stylus at the slower speeds
would tend to increase this resistance to
lateral movement still further.
Columbia decided, therefore, to apply
the required amount of heat to the stylus
by external means — making stylus tem-
perature independent of cutting speed. The
first method tried, in 1948, was to wind
a small coil of wire directly on the sapphire
stylus, heating it by means of direct cur-
rent passed through the coil. This method
worked so well that it is still in use today,
although many other heating methods
were investigated.
As was expected, discs cut with the
heated stylus indicated a greatly reduced
surface noise — so great, in fact, that it
was possible to make remarkably quiet
cuts with negligibly small burnishing
facets. Fig. ?< shows the results of hot
stylus recordings made at various tempera-
tures, for 5 inch and 12 inch diameters.
With proper heating current it was pos-
sible to obtain remarkably quiet cuts, even
at the smallest practicable recording di-
ameters. Moreover, Columbia's tests in
dicated that hot point recordings would
give a frequency response as good as that
shown in Curve E, Fig. 1, for wax cutting
stylus on wax.
Columbia's development of hot-stylus
recording therefore appears to be a prac-
Ocfober-November, 1950
AUDIO RECORD
1
Zero Level ■ 5 ^"Xec ""s
Groove Width • .003°
Noise in Meosunng Channel
' -78 db
^^
5-inch diom.
"""■«-,
-~~-
^-.^^
V
2-inch di
^^>.^
^-^.
K
V
■^^^-^^^^.^
0.2 0.3 0.4
CURRENT IN HEATING COIL - Amperes
stylus heating coiL No
ticjl solution to the problems of back-
ground noise and frequency response loss.
It apparently offers all the advantages of
wax recording, without sacrificing the con-
venience of lacquer discs for direct play-
back and easy processing.
Perfected equipment for the application
of this principle was announced by the
Fairchild Recording Equipment Corpora
tion last April. The Fairchild "Thermo-
Stylus Kit", illustrated in Fig. 4, includes
a cutter-head adapter, two special cutting
styli with built-in miniature heating ele-
ments (one stylus for standard and the
other for microgroove recording), and a
thermo-control box, with on-off switch,
variable heat control, pilot light, and an
illuminated meter, color calibrated to in-
dicate the thermal settings for standard and
fine-pitch recording. The control setting is
non-critical, as good results are obtainable
with a relatively wide latitude of stylus
temperature.
It is stated that recording with the
Thermo-Stylus method results in a reduc-
tion in surface noise of as much as 20 db,
and that noise increases with decreasing
diameter are negligible. Fig. 5 shows di-
ameter losses in db for both hot and cold
recordings at disc diameters of from 16
to 4 inches. Curve for hot point recording
IS made from disc cut with the Fairchild
Thermo-Stylus Kit.
The complete Thermo-Stylus Kit is
priced at $100.00. Detailed information
can be obtained by writing to the Fairchild
Recording Equipment Corporation, 154th
St. and 7th Ave., Whitestone, New York.
As is the case with any new develop-
ment, the real measure of the success and
practicability of hot-stylus recording lies
in its acceptance and performance "in the
field". We will therefore welcome any
comments on this subject from those of
our readers who have experimented with
or are now using the hot stylus recording
process. Any information of this nature
that we receive will be included in future
issues of Audio Record.
Audio Fair Draws
Record Attendance
The second annual Audio Fair, held at
the Hotel New Yorker, New York City,
on October 26th, 27th and 28th, proved to
be an even bigger success than was an-
ticipated.
Registrations were about double those
of the first Audio Fair held last year. Al-
though total attendance has not yet been
tabulated, the 1950 Fair drew a conserv-
ative estimate of 6,500 visitors — which
compares to 3,300 for the 1949 event.
There were more exhibitors, too — 69 in
1950 compared to 56 last year. And in
many cases, one exhibitor included several
manufacturing divisions of a company,
each with a separate line of products.
As for individual attendance at the
Audio Devices exhibit, professional, edu-
cational, and amateur recordists alike all
evinced keen interest in the large Audio-
tape display — including the standard %"
tape in sizes from 300 to 5000 feet, as well
as many larger widths (up to 3 inches) ,
produced for specialized magnetic record-
ing apphcations. Also displayed for the
first time was the new Audiofilm, which is
described on page 8 of this issue.
Four hundred and seventy three new
subscribers asked to be put on the mailing
list for Audio Record. And hundreds of
free, 300-foot sample reels of Audiotape
were distributed to interested recordists.
Many visitors were surprised to see how
extensive the Audiotape line had grown to
be — particularly with reference to the
specialized tapes for industrial, research,
and communications applications.
Fig. 4.
Fairchild
The
mio-Stylu
s Kit
for
adapting
disc
recorde
s to hot
tylu
operatic
m. A
left.
the The
rmo-
Stylus,
with adapter.
s shown
moun
ted 0
n a Fairchild
Magnet
c Culterh
ead.
An enlarged
clos
e-up vie
* of
the The
rmo-Styiu
5 is
shown at
the
upper
right, a
bove
the The
rmo-Conlr
ol b
JX.
DB
-6 4 ^
Hot
Cold
16" lU"
} 8kcs.
12- 10-
DISK DIAMETER
6"
-INCHES
U"
Standard Pitch
nd Thermo-Stylu
AUDIO RECORD
October-November, 1950
by C. J. LeBel, Vice President,
Audio Devices, Inc.
THE FIRST AES STANDARD
After two years
of work the Audio
Engineering Soci-
ety has just issued
its first standard,
for a universal disc
repyoAucmg char-
acteristic. Since this
represents the first
solution to a prob-
lem which has
plagued the record-
ist for many years, C. J. LeBel
we wish to discuss it at length.
Background
An understanding of the background of
the problem is helpful in indicating why
this particular solution, of the many pos-
sible, was chosen.
During the days of acoustical recording
there was no standardization — even by a
single man. Every recordist had his own
personal cutting heads, with one for so-
pranos, one for tenors, another for bari-
tones, and so on. He would use the head
which has personal judgment suggested
might be best for a given type of voice —
and this judgment changed with time. Re-
producing characteristics were similarly
varied.
The advent of electrical recording and
reproduction made it easier to mtasuye re-
cording and reproducing characteristics,
but it brought no standardization. By the
late thirties the chaos had reached its
height in the transcription field, so that a
radio station playing five different platters
might have to use as many different repro-
ducing characteristics. At this point the
National Association of Broadcasters
stepped in and set up its Recording and
Reproducing Standards Committee. After
a great deal of effort a task group headed
by R. M. Morris brought forth a standard
recording characteristic in 1941, an epocal
step after the long period of inaction by
the organizations which would normally
do the job. The war then clamped down on
further non-military research.
The end of the war saw quite a change
in the equipment situation. Most prewar
cutting heads tended to saturate at high
frequency and high level, so that at peak
levels the full high frequency precmphasis
was not recorded. The newest develop-
ments did not saturate — they actually re-
corded the full high-frequency input. Even
more distressing, they had good response up
to 1 2 to 1 5 kc — and the NAB preempha-
sis curve stopped at 10 kc. The postwar
pickups would reproduce up to 15 kc, too.
Conscientious recordists heard signs of
distortion at the higher frequencies — a
harsh fringe to the tone on peaks. But in-
stead of being momentary, the fringe
might persist for ten or fifteen seconds at a
time, a very disagreeable effect. A decrease
in recorded level was an effective remedy
— at the expense of loss of signal to noise
ratio. The cause of the difficulty was ob-
viously tracing distortion — the reproduc-
ing stylus could not follow the increased
high-frequency level of the groove.
Several remedies were adopted. Some de-
creased recording level, others decreased
preemphasis, a few placed part of the pre-
emphasis ahead of the monitor amplifier
connection to the recording system, and
many found that a change of microphones
would help a bit. The latter two changes
are technical evasions of the NAB charac-
teristic, taking legitimate advantage of
loopholes. But a standard with loopholes
is no longer standard; it is just a statement
of good intentions. One of the boldest or-
ganizations asserted, quite rightfully, that
the NAB recording characteristic could be
used successfully if conditions were abso-
lutely perfect. It is hard to be infallibly
perfect, so production trouble ensued at
inconvenient moments.
Meanwhile, in the revivified phonograph
record field, mild anarchy raged, with at
least four values of crossover frequency
and at least five high frequency preemphasis
curves in use in twenty possible combina-
tions. Public protest rose angrily.
So, when the Audio Engineering Society
Standards Committee began its work two
years ago, the first project was that of
standardizing the characteristics of trans-
criptions and phonograph records. The
result has been checked carefully and ac-
cepted by leading organizations in the field.
Why a Reproducing Characteristic?
The most significant point is that the
committee followed the lead of the motion
picture industry and standardized on a
rcproAucmg characteristic. There are many
reasons for reproduction being easier to
standardize than recording, revolving
around the impossible problem of allow-
ing for studio acoustics, microphone char-
acteristics, orchestral balance, and monitor
system point of feed. These same problems
forced the motion picture recordists to
adopt a reproducing standard after failing
with the opposite approach.
Salient Points
The standard covers the reproducing
system from the stylus to the amplifier
electrical output, assuming a loudspeaker
with uniform response. It is for use with
all types of generally used disc records:
333/3 and 45 rpm microgroove recordings,
transcriptions, and old style 78 rpm rec-
ords.
While response has been defined out to
the modern production limit of 15 kc, it
does not debar one from using a narrower
range system. Objections to the NAB pre-
emphasis have been met by using a lower
value. As a compromise between the 300
+ 20
\
S
s
k,
+ 10
•s
s
\
^
0
^
^
^^
>-^
-10
^
V
s
s
V
N.^
-20
FREQUENCY IN CYCLES PER SECOND
Fig. 1. Audio Engineering Society Standard Plaiyback characteristic for Disc
tolerance of i!= 2 db not shown on graph.
ords. Standard also include
October-November, 1950
AUDIO RECORD
and 500 cps crossovers which have been in
wide American use, 400 cps has been
adopted. This is close enough to both 300
and 500 cps so that all three can often be
handled at a single equalizer setting. The
resulting response curve is of so simple
shape that it is easily produced by two RC
networks of the most simple form.
The recordist is free to use any recording
characteristic he wishes, so long as he makes
the result sound good on a standard repro-
ducing system, hut most will use a record-
ing characteristic inverse in character to
the standard. Reducing the preemphasis, if
studio acoustics are bright, may be desir-
able.
After Thoughts
In time we can expect that a studio en-
gineer will be able to play all discs with a
single response characteristic, but this will
not occur overnight. Although it fits a great
deal of present production, much old mate-
rial remains in the catalogs, and until the
metal parts are scrapped, some discs will be
beyond limits.
This is not a lifetime standard. Less pre-
emphasis would be desirable if processing
techniques could be improved and noise
levels reduced. The last ten years has seen
a 10 db reduction in pressing noise levels,
and progress will surely not stop at that
point. In another 10 years we may see
another 5 or 10 db improvement. We may
wish to exchange some of this for less peak
distortion, by reducing preemphasis another
4 or 5 db. The crossover frequency is much
less likely to be changed.
Nevertheless, we should not fret at
change. For the first time in history the
American disc recording industry has
pinned down this most difficult question,
and it would be very ungrateful to ask for
a lifetime solution in such a rapidly moving
field. We should be happy that the Society
has achieved so useful an answer.
EDITOR'S NOTE
This combined October-Novem-
ber issue does not mean that we have
abandoned the policy of publishing
Audio Record on a monthly basis.
Because of the time required to
compile the material on the tape
recorder supplement in the last issue,
this was quite late in getting mailed
out. By giving you two issues in one
this time, we hope to be able to
"catch up" on our monthly schedule.
Kentucky's Industries
(Continued from Page 1, Col. 3)
tipple. The new Magnecorder self-con-
tained power supply was called into use
for this purpose. It performed a yeoman
service and the pick-up was made without
a hitch. A six minute scene was recorded
at the tipple, and lastly, a spot was made
at the new coal treating plant.
Back in Lexington the head engineer of
the University of Kentucky's WBKY ed-
ited the tape into a thirty minute finished
show. Finally it, with twelve other similar
shows, was sent to WHAS, Louisville,
where the programs were transferred to
lacquer discs for broadcasting each Satur-
day afternoon.
The making of the industrial shows, an
idea of Elmer G. Sulzer, director of U. K.'s
radio activities, has proven of value to
many diverse groups. Students in Mr.
Sulzer's Department of Radio Arts have
acquired professional interviewing, pro-
duction, and engineering techniques in pro-
ducing programs from such varied loca-
tions. The thirteen selected industries,
themselves, have seen a sufficient public
relations value in the series to warrant
their paying the transportation, board and
lodging expenses of the U. K. crew doing
the broadcasts. The University, itself, gains
in goodwill, not only with the industries
involved, but also in its role of serving the
state. In fact the University station's call
letters — WBKY — mean "We Broadcast
Kentucky."
Publicity accruing to the state as a
whole because of the industrial broadcasts
has caused the state Agricultural and In-
dustrial Development Board to finance the
preparation of thirty complete sets of the
thirteen programs, and these discs, to be
pressed by Muzak, will go to a selected list
of Kentucky's radio stations.
Diversity has marked the types of in-
dustries included on the schedule, the
complete list of which follows:
Railroads
L 6? N Railroad Company
Newspaper Publishers
Courier Journal and Louisville Times,
Louisville. Ky.
Cement Manufacturing
Kosmos Portland Cement Company,
Kosmosdale. Ky.
Dairy Products
Lexington Dairies, Lexington, Ky.
Cigarette Manufacturing
Brown and Williamson, Louisville, Ky.
Record Manufacturing
The Munak Corporation, Elizabethtown, Ky
Tourist Industries
Kentucky State Department of Highways
Coal Mining
Inland Steel. Wheelwright, Ky.
Lumbering
McCracken and McCall. Bell County, Ky.
Oil Refining
Ashland Oil and Refining Company,
Leach, Ky.
Thoroughbred Industry
Calumet Farm, Lexington, Ky.
Small Fabrication
The Kawneer Company, Lexington, Ky.
Clothing Manufacturing
Merit Clothing Company, Mayfield Ky.
A number of these programs included
scenes from widely separated spots. For
example, the L fe? N show alone included
pickups in the freight yards at DeCouresy
just south of Cincinnati, a dispatcher's
office in Louisville, and a trip on the front
end of the "Panamerican" between Cin-
cinnati and Louisville. The Ashland Oil
and Refining Company program was
opened by a scene on one of that Com-
pany's diesel towboats en route up the Ohio
River, while the broadcast of the Tourist
Industry included "takes" from Lexington,
Natural Bridge, "My Old Kentucky
Home" at Bardstown, Mammoth Cave,
Cumberland Falls, and Kentucky Lake —
literally all corners of the State.
Only with the most modern tape and
disc equipment could so comprehensive a
series of broadcasts be made. But additional
plans of a radio nature are in the olfing.
In cooperation with the Kentucky Agri-
cultural and Industrial Development
Board, a new series of thirty minute tap-
ings by the University of Kentucky's
WBKY is in the offing. To be entitled
"Community Kentucky" and largely
planned by Miss Camille Henderson,
U. K.'s program supervisor, each program
will be devoted to a Kentucky community
that has distinguished itself by its pro-
gressive and forward-looking attitude.
And so once more, a trusted U. K.
Magnecorder will go forth, this time to
invade pottery plants, cooperage works,
turkey brooders (ugh), radio tube works,
and gas wells.
Kentucky's "Tourist Industry" gels a plug froln way
down under — with this recording being made in the
grand rotunda of Mammoth Cave. Holding stop watch
is Elmer K. Sulzer, director of U. K.'s radio activities.
Bill Gordon at mike, and John Curry at recorder.
Others are park officials.
AUDIO RECORD
October-November, 1950
New Techniques in Educational Recording
by Wesley L. Lewis
Associate Professor
Mt. San Antonio College
When a new college, beginning its fifth
year, does something in the way of im-
proving teaching techniques so outstand-
ing as to attract the attention of older,
established schools as well as that of several
faculty members of the formidable Uni-
versity of California at Los Angeles, news
indeed has been made. Yet, this is exactly
the news on the Mt. San Antonio College
campus near Pomona, California.
The idea of teaching with magnetic tape
and with instantaneous disc recording is
certainly not new, and Mt. San Antonio
makes no claim for originality on that
score. However, it does maintain that it is
making fresh use of recordings and is per-
fecting techniques of operation, tailor-
made for the college's own scheme of
things. In short, the tape and the acetate
disc have joined the faculties of modern
language and English classes, science sec-
tions and photography groups, as well as
those in the usual speech, radio, dramatics,
and music courses.
The physical set up as it now stands
consists of three different "sound installa-
tions" and a fleet of recording machines
circulating at large. The heart of the pro
duction end of the recordinv; work is the
campus radio section with its group of
studios, its control room, and its record-
ing devices. Playback and distribution
headquarters, which coordinate the over-
all program, are located in the college
library, together with the audio-visual staff,
storage facilities, and a small, nine unit,
listening room.
The third functional location is a large
listening room located in a separate build-
ing in the center of the campus. This room
is set up with multiple equipment, indi-
vidual ear phones, and separate desks. It is
placed in charge of a trained adult who
controls all operations from a large con-
trol board. In this room thirty students may
listen at a time, either collectively, or in
three groups of ten, or in one group of
ten and one of twenty.
Recording equipment consists of six cir-
culating tape recorders in addition to the
radio section's stand.ird disc and tape ma-
chines.
In operation, allowance is made for
individual departmental and teacher dif-
ferences. However, all the usage is coor-
dinated through the library by means of a
flexible agreement with the radio section.
In the modern language classes, for in-
stance, the departmental chairman checks
I Mi. San Antonio College. Built by Mr. Wesley L. L
^ith switching facilities for feeding either tape or disc
programs to a
out a tape machine for full time use. Then
with his teachers, he plans well in advance
the day by day lessons. With mimeo-
graphed lesson sheets made, the language
professors, assisted by certain advanced,
qualified students, prepare on the tape pro-
nunciation drills, conversations, reading
assignments, vocabulary work, and cul-
tural presentations.
The finished tape, after much re-doing
to get it "just right," is then sent to the
radio studios where it is re-recorded on to
instantaneous transcriptions. For obvious
reasons, the transcriptions have proved
more generally useful for this particular
function. (Again this gives evidence that
tape and disc recordings supplement and
complement one another) .
Returning the tapes to the language de-
partment for re-use, the library next ar-
ranges for its staff to play the transcribed
discs in the large listening room on desig-
nated days at announced hours. These
playings, of course, coincide with the class
room presentations. On occasion the pro-
fessors are present in the listening room;
however, the students usually arrange for
auditions on their own study time.
These sessions have become known as
the modern "blab school" since each stu-
dent, isolated as he is with his own head'
set and desk, is busy talking (and on occa-
sion singing) aloud — oblivious of all
others.
i October-November, 1950
AUDIO RECORD
Reports are sent from the listening room
by the control manager back to the in-
structors so that the students may receive
credit for the assignments.
Tape machines also are found in con-
stant use in the language class rooms. The
teachers here record the students in action
and make tests of oral development on an
equal plane with that of academic prog-
ress. Plans are now being made for the
additional use of small disc recorders in
the classes in order to create even greater
flexibility in this function.
Recent public reports by the Mt. San
Antonio language faculty have stated that
the student tests have proved the effective-
ness of the system. On both a time sched-
ule and a percentage of learning basis,
these students have rated higher than
others in the previous experience of the
instructors.
The application in the English classes is
completely different but no less interest-
ing. Lessons in Freshman English combine
the usual academic preparations with
round-table discussions in which students
sharpen tongues and match wits in dis-
courses ranging from politics to literar>'
criticism. The panels are, of course, tape
recorded. The instructors make corrections
and evaluations of the work from the
standpoint of delivery and content. Each
student panel later presents itself in the
large listening room for the playback of
its tape. With their teachers' evaluations
before them, the individual students in
turn judge the effectiveness of their own
presentations.
The comments after these auditions are
not unusual. One hears such remarks as,
"I don't see how I could have said that,
because I didn't mean what my words
seemed to say. But there it is!"
Others say, "Is that really me? Do I
honestly sound like that? How can you
stand to listen to me? How can I improve
my voice?"
Some people even remark, "My logic
was certainly weak in that discussion. I
believed I had thought it through much
better than that, but I certainly can sec,
or hear, where I slipped."
After their first skeptical use of the
round-table discussion recordings, both
students and teachers express their grati-
tude that such a teaching technique is used
at Mt. San Antonio College.
Many instructors register wonderment
when told that a science class uses tape and
disc recordings for purposes other than
the study of sound recording as such. Yet
the science faculty believes in keeping
modern scientific facts closely related to
the daily news and the world of human
activity. Recently an internationally fa-
mous scientist-inventor was a guest speaker
on the Mt. San Antonio campus. His dis-
cussion of the impact of modern scientific
development upon the physical and mental
aspects of our civilization was recorded.
Today a standing "outside" assignment in
the physics course is the hearing of that
speech. Other discussions are recorded
from the air for such correlated "hearing."
Aside from the regular listening room
playings for class assignments, all tapes
and discs are available to anyone at any
regular school hour in the library listening
room.
Closely related to the science work is
that of the photography department. Stu-
dent and faculty photographers have be-
come active in the making of sound motion
pictures. After the editing of the film is
complete, the sound track is rehearsed on
tape and finally synchronized with the pic-
ture, later to be re-recorded on to the
film itself by a Hollywood studio. With
such an inexpensive and flexible method
of rehearsal and final recording, much of
the usual amateur character is removed
from the student produced films.
These are by no means the only uses of
tape and instantaneous discs in the Mt.
San Antonio program. The usual speech,
radio, dramatics, and music applications
are made for periodic evaluations and for
permanent records of past performances.
The radio section has found it especially to
the advantage of everyone concerned to
tape-record college broadcasts in the cam-
pus studios at the convenience of musical
and dramatic groups, then to send the com-
pleted tape to the local release station.
Although Mt. San Antonio's program
of audio-teaching is still almost "birth-
room" new, it has rapidly proved its value.
In the short space of one year, for example,
its usage grew to a maximum of 650
student listening hours per week. Every
new semester seems to see an ever increas-
ing service the program can render. Slow
to join any "new" movement, the more
conservative professors are beginning to
ask questions and to try small experiments.
For example, the remedial English section
is now full of rumors about top drawer
plans to be released in the near future.
As said before, Mt. San Antonio Col-
lege does not assume originality for the
use of audio-devices in education. How-
ever, its carefully planned routine and ap-
plications are believed to be new. It has
been only through a unique spirit of co-
operation of the entire school personnel
that the "Learning by Ear" program has
been possible. This spirit, which is basic
to the growth of any idea, begins at this
college with the sympathetic and demo-
cratic Board of Trustees which enthusi-
astically supports matters of sound educa-
tional advancement. The administration in
turn encourages teacher participation and
suggestion.
Audio Again
Sponsors Script
Contest
Scholastic Magazines' Radio Script
Writing Contest for 1951 Sponsored
by Audio Devices for Fourth
Consecutive Year
High-school students throughout the
country are eligible to compete for the
valuable cash awards which Audio is of-
fering, as sponsor of Scholastic Magazines
Radio Script Writing Contest for 195 L
This contest was first sponsored by
Audio Devices in 1947 — for the 1948
contest. Since that time, students and
teachers alike have shown ever increasing
interest in the contest — and entries have
grown steadily in both quantity and qual-
ity. All of which indicates that the 1951
contest will probably set an all-time record
for wide-spread participation.
High school students can submit scripts
in one or more of the following three
classifications:
1. Original Radio Drama
2. Radio Drama Adaptation
3. General Radio Script
A total of eight cash prizes will be
awarded in each of these classifications:
First Prize — ^25
Second Prize — ^15
Third Prize — ^10
Five Fourth Prizes — ^5 each
In addition, students whose scripts are
selected for publication in "AUDIO-
SCRIPTS" will receive special awards.
Of still greater importance to the aspir-
ing script v>;nter, however, is the national
recognition which this contest affords the
winners. In fact it is an excellent stepping
stone toward a profitable career in the
promising field of radio and TV script
writing.
Students and teachers who are planning
to participate in the 1951 contest will be
particularly interested to know that the
prize-winning scripts from the 1950 con-
test are now available. "AUDIOSCRIPTS
1950", published by Audio Devices for
the benefit of future participants, contains
twelve complete student-written scripts,
selected from prize-winning entries in
both the Scholastic Magazines contest (for
high school students) and the AER con-
test (for college students). Copies are
available at cost — $1.00 net each. Send
check or money order to Audio Devices,
Inc., 444 Madison Ave., New York 22,
N. Y.
AUDIO RECORD
October-November, 1950
Two New Audiotape Developments:
SPLICE-FREE 1250-FOOT REELS and
OUTPUT CURVES IN EVERY PACKAGE
of ^ive, 1250 and 2500 foot reels
CHART SHOWING
UNIFORMITY OF OUTPU
rhiuiidinlliui'
n>jj
bv rcvotdin^ j
y (10 db below
15"p<.«u.id..
*vy bcowe Itnr
'-;
ITtt diij
»«bc
AUDIO
DtVICCS.
IHC
There's no guesswork about the output
uniformity of Audiotape. For actual out-
put curves, recorded on EsterHne Angus
Charts, are now included in every pack-
age of five 1250-foot and 2500-foot reels,
on plastic base.
Each chart — made from one of the
reels in each package — actually measures
J the output of all reels in that package, for
all five reels are slit from the same roll
after coating. This gives positive visual
proof of the unequalled output uniformity
of Audiotape — uniformity made possible
by Audio's specially designed coating
equipment, which permits accurate control
of coating thickness to within fii>e niil-
honths of an inch.
This extreme uniformity of output —
well within the guaranteed limits of ±V4
db — is also made possible by the fact that
all 7-inch reels, as well as lOVi inch reels
of plastic base Audiotape, are now guar-
teed to be entirely free from splices.
These two new features are the result of
Audio's continuing program of research and
development to bring you the finest profes-
sional-quality recording tape obtainable.
Audiofilm'^' Nov/
Available
for motion picture and TV
sound recordings
One of the products which aroused a
great deal of interest in the Audio Devices
exhibit at the recent Audio Fair, was the
new Audiotape. This is a standard cellu-
lose acetate, 3 5 -mm, motion picture film
— with Audio's red-oxide magnetic coat-
ing instead of the usual photographic
emulsion. It was developed to offer the
motion picture and television industries a
magnetic recording medium that could be
synchronized with the picture — yet which
would offer all the advantages of high
fidelity, uniformity and easy editing which
are inherent in Audiotape.
The magnetic material is applied to the
film (between sprocket holes) by the same
type of coating equipment used for Audio-
tape — assuring the same uniform output,
freedom from background noise and dis-
tortion, and faithful frequency response
over the complete range of audible sounds.
Limited quantities of Audiofilm, pro-
duced from a pilot plant, have already
been used successfully in the motion pic-
ture industry. New plant facilities have
just been put into operation to enable this
new recording medium to be put into full
scale production, in 16, 171/2 and 35mm
sizes.
*Trade Mark
fltlftlff
PUBLISHED BY ALDIO DEVICES, INC.
Vol. 6, No. 9
444 Madison Avenue, N. Y. C.
Decennber, 1950
USE OF TAPE RECORDED >
COMMUNICATIONS
IN AVIATION
New Multi-Channel Recorders
I Provide Accurate and Contin-
uous Record of Air-Ground
I Radio Communications
It t:ikes a lot of talk to fly a plane. And
mighty important talk it is, too. From the
time the modern airliner leaves the ground
until it reaches its destination, the pilot is in
constant radio contact with ground sta-
tions along the route. From them he re-
ceives weather reports, flight instructions,
and possible re-routing to avoid local
storms. He is kept informed of the move-
ment and altitudes of other planes flying
the same "lane". Also, he is required to
keep ground stations informed of his posi-
tion at regular intervals and to report ex-
pected time of arrival at the next scheduled
terminal. In instrument weather the pilot
may depend largely on verbal instructions
from the control tower to "talk" the plane
down for a safe "blind" landing.
The very nature of these vital communi-
cations indicates the desirability of keeping
some kind of accurate record for possible
future reference. Although this is not
required by the FCC, many progressive
Airlines have made the recording of all
plane-to-ground and ground-to-plane com-
munications a part of their standard pro-
cedure. In this application, magnetic tape
has been found far superior to any other
recording methods heretofore used.
To give a better understanding of this
relatively new application, and the highly
specialized equipment used, we will con-
sider briefly one of the outstanding installa-
tions — as made by United Airlines at
their major air terminals throughout the
country. The installation at LaGuardia
Airport in New York is a typical example.
The Stancil-Hofl^man multi-channel com-
munications recorder shown in the accom-
panying illustrations is used continuously,
24 hours a day, making an accurate and
unquestionable record of all plane-to-
ground and ground-to-plane messages car-
(Cununued on Page 2, Col.l)
Stancil-Hoffman multi-chan. ^
nel tape
ciated radio equipment, ii
operation at United Airlinei
Building. LaGuardia Airport
York City. Mr. L. M
litors from ta
while operator <in fori
ground) contacts a plane t
route to New York fro
Chicago.
AMERICA'S YOUNGEST RADIO WORKSHOP
Third and Fourth Graders Plan,
Prepare, Write and Produce Daily
In-School "Radio Programs" ... at
Enterprise School, Decatur, III.
Although this sounds like an ambitious
enterprise, even for students of high school
age, it has already proved to be a practical
and stimulating part of the daily routine
for third and fourth grade pupils at Enter-
prise School. In fact, the first and second
graders come in for their share of record-
ing activities, too.
This radical departure from traditional
teaching methods has been made possible
by the modern technique of tape record-
ing — for the tape recorder serves as both
the "recording studio" and "broadcasting
station". In instituting this program of stu-
dent "radio shows", the Enterprise School
is not attempting to make script writers
or sound technicians out of all of their
pupils. The real objective is much more
fundamental in nature — and the record-
ing work is simply a means to that end.
The key words in this new type of primary
education are self -evaluation and self-
criticism — as well as self-expression and
self-reliance.
Armin H. Beck, of the Enterprise School
gives the following account of the work-
(Continued on Page 4, Col. 1)
AUDIO RECORD
, December, I9S
cLudla Ift record
Published monthly by Audio Devices. Inc..
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 6, NO. 9
DECEMBER, 1950
Aviation Recordings
(Continued from Page 1, Col. 1)
ried on three separate radio channels, as
follows :
(1) 5572.5 Kc (day) or
3162.5 Kc (night)
(2) 8240 Kc
(3) VHP
The No. 1 channel covers the majority
of all routine communications with flights
between Chicago and New York.
The No. 2 channel is for standby service,
and is used whenever the No. 1 channel is
not available for a given message.
The No. 3 channel (VHP) is used within
line-of 'Sight distances from the control cen-
ter, to provide clearer reception under un-
favorable static conditions.
Although the equipment used is capable
of recording up to 15 channels simultane-
ously on Audiotape 0.7" wide, this particu-
lar United Airlines' installation uses only
three channels at the present time. Addi-
tional channels, however, will probably be
utilized later. After recording a full 5000-
foot reel (4 hours continuous), utilizing
the three channels nearest one edge of
Boland, of United Airlii
department, ''defrosts'* a 5000 foot
tape. Tape storage racks shown in b
f 0.7" Audio-
the tape, the reel is turned around and
recorded again, so that the same three -
channels record at the opposite edge of the
tape. This enables United to store a full
8 hours of recording time on a single reel
of tape.
The following simple but foolproof
method has been devised for determining
whether a reel has been fully recorded (run
through twice) or only half recorded (run
through once). The two empty reels sup-
plied with the machine are bright alumi-
num, while the reels supplied with the tape
have a brown finish. The aluminum reels
are used on the machine at all times- —
never stored. When a full reel of tape
(brown reel) is put on the machine, the
aluminum reel is used for the take-up at
the initial recording, after which it is
turned around and moved to the supply-
reel position, and a brown reel is used for
the take-up during the .second recording.
A full aluminum reel therefore alwaxs
contains tape that has been recorded only
once, and no confusion can result.
Fully recorded reels are kept on file for
15 days. If, during that time, any question
should arise as to who said what to whom —
the tape provides an infallible and indis-
putable record. After the 15 day storage
period, the reels are individually erased in
bulk (or "defrosted" as the airline people
call it) and used over again. The "defrost-
ing" unit supplied with the machine per-
mits a fully recorded 5000-foot reel to be
completely erased in a few seconds, simply
by rotating the reel a few times in a .strong
alternating magnetic field.
The Stancii-HofFman Type CRM-15
multiple-channel communications recorder
includes two separate record-playback
units — timed and synchronized to operate
automatically in sequence as follows.
At the beginning of a recording period,
the first unit, containing a fresh reel of
tape, is automatically started by its timing
mechanism, which actuates both the tape
motion and the recording circuits. This
unit then records continuously for four
hours, using a reel containing approxi-
mately 5000 feet of 0.7 inch wide, paper-
base magnetic tape. At the end of the
four-hour period, the time clock on the
.second unit automatically starts this ma-
chine operating.
Meanwhile the first unit continues to
run until its tape is exhausted, allowing
an overlap of the two recordings of about
25 minutes. When the tape is completely
run off the first machine, it automatically
stops. At any time during the next four-
hour period, the operator may rethread the
first unit with a fresh reel of tape, making
it ready to take over for the following
4 -hour period.
At any time an operator may check
the recordings as they are being made on
the tape by monitoring directly from the
,Q:Q^
N
•'".^ ,j7 ^ '
^ K
!i
SiancilHoffman. Type CRM-15
corder, designed for continuous operacion with up ii
13 simultaneous recording cbann
Close-up view of 5 unit recording head assembly foi
CRM-13 multiple-channel recorder. Three of these unit»
are used to give full 15>channel capacity.
December, 1950
AUDIO RECORD
recorded tracks. The playback head is
switched from track to track by means of
a rotating knob, which also actuates a
numerical indication of the track being
played back. It is thus possible to make
.-iurc that each track is recording properly
while the machine is in operation.
If it is desired to play back a recorded
tape from the files, the reel is threaded on
the stand-by unit in the normal manner,
and run to the desired position by fast
forward or rewind. When the section of
interest is located, it is played at normal
speed and monitored either from the out-
put of the playback amplifier through a
power amplifier and speaker, or by means
of earphones plugged into the machine at
the front panel. During fast forward and
rewind, the tape is lifted away from the
heads to reduce wear.
The basic recorder includes a 5 -unit
head assembly which provides for simul-
taneous recording on 5 different channels.
Additional channels up to a total of 1 ."i
may be added at any time simply by add
ing plug-in head assemblies and associated
plug-in recording amplifiers.
Performance specifications are as fol-
lows:
Frequency response: 200-3300 cycles (±3
db) at 33/4 in/sec. 200-7500 cycles
(±3 db) at 71/2 in /sec.
Signal-to-noise ratio: at least 40 db.
Distortion: not more than 5% total har-
monic at "0" input recording level
Tape Speed: 3% or 7V2 inches per second.
Input Impedance: 600 ohms balanced
Input Level: 0 db (6 milliwatts)
Additional detailed information on this
multi-channel recorder can be obtained by
writing to The Stancil -Hoffman Corpora-
tion. 1016 N. Highland Avenue. Holly-
wood 3S. California.
What — No Santa Claus?
During IQ.'iO, Audio Devices has
sent out many thousands of free
sample reels of Audiotape — to
interested recordists all over the
country, and in all fields of record-
ing work.
Recently, however, we received
a total of fourteen requests for
Audiotape samples — all from one
high school student.
He got a generous 300-foot free
sample, of course. We are sure that
it convinced him of the superior
qualities of Audiotape — even
though it might have been disillu-
sioning with respect to the exist-
ence of a real Santa Claus.
^
CLIPPING
by C. J. LcBel, Vice President,
Audio Devices, Inc.
C. J. LeBel
One of the grav-
est deficiencies of
the English lan-
guage is the fact
that a given word
has so many differ-
ent meanings to
different people.
Compare, for ex-
ample, the pleasant
meaning of "clip-
ping" to the bar-
ber, the pugilist,
the owner of bonds, the manicurist, and
the television designer, wath its bad con-
notation to the audio engineer. For lack
of space we will have to limit our discus-
sion to one aspect of its impact on the
tape recordi.st.
The Effect
For some time the writer has noticed a
fault common to many phonograph records
made from tape originals. They lack ex-
pression and punch. Crescendos do not
seem to have any force — they are like
trying to hammer a feather — they lack
solid impact. In a subtle way. the result
is very tasteless. The effect seems worst
with tape originals done on portable
recorders by those new to the field, but it
exists also on work of some of the old
timers. We may lay much of the blame to
the fact that a portable tape recorder looks
so easy to run. for even record critics tr>'
to operate one! Portable equipment should
be viewed with the caution and respect
accorded the old portable wax recorder.
Beyond a certain point, tape recorder
gain drops rapidly and distortion increases
without limit, as shown in figure 1. This
limiting output occurs at a level producing
about 2 or 3% harmonic distortion. Many
portable tape recorders have volume indi-
cator sensitivity so adjusted that O VU
occurs at a level corresponding to 2% dis-
tortion.
Unpleasantly, typical program material
peak levels will exceed the meter-indicated
level by 10 to l.i db, so when a volume
indicator indicates O VU, peaks of much
higher level are trying to pass through. If
O VU corresponds to the 2% distortion
point, these peaks cannot be recorded, for
the tape saturates with a result like record-
ing through a wrongly set volume limiter.
Machine salesmen have boasted about the
limiting effect of overloaded tape without
realizing the actual effect on the ear.
The same effect does not occur in tran-
scription disc recording, for the widely
used 5 to 7 cm/second nominal recording
level provides a 10 db allowance for pro-
gram peaks if proper preemphasis is used.
The Remedy
The cure for all this is very simple —
just use a low^er recording level. The most
conscientious organizations will use a
nominal level of 10 db below the 2%
point. Those more concerned with signal
to noise ratio than with distortion may
drop only 5 or 6 db below. Using a lower
recording level means that, in effect, we
are trading loss of signal-to-noise ratio for
reduction of distortion, a good trade only
if we have signal-to-noise ratio to spare.
The home type machine with a catalogued
40 db ratio drops in actuality to 30 db —
too low. Only with a nominal ratio of over
.i .i db does this level decrease become fully
practical.
Good modern unfilled-vinyl pressings
seem to achieve a signal-to-noise ratio of
at least 50 db, so a tape original which is
to add no noise to the disc must be rather
better than 50 db; this would become well
over 60 db at the 2% point. Evidently, a
tape recorder for phonograph mastering
must be of exceptional quality.
Conclusion
While all that has been discussed is
\nown to leading recording organizations,
there is need to apply it on a much wider
scale, judging from a brief listen to current
record production.
INPUT IN DB
nd distortion chacacteristics of a magnetic
AUDIO RECORD
December, 1950
Radio Workshop
{Continued from Paf!,e 1, Col. })
ing of this interesting and highly iiistruc
tive program.
"Enterprise School is a two-room school,
part of the Decatur School System, with
Grades 1 to 4. Third and fourth graders
plan, prepare, write and produce daily
in-school radio programs. These programs
are on a variety of subjects which have
been developed by the children themselves,
and they maintain a rather high level of
interest among the children, particularly
because each child is on a show at least
once a week, and usually more. Those on
the daily shows record the programs on
the tape, away from the remainder of the
class (usually during recess) , and then the
recording is played back on the part of our
daily schedule known as 'Our Listening
Post,'. The class then breaks down into
small groups for short buzz sessions, with
the leader of each small group joining the
other leaders to form a panel discussion.
This panel discusses the program from two
points of view: what was done well, and
what could have been done better. These
discussions are also tape recorded for in-
stantaneous playback, with the children
themselves engineering the actual record-
ing."
"Last year the children developed into
such expressive readers that they were
invited by one of the local radio stations,
WDZ. to put on a series of weekly plays,
which were produced by the children
under the name of 'Adventures in Educa-
tion'. The story was usually adapted from
some children's literary classic, such as
Aesop's Fables, or Tom Sawyer. The pro-
grams were successful, as attested to by
local school personnel, fan mail, and WDZ
broadcasters."
"Briefly, the improvements noted in the
children can be categorized in two ways:
social learnings, and academic learnings.
By utilizing the motivations inherent in
such a learning situation, the children were
able to develop respect for constructive
criticism and divergent points of view,
cooperation, regard for properly consti-
tuted authority (they must obey the pro-
ducer once the show is ready for record-
ing) , interest in the welfare and abilities
of others, the feeling of belonging and con-
tributing something important, and a will-
ing acceptance of greater responsibility."
"The list of subject-matter improvement,
or academic learnings, broken down, is
also impressive: reading for content and
expression, spelling (in writing their own
scripts), oral and written language, sci-
ence, social studies, handwriting (legible
enough so that it can be read easily by
others to prevent the possibility of 'dead
air') , and an appreciation of music as an
integral part of everyday living. These
latter are, of course, also the mechanical
skills of the traditional school."
This educational recording program, as
worked out by the Enterprise School,
proves that it is not necessary to have a
basic knowledge of radio in order to organ-
ize a daily classroom "radio program".
Because of the simplicity of modern tape
machines, the children can and do make
their own recordings, with little or no
supervision from the teacher.
At the request of local school officials.
Armin H. Beck has prepared a very com-
prehensive article on the subject, entitled
"Radio Expression in Elementary Schools".
Interested teachers may obtain a copy by
writing to the Enterprise School, RR8,
Decatur, 111.
New RCA Recorder
RCA Type RT-llA
ladcast
.Second, third .ind fourth graders of Enterpri
broadcasting "The Musicians of Bremen", c
WDZ, Decatur.
The RCA
Broadcast
Equipment
Section has re-
c e n 1 1 y a n -
nounced the
development
of a new,
single-track,
dual-speed
professional
tape recorder,
designed to
meet rigid specificati
station application.
Features of this Type RT-llA machine
include push-button control, timing ac-
curacy of ± 21/2 seconds in a 30-minute
run, and instant starting and stopping
(within 0.1 second). All controls are re-
cessed to avoid interference with tape dur-
ing threading. The tape is automatically
lifted away from the heads during fast
forward and rewind, saving wear on heads
and tape. Microswitch control automati-
cally stops the machine and applies reel
brakes in case of tape breakage. Interlocked
solenoid control prevents accidental eras-
ing and makes it impossible to snarl or
spill tape during operation.
Although designed for cabinet rack
mounting, the RT-llA can be installed in
a console type cabinet if desired. Standard
equipment includes the tape drive unit,
power supply, recording amplifier, repro-
ducing amplifier, panel and shelf assembly,
interconnecting cable, and two NAB reels.
Accessory equipment includes remote con-
trol unit, VU meter panel, tube metering
panel, cabinet rack, and switch and fuse
panel. SPECIFICATIONS
Frequency Response: ?0-l 5.000 cycle,'; (— 2
db) at 15"/Sec. 50-5.000 cycles (± 2 dh)
at 7'/2"/Sec.
Distortion: Le.ss than \'}'r at Hi dh hclnw maxi-
mum recording level
Signal-to-Noi.se: 60 dh below maximum record-
ing level
Wou' and Flutter (combined):
n.lr; RMS at H'VSec.
().:',; RMS at 7l/2"/Sec.
Rewind Tunc; 60 seconds for :4(10-ft reel
Rt"Cordi)ig Heads: separ.ite era-^c. record and
reproduce
The standard RT- 1 1 A recorder is priced
.It $1850.00 (less tubes).
For further information write to Broad-
cast Equipment Section. Radio Corpora-
tion of America, Camden, New Jersey.
q^Uff^lff
PUBLISHED BY AUDIO DEVICES, INC.
s^saxsiK!3fiS£»a>7sm»:.<gtssKm&^
Vol. 7, No. 1
444 Madison Avenue, N. Y. C.
January, 1951
Electronic Language Lab Opens at Georgetown
University
Multi-lingual Tape Recorder System
Sets New Standards for Efficient
Language Study
The use of tape reeordings in language
work is by no means new. But when the
Georgetown University formally opened
its new Electronic Language Laboratory
last November, it also opened a completely
new and ultra-modern chapter in the art
of teaching foreign languages. For here,
for the first time, is a carefully planned
and executed system, designed to take full
advantage of the tremendous educational
potential of magnetic tape recording, on
a University-wide basis.
The Electronic Language Laboratory,
occupying spacious new quarters in cen-
trally located Poulton Hall, is used by ap-
pro.ximately 1200 foreign language students
of the University's College of Arts and
Sciences and School of Foreign Service —
enabling them to master new languages bet-
ter and faster than ever before.
Basically, the Language Lab is a large-
scale sound recording and reproducing
studio — functionally designed to permit
120 students to listen simultaneously and
in privacy to recorded tapes in any of 6
different languages. There are 120 indi-
vidual, semi -soundproof booths, with col-
lapsible fronts to permit the use of visual
aids (slide films and movies) in conjunction
with the language work when desired.
Each booth is equipped with a set of
headphones and a six-position IBM lan-
guage selector switch. This enables each
student to listen to any one of six different
tape recordings, as specified in his language
course. In the privacy of this booth, he can
not only listen to verbal language drills,
but repeat them aloud, without disturbing
the other members of the "class".
The 1 20 "listening stations" are served
by a master control console which contains
a total of 1 2 brush magnetic tape recorders.
Six of these are reserved for the use of lan-
guage students of the School of Foreign
Service, and six for those of the College of
(Continued on Page 4, Co!. 2)
Eieclronic Language Labon
Lejl to right: Rev
Gtath. dean of the College
Ans and Sciences; F
A. Walsh, regent of the Sch«
of Foreign Service; Prof,
of the In
of Language and Linguisti<
and Dr. V. Gsovski. profes!
of Russian.
METHODS OF SOUND RECORDING
FOR TV TRANSCRIPTIONS
Present Practice Among Leading TV
Networks Includes Both Optical and
Magnetic Recording
Sound recording in television work in-
volves a number of problems not encoun-
tered m radio — hence the methods and
equipment used are quite different from
those with which the radio engineer is ordi-
narily familiar.
The use of transcriptions, however, is
essentially the same — to permit a given
TV program to be broadcast at different
hours in the different time zones through-
out the country; to permit programs to be
broadcast from stations which are not con-
nected to the originating station by coaxial
cable; and to provide reference recordings
of complete shows, just as they went on
the air.
As far as the network stations are con-
cerned, practically all television transcrip-
tions are made while the show is on the air.
Since most programs require the use of
several television cameras simultaneously —
any one of which may be switched onto
the air at the discretion of the supervising
engineer — the most practical way to obtain
a visual record of the program as transmit-
ted is to copy it photographically from a
kinescope picture.
(Continued on Page 2, Col. 1)
AUDIO RECORD
January, 1951
cuidla ^ reccrrd
Published monthly by Audio Devices, Inc..
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 7, NO. 1
JANUARY, 1951
TV Transcriptions
(Continued from Page 1, Col. 3)
When a TV transcription is made, it is
necessary to record both the picture and the
sound, simultaneously and in synchronism.
The sound recording part of this process
is done in a number of different ways.
However, the end result is the same — a
16mm sound moving picture, with the
sound on the film in the form of an audio-
modulated light track. This video trans-
cription can be rebroadcast by standard
equipment in any television station — with
high fidelity of reproduction in both pic-
ture and sound.
Since a TV transcription requires the re-
cording of sound on photographic film, the
problems involved can best be understood
if we first review some of the fundamental
principles of sound-film projection.
Although the film travels through the
projector at a uniform speed (7.2 inches
per second) , each frame actually stops for
a fraction of a second as it passes the pro-
jection lens. The light is cut off during the
interval in which the film is advanced from
one frame to the next, resulting in the pro-
jection of a series of "still" pictures which
the eye translates into smooth, uninter-
rupted motion. The picture part of the
film therefore requires an intermittent mc >
tion at the point of projection. The sound
track, however, must be reproduced while
moving at a constant, uniform speed. This
is taken care of in the projector by locating
the sound pickup head in advance of the
picture pickup, with film slack between
the two elements to permit smooth motion
for one and intermittent motion for the
other. This is illustrated diagr.imm.iticilK'
in Fig. 1.
It is obvious, therefore, that the picture
Feed Sprocket
Direction of Motion -
Sound for Picture "A"
D D \ D D D p D D
- 26 Frome Seporotion -
Fig. 2. Diagram showing separation between picture and corresponding sound on 16mm tiln
and its corresponding sound can not be
located physically adjacent to each other
on the sound film. As shown in Fig. 2, the
sound "leads" the picture, by a distance
equal to the required film spacing between
the picture projection aperture and the
sound reproducing head. This "lead" dis-
tance has been standardized at 26 frames.
Because of the displacement between pic
ture and sound, it is impractical to edit
completed sound-on -film programs by sim-
ply cutting and splicing the film. Any pro
vision for editing must, therefore, be made
before the program reaches the fin.il sound
film print stage.
With these facts in mind, it can be seen
that the two basic problems in TV sound
recording are: to provide positive syn-
chronization between picture and sound
during original recording, and to provide
for editing of both sound and picture
before the final sound-on-film negative is
made.
There are two general methods in use
today for recording TV sound — the Sint;le
System and the Double System.
In the Single System, the sound is opti
cally recorded on the same photographic
film as the picture. Synchronization is taken
care of automatically because picture and
sound are recorded on the same piece of
film. This system, however — unless modi-
fied in practice — does not permit editing.
In the Double System, the original sound
is recorded on a separate medium (mag
nctie t.ipe, magnetic film, or photographic
Fig. 4. Engineer Paul Ruckdeschel. of WJZ-TV, thread
camera. Note wide separation between camera and opti
cal sound recording unit below.
Fig. 3. One of ABC's kinescope recording rooms at
tion WJZ-TV, New York, showing a matched p.-
16mm sound film recording units. Each unit cor
of a Wall camera and special Maurer optical recc
mounted on an RCA Kinephoto recording monitor.
Fig. ■;. Enuincir Ed.-ard J. Greei
tion of Moviola sound film editi
of the WJZ-TV ed ling rooms. F
sound track, and at right, for pi<
removed are marked on both pit
to be cut and spliced later.
January, 1951
AUDIO RECORD
Fig. 6. Sound recording equipment al
recorders. Encineer Michael A. Mane
system, sound is recorded separately f:
film), and transferred to the picture film
during final processing. This method per-
mits easy editing — for removing any
"fluffs" that might have appeared on the
program, for altering the total playing
time, or for changing commercial spots to
provide local interest in different areas.
When the original sound is separately
recorded, positive synchronization with the
picture is obtained in a number of ways,
depending on the medium used. Sound
separately recorded on photographic film is
synchronized by sprocket holes, spaced the
same as the sprocket holes in the picture
film. For recording magnetically instead ot
optically, 16mm magnetic film is available
— consisting of a cellulose acetate base hav-
ing standard sprocket holes, but with a red
oxide magnetic coating in place of thc
photographie emulsion. In addition, stand-
ard i/t'inch magnetic tape can be used, with
special recording equipment designed to
provide "sprocketless synchronization" by
means of timing pulses recorded on the
tape along with the sound. Rangertone,
Inc., of Newark, New Jersey, has devel-
oped a line of sprocketless synchronous
magnetic tape recorders, in which mag-
netic pulses of the 6()-cycle power driving
the camera are recorded on the tape at mag-
netic right angles to the sound. This en-
ables the projector and tape to be "locked"
in step, regardless of tape stretch or pos-
sible fluctuations in the power supply fre-
quency.
All of the above methods are in use today
in the various TV stations and networks.
The ABC network, for example, uses a
modified Single System method of kine-
scope photography which gives essentially
the same flexibility for editing as the Double
System. Although the sound is optically
recorded directlv on the same film as the
Ju.- N," Icrt. showing a pair of RCA sound
u.iKniiu him inn. one of itle machines. In this double
both magnetic and photographic film.
is that used by NBC. Here the kinescope
picture is copied on 16mm motion picture
film, without sound track. At the same
time, the sound is recorded both optically
,md magnetically on separate equipment.
The optical recording is made on standard
16mm photographic film, and the magnetic
recording on magnetically coated 16mm
film. In general practice, the optical sound
recording is considered as the "master" and
the magnetic recording as the "safety". If,
after development, it is found that the
photographic sound track is satisfactory
and requires little editing, it is transferred
to the final 16mm sound picture film, and
the magnetic recording is erased so that
the magnetic film can be used over again.
However, if the optical sound print is un-
satisfactory for any reason, the magnetic
recording is used as the master, and is re-
recorded onto a new photographic nega-
tive. This set-up, as used at NBC, is com-
pletely flexible, and may be varied to meet
specific recording requirements. Since the
RCA film sound recorders used are equipped
with both optical and magnetic heads,
either medium may be used interchange-
ably as desired. In cases where exception-
ally high fidelity is required, both the
"master" and the "safety" sound record-
ing is made on magnetic film and the sound
IS played back on a magnetic film phono-
graph operating synchronously with the
TV film projector.
Equipment currently in use by the other
major TV networks is, in general, similar
to one of the two systems described above.
In addition to magnetic film recording,
however, standard '/(-inch magnetic tape,
with sprocketless sychronization, is also
used in Double System recording. Tape re-
(Coiitmued on Page 4, Col. 1)
Fig. 7. Thii kinescope camera — one of a
,ank of sin-
machines at NBC — records the picture
st^parately
16mm photographic film. Duplicate ftlm
s are mad
every recorded show.
picture, two copies are made of each show
— resulting in an original, and a "safety".
If any editing is required, one copy is
treated as the .sound print and the other as
the picture print. Each can then be cut and
spliced as required, and the two combined
again in a single print at the film processing
laboratory. The ABC system has also been
modified to permit recording with higher
fidelity than is ordinarily obtained with
Single System recording. This has been
achieved by special design of the video and
audio recording apparatus — involving an
cS8 or 100 frame separation between pic-
ture and sound. This, of course, is recon-
verted to the standard 26 frame separation
during final processing.
A typical example of the double system
R. M. Fraser. of NBC engineering laborati
a recording on a modified Moviola editing
equipped with a magnetic h^ad for playback
mm magnetic film (at le/l). Picture print is
AUDIO RECORD
January, 1951
TV Transcriptions
(Continued from Page 3, Col. 3)
corders for this application are supplied by
both the Fairchild Recording Equipment
Corporation and Rangertone, Inc.
The use of magnetic recording in tele
vision work is still relatively new. And
although this application is growing rap-
idly, on the basis of presently available
materials and equipment, TV and record-
ing engineers are confident that the future
will bring great improvements in the mag-
netic recording of synchronized sound and
pictures. One significant avenue of re-
search in this direction is the development
of "striped film" — that is, photographic
film with a narrow strip of magnetic coat-
ing where the sound track would normally
be located. This system, when perfected,
would permit recording the picture and
magnetic sound track on the same film,
simultaneously. A film of this type, how-
ever, requires a magnetic coating which
will be impervious to the developing and
fixing solutions used, and which will not
be altered either physically or magnetically,
during photographic processing. Since the
normal 16mm film speed is 7.2 inches per
second (remarkably close to the 7.5 inch
standard tape speed) high fidelity of mag-
netic recording directly on the film appears
entirely feasible.
Eventually, it may even be possible to
record both the sound and the picture mag-
netically. Since a TV picture is actually a
series of extremely high-speed electrical
impulses, this concept is not as fantastic
as it might seem. Such impulses could,
theoretically, be recorded on magnetic tape.
However, means will first have to be devel-
oped to avoid having to run the tape at
fantastically high speeds in order to give
the necessary' split-second timing between
signals. Since most of the consecutive im-
pulses are duplicates of the preceding ones,
it may be possible to work out a system
in which it is only necessary to record the
variations in consecutive patterns, in which
case magnetic picture recording might be
possible with reasonable tape speeds.
In any event, it can safely be assumed
that magnetic recording will play an ever
increasing role in the television field. And
— as in radio — television engineers can
look with confidence to Audio Devices for
magnetic recording materials that will meet
the highest standards of quality and uni-
formity.
Georgetown University
(Contiriued from Page I, Col. 1)
Arts and Sciences. Each of the machines
may play a diflFerent language, all at one
time, or more than one may play the same
language at different levels of instruction.
The 120 booths are wired into three sec-
tions of 40 booths each, permitting consid-
erable flexibility in transmitting language
drills from the master console. For exam-
ple, elementary French may be played on
Channel 1 in Section 1 (the first 40 booths) .
and intermediate French can be played on
the same Channel 1 in Section 2 (the next
40 booths) and Section 3 (the remaining
40 booths) . Laboratory drills are scheduled
at regular hours for the various language
classes, and are conducted on a group basis,
each group having a block of seats assigned
to it during three given periods per week.
The tapes are so prepared as to give the
student the opportunity to repeat the words
and sentences recorded and to formulate
replies to questions based on the recorded
text.
The laboratory is equipped with a public
address system of five loud speakers. A lec-
ture can be recorded at the time it is deliv-
ered and thus remain available for future
use.
The whole concept of laboratory drill
work in language study is based on the
fact that magnetic tape recording permits
the reproduction and dissemination of the
spoken form of language, just as the print-
ing press has heretofore been the means
for dissemination of the written form of
language. The objective is to achieve a
practical program which lies between the
traditional three-hour-per-week language
course and the intensive, wartime-devel-
oped instruction.
The use of recorded language drills, espe-
cially prepared by the faculty to synchro-
nize with the work done in the classroom,
affords the students an opportunity for
intensive repetitive drills not possible in
the classroom. In broad terms, the "speak-
ing" possibility offered by laboratory drills
represents a total of some 50 hours, during
the school year, as contrasted to less than
5 hours per school year in the classroom.
In other words, the student is able to speak
the foreign language in the laboratory for
from 15 to 20 minutes during each period,
whereas he can speak for only one minute
during a given class instruction period.
The facilities of this laboratory will per-
mit approximately 3600 student contact
hours per week, or a total of 108,000 stu-
dent contact hours during the academic
year of 30 weeks. To make possible the
same amount of language contact drill
through individual instructors would re-
quire the addition of 15 members to the
present language faculty.
The Electronic Language Laboratory'
was designed by Professor Leon Dostert,
Director of the University's Institute of
Languages and Linguistics. It is the out-
growth of a somewhat similar tape recorder
system which was introduced by Professor
Dostert at the Institute several months pre-
viously. The earlier system, which is on a
considerably smaller scale, has individual
tape recorders in each of the student listen-
ing booths, instead of in a master control
console. Professor Dostert, who is respon
sible for the development of both of thesi
"language laboratories", is one of the coun
try's leading figures in language work
During the last war, he served as inter
preter for General Eisenhower — later be
coming liaison officer to General Giraud
Also, it was Professor Dostert who devel
oped the first simultaneous translation sys
tem, used at the famous Nuremburg trials
This same Dostert system was later intro
duced into the United Nations, where it
has proved to be of inestimable value.
The editor of Audio Record had the
pleasure of being present at the official
opening of the new Electronic Language
Laboratory at Georgetown University. It
is his firm belief that this radical departure
from traditional teaching methods is one
which other institutions of learning will do
well to watch carefully. For this unique
tape-recorder installation has set a pattern
that is likely to have far-reaching effect
throughout the entire educational field.
WANTED: Stories about your recording
activities, for Audio Record — which is
read by more than 1 4,000 sound record-
ing enthusiasts. Please address your
contributions to: Editor, Audio Record,
444 Madison Avenue, New York 22,
N. Y.
STANDARDS FOR EDUCATIONAL RECORDING MACHINES
by C. J. LeBel, Vice President, Audio Devices, Inc.
This subject was thoroughly dis-
cussed in an article by C. J. LeBel,
which appeared in a recent issue of
The Quarterly Journal of Speech. Re-
prints of this article are now available.
If you are interested in educational
recording, we will be glad to send you
a copy — without obligation, of course.
Write to Audio Devices, Inc., 444
Madison Ave., New York 22, N. Y.
The past three years have seen about
35 new types of magnetic recorders
offered for school use. Some are well
suited to educational needs, but many
have only limited application in the
class room. Educators therefore realize
the need for establishing some basic
minimum performance standards to
serve as a guide in selecting the correct
equipment.
f^Hftlff
PUBiiSHED BY
ftv«>^9 nymh in^,
Vol. 7. No. 2
444 Madison Avenue, N. Y. C.
February, 1951
New Sound Movie in Color Tells
THE Inside Story of Audiotape
Have you ever stopped to wonder how
Audiotape is made? If you visualize the
process in its simplest terms, you may think
it's just a matter ot applying a magnetic
coating to a suitable base material. Yet
that's only part of the story. For the manu
facture of Audiotape actually involves
more care and precision than practically
any other product that is made today. It's
a fascinating story — and one of great inter-
est to all users of magnetic recording tape.
The stor>- of Audiotape has now been
told on film — in a new, full color, 16mm
sound moving picture. This film, entitled
"Audiotape Speaks for Itself," takes you
on a personally guided tour through the
modern plant where Audiotape is made.
You see actual laboratory demonstrations
of how the magnetic oxide is formed —
dried — ground — mixed — and applied to
test samples on miniature, pilot plant equip-
ment. After the test samples are carefully
checked for physical and magnetic proper-
ties, the ingredients tested are released for
(Continued on Page 2. Col. 1 )
Part of the slitting room, where the large
are slit to the required width and wound
hubs.
A section of thi
finished tapes froi
highest standard!
electrical testing
every batch i
of performanc
Discs and Tape Play Major Role at
Moody Bible Institute
by Lorna Lee Macfarlane
Moody Bible Institute
Chicago, Illinois
Radio Station WMBI — owned and
operated by the Moody Bible Institute in
Chicago — enjoys the unique distinction of
having been on the air for a quarter of a
century, with never a paid advertisement.
From the time it first went officially on the
air, with a .^00 watt AM transmitter in
1926, the Institute station has been run
completely by the gifts of friends. The en-
suing 25 years have seen much expansion
in the radio department, and today the
Moody Bible Institute operates both a 5 kw
AM and a 46 kw FM station.
Throughout the eventful quarter century
of WMBI's history, sound recordings have
played an ever increasing role in producing
effective program material. In its early days,
the station had two portable disc recorders,
then a dual recorder in the control room,
and after that a separate recording room.
Now they are using Presto Type 6N re-
corders with Presto Model 88 recording
amplifiers. The continuous recording set-up
includes facilities for cutting separate pro-
grams simultaneously, and this has proved
to be a big boon in the preparation of re-
corded program material. Through the use
of high fidelity recordings, WMBI is able
to originate broadcasts of the highest
quality.
(Continued on Page 2, Col. 2)
AUDIO RECORD
February, 1951
cmdla^recorci
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 7, NO. 2 FEBRUARY, 1951
Audiotape Moving Picture
{Continued from Page 1, Col. 1)
production use. Then you are taken out
into the plant itself, to see Audiotape actu-
ally being made — batch mixing, ball milling,
coating, monitoring, slitting, production
testing, and packaging for shipment.
Wc believe that this new film will give
a much better understanding of how and
why Audiotape has achieved the recog-
nised superiority that has made it the first
choice of so many professional recordists.
It shows how the extra care and precision
in formulating and applying the coating
produces a magnetic recording tape that is
unequalled in fidelity of reproduction and
uniformity of output.
The new 20-minute film, "Audiotape
Speaks for Itself," was produced by John
S. Martin, of "JM Productions." Photo-
graphed in Commercial Kodachrome, it re-
produces with sparkling, life-like, full color
realism. Sound reproduction, too, is of the
finest quality obtainable, with the original
recording made on Audiotape. Prints of
this 16mm sound film will be loaned with-
out charge to interested recordists and edu-
cational institutions. Requests should be
mailed to Audio Devices, Inc., 444 Madi-
son Ave., New York 22, N. Y.
Microscopic examination of producfi
tape — checking for particle size, u
sion and freedom from "clumping"
n sample of Audio
iformity of disper
of the Audiolap
packaging department,
eked in cartons, togethe
Moody Bible Institute
{Continued from Page 1, Co!. .i)
One of the full-time jobs at WMBI is
making tape recordings. Using Audiotiipc
exclusively in portable equipment, five or
six programs are recorded and presented
each week. WMBI also uses battery-
operated portable tape recording equip-
ment for on-the-spot interviews and des-
criptions in unusual places. This helps
beautifully on the special events news pro-
gram. Whenever something exciting or out
of the ordinary occurs, the tape man hustles
out for an on-the-spot description. During
a recent ecHpse of the moon, a program was
recorded at Chicago's well known Adler
planetarium, including an interview with
Adler's assistant director.
On another occasion, Chicagoans not
only read in their local papers of an excit-
ing 4-alarm fire, but by tuning in WMBI
heard a true-to-life tape recording of the
milling crowds and an at-the-scene descrip-
tion of the thrilling rescues. Another popu-
lar taped program is "Your City and Mine,"
a public service feature.
Of course, these aren't the only uses for
tape. Dr. Irwin A. Moon, director of
Moody Institute of Science, recently flew
to Mexico and South America to take col-
ored movies of tribal customs and practices.
This modern method gives Christians here
at home a better understanding of what
the missionary faces in reaching these
primitive people. Shots of a tribal dance of
the Shipibo Indians in the Peruvian jungles
were made even more realistic in "To Every
Creature," the Moody film, by the actual
tribal music taped on-the-spot.
Battery operated recorders are also being
used in far-away mission fields where mis-
sionaries describe their immediate surround-
ings and the types of problems they face.
Friends and relatives in scattered areas,
later tuning in on WMBI, have the special
treat of listening to loved ones' voices that
were taped thousands of miles away.
The Institute has an amateur radio club
operated by WMBI technicians, faculty
members and students of the Missionary
Technical Course. The "ham" station.
WyLLW, is used to converse directly with
Moody alumni and other missionaries on
the foreign field. Since Institute graduates
like to hear news about their alma mater.
Dr. William Culbertson, Institute Presi-
dent, and others have taped words of greet-
ing and news that can be played to mission-
aries on the field when contacted.
The tape habit has spread from the top
floor radio studios down to "faculty row"
and into the classrooms. Aspiring speech
students and those in Bible story telling
class check up on mispronounced words,
too slow or rapid spacing, and monotony of
pitch, and notice (and henceforth elimi-
nate) those pesky "ah's" that have a habit
More About Hot Stylus
Recording
So far there has been only one serious
repercussion to the article on Hot Stylus
Recording which appeared in our October-
November issue. That was in reference to
the assumption that a stylus with burnish-
ing facets offered higher resistance to lateral
movement than a wax-cutting stylus which
does not have such facets.
Mr. William S. Bachman, Director of
Engineering and Development, Columbia
Records, Inc., does not feel that this as-
sumption is warranted — particularly when
applied as an explanation of decreasing
high frequency response at the smaller
groove diameters.
We quote from Mr. Bachman's letter as
follows:
"In the second paragraph of the third
column on page 2, it is stated 'that the
burnishing facets introduced additional re-
sistance to lateral movement of the cutting
tool.' I am not at all sure that there is any
truth in this statement."
"It is further stated that 'this would also
explain why the response tended to fall off
more sharply at reduced groove diameter.
In my paper (Audio Engineering, June.
1950) I pointed out that 'to get good data,
therefore, it was necessary to use a cutter
having high mechanical impedance or to
monitor the motion of the recording stylu-
by means of an FM calibrator or the equiva
lent." Having thereby established that the
cutting stylus was executing the required
displacement, the effect of the presumed
'additional resistance to lateral movement
of the cutting tool' is avoided. Other work-
ers also have reported a loss of high fre
quencies at reduced diameters, determined
optically as well as by playback, even
though the motion of the cutting stylus was
consistently maintained. "
Since Mr. Bachman is one of the Coun-
try's leading authorities on hot stylus re-
cording, we are very glad to have his views
on this subject, and to pass them along to
you. Also, wc will welcome any other com-
ments from our professional readers on this
or any other subject discussed in Audi(^
Record,
of cropping up. Teachers can decide by play
back whether or not their voices lull to sleep
rather than provoke attention or interest.
Music students catch that flat A and note
whether they need more warmth and ex-
pression in their singing or playing.
All in all, discs and tape (Audio, of
course) have proved friends indeed at
Moody Bible Institute, both in radio and
class room cff'orts — a friendship that will
no doubt increase as time goes on.
February, 1951
AUDIO RECORD
C. J. LeBel
by C. J. LeBel, Vice President,
Audio Devices, Inc.
FOR EDUCATORS ONLY
Wc hate to de-
sert our engineer
friends, even for a
month, but this
article is pointed
straight at teachers
using magnetic re-
corders. There is no
justification for an
engineer reading
this item, and we
apologetically sug-
gest that he keep it
in the top desk drawer for the next time
his teacher friends come to visit.
In starting, wc might recall the a.viom
that no piece of equipment lasts forever; in
fact its useful life will he very considerably
less than forever if proper maintenance
attention is not given regularly. The car
owner knows that it must be serviced every
500, 1,000. or 2,000 miles, and the mus-
sician (as R. D. Darrell has pointed out)
has a guilty feeling if his piano is not tuned
regularly. But put either in school and give
him a tape recorder, and there is no thought
of maintenance till the machine fails com-
pletely. Years ago schools ran on the theory
that only pencils, chalk, and erasers wore
out, but times have changed. The advent
of audio-visual aids, public address sys-
tems, broadcasting, and the audiometer
have enforced some concessions to techno-
logical change, but not enough. The aver-
age Board of Education still wants to see
the newest technical improvements in use,
without ever realizing the need for the
regular maintenance that is the cornerstone
of modern technology.
In a busy modern school the tape re-
corder is in use for four to eight hours at
a time, as long as the average radio station's
period of use. The professional user will
check his equipment quantitatively at least
once a day, for bitter experience has taught
him that a machine which still emits sounds
is not necessarily useful. Is the teacher do-
ing a job which calls for such precision of
result? In many cases, his requirements
equal those of the radio station's studio
equipment, and in the remaining instances
he is working at a level close to that reached
by the station's portable equipment!
Types of Maintenance
The work herein considered is preventive
maintenance, catching a fault before it has
become bad enough to stop operation. In
some cases, the remedy is within reach of
the school's ability — like putting in a new
tube — but in other cases a factory overhaul
is suggested, to be accomplished during a
vacation period.
The most common maintenance is of a
mechanical nature, such as:
1. Cleaning of heads every 5 or 10 hours
of use.
2. Checking of tape tension every 10 or
20 hours of use if friction clutches tend
to change in adjustment.
.V Lubrication as prescribed by the manu-
facturer.
Electronic maintenance should start with
quantitative measurement of performance,
for the serviceman's check of operating
voltages is a very poor index to quality of
result. These measurements should be made :
1 . Frequency response
2 . Distortion
.1. Signal to noise ratio
4. Head alignment
From this data one can appraise the need
for head alignment, tube replacement, etc.
Who Should Execute Mechanical Maintenance
The mechanical maintenance listed is
very simple, and thoroughly within the
reach of the average person. One who has
polished a silver spoon, used a postal scale,
and lubricated a sewing machine would
find head cleaning, tension-checking, and
lubrication simple. If your fingers are all
thumbs, then the large elementary school
generally has a science or shop teacher who
likes machinery. In the large high school
the physics department has a laboratory-
assistant who is very adept at equipment
maintenance, and the large system generally
has an instrument maintenance man. If you
are in a 200 pupil school, on the other hand,
you just have to master the technological
world yourself. This is still a simpler world
than the old one where a knowledge of
Latin outranked the ability to use a screw-
driver.
Electronic Maintenance
Measurement of electronic performance
calls for the use of an audio oscillator, a
gain set, and a distortion and noise meter.
The lab assistant and the instrument repair
man can handle equipment of this sort with
very little instruction, but the private mu-
sic teacher and the small school have
neither available.
Hence, they have to rely on outside as-
sitance, and several alternatives are avail-
able. First, try your local radio parts job-
ber— the source of your discs and tape. If
he does not have a service department, he
should be able to put you in touch with a
qualified man. If this proves inconvenient,
try the nearest recording studio or radio
station. It is sure to have at least one man
who is, de facto or de jure, the audio equip-
ment specialist. He may have the title of
audio facilities engineer, studio mainte-
nance supervisor, or chief engineer, or he
may merely be the owner. You will have to
fit your needs into his time schedule, of
course. If it is a well run radio station or
studio, then oscillator, gain set, and distor-
tion meter will always be at hand and
ready for use.
As a last resort, try to find a radio serv-
ice man who has made a specialty or a
hobby of recording. While his electronic
knowledge will be good, in too many cases
it will not be supplemented by adequate
test equipment. Nevertheless, he is much
better than no maintenance at all.
Repairs
Some repairs can be made by your main-
tenance man. For example, many profes-
sional machines have plug-in heads, and a
worn head is easily replaced. Distortion in
a home type machine is often caused by
inadequate bias, and changing an oscillator
tube is very simple. For more complex
problems the manufacturer's repair depart-
ment is always available.
Conclusion
With war conditions and material short-
ages approaching, it becomes even more
necessary to prevent little faults from de-
veloping into major breakdowns. A good
schedule of preventive maintenance will
be excellent insurance against this.
REFERENCE
1. C. J. LeBel. Standards for Educational Recording
Machines. Quarterly Journal of Speech. Vol. 36
No. 4, pp. 520-523, December 1950. Reprints of
this are available.
New Audiotape Movie
To Be Shown
at IRE Exhibit
The Audio Devices booth at the IRE
Show this year will be even more interest-
ing than usual. For. in addition to a com-
plete and up-to-the-minute display of
Audiodiscs, Audiotape, Audiofilm, and
Audiopoints, there will be a private, sound-
proof studio where the new Audiotape
moving picture will be shown. There you
can rest your weary feet and enjoy a
20-minute "trip" through the Audiotape
plant — at the first public showing of the
new, full-color sound film, "Audiotape
Speaks for Itself."
Be sure to look us up at the IRE Show,
Grand Central Palace, New York City,
March 19-22. We'll be in Theatre No. 316.
AUDIO RECORD
February, 1951
New Discs for Old!
Audiodisc Recoa+ing Service Con-
serves Aluminum and Offers Sub-
stantial Savings to Disc Users
As most of our readers know, the Na-
tional Production Authority has issued
orders restricting the use of aluminum for
civilian use. Needless to say, these restric-
tions will be felt throughout the recording
industry, since aluminum is the base mate-
rial from which all instantaneous lacquer-
coated recording discs are made.
In order to conserve the supply of alumi-
num available for this purpose. Audio
Devices has instituted a new Recoating
Service which will enable many profes-
sional recordists to obtain a large share of
their disc requirements without using any
additional alumuium whatever. Old used
discs which are no longer of any value can
be sent to the Audio plant where they will
be recoated and returned to the sender
as good as new. The discs are at all times
the property of the customer.
When the old discs are received at the
factory, the lacquer is completely stripped
off, and the aluminum base is coated in ex-
actly the same manner as in the manufac-
ture of new Audiodiscs. As far as recording
characteristics are concerned, you there-
fore get a completely "new" disc — made
from your own aluminum base. Yet the cost
of recoating offers substantial savings over
the cost of new discs. For example, 16"
Red Label Discs can be recoated at a saving
of 20 cents per disc.
The discs returned need not be of the
same "label" desired after recoating. For
example, yellow label Audiodiscs can be
returned for recoating as red label Audio-
discs, or vice versa. Audio Devices will
accept for recoating all makes of profes-
sional recording discs on aluminum base in
the sizes indicated in the following tabu-
lation :
Disc Size Type
10" Red Label
Yellow Label
12" Red Label
Yellow Label
Single Face Red Label
Reference Label
16" Red Label
Yellow Label
Single Face Red Label
Reference Label
MASTERS
12" Double Sided
Single Face
131/4" Double Sided
Single Face
171/4" Double Sided
Single Face
All transactions involving the recoating
of discs should be handled through your
regular Audiodisc distributor. In shipping
the discs to the factory, the distributor will
specify the "label" of discs desired of re-
coating — i.e.. Masters, red label, yellow
label, single face, or reference, as desired
by the customer. We will make every effort
to return the discs to the distributor in the
types requested. It should be understood,
however, that there may be times when we
cannot recoat all discs in exactly the types
requested. Particularly, we cannot guar-
antee "reference label" discs except in small
percentage of the total discs recoated. Also,
we cannot accept for recoating any proc-
essed masters which have metal adhering
to the aluminum.
If you have a supply of old discs that
you would like to put back into use, we
suggest that you see your Audiodisc dis-
tributor at once and arrange to take advan-
tage of the savings offered by the new
Recoating Service.
RCA Offers New Booklet
on Disc Recording
A new 20-page booklet, published by the
RCA Victor Division of Radio Corpora-
tion of America, contains a wealth of
valuable information on disc recording
equipment and methods — with particular
emphasis on modern fine groove techniques.
It describes in detail RCA's latest profes-
sional recording equipment and explains
its operation with both conventional and
fine groove recording. In so doing, how-
ever, it goes far beyond the usual manu-
facturer's equipment bulletin and takes on
an aspect more closely equivalent to an
authoritative text book on disc recording
science.
Profusely illustrated with photographs,
charts and diagrams, this new booklet
should be a welcome addition to the refer-
ence files of professional recordists — from
the standpoint of both equipment details
and engineering data on modern disc re-
cording methods.
The' booklet (Form 2J-6895), entitled
"AM, FM and Television Professional Re-
cording Equipment," is offered free of
charge to all interested recordists in these
fields. A copy can be obtained by writing,
on your company letterhead, to Dep't. 552,
RCA Engineering Products, Camden 2,
New Jersey.
Calling All
AUDIO-PHILES'
New "High-Fidelity" Magazine Will
Fill Long Felt Need for the Connois-
seur of Fine Recorded Music
*Audiophiles are people who enjoy the
entertainment produced by truly fine audio
reproduction. Usually, they are not con-
tent with ordinary commercial radios and
phonographs. Most of them have — or want
to have — special facilities for really high-
fidelity sound reproduction. They are col-
lectors of fine recorded music — many of
them make their own recordings, too.
Heretofore, the Audio- phile has had no
competent, authoritative publication which
would answer his questions — solve his
problems — help him to get the most out of
the fascinating science of sound recording
and reproduction. Realizing the growing
interest in this field, Milton B. Sleeper,
publisher of "FM-TV" Magazine, has de-
cided to bring out a new quarterly publica-
tion devoted exclusively to the interests of
all Audio-philes. This magazine, entitled
"High-Fidelity," is not an engineering or
trade paper. It is strictly for audio enthusi-
asts— technically trained or otherwise. It
is 8'/, by IIV2 in. in size, profusely illus-
trated, and filled with new ideas and in-
formation available from no other source.
The publisher is now accepting Charter
Subscriptions at the following special re-
duced rates:
$3.00 for one year (Saves $1.00)
$6.00 for three years (Saves $6.00)
(Prices 50^ per year higher in Canada,
$1.00 foreign). The first issue will be out
April 15th.
If you wish to be among the Charter
Subscribers to this new publication, send
your request, with remittance, to:
Mr. Charles Fowler, Editor
HIH-FIDELITY. Dcpt. R.
Savings Bank Building
Great Barrington, Mass.
fttlfitff
PUBLISHED BY AUDIO DEVICES, INC.
March, 1951 I
Vol. 7, No. 3
444 Madison Avenue, N. Y. C.
New Glass-Base Audiodiscs Now In Production
Not a "Substitute", but a
Finer Quality Instantaneous
Recording Disc that is
Available for Unlimited Use
It has been known for some time that
government restrictions on the civilian use
of aluminum would force a sharp curtail
ment in the production of recording disc-,
unless another satisfactory base material
were used to augment the supply of alumi
num base discs. The aluminum shortage
has not yet become so critical that record-
ists have been seriously handicapped
through inability to obtain needed discs.
However, the handwriting on the wall is
quite clear, and since it has always been
Audio's policy to anticipate the needs t 't
the recording industry, glass base Audio-
discs are already being produced in ample
quantity to compensate for the curtailed
production of aluminum-base discs.
As most of our readers know, glass is
not a new base material for recording disc
manufacture. During the last war, many
millions of glass-base Audiodiscs were pro-
duced and used with outstanding success.
In fact this experience has definitely proved
that the glass base disc is, in some respects,
actually superior to the aluminum base
disc.
The most significant improvement is the
extreme smoothness of the surface. It has
been demonstrated by precise measure-
ments that the glass surface is far flatter
and smoother than the finest aluminum
base which it is possible to produce.
This is clearly shown by the comparative
surface characteristics curves in Fig. 1 and
Fig. 2. As a still further basis of comparison.
Fig. 3 shows the surface characteristics of
the finest rolled steel base material. These
charts were drawn by a Brush surface
analyzer, capable of measuring surface im-
perfections of the order of one m-illionth
of an inch. Each vertical division on the
chart represents a departure from absolute
smoothness of .000005". Although total
surface variations in an aluminum base can-
not be kept less than about ten millionths
of an inch, the perfectly smooth glass sur-
face does not vary by even as much as one
(Continued on Page 2, Col. 1)
MUSICAL SWAP SHOP
Tony Schwartz, commercial artist, collects and exchanges recorded folic
music from all over the world
Many interesting and unusu.il communi-
cations come to the editor of Audio Record.
One of the most unique, however, was an
Audiodisc recording which told the story
- in words and music — of Tony Schwartz
and his "musical swap shop". In fact it
told the story so simply and directly that
we have transcribed it verbatim for the
benefit of our readers. Here's Vvfhat it says :
"Hello. My name is Tony Schwartz. I am
very interested in collecting and spreading
folk music. I live at 451 West .i7th Street.
New York 19, N. Y. I am a commercial
artist by profession. I have been recording
folk music for over five years and have
many songs. The majority of material is
originally recorded by myself. I have music
from all over the United States, Puerto
Rico, Peru, Brazil, Canada, China, Czecho-
slovakia, Greece, Spain, Soviet Union,
Hungary, England, France, Scotland and
(Continued on Page 3, Col. 2)
AUDIO RECORD
March, 1951
CLudla #. reccrrcl
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 7, NO. 3
MARCH, 1951
Glass Base Audiodiscs
(Continued from Page 1. Col. 1)
■IMiMMC
Fig. 1. Surface characteristics of glass base.
Fig. !. Siirf.u-c ch.ir.uIiiiMi,
millionth! In addition, the glass base is
dimensionally stable at all normal tempera-
tures and atmospheric conditions — abso-
lutely free from any tendency to warp or
buckle. This extreme smoothness and flat-
ness gives the glass-base Audiodisc a
mirror-smooth surface which approaches
the ultimate in recording perfection.
The new glass base Audiodiscs which
are now being produced have been mate-
rially improved over those manufactured
during the last war, in one important de-
tail. That is the method of attaching the
fiber center-hole insert to the glass base.
To explain this more fully, let us go back
to some of the early developments in the
manufacture of the glass-base disc.
The first discs were made with only a
center hole, drilled directly into the glass.
The drive pin holes were omitted because
It was found that a disc with only one hole
was infinitely stronger than one with two
or more holes. The hnes of weakness in
the glass between the closely spaced holes
resulted in excessive breakage in handling.
From an operational standpoint, the one
hole disc was entirely practical, for the
clamping friction in most recording ma-
chines was ample to prevent slippage while
recording. The hard edges of the glass,
however, had an objectionable tendency to
scratch the metal center pin. To avoid this,
a larger hole — about Y^' in diameter —
was drilled in the center and a fiber insert,
the same thickness as the gla.ss, was placed
in this hole. After coating, the center hole
was punched in this insert. However, since
the one-hole disc required some modifica-
tions or adjustments in a number of turn-
table and feed mechanisms, recordists pre-
ferred the standard pin drive. This v,'as
later achieved, without weakening the
glass, by drilling one large, lyV' diameter
hole in the center, with a fiber inset in
which the center hole and three drive pin
holes were punched after coating. (This
development was patented, and carries
U. S. Patents No. 2,283,797 and 2,295,-
9.VS). The fiber insert was held in the glass
base by friction and the lacquer coating
which was applied over it sealed it in place.
This method, although far superior to any-
thing else available at the time, was not
completely fool-proof, and — under unfa-
vorable conditions — a center hole insert
would sometimes pop out of the disc. In
the new glass base Audiodiscs, the fiber
insert is permanently bonded to the glass
in such a manner that it cannot come loose
or buckle and pop out. This is accomplished
by means of an extended flange on one face
of the insert, which overlaps onto the face
of the glass and is cemented in place before
coating, as illustrated in Fig. 4. The insert
is made slightly smaller than the hole, and,
after coating, it is completely sealed in by
the lacquer, yet has sufficient room to ex-
pand or contract without danger of com-
ing out.
The glass base Audiodiscs are precisely
manufactured to extremely close tolerances
for overall thickness, which is kept the
same as on the conventional aluminum base
disc. They can therefore be used on all
recording machines without any modifica-
tions or special adjustments.
The mechanical strength of these glass
base discs is much greater than might be
supposed. This extra resistance to acci-
dental breakage has been achieved through
scientifically correct strength - to - weight
ratio, with the coating supplying a high
percentage of the total thickness. The glass
used also possesses a high degree of resili-
ency which will easily absorb light impacts
without cracking or shattering. It is true,
of course, that glass base discs are more
fragile than their non-breakable aluminum
base counterparts. It is also true, however,
that any impact of sufficient force to break
a glass base disc would, in all probability,
cause irreparable damage to the coating of
an aluminum base disc. Since all recording
discs must be handled with care, the record-
ing engineer, as a general rule, doesn't have
as many "thumbs" as most people. The
likelihood of breakage in handling is there-
fore very slight. Breakage in shipment,
however, would ordinarily present a much
more serious problem. But this also was
solved through experience gained during
the last war. Audio has developed special,
re-usable wood packing cases which are
approved by the transportation companies
and permit the shipment of glass base discs
with practically no danger of breakage.
Many prominent recording engineers
observed the fact that glass base discs sound
better and clearer than aluminum base
discs. Ordinary test instruments, however,
gave no clue as to the exact nature of this
audible improvement. Distortion and fre-
quency response tests showed no measur-
able differences. The improved tone quality
- -though still unexplained by accoustical
analysis — remains a recognized character-
istic of the glass base disc.
The new and improved glass base Audio-
discs are now being produced in the fol-
lowing types and sizes:
Red Label
Single Face Red Label
Yellow Label
Reference Label
12"
16"
12"
16"
16"
16"
All orders for Audiodiscs will be filled,
as far as possible, with standard aluminum
base discs. Where their availabihty is
limited, the balance of the quantity ordered
can be supplied with glass base discs. In
all cases, however, glass base discs will be
supplied only upon specific approval by the
customer. Many experienced recordists will
prefer to use glass base Audiodiscs for all
of their most critical instantaneous record-
ing requirements. These discs can, ot
course, be supplied in ample quantity to
avoid any restrictions as to their use.
By making glass base discs available now.
Audio Devices is able to maintain full pro-
duction— and keep recordists from being
inconvenienced by the aluminum shortage.
GLASS BASE
FOIL FLANGE
CEMENTED TO
GLASS
Fig. 4. Cross sectional
sketch showing method of
sealing fiber center-hole in-
sert to glass base Audio-
discs (thickness exaggerated
for clarity 1. Actual fiber
insert shown at right.
SPACE PERMITS
EXPANSION OF
INSERT
March, 1951
AUDIO RECORD
by C. J. LeBel, Vice President.
Audio Devices, Inc.
LICENSING OF RECORD CRITICS
C. J. LeBel
As many of our friends have often com-
plained, we have no particular respect for
sacred cows. Worse yet, we have no hesita-
tion about placing our head in a lion's
mouth. So this month we express our dis-
respect tor an important part of the record
field — the record critic. We feel that the
critic's traditional immunity from punish-
ment has led to serious carelessness in the
handling of easily established facts.
The Artistic Side
The artistic aspect of record criticism is
of course a matter of opinion, and pre-
sumably impossible to evaluate objectively.
Nevertheless, we are driven to note the
lack of correlation between critics, and a
statistician could probably show that criti-
cal reactions to any given record would be
completely random in nature. One com-
plains bitterly about the lack of reverbera-
tion in a given record, while the ne,\t in-
veighs against its utterly excessive reverber
ation. They cannot both be right.
Technical Aspects
When we come to the record critics' tech
nical remarks we have a very different
situation. Technical points are objective,
not subjective, and there is only one correct
answer. The critic is either correct or in-
correct, and he has nothing to hide behind.
We recall one critic who for many
months attacked all microgroove discs as
hopelessly over-recorded. Eventually he
discovered that his pickup was obsolete,
(Continued on Page 4, Col. 1)
Musical Swap Shop
{Continued from Page 1, Col. 3)
others. The material is performed by peo-
ple of all walks of life. Some are profes-
sionals. I would like to exchange music
with you. I can make or play material on
wire, tape or disc. I am interested in songs
or music that people sing or play in their
conscious or unconscious efforts to make
the world a better place to live in. Songs
of work, dance, protest or pastime. I hope
you don't mind other people hearing what
you send me. If you do, please say so and
it will go no further. Here are a few short
sections of various songs to give you an
idea of the type of material I have in
mind." (A brief musical excerpt follows
each item listed.)
"The first is a Peruvian mount, iin song
. . . An American work blues ... A fisher
men's song of the menhaden off the Jersey
Coast ... A Negro spiritual ... A Negro
gospel song . . . Next is a bit of a Spanish
song from Peru ... A Spanish guitar . . .
A Chinese song ... A Gaelic song ... A
Czechoslovak song ... A song from a po-
litical rally . . . and last, group singing.
"I hope these have given you an idea of
the type of material I have recorded. I
have found many friends more interested
in swapping songs by recording than by
the written music, because they get a better
idea of the song in its presentation. If you
are interested in any of the songs I have
recorded or would like to send or swap me
some of the songs you or your friends sing,
please send me any recorded wire, tape or
disc message. My recording equipment
can play 78 rpm, .i3':! rpm records, any
wire recording, and JYj" or 15" per sec-
ond single track tape recordings. I can play
double track tape only if one track is left
clean. I am looking forward to hearing
from you."
This record was cut from a tape original
which Mr. Schwartz made up to serve as
an introduction to his extremely interesting
hobby. Copies of the record have been sent
to contacts throughout the United States
and all over the world. He has received
answers from over 30 countries, and has
collected about ten thousand songs. He ob-
tains his contacts - - the names of people
interested in folk music — by reading farm
journals, ranch news, cultural magazines
(like Audio Record), secular club publi-
cations, and through his membership in
the Webster Wirespondence Club.
Mr. Schwartz has recorded several well-
known artists from their early years —
among them, the "Weavers" and Yma
Sumac. In fact he has more than fifty hours
of recordings of Yma Sumac and her
family, including some recordings which
she made at the age of 14.
In describing the satisfaction which he
has found through this unusual hobby,
Mr. Schwartz says — "The world is full of
music, and with my hobby I have touched
a little of it and found tremendous knowl-
edge and enjoyment."
Most of his recording work is done in
his home studio, on a Magnecorder, at
71/2 inches per second. The 15 inch speed
is also available on this equipment, and is
used where the type of program material
recorded would benefit from the extended
frequency range.
Mr. Schwartz will be most happy to
swap recordings with any of our readers
who are interested in folk music. "Pen
Pals" are out of date, it seems. So if you'd
like a new disc or tape pal, get in touch
with Tony Schwartz, 457 West 57th
Street, New York 19. N. Y.
AUDIO KECORD
March, 1951
Record Critics
(Continued jrom Page 3, Col. 1)
his deemphasis incorrect. Another has been
complaining about "variation in crossover
frequency" of one make. Unfortunately
for him, their equipment is of a type least
likely to vary in crossover, and the fault
one most likely to be caught by the daily
maintenance tests. He probably means that
the low frequency balance varies more
than he likes, because microphone position
is not always optimum.
Still a third critic has been sniffing about
variations in "preemphasis" of organiza-
tions that have not changed their pre-
emphasis, whilst ignoring six actual changes
by one organization. Of course, he really
means variation in high frequency balance
due to microphone placement. Finally, we
recall a critic who compared two organ
recordings. One was ideal, while he con-
sidered the other a very poor likeness to
an organ. Actually, both had been faith-
fully recorded, but they were representa-
tive of two entirely different eras in organ
building, and naturally sounded different
on records.
Our readers can surely multiply these
examples a hundred fold.
In years gone by quality standards were
enforced by the guilds. Perhaps our most
competent record critics should organize a
guild. Only one who had passed a rigorous
examination could use the guild's insignia
at the head of his column. His work would
be checked, and serious aberrations would
be grounds for discipline. The public would
soon learn that only a guild member's
opinion would be worth attention.
Guild Standards
We may safely assume that a guild ex-
amination would include points like these:
1. Musical acoustics
2. Fundamentals of the recording process
3. A performance test on identification
of record faults
4. Musical art
Likewise, we may be sure that a critic
would be called on to prove the worth of
his reproducing equipment — proof that its
performance would be adequate to judge
modern wide range recording, and also
proof that it would be maintained in ade-
quate condition.
A Beginning
It would be Utopian to imagine that we
could introduce these standards v^'ithout
pressure. This pressure should come from
editors. Too often an editor hires a record
critic, then fails to check his work. Too
many magazines of otherwise high stand-
ards fail to carry those standards into their
record columns.
Audio Booth at IRE Show
Draws Record Attendance
New Sound Moving Picture
Shown to Publi
The 1951 Radio Engineering Show, held
at Grand Central Palace, New York, March
19 - 22, proved to be one of the most suc-
cessful industrial exhibitions ever held. Its
297 exhibits, with six million dollars worth
of components, tools and materials on dis
play, drew a record attendance of radio
engineers from all over the country.
To those interested in sound recording,
the Audio Devices booth was a major at-
traction. For, in addition to a complete
on Audiotape Manufacture
c for First Time
display of all Audio products — discs, tape,
film and points — it included a sound-proof
studio where visitors were able to see the
new sound moving picture in color, "Audio-
tape Speaks for Itself". This 20-minute
film, telling the fascinating story of how
Audiotape is made, was shown every hour
on the hour. Between showings the studio
resounded to the strains of the finest re-
corded music, on discs and tape — music
whose sparkling clarity and brilliance of
tone must be heard to be believed.
YOU CAN STILL TURN YOUR OLD DISCS INTO DOLLARS
Despite the present restrictions on the
purchase and use of scrap aluminum.
Audio Devices can still pay you top cash
prices for your used recording discs. By
taking advantage of this longstanding
policy you not only convert your other-
wise useless discs into cash, but help to
make additional aluminum available for
disc production — which means more new
discs for you when you want them.
Audio Devices will pay from 4 to 1 ."i
cents each for any make of used aluminum
base recording disc — depending on size, as
follows :
10" 4 cents each
12" R cents each
131/4" 10 cents each
16" 15 cents each
171/4" 15 cents each
Since these discs arc stripped of the old
lacquer coating and used for rcmelt pur-
poses, the above prices apply regardless of
the disc type. In other words, a yellow
label or reference label disc will bring as
high a price as a red label disc of the same
size.
Audio Devices will pay cheapest way
freight on all shipments of 100 pounds
or more. All used discs should be shipped
to:
The Audio Manufacturing Corporation
25 Palmer Avenue,
Glenbrook, Connecticut
Every year. Audio Devices pays thou-
sands of dollars for the return of old alumi-
num-base recording discs. So don't over-
look this excellent opportunity to reduce
your recording disc costs. Old used discs
that are "worthless to you" may be worth
more than you think. Why not pack them
up and ship them to the above address.
You'll be surprised at how large the check
can be.
q[H^fj^l^fy
rBCOTCL
I Vol. 7, No. 4
PUBLISHED BY AUDIO DEVICES, INC.
444 Madison Avenue, N. Y. C.
April-May, 1951
Bank of special, high-speed coppe
r plating machines at the New York processing plan
of Allieds K. R. Smith
Division. These platers, which cu
plating litne by more than 60%, are a developmen
of the Western Electric
Company, and this is the only pla
nt in the country which is licensed to operate them.
CUSTOM PRESSINGS FOR THE BROADCASTING
INDUSTRY
Allied Record Manufacturing Co.
Now World's Largest Producer
of 16" Transcriptions
In February 1951, the K. R. Smith Com-
pany — leading manufacturer of custom
pressings and transcriptions on the East
Coast — officially joined hands with the
Allied Record Manufacturing Company,
of Hollywood. This combination of Re-
sources and facilities makes Allied the
world's largest producer of custom tran-
scriptions for the broadcasting industry.
The Hollywood plant has grown steadily
over the past 17 years, and now processes
about 90 per cent of all transcription press-
ings produced on the West Coast. And
the new K. R. Smith Division, with its
own well-established plant in New York
City, is currently handling the processing
work for over 80 per cent of the broad-
casters in the East.
Mr. Smith, manager of Allied's Eastern
Division, has been in the transcription and
phonograph record processing business for
25 years. He attributes the growth of his
Company largely to the fact that the em-
phasis has always been on fast personal
service in meeting both the normal and
emergency needs of the industry. It often
takes a miracle of production skill to turn
out hundreds of top quality Vinylite press-
ings in tmie to meet the emergency dead-
lines that are the rule rather than the ex-
ception in radio work. And it takes a lot
of personal service and follow-through,
too, to solve the pressing problems that are
the order of the day at both of Allied's
processing plants.
Despite the requirements for high-speed
production, the quality of transcription
pressings must be maintained at a much
higher level than that which would be ac-
ceptable for ordinary phonograph records.
Although Allied's transcriptions are pro-
duced to NAB Standards, these are con-
sidered as basic minimum requirements
(Co7itiniied on Page 2, Co!. 1)
The First Electronic Language Lab
Pioneer Tape Recorder Installation at The American University Proves of
Great Value to Students and Instructors
Competent authorities have long real-
ized that the best way to learn a foreign
language is by ear. But it was not until
the advent of the tape recorder that this
method of language instruction really came
into its own. During the past few years
tremendous strides have been made in the
use of tape recordings for language study
— culminating in the so-called "electronic
language laboratory".
The largest installation of this type —
at Georgetown University — was described
in the January issue of Audio Record. Our
readers will also be interested to know that
another electronic language laboratory has
been in operation since October 9, 1950 —
at The American University in Washing-
ton, D. C. This is believed to be the first
laboratory of its type in use by any college
or university in this country. Although it
preceeded the Georgetown installation by
about one month, the American Univer-
sity's laboratory follows the method of
language instruction which was inaugu-
rated by Georgetown University's Insti-
tute of Languages and Linguistics.
In this new method of instruction, tape
recordings are used to give students many
extra hours of supplementary drill in
listening and responding to recorded exer-
cises. The fundamentals of the spoken
language, and grammar which is taught
inductively, are presented to the student
in regular classroom lectures. After each
lecture he obtains the much-needed prac-
tice in the language laboratory periods.
The student thereby receives many more
"contact hours" with the spoken language
than would be possible under the older
system using the same instructional staff.
The necessity of endless repetition on the
part of the instructor is avoided by the
obvious method of using recorded language
drills. The tape recorder has proved to be
ideally suited to this job.
(Contmiied on Page 7, Col. 2)
AUDIO RECORD
April-May, 1951
cLudla # reccrrd
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 7, NO. 4
APRIL-MAY, 1951
Custom Pressing
(Continued from Page 1, Col. 1)
only, and no pains are spared to maintain
consistently higher quality in every press-
ing that is turned out for broadcast use.
At the K. R. Smith Division, two dif-
ferent types of processing are used — de-
pending on the number of pressings re-
quired and the replacement value of the
original master recording.
Where a limited quantity of pressings
is required and the master recording is
"expendable", single-step processing is em-
ployed. In this operation — described in
Steps 2 to 12 on the following pages —
the metal matrix (negative) made directly
from the lacquer master, is simply faced
by chromium plating, and is used as the
stamper. This is, of course, the quickest
and most economical method, but it does
not give any protection for the original
recording. When the plated matrix is
stripped off of the lacquer master (Step 6),
the latter is often destroyed in the process.
For all practical purposes, therefore, it
must be assumed that the lacquer master
will be destroyed during processing, and
that it can not be used again for making a
new matrix when the stamper wears out.
Actually, as many as 500 pressings can
usually be made from the master matrix.
But, to be conservative, this single-step
processing is normally used only where
about 200 pressings or less are required.
Where more than 200 pressings are to
be made, or where the original master must
be kept available for possible future use,
three-step or "full protection" processing
is used. In this method a metal "mother"
is made by plating the master matrix —
giving an exact duplicate of the original
recording, in metal instead of lacquer.
This metal mother is then plated in essen-
tially the same manner as the original
lacquer master to produce the negative
stampers. The gold sputtering or silvering
operation, however, is omitted, since the
surface is already conductive. The matrix
and metal stamper are chemically treated
to permit a clean separation of the subse-
quent plate. Many stampers can be made
from one metal mother without any loss
of quality.
One item of the processing equipment
at the K. R. Smith Division plant is of
particular interest, as it is unique in the
record-making industry. That is a battery
of special, high-speed rotary copper plating
machines. In these compact electroplaters
the plated disc and copper anode are
spaced only a fraction of an inch apart
and rotated in opposite directions, while
the electrolyte (acid copper solution) is
circulated between them under pressure.
It is thus possible to build up a uniform
copper backing .060" thick in 4 hours, as
compared to a plating time of 18-24 hours
for conventional tank plating methods.
The electrolyte for a bank of high-speed
platers is circulated in a closed system from
a supply tank, in which the solution is
constantly, maintained at the proper con-
centration. Conventional tank plating is
also used where time permits, giving addi-
tional plating capacity and making the
high speed platers more readily available
for the rush jobs.
Silvering and gold sputtering are both
used at the Smith plant, depending on the
preference of the client.
To make sure that every pressing meas-
ures up to the most exacting quality re-
quirements, rigid tests and inspections are
continually made in every step of manu-
facture. As a typical example, every tenth
pressing is played all the way through on
specially designed monitoring equipment.
Any imperfections which might develop
in the stamper can, therefore, be "caught"
with a minimum of waste production.
Although Allied specializes in transcrip-
tion processing, many high quality phono
graph records are also produced in the two
plants. In addition Allied is equipped to
record on disc or tape, ship products to
broadcasters and dealers, store metal mas-
ters for future use, and can arrange to
prepare scripts, make orchestral arrange-
ments, secure talent and technicians and
furnish recording studios throughout the
United States.
To assist professional recordists in mak
ing the best possible master recordings.
Allied has recently produced a new, up
to-thc-minute edition of its popular hand-
book, "Suggestions for Professional Mas-
ter Recording". For a free copy of this
publication, write or call K. R. Smith
Division, Allied Record Manufacturing
Company, 619 West .'i4th Street, New
York, N. Y. — or Allied Record Manufac-
turing Company, 1041 North Las Palmas
Avenue, Hollywood .^8, California.
Bank of supplomenlary copper plating tanks, at the
Allied plant. These tank platers are used (or non-rush
production, increasing the availability of the high-speed
plating tnachines for high priority work.
one of Allied's mi
In addition, every
through, to <
sibly develop
the
mothers" is just
Thousands
of meia
masters are catalogued and store<
ontrol measures.
in Allied's
huge tr
nscription library, for the conven
ayed all the way
ience of c
ustomers
in ordering additional pressings
hich might pos-
Each mast
et IS care
fully packaged for full protection
against du
t. dirt o
mechanical damage.
audio ^record
HOW TRANSCRIPTIONS ARE MADE
(Photos and Data, Courtesy of K. R. Smith Division, Allied Record Manufacturing Co.)
1. ORIGINAL MASTER RECORDING
Discs used for master recording (such as Master Audiodiscs) require
the utmost in surface perfection as no pressing can be any better than
the master from which it is made. Master discs are larger in diameter than
the final transcription or record size, to give the extra clamping surface
needed for processing and pressing. 12", 13'/4" and 17'/4" masters are
used for 10", 12" and 16" pressings respectively. Only one side of a
master can be processed. The final recording, therefore, must be cut on
only one side of the disc.
2. GOLD SPUTTERING
To make the surface of the disc conductive for subsequent plating
operations, it is cathode sputtered with gold. The disc is placed in an
evacuated chamber, mounted on a water-cooled platen between a gold leaf
cathode and an anode. A dc potential of 3000 volts is applied and a glow
discharge takes place between cathode and anode. Molecules of gold
released from .the cathode hy secondary emission are deposited on the
recorded surface of the disc in a fine homogeneous layout about .000001"
thick. The entire sputtering process takes about 20 minutes.
3. SILVERING
Silvering, instead of gold sputtering, is frequently used as an alternate
method of metalizing. This process, which is similar to the silvering of
mirrors, involves the chemical deposition of finely divided silver particles
from an ammoniated silver nitrate solution. The disc is covered simul-
taneously with the silver nitrate solution and a special catalyst, causing
the metallic silver to he precipitated m a thin layer on the surface. The
silvering, which is done under carefully controlled temperatures, takes
about 10 minutes.
4. COPPER PRE-PLATING
After gold sputtering or silvering, the disc is electroplated with a
thin layer of very fine grained copper. The disc is rotated in an acid copper
plating solution, while a direct current of about 30 amperes per sq. ft.
builds up a plate about .001" thick in about 30 minutes. Extreme fineness
of grain is necessary in the layer of copper which is in contact with the
gold or silver surface. This process is too slow to be used for building
up the full thickness of the copper backing.
AUDIO RECORD
April-May. 1951
5. COPPER BACKING
After prcplating, the metallic layer on the disc is huilt up to the
required strength and thickness hy additional electroplating of copper on
the prc-plate. In the special high-speed platers shown above, the disc and
copper anode are spaced close together and rotated in opposite directions
in a sealed chamber, with acid copper electrolyte circulated rapidly
between them under pressure. A copper plate .060" thick is built up in
4 hours, as compared to IS to 24 hours for ordinary tank plating.
6. STRIPPING
The finished metal matrix (negative) is separated from the lacquer
ma.ster (positive) by mechanical means. A sharp tool is inserted between
disc and plate at several points, and the disc is carefully pulled away,
leaving the metal matrix with a gleaming, flawless gold or silver finish.
The lacquer master is often destroyed in this process, and if full protec-
tion for the original is required, a metal "mother" is made from the matrix
(as described on Page 6) by further electroplating operations.
9. CENTERING
Precise location of the center hole is extremely important, as even a
few thousandths of an inch deviation can cause objectionable wows in the
finished pressings. The exact center of the disc is located by microscope
or dial indicator, and a center-hole insert is soldered into the metal matrix
accurately centering the disc for all subsequnt operations. The original
center hole can not be used for this purpose because of its tendency to
become enlarged during the plating operation.
10. BACK TURNING
The h.ick of the metal matrix must be made perfectly smooth, as any
high spots in the plating would push through to the surface in the subse-
quent pressing operation. The disc is mounted on a lathe and the back
IS machined to extreme flatness by removing a thin shaving of metal from
the entire surface. Grinding can also be used for this purpose instead
of machining.
April-May, 1951
AUDIO RECORD
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7. ELECTRO-CLEANING
After the metal matrix is separated from the original lacquer disc,
its surface must be thoroughly cleaned to remove any traces of grease or
other impurities. This is done by immersing the matrix in a strong alkaline
solution, agitated by means of an electric current. This method is superior
to polishing with rouge, because it cannot affect the frequencies originally
recorded on the master.
8. CHROME FACING
Since gold and silver have an affinity for Vinylite plastic, the face
must be chromed to prevent sticking in the press. This is done by electro-
plating a thin layer of chromium over the gold. With a silvered disc, the
silver is removed and the chrome is applied over the copper pre-plate. The
chromium plate is so slight that it does not effect the frequency response
at 15,000 cycles, yet it is sufficiently hard and durable to permit making
as many as 2000 pressings without wearing away. The flash chromium
plating operation takes about 9 minutes.
11. PRESSING
Two metal matrices, or "stampers", are mounted in the record press,
one for each side of the transcription. Labels are inserted, a preheated
"biscuit" or preform of Vinylite plastic material is placed between the
"stampers" and the press is closed. The two stampers are forced together
hydraulically at a pressure of 1800 to 2000 pounds per square inch. The
pressing cycle is automatically controlled, and takes from 25 to 75 seconds,
depending on disc size and type of material being molded.
12. THE MOLDED TRANSCRIPTION
After the disc is removed from the press, the excess Vinylite is trimmed
off and the edges are polished. It is then ready for shipment. The 12
operations shown here illustrate the "single-step" method of processing,
which is used only where a small number of pressings is needed. The
three-step, or "full protection" method is much more frequently used.
The actual operations are essentially the same, but many more steps are
required. This is illustrated diagrammatically on the following page.
AUDIO RECORD
April-May. 1951
HOW TRANSCRIPTIONS ARE MADE
SINGLE-STEP PROCESSING
Lacquer Master
Metal Matrix
Vinylite Pressing
Although as many as 500 pressings can usually
be made from one metal matrix, the single-step
method of processing is normally used only where
about 200 pressings or less are required — and
where the original master recording is "expend-
able". Since the lacquer master is frequently
destroyed when it is separated from the metal
matrix, the recording can not be duplicated after
the matrix has worn out.
THREE-STEP PROCESSING
Lacquer Master
Metal Matrix
Metal "Mother'
Stamper
The three-step, or "full protection" method is
generally used where more than 200 pressings are
to be made, or where the master recording must
be kept available for possible future use. The
metal "mother" is made by electroplating the
matrix, and the stampers are made by electro-
plating the "mother". Many stampers can be made
from one metal "mother" without any loss of
quality. Gold sputtering or silvering is not re-
quired when plating the matrix and "mother".
The surface is chemically treated to assure a clean
separation of the finished plate.
Vinylite Pressing
PHONOGRAPH RECORDS
As far as the individual operations are concerned, phonograph records are made in exactly the same way as
transcriptions. However, where many thousands of records must be made from one master matrix, a number of
"mothers" are made, from each of which many sub-master matrices are produced. Additional "mothers" are made
from the sub-master matrices, so that hundreds of stampers can be produced.
Most high-quality phonograph records are made of Vinylite. Less expensive records, known as shellac pressings,
are made from a mixture of diatomaceous earth and shellac, with small amounts of coloring agents, plasticizers and
lubricants added.
With the advent of the new Long Playing microgroove records, small 45 rpm records, and new light-weight repro-
ducers, quality standards for phonograph reproduction have been radically improved. To measure up to these standards,
pressings for the improved phonograph records must be of transcription quality. This has placed greater emphasis
than ever before on the quality requirements for master recording discs.
April-May, 1951
AUDIO RECORD
by C. J. LeBel, Vice President,
Audio Devices, Inc.
TAPE LIFE
Occasionally \\ ■-
find inspiration tii
an article in our
correspondence file ;
a subject that
prompts many let
ters is generally .i
live one. This paper
is correspondence
prompted.
There is a grow-
ing tendency to
store material of C. J. LeBel
historical interest on magnetic tape, mate
rial that is likely to be of priceless value
ten or twenty years from now. We
deplore this tendency, even though the
basic idea is not unsound — for it is almost
always done with gross disregard for chem
ical and physical realities.
The life of tape has two aspects: maiz
i netic and physical. As to the life of the
magnetic record itself, we find no inform.i
tion in the literature. We may expect a
slow loss of magnetism with time as with
all permanent magnets, but we cannot tell
whether it will be proportional or whether
it will affect the peaks more (and so create
distortion) . Conditions in the magnetic
circuit are such as to lead us to expect
that the demagnetizing effect will be sig-
nificant, but we cannot yet judge whether
it will be serious in ten years, or in fifty.
One effect has already been noticed, a
tendency toward magnetic printing. We
are inclined to blame this on the tendency
to over record, a tendency which has other
bad effects. If the peaks are recorded at a
level higher than that corresponding to
2 per cent harmonic distortion, the ten-
dency for magnetism to transfer between
adjacent layers becomes significant, raising
the apparent noise level. Many studios and
broadcasters are recording peaks in this
danger region. Tape storage at high tem-
perature will enhance the effect greatly.
The physical life of tape concerns us
more deeply. A weak, distorted, or noisy
tape can still be used, but if it breaks every
few feet during reproduction, it is useless.
The cellulose acetate we use as a base
has existed in its present composition for
Language Lab
(Continued, from
Page 1, Col. 3)
The American University language
laboratory consists of two adjoining rooms,
each equipped with tape recorders and lis-
tening positions. The larger room contains
27 listening booths, each equipped with a
six-position selector switch, by means of
which any one of six simultaneous audio
programs may be received. In this way
students studying different languages can
have laboratory periods at the same hour.
Each student simply selects his particular
language by means of the selector switch.
At the back of this room are located three
tape recorders, (Brush Soundmirrors,
Model BK-414U). These machines supply
the audio signal to three of the six channels.
In the adjacent room, there is a large
<i lundproof recording booth — used by the
instructors and students for making tape
recordings. This room also contains eight
additional listening outlets, each equipped
with a six-position selector switch. The
other three recording machines are also
located in this room, supplying the audio
signals to the remaining three channels.
The audio output signal from any one of
the six tape recorders may be received at
any listening position in either of the two
rooms.
The electrical controls and wiring for
this language laboratory were purchased
from the International Business Machines
Corporation, and are of the type used at
the United Nations meetings for simul-
taneous translation.
This multi-lingual tape recorder system
has proved to be of great value to both
students and teachers. As its advantages
become more widely recognized, installa-
tions of this type will certainly increase in
number. In the not too distant future we
may find a well equipped language lab in
every college and university in this coun-
try— and in many progressive high schools,
too.
Sec
ion
of the ■
nain listert-
ing
TOO
m durin
g a regular
Ian
It
age la
boratory
per
3d.
showin
14 0) the
2/
nd
vidual booths. The
language ricording
ee Brush "Sound-
at the back of the
ibove), at The Uni-
versity's electronic language laboratory.
over twelve years. Laboratory samples
made then are still in good condition, but
some tape has been known to become hope-
lessly brittle in two or three months.
Which fate will meet your most prized
recordings? It depends entirely on your
storage conditions. Motion picture film has
for many years been successfully stored
under controlled conditions, and the studio
will have to adopt the same practice if long
life is to be achieved.
Some years ago we pioneered in devel-
oping kraft paper as a tape base material;
that we were right in our judgment may
be inferred from the fact that every other
tape maker has followed our example. In
the closely akin form of condenser paper,
this material has existed for many years,
with satisfactory life characteristics. How-
ever, in a condenser it is well protected
from adverse influences, and long-term
mechanical strength is not as important.
From data on the life of book paper, we
may expect it to react adversely to im-
proper storage conditions.
We, therefore, suggest that tape of his-
torical importance should be stored at
65 to 70°F., and a relative humidity of
50 to 70 per cent. If this is difficult, at
least keep in a humidifier can such as is
used for 16 mm. film, and store in a cool
location. If you insist on storing the tape,
without protection, in a hot dry closet,
you may expect its life to be reduced at
least 90 per cent.
AUDIO RECORD
April-May, 1951
ALL THIS AND RECORDING TOO!
New TV-FM-AM Radio -Phono -Recorder
CombinaHon Console Offers Complete
Facilities for Honne Entertainment
DuMont's new Westminster Series II
Console has been described as the world's
most comprehensive instrument for home
entertainment. It takes but a glance at the
multiplicity of services provided to agree
that this is a pretty valid claim.
This unit is of particular interest be-
cause, to the best of our knowledge, it is the
first commercial console type instrument
to include provision for high quality home
recording on magnetic tape.
The tape recorder, housed in a separate
draw-out compartment, is arranged to pro-
vide the following facilities: record from
microphone — record from TV sound —
record from FM radio — record from AM
radio — record from 78, 33-1/3 or 45
rpm records — play back any recording
through console speaker — monitor while
recording (through console speaker).
The tape recorder has an International
Electronic Corporation transport mecha-
nism made by Universal Molded Products,
of Philadelphia. DuMont's specifications
call for a frequency response which is flat
within 3 db from 70 to 7000 cycles. This
is a minimum performance requirement,
and actual measurements on representa-
tive production units show a response that
is within the 3 db limit for a somewhat
wider range — usually from 60 to 8000
cycles. Distortion is less than 5% on a
signal recorded and played back at maxi-
mum level. Since this type of distortion is
principally second harmonic, the least ob-
jectionable variety, the average listener
can detect little or no difference in tone
quality between the tape recording and
the sound from which it was made. Noise
level is limited to a minimum of 35 db
below full output — actual production
averaging about 38 db. This is better than
that obtained from the best shellac records
and entirely comparable to that obtained
from Vinylite microgroove pressings.
Maximum simplicity of tape threading
and machine operation were essential re-
quirements in the design of this equip-
ment. The tape mechanism, which is the
same as that used on the "Reelest" port-
able recorder, is entirely self threading.
The tape is simply dropped into a slot and
a threading lever automatically brings it
into proper alignment and contact with
the three magnetic heads — one for play
and record and two for erase.
The recorder is of the dual track type
with a speed of 71/2 inches per second and
automatic reversal — providing up to one
full hour of recording on a 7 inch reel.
A neon recording level indicator provides
for simple adjustment of optimum record-
ing volume. An automatic timing mecha-
nism, which will turn the set on or off at a
predetermined time, can also be adjusted
to operate the recorder automatically on
a pre-arranged schedule.
It is interesting to note that DuMont
dealers have been making excellent use
of the recording feature to help sell the
Westminster sets. By recording appro-
priate sales talks they actually let the
equipment speak for itself — a feature
which adds greatly to the effectiveness of
the sales room demonstration.
The development of this instrument
makes a significant trend in the ever
increasing popularity of magnetic tape
recording for home entertainment.
NSRG
These initials
stand for National
Scholastic Radio
Guild, an associa-
tion of high school
radio and/or TV
workshops over
the country.
Through NSRG,
member workshops receive each
year:
1. News of other workshops —
in four bulletins of The Radio
Workshop,
2. Four non-royalty scripts.
3. Information on technical and
engineering developments.
4. News of new books and
pamphlets on radio-TV.
5. Announcements and invita-
tions to conferences on radio
workshops.
6. Membership pins and cards,
and a suggested workshop consti-
tution. Membership fee: $4 per
year per school. For membership
blanks, write: National Scholastic
Radio Guild, 7 East 12th St., New
York 3, N. Y.
NEW LINE OF
TRANSCRIPTION CASES
"Compco" Fiber Shipping Cases
Designed to Give Extra Safety
for Discs
The Compco Corporation, 2251 West
St. Paul Avenue, Chicago 47, Illinois, has
recently announced a new line of sturdy,
light-weight transcription shipping cases.
They are available in 10y2", I2V2" ^nd
151/2" sizes (II/2" deep), for 10", 12"
and 16" discs respectively. The cases are
of tough, non-vulcanized fiber, with steel
reinforced corners, strong 1" web straps,
and compartments for 4 film strips. Prices
and additional data can be obtained from
the manufacturer.
fHll^t^^g
Vol. 7, No. 5
PUBLISHED BY AUDIO DEVICES, INC
444 Madison Avenue, N. Y. C.
June-July, 1951
SCRIPT CONTESTS ANNOUNCE WINNERS
Scholastic Magazines and AER
Pick Prize-Winning Radio Scripts
in Audio-Sponsored Student
Competitions
The top student script writers of 1951
have now taken their places in the literary
hall of fame — and have collected well
deserved cash awards in recognition of
their efforts.
The Scholastic Magazines' National
Radio Script Writing Contest has selected
twenty-four prize winning entries written
by High School Students in 16 states and
the District of Columbia. And, in the
higher fields of education, the National
Radio Script Contest conducted by the
Association for Education by Radio (AER)
has announced the award-winning entries
from the hundreds of scripts submitted In-
College Students throughout the country
To the talented winners — to the main'
hundreds of other contestants who sub
mitted such excellent scripts — and to the
teachers who have done so much to de-
velop the writing ability of these students,
(Continued on Page 2, Col. 1)
,a
lAk
WINNERS OF SCHOLASTIC MAGAZINES' RADIO SCRIPT WRITINCi COMPKTITION
Firsi Prize Original Radio Drama. First Pri;<— Radio Drama Adapta- First Pm;< General Radic
William L. Galarno. Saginaw, tion. Lila Kronsladt, Brooklyn. Gcraldinc G. Heuermar
Mich. N. Y. Louis. Mo.
WINNERS OF CLASSIFICATION 12 IN A. E. R. CONTEST
L. Legnini, Second Prize William H. Robin- Third Prize — Willii
Jr., Brooklyn, N. Y.
Brooklyn, N. Y.
Johnny Vadnal and his orchest
Islanding) is Alexander Bard. V;
ARRANGED and
RECORDED
by Schneider
Unique Combination of Musical
Science and Audio Engineering
Enables Schneider Recording Studio
Lab to Give Clients the
"Full Treatment"
Musicians, composers and radio writers
in the Cleveland area know Hank Schneider
well, and have a healthy respect for both
his musical talent and his engineering
ability as a professional sound recordist.
That's because the Schneider Recording
Studio Lab at 1303 Prospect Avenue,
Cleveland, has established a unique repu-
tation as a source of both artistic and tech-
nical service in all kinds of musical
{Continued on Page 4, Co\. 1)
AUDIO RECORD
June-July, 1951
cmcUo i»^ recoixl
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 7, NO. 5
JUNE- JULY, 1951
Script Contest Winners
(Continued from Page 1, Col. 1)
we extend our sincere congratulations for
a job well done.
Mr. William D. Boutwell, of Scholastic
Magazines, reports that more than 525
scripts were entered in this year's Writing
Awards competition, and that these entries
showed greater variety of subject matter
than ever before. Many of the scripts were
in support of civic enterprises, such as the
Red Cross, safety projects, better English
in the schools, etc. Also, more scripts
showed evidence of having been produced
belore being entered in the contest, whicli
indicates wider school use of local radio
stations. Om TV script was entered this
year, for the first time. Many of the scripts
were from member schools of the National
Scholastic Radio Guild.
Following is a list ot the national win
ners in the Classifications sponsored i^'y
Audio Devices.
SCHOLASTIC MAGAZINES'
Radio Script Writing Contest
(High School Students)
Judges: Albert Crews, Promotion Director,
Protestant Radio Commission; Irve
Tunick, free lance radio writer; Olive
McHugh, English Department, DeVil-
biss High School, Toledo; Gertrude
Broderick, Radio Script Division, U. S.
Office of Education; and Armand Hun-
ter, Chairman, Radio-Speech-Thcatre,
Temple University, Philadelphia.
Original Radio Drama
First Piu-f. — ,$:5.0();
William L. Galarno
Arthur Hill Sr. High School,
Saginaw, Mich.
"The End of the Journey"
Teacher — Mattie G. Crump*
Sr.cdND Prizr — $15.00;
Richard S. Reamer, Jr.
I'.lkh.nt Senior High Sch.iol.
Elkhart, Ind.
"Emergency Assignment"
Teacher — Galen Wenger
Third Prize — $10.00; Thomas J. Walsh
Gonzaga High School,
Washington, D. C.
"The Emerald Flaine"
Teacher — Joseph Kerns, S.J.
Fourth Prizes — $5.00 Each
Virginia Ann Mills
Nazareth Academy, Rochester, N. Y.
"Joey"
Teacher — Sister Evelyn
Carmie Amato
John Adams High School,
Cleveland, Ohio
"Lefty"
Teacher — Miss Agnes Lee
Richard O. Martin
Idaho Falls High School,
Idaho Falls, Idaho
"The Invader"
Teacher Miss Afton Ritton
Maurice Mclnerney
Cathedral High School, Denver, Col.
"Lhiheavenly Heaven"
Teacher — Sr. Therese Martin
John Gilmore Bansch
Helena High School, Helena, Mont.
"Pug's Version of the 1950 Season"
Teacher — Mrs. Doris Marshall
Radio Drama Adaptation
First Prize — $25. 0(); Lila Kronstadt
James Madison High School,
Brooklyn, N. Y.
"Salvador and the Goat"
Teacher — Mrs. E. Freiliclier*
Second Prize — $15.00; Marilynn Hall
Mackenzie High School, Detroit, Mich.
"The Man Who Could Work Miracles"
Teacher — Benjamin Meckler
Third Prize — $10.00; Sue Wyche
Las Vegas High School,
Las Vegas, New Mexico
"Champion Stock"
Teacher — Miss Nell Doherty
Fourth Prizes — $5.00 Each
Edward J. Golden
Boston Latin School, Boston. Mass.
"Great Expectations"
Teacher — Gordon F. Irons
Barbara Smith
L.ie.inia High School,
Laccinia, New Hampshire
"A Punt for Billy"
Teacher -Mrs. Rutli P. Estes
Wesley M. Pollard
Helena High School, Helena, Montana
"The Monkey's P.iw"
Teacher — Dons M, Marsh, ill
Robert B. Yegge
East High School, Denver, Colorado
"A Christmas Carol"
Teacher — Thomas Gilligan
Betty Hall
Roosevelt High School, St. Louis, Mo.
"The Car"
Teacher — Olga Solfionk
General Radio Scripts
FiR.sT Prize — $25.00;
G?raldine G. Heuermann
Central High School, St. Louis, Mo.
"The Stars Point The Way"
Teacher — Miss Lorraine Lowry*
Seconi. Prize- $15.00;
James D. Stasheff
A. B. Davis High School,
Mt. Vernon, N. Y.
"The First Performance of Hamlet"
Teacher — Roberta Elemint;
Third Prize — $10.00; Edward G. Field
Westfield Sr. High School,
Westfield, New Jersey
"The Vision"
Teacher — Miss Bordner
Fourth Prizes — $5.00 Each
Jerold B. Coburn
Edison High School, Miami, Florida
"Teeners, Tunes, and Topics"
Teacher — Mrs. Sophia Derbyshire
Robert Clein
Henry Grady High School,
Atlanta, Georgia
"Henry Grady "
Teacher — Mrs. William F. Smith
Paul B. Hannon
East Denver High School,
Denver, Colorado
"The Red Cross Serves"
Tcicher — Mr. Zarlengo
Nancy Rae Riley
Wethersfield High School,
Wethersfield, Conn.
"Junior's First Train Ride"
Teacher — Mrs. M. Windsor
Evelyn MacDougall
Cheyenne High School,
Cheyenne, Wyoming
"The Long Election"
Teacher — Mildred U. Beck
AER
National Radio Script Contest
(College Students)
judges: John Bachman, Director of Radio.
Baylor LIniversity; Thomas D. Rish
worth. Director of Radio and Television,
University of Texas; and Dr. Sherman
P. Lawton, Coordinator of Broadcasting,
University of Oklahoma.
Classification No. 12, Scripts for Home
and School Recording
FiRsr Prize -$10().()0;
Meric L. Legnini
Temple University, Philadelphi.i, Pa.
"History is My Beat"
Teacher — Mr. Romulo R. Soldevilla*
Second Prize - $60.0(1;
William H. Robinson, Jr.
Washington Square College,
New York University, New Yt>rk, N. Y.
"When They Count the American
Dead"
Teacher — Mr. Irving F.ilk
Third Prize — $40.00;
William A. Coffield
Washington Square College,
New York University, New York, N. Y.
"The Scar"
Teacher — Mr. Irving Falk
*R.eceived 25 Audiodiscs, 3 Sapphire Recording
Audiopoints and 3 Sapphire Playback Audio-
points — or equivalent value in reels of Audio-
tape.
June-July, 1951
AUDIO RECORD
poinle/^
by C. J. LeBel, Vice President,
Audio Devices, Inc.
EVALUATION OF OXIDE
As our readers
know, a magnetic
recording tape con-
sists of a layer of
magnetic iron oxide
on a non-magnetic
paper or plastic
base. The tape
characteristics de-
pend almost entirely
on the oxide itself
— what it is and
how evenly it is
applied. Since previous articles' discussed
the question of uniform application, we
will in this paper discuss the oxide itself
— the material which gives a tape its per-
sonality.
Oxides of many different characteristics
are possible, ranging from the high-coer-
cive black, through the very popular
medium -coercive red, to the old low-coer-
cive red used by the Germans on their
Magnetophone. In the course of a develop-
ment project, the laboratory must evaluate
the probable performance of hundreds of
oxides on machines presently in wide use.
No matter hov^r interesting a material, it has
little value if the customer must rebuild
liis machines to use it properly.
Practical Realities
We may assume at the start that tlic
oxide has good frequency response, and
that its modulation noise is low. Were
either of these characteristics poor, the
material would have been set aside Ion>j;
before.
In most magnetic recorders — both pro-
fessional and home — noise level is fixed
by the machine internal noise, and not by
the tape, so maximum output produces the
highest signal to noise ratio. The undis-
torted output limit is set by tape overload,
and not by machine distortion, so we want
an oxide with maximum undistorted out
put. At the same time it must also have low
distortion at lower outputs. We really need
a tape which is inherently more linear in
its characteristics. Furthermore, this must
be attained in the normal bias range of
machines in the field, for most machines
have fixed bias, and the remainder can
adiust their bias only over a limited range.
We have much data on the bias of commer
cial machines in the field, as referred to our
laboratory standard head, obtained by
using a two tape technique previously de-
scribed.-
Characteristics
As a convenient illustration, we will
compare our standard red oxide (on plas-
tic base) tape with a competitor's material
for which strong claims are made. The
upper graph of Figure 1 shows the rela-
tion between bias current and reproducing
head output, with a fixed recording sig-
nal. Note that at currents below that cor-
responding to peak output, output increases
rapidly with bias; at bias greater than the
peak value, output decreases slowly with
a large increase of bias.
The lower graph of Figure 1 shows that
increase of bias reduces distortion. While
these tests were made at the standard 400
cps. frequency, the curves have the same
shape at other frequencies. At bias cur-
rents above a certain value, the distortion
curve levels off at its minimum value.
Since the two graphs use the same bias
current scale, a given bias point will be in
the same position on both sets of axes.
Correlating the two curves, it is clear that
as we increase bias current, we first decrease
distortion and raise output rapidly. When
bias has increased enough to decrease out-
put 2 to 3 db. below its peak value, the
distortion curve first reaches a minimum.
This is why manufacturers of machines
with adjustable bias specify the 2 db. point
in their instruction books.
Comparison
It is not easy to watch two graphs si-
multaneously, so in Figure 2 we have com-
bined the data into a set of output-distor-
tion curves taken at various bias currents.
Referring back to Figure 1, we see that
tape O has more output that AUDIO-
TAPE only in a bias region which is use-
less because of high distortion. If we jump
to Figure 2 a, and compare the two oxides
with each bias adjusted to peak output, we
find that O has higher distortion at any
point on the scale. Using the usual 2%
pt)int as an index, we find that AUDIO-
TAPE will give 3db. more output.
In Figure 2b, we find that the difference
is 2 db. at the bias for 1 db. below peak
output; and in 2c the output difference
is 1.6 db. at the 2% point, with the bias
for 2 db. below peak. In every case the
AUDIOTAPE offers more output at
lower distortion. A recheck of Figure la
shows that AUDIOTAPE has higher sen-
stivity in the bias region for low distor-
tion.
It would appear that tape O uses inferior
oxide. We are inclined to blame the chem-
ist for shifting the bias peak to too low a
current, for our own laboratory has ob-
served inferior performance whenever this
is done. This probably results from in
(Continued on Page 4, Col. 3)
//PSsl
1 f^
^
'
BIAS MA
1
3
1 1
FREQUENCY 400 CPS
1
o\
\
'\^
^
BIAS MA
Fig. 1. Upper Curyes — Relation hef
and output, with fixed input.
1 1
jO m
1
/
/
/
/
/
00 CPS
PEAK
D8 OUIPUT
for peak output.
4.4 MA
0_J
5 SKA
/
/
/
/
/
/
400
IDB-
PS
PEAK
^^
■
-^
2 4
4 4
6 4
8 S
0 5
I 5
4 5
6 5
8 60
08 OUTPUT
increased enough to de
1 1
/
"" 5.7
/
MA
/,
/
1
y
//
400
2DB-
PS
PEAR
;;==:
.y^
(c» Bias
below
Fig. 2. Rela
D8 OUTPUT
ough to
output 2 db.
put and distortion at van-
AUDIO RECORD
June-July, 195!
Schneider Recording Studio
(Contirmed from Page 1, Col. 3)
recording work. Hank Schneider's unsual
background of musical experience has con-
tributed much to his success in the record-
ing field.
Born and raised on the hanks of the
Mississippi at Quincy, Illinois, Hank took
an early interest in music — an interest
which was influenced largely by record-
ings which he heard on the family's Edi-
son Cylinder phonograph. Deciding that
music was to be his career, he devoted him-
self wholeheartedly to its study and prac
tice. Later, he was literally launched on
the first step of his professional career —
as a trombonist and arranger on the Mis
sissippi excursion boats, where jazz was
born and carried up the river from New-
Orleans. He has been extremely active in
musical circles ever since — arranging for
name bands and radio stations for more
than 25 years.
During the early 40"s, extensive Signal
Corps sponsored radio training aroused a
latent interest in the technical aspects of
musical recording and reproduction. This
led to the opening of a modest recording
business as an avocation in 1943. But
Cleveland's fame as a Polka Center soon
changed this to a full-time vocation — and
started Schneider's Recording Studio Lab
on the road to recording fame.
This Studio is currently making the orig-
inal master recordings of Johnny Vadnal
and Ernie Benedict for RCA Victor Rec-
ords. Many other masters have been made
here for Decca, Capitol, Mercury, Contin-
ental, etc. In addition to polkas and pop
recordings, the Schneider Studios have
recorded many unusual and interesting
types of national and folk music, including
ANOTHER ELECT^Oi'^c LANGUAGE LAB
—designee Jsc recordings
LOUISIANA STATE UNIVERSITY has pioneered in the use of audio equipment in teaching
languages on a large scale. The present language lab, established in 1947, is one of the largest
in existence, with semi-private facilities for 130 students. The individual booths are equipped
with turntables, earphones, and microphones, so that students may hear either themselves or
records. In addition to teaching Chinese, Russian, Italian, Portuguese, French and German, the
lab is used to teach English to foreign students. Its recording facilities are also used to serve the
high schools of the state. Teachers in the public school sytem submit material for their own
teaching needs and laboratory personnel put it on record in authentic accents. Three soundproof
booths provide facilities for making the language recordings used in the lab and elsewhere.
Voices used in cutting foreign language discs are supplied by students from the country whose
language is being studied.
Syrian, Serbian, Greek, Hungarian, Ger-
man and Italian.
Writers of singing commercials like to
bring their work to Schneider's as Hank's
experience as an arranger can be very
helpful in developing them. In fact you can
walk into the studio, hum a new tune —
and walk out with the complete musical
recording.
The running of Schneider's Recording
Studio is a family affair, in which Hank
gets a valuable assist from his wife, Kay.
She has the personality and business ability
that make the front office click. And, her
musical talents — as organist, pianist, and
Ml
11
1 ^^^^^^^T^ ^o^^l
special organ
ording and reprodu
vocalist — are a real asset to the studio.
When a girl's voice is needed, in a singing
commercial for example, Mrs. Kay
Schneider is often heard in the transcrip-
tion.
The Schneider Recording Studio Lab is
fully equipped with the finest precision
equipment for both disc and tape record-
ing. The main recording studio is of ample
size to accommodate large orchestral
groups, and a smaller studio, equipped
with r.n electronic organ, is provided es-
pecially for the recording of organ and
vocal selections.
Hank Schneider, now an active member
of the Audio Engineering Society, finds
that music and sound engineering are very
closely related. His clients are glad that he
has had so much experience in both.
Evaluation of Oxide
(Contnuied jroin fage 3, Col. 2)
creased content of alpha form, instead of
the desired gamma form of crystal struc-
ture. An extremely small alpha content
leads to a poisoning type of efl^ect, far more
harmful than would be accounted for by
the mere percentage of non magnetic
,ilpha. It is this which sets a desirable lov/er
limit to the bias peak.
References: 1. C. J. LeBel, Modulation Noise, Audio
Record. December 1949 I
References: 2. C. J. LeBcl. A New Method of Meas-
ure Bias, Audio Record, June-July, j
1949
GLudla
rscoTcl
Vol. 7, No. 7
PUv |^"Y AUDIO DEVICES, INC.
4'.VMt ...n Ax' N. Y. C.
August-September, 1951
CORNELL \aPE REs.ORDING CENTER
Offers State-Wide Educational
Service on a No-Charge Basis
"I would found an institution where any
person can find instruction in any study."
With these words, Ezra Cornell launched
what was to be the tremendous university
that is Cornell today. And these words
have become even more true, thanks to the
establishment of tlie Cornell Tape Record-
ing Center, a library which presents the
voices as well as the words of leading
authorities in many fields.
The Center is operated by the Radio
Services of Cornell's Department of Exten-
sion Teaching and Information, under the
supervision of L. W. Kaiser, Head of Radio
Services, and T. D. Richards, Jr., Instruc-
tor in charge of recording. The new 43-
page catalog, hot off the press, lists about
450 titles which can be obtained by schools,
extension workers or any interested com
munity groups in New York State. This
Service is free of charge, the only require-
ment being that the person ordering a pro-
gram furnish his own tape onto which the
program can be dubbed.
The idea isn't a new one. Kaiser says.
There has been increasing demand for this
type of service for a long time, but disc
recordings, of course, have been rather ex-
pensive for limited budgets. Now, tape
recording has changed the picture com-
pletely. Reasonably high-quality, low-cost
recorders and playbacks are available, and
many groups already own or have access to
them.
Variety is the spice of hfe, and the Cor-
nell Tape Library is well spiced. Record-
ings available range from a monumental
program on radar contact with the moon
to advice on how to take care of the bugs
in your cabbage patch. All in all, agricul-
tural and home economics topics are great-
est of number. They include material from
many departments of Cornell, from the
United States Office of Education, and
several other foundations producing inter-
esting programs. The Center is also the
official upstate repository for the Minnc
sota Department of Education, v^jhich con-
•"^'ns a similar service for teachers.
{Continued on Page 2, Col. 3)
T. D. Richards, Jr., Instructor in charge of recordin
and Information, prepares to make another AudioLi
ALL IN A DAY'S WORK
Bill Day, Self-made Audio Expert, finds that it pays
to learn sound recording the hard way
Bill Day, of 1611 Richards Street, Salt
Lake City, Utah, is a modest and unassum-
ing young man who does not like to brag
about his work. So, if this be bragging, our
readers will please understand that we are
doing it for him.
Although only 26 years of age. Bill Day
has been building his own sound recording
equipment for the past 14 years. That
means that he was only 1 2 years old when
he started building his first recorder. It took
6 months of painstaking effort before it
was finished. Unfortunately it didn't work.
Undaunted by failure, he immediately
started building another. That didn't work
either. So he built another — and another
— and another, all with the same disap-
pointing results. In fact it took two and
a half years and eight recorders before his
(Continued on Page 2, Col. 1)
Audio Record is mailed, free of charge, lo all interested recordists who request it.
AUDIO RECORD
August-September, 1951
CLudIa 1^ record
Published monthly by Audio Devices, Inc.,
444 Madison Avenue, New York City, in the
interests of better sound recording. Mailed with-
out cost to radio stations, recording studios,
motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the
United States and Canada.
VOL. 7, NO. 7
AUG.-SEPT., 1951
efforts were crowned with success. But the
satisfaction which he obtained from that
first successful recorder was multiplied
many fold by each of the previous failures.
Nor was all that time and effort wasted,
for every recorder built represented new
problems solved, new lessons learned the
hard way — never to be forgotten.
During these early struggles, while still
in public school, Bill couldn't afford to
spend very much on his equipment. The
only money he had was what could be
earned by doing repair work for neighbors.
He was therefore forced to build prac-
tically all of his own components — from
microphone to cutter. This included doing
all of his own machining work — a task
which took a little more time but taught
far more about the construction and opera-
tion of recording heads and mikes than
could have been learned simply by pur-
chasing the complete units.
By the time his first successful recorder
had been built, Bill was 15 years old and
just entering high school. Seven more
recorders were built during his high school
This homi'-tiiddi* profosstonal-[ypp disc recorder
in Bill Day's bound studio, is a far cr> from hi
early
expenmenial models. It is che cumulative res
ult of
more than 12 years of experience in building con
stantly
improved sound recorders — and is worth more
o Bill
than the most costly professional machines obta
nable.
years, each one of a new and improved
design.
After graduating from high school. Bill's
recording progress shifted into high — for
he was then able to get a job and have some
real income to put into recording equip-
ment. That meant high quality heads and
good mikes — so necessary to the building
of high fidelity recorders. But then trouble
came from another source. For, in his en-
thusiasm for building recorders, he forgot
that there's a limit to human endurance.
Long hours of recording work, in addition
to his full-time job, proved too much. He
lost the job by fainting from overwork.
Later — with a less strenuous job design-
ing and building electronic equipment —
he continued to invest his income in more
test equipment and parts, while building
new and better disc and tape recorders.
To date Bill Day has built 23 recorders,
the last one at a cost of about $2500 and
2 years' work. None of these recorders have
been built for sale, but to replace previous
equipment.
Shortly after World War H, Bill started
his own business, designing and build-
ing electronic equipment. Experience has
taught that it can be rough. But he looks
at starting a business like building that first
recorder — confident that hard work and
determination are the key to success. He is
now doing some recording work for friends
and those who hear about him — hoping
for an opportunity to devote his efforts and
talents to professional recording work.
Among other important things. Bill has
learned that the satisfaction obtained from
doing recording work can not always be
measured in dollars and cents. During
World War H, he made many recordings
for friends and relatives of servicemen to
send to their loved ones overseas. As an
active member of his church, he gathered
together groups of from 18 to 60 persons
at a time for his recording sessions. Each
individual was told to say all he wished
when the mike came to him — speaking
as if the serviceman were right there
listening. This took from 15 to 30 minutes
— being recorded originally on tape and
later re-recorded on discs for shipment
overseas. After the war, the thanks of re-
turned servicemen encouraged him to con-
tinue the good work — making records for
friends and relatives to send to church
missionaries in other lands and states. No
charge is made for this work, the satisfac-
tion of making the records more than pay-
ing for the work involved. To date, more
than 700 of these records have been made,
and the number will reach 1000 before
the summer is over.
All in all, Bill Day has had a background
of experience in audio work that few
recordists of his age can match.
Cornell Tape Recording Center
{ConUnued from Page 1, Co!. 1)
"We aren't trying to build an archive,"'
Kaiser points out. "We plan to keep only
those titles for which there is the most
demand. As quickly as people stop request-
ing a program, we will replace it."
Adding to the library is a very continu-
ous process. The basic end of the recorded
material is changeless factual information
which will be supplemented as soon as new,
fresh material becomes available. Record-
ings of famous speeches and descriptions of
notable events will be included for as long
as they are timely. At present they are
available for New York State organizations
and schools only.
All recordings are kept on master tapes
at the Cornell Center. Audio Devices, Inc.,
of New York, is supplying the tape for this
project through the cooperation of their
local distributor, Stallman of Ithaca. Any-
one wanting to use a program should send
his own tape to the Center, along with his
order for the particular program or pro-
grams desired. The material requested is
quickly recorded on the subscriber's own
tape, and this is returned to him. The master
tapes never leave the Center.
"Tape recordings have at last given us a
chance to overcome the objection that radio
is not a permanent form of communica-
tion," says Professor Kaiser. "Now we can
keep vital or important programs on tape
for as long as people want to hear them."
Ted Richards says, "We would found
a tape recording library so that any person
can find instruction in any study."
ut a re
corded
ape
fron
1 th
e library
eques
ree
copy
a worth-
Ecordir
g. Cor
lell
s latest
catalog.
lists ab
DUt
4'JO
edi
unde
r Ihe s
ubjects
of
General
audio # reccrrd
QUICK FACTS ON MAGNETIC TAPE RECORDERS
(Additional Information can be obtained by writing to the manufacturer)
Model and Price
AMPEX
I ELECTRIC
CORPORATION
Howard Ave.
at Laurel,
Son Carlos,
California
AMPLIFIER
CORPORATION
OF AMERICA
396-398
Broadway,
New York 13,
N. Y.
Portable
Model 400
$925.00
Console
Model 300C
$1,860.00
"Twin-Trax Magnemose
Model 810B
(7'/2"/sec.)
$285.00
Model 810C
(15"/»oc.)
$345.00
Frequency
Response
50-15,000
cycles (±2 db)
at 15"/ sec.
70-10,000
cycles (±2 db)
at 7'/j"/sec.
50-15,000
cycles (±2 db)
at 15" sec.
50-9,000
cycles (±3 db)
at 7' j" sec.
AMPRO
CORPORATION
2835 North
Western Ave.,
Chicago 18,
III.
BELL
SOUND
SYSTEMS, INC.
555 Marion Rd.,
Columbus 7,
Ohio
'Magnemaster
Consolette"
Model 815
$395.00
"Twin-Trax
Magnerama"
$495.00
"Ampro-Tape"
Model 731
30-13,000
cycles (±2 db)
at 15"/sec.
50-15,000
cycles, at
15" sec.
50-10,000
cycles, at
7'/2"/sec.
Portable, dual-track recorder, with tape
speeds of 15 and 71/2" per second. Signal-
to-noise ratio, over ')5 db at either speed.
Either half-track or full-track recordings can
be played back without changes in adjust-
ment. Separate record and playback heads.
Instantaneous starting. Rewind time, l'/2
min. Simultaneous monitoring. Weight —
approx. 7? lb.
Professional-type, single-track recorder, with
tape speeds of 15 and lYz" per second.
Signal-to-noise ratio, over 60 db. Separate
record and playback heads and amplifiers.
Rewind time, 1 mm. for full NAB reel. De-
sign flexibility permits modifications for spe-
cial applications, including multi-channel
recording and response beyond 80 KC. Cus-
tom built instrumentation machines avail-
able with response to 100 KC. Also available
in portable and rack-type units.
Portable, dual-track recorder, with automa-
tic reversal — giving up to 1 hour continuous
play on 7" reel. Dynamic range, 45 db. In-
put channels for microphone and radio-
phono. Total distortion, less than J%.
Shuttle speed in both directions. Weight —
42 lb
Tope
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Recommended
50-9,000
cycles {±3 db)
at 7 "2 " sec.
100-7,000
cycles, at
3 ¥4 "/sec.
'RE-CORD-O-fone"
Model RT-65-B
70-8,000
cycles (±3 db)
at 7 '2" sec.
Single or dual-track recorder with tape speeds
of 15 and lYi" per second. Separate heads
for erase, record and monitor. Simultaneous
monitoring while recording. Dynamic range,
50 db. Shuttle speed in both directions.
Portable, dual-track recorder, with 71/2"*^?'^
speed and automatic reversal — giving 4
hours continuous play on 13 J/2" reel. Tape
speed, 71/2" per sec. Microphone included.
Weight — 55 lb. Other data same as for
"Twin-Trax Magnemuse" above.
Portable, dual-track recorder with iV^"
tape speed — giving 2 hours playing time on
7" reel. Input channel for microphone, radio
or phone connection. Rewind time, 4 min.
for 7" reel. Includes microphone. 5"x7" PM
speaker, and jack for external speaker or
earphones. Weight — 17 lb
Portable, dual-track recorder with tape speeds
of V/i", 3J4" and lYi" per second. Rewind
ratio 5 to 1. Includes crystal microphone, 6"
PM speaker, inputs for microphone and
radio-phono, and headphone monitoring
jack. Weight— 3 3 lb.
Wound
with
OXIDE
OUT
Red or
Black
Oxide,
Plastic
or Paper
Base
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
BERLANT
ASSOCIATES
4917 West
Jefferson Blvd.,
Los Angeles 6,
Cal.
Model and Price
"Concertone" Model 1401
$345.00
Frequency
Response
40-15,000
cycles (±2 db)
at IS'Vsec.
40-7,500
cycles (±2db)
ot 7'/2" /sec.
Professional type single or dual track re-
corder mechanism and electrical chassis for
console installation. Tape speeds, 15" and
7I/2" per sec. Signal-to-noise ratio, over 50
db. Fast forward and rewind time, 1 min.
for IOJ/2" reel. Separate record, erase, and
playback heads. Monitors while recording.
Carrying case and console available. Weight
— 50 lb , in case, with 8" speaker.
THE BRUSH
DEVELOPMENT
CO.
3405 Perkins Ave.;
Cleveland 4,
Ohio
"Soundmirror"
Model BK-443P
$279.50
To 7,000
cycles, at
Model BK-443PS
$289.50
To 4,000
cycles, at
3^4"/ sec.
Portable, single-track unit, available with
71,4 "r 3/4" tape speeds — providing 30 to
60 minutes recording time. Signal-to-noise,
over 40 db. Wow and flutter, less than 0.3%
RMS. Fast forward and rewind, 75"/scc.
Inputs for microphone, radio-phono. Output.
5 ohms, 3 3 dbm. Includes 6" PM speaker and
crystal microphone. Weight — 3 2 lb.
"Soundmirror"
Model BK-442
$259.50 (mahogany)
$269.50 (blond)
To 7,000
cycles, at
7', 2". sec.
Table model, single-track units with IVl"
tape speed — providing 30 minutes recording
time on 7" reel. Signal-to-noise, over 40 db.
Wow and flutter, less than 0.3% RMS. Fast
forward and rewind, 75"/sec. Inputs for
microphone, radio-phono. Output, 5 ohms,
3 3 dbm. Includes 8" PM speaker and crystal
microphone. Weight — 3 3 lb.
CALIFONE
CORPORATION
1041 North
Sycamore Ave.,
Hollywood 38,
Col.
"Dynacord"
Portable
Model C3-C3A
$795.00
50-15,000
cycles (±2db)
at 15"/sec.
50-7,500
cycles (±2db)
at 7 '2 "/sec.
Portable, single-track, dual-speed recorder
designed to NAB Standards. Unique features
include direct capstan drive from special
slow-speed synchronous motor which elimi-
nates flutter, and clutch-free dynamic brak-
ing of tape reels. Signal-to-noise ratio, over
50 db. Fast forward and rewind, 48 sec. for
101/2" reel. Three separate heads permit
monitoring from tape while recording. In-
cludes VU meter, 2-spced equalisation, and
separate record and monitor gain controls.
Weight — 44 lb. for C3 transport mecha-
nism; 3 3 lb. for C3A amplifier.
CRESTWOOD
RECORDER
CORP.
221 North
LaSalle St.
Chicago 1,
ill.
"Magictape"
Model
CP-201F
$229.50
50-8,000
cycles, at
7'/2"/sec.
Portable, dual-track recorder with IY2" tape
speed. Rewind time, less than 2 min. Micro-
phone and radio-phono input channels. In-
cludes crystal microphone and 6"x9" speaker.
Has fast forward time of 1 min. 20 sec. for
7" reel. Weight — 29 lb.
EICOR,
INC.
1501 West
Congress St.,
Chicago 7,
III.
Portable
Model
115
$144.95
80-7,500
cycles, at
7'/2"/sec.
Portable, dual-track recorder with tape speed
of 7I/2" per sec. Removable capstan permits
conversion to 3^" per sec. Rewind speed,
6 to 1. Crystal microphone and speaker in-
cluded. Weight— 27 lb.
THE
GENERAL
INDUSTRIES
COMPANY
Elyria,
Ohio
Tape-Disc Recorder Assembly
Model 250 $79.50
(depends on
amplifier
used)
Combined disc and tape recorder assembly
for installation in console or portable case.
Tape speed, 3J^"/sec., dual track. Fast for-
ward and reverse. PM erase. Takes 5" reels.
Disc recorder cuts and plays back up to 10"
discs, at 78 rpm. Records from tape to disc
and vice versa — and from microphone or
radio to disc or tape.
IFAIRCHILD
RECORDING
EQUIPMENT
CORP.
154lh St. and
7th Ave.,
Whitestone,
N. Y.
Model and Price
Cansole
Model
Unit 125
$2,750.00
Console
Model
"PIC-SYNC"
$4,000.00
MAGNETIC
RECORDING
INDUSTRIES
LTD.
30 Sroad St.,
New York 4,
N. Y.
Control
Track
Generator
Model 140
$335.00
Frequency
Response
50-15,000
cycles (=t1 db)
at 15" sec.
50-15,000
cycles (±1 db)
at 15"/sec.
Professional type, single-track recorder with
H" tape speed (lYz" and 30" models avail-
able). Total noise and distortion -64 db
(ref. 21/2% dist.). Adjustable bias. Speed
tolerance, 0.1%. Built-in VU meter and cir-
cuit checking. Unit-type, plug-in chassis.
Automatic stop — instant braking and re-
versal. Push-button control of all functions.
Same as model 125 with the addition of hp
synchronous operation. Used with motion
picture camera and film projector, synchron-
ous sound tracks are made and played back
on I/4" tape, with no interconnecting equip-
ment. Automatic Framing, which assures
correct cueing of tape and film, available at
additional cost. Other applications include
Facsimile recording and telemetering, with
frequency response possible above 80 KG.
Model VM-55
$289.50
Model VM-56
$345.00
Model VM-56-S$
z^:>
MARK
SIMPSON
MFG. CO.
INC.
32-28 49th St.,
Long Island City 3,
N. Y.
OPERADIO
MFG. CO.
St. Charles,
III.
"MASCO"
Model LD-37
$221.40
Model LD-37R
(with radio)
$264.60
"MASCO"
Model OC-37
$243.00
Model OC-37R
(with radio)
$286.00
To 4,000 cycle
(2, 3.75, 7.5,
or 15" per sec.)
To 9,000 cycles
(2, 3.75, 7.5,
or 15" per sec.)
To 3,000 cycles
(1" per sec.)
Portable light weight unit for "On Loca-
tion" picture synchronous track recording on
14" tape. Used with any portable tape re-
corder with 15"/scc. tape speed and fre-
quency response good to 14 KC, a control
track is simultaneously applied which later
becomes the tape speed control when played
back on Pic-Sync recorder.
Tope
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Portable, single-track recorders for a wide
range of office and conference dictation and
transcription work. Models VM-55 and VM-
56 have choice of 4 tape speeds, by pulley
substitution, providing up to 2 hours con-
tinuous recording on 7" reel. The VM-56-
SS, with 1" per sec. tape speed, provides 4
hours continuous recording on 7" reel. Fast
forward and rewind ratio, 40 to 1. Correct-
O-Matic feature for automatic corrections.
Split-A-Word instantaneous stop-start, ac-
tuated by microphone button or transcribing
foot switch. Weight — I9I/2 lb for VM-55-
241/2 lb- for VM-56 and'VM-56-SS. Com-
plete line of dictating and transcribing ac-
cessories available.
"MASCO"
Model D-37
$243.00
Model D-37R
(with radio)
$286.00
"Du-Kane"
Portable
80-8,500
cycles (±3 db)
at 7''j" sec.
80-5,000
cycles (±3 db)
at 3'4"/sec.
50-8,000
cycles, at
7'/2"/sec.
Portable, dual-track, dual-speed recorders,
arranged for instant change from 71/2 to
i%" per sec. Up to 2 hours recording time
available on_ 7" reel. Signal-to-noise ratio,
45 db at 7'/2"- Automatic equalization. Neon
recording level indicator, volume and tone
control, monitor switch, 6" PM speaker,
and microphone. AC erase and bias. Micro-
phone and radio-phono inputs. External
speaker and amplifier outputs. Available with
or without built-in AM tuner. Weight of
mechanism (less case), 28 lb.
Models LD-37 and 37R. without carrying
case.
Models D-37 and 37R. with two-tone tweed
carrying case.
Models DC- 3 7 and 37R have metal cover
with carrying handle. Cover operates inter-
lock switch and can be locked with key.
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
Portable, dual-track recorder with 71/2" tape
speed. Power output, 7 watts. Input channels
for microphone and radio-phono. Output
lacks for headphones and external speaker.
Fast forward speed, 1 50"/sec. Rewind time,
80 seconds for 7" reel. Microphone and built-
in 6"x9" speaker included. Weight — 26 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Wound
with
OXIDE
OUT
Red Oxide,
Plastic or
Paper Base
Manufacturer
MAGNECORD
INC.
360 North
Michigan Ave.,
Chicago 1,
III.
Model and Price
Model PT6-J
Amplifier
$300.00
Model PT63-A
Recorder
$334.00
Model PT63-J
Amplifier
$387.00
Model PT7-P Amplifier — $440.00
Model PT7-A
Recorder
$468.00
Console Model PT7-CC
$950.00
Frequency
Response
50-15,000
cycles (±2 db)
at 15" sec.
50-15,000
cycles (±2 db)
at 15" sec.
50-15,000
cycles (±2 db)
at 15", sec.
50-15,000
cycles (±2 db)
at 15"/jee.
Portable, single-track recorder, with inter-
changeable capstans for 15 and lYi" tape
speeds. Two separate heads. Combination
record/playback amplifier. Low impedance
mike input, bridging input, monitor speaker,
O-level output terminal, VU meter, termi-
nal for external speaker.
Same as above, except with three separate
heads for erase, record, and playback for
monitoring from tape while recording.
PT63-J amplifier has separate record and
playback amplifiers, and switch for equaliza-
tion at 71/2 and 15" tape speed.
Portable, single-track recorder, with 1 5 and
7^/2" tape speeds. Three separate heads.
Safety-interlocked push button controls.
Signal-to-noise ratio, over 55 db. Separate
record and playback amplifiers — equalization
at both speeds. Three microphone inputs
and bridging input. Includes VU meter,
monitor speaker, and output for external
speaker
Complete console combination including
PT7 recorder (as above) and PT7-C line-
level amphfier Separate record and playback
amplifiers. Headphone jack Switch for IV1
and 15" equalization. Switch for record,
playback or bias reading on 4" VU meter.
Black enamel finish with burn proof Formica
top and chrome trim.
THE
PENTRON
CORP.
Chicago 16,
III.
50-8,000
cycles, at
7'/2" sec.
50-5,000
cycles, at
3V4"/sec.
PERMOFLUX
CORPORATION
4900 West
Grand Ave.,
Chicago 39,
ill.
Pe
oflux
Scribe
Dictating
Unit
$354.50
Ample for
all
voice
recording
Permoflux
Scribe
Transcribing
Unit
$361.30
Portable, dual-track, dual-speed unit (l\i'
and 354") — providing 2 hours recording on
1" reel. Signal-to-noise ratio, 50 db. Flutter
less than 0.5%. Fast forward and rewind
ratio, 20 to 1. Inputs for microphone and
radio-phono. Outputs for headphones, ex-
ternal speaker, and PA system. Includes 6"
PM speaker and crystal microphone. Weight
—27 lb.
Compact magnetic tape recorder designed for
office dictation service. Same recorder, with
different accessories, serves as either a dictat-
ing or transcribing unit. Dictating unit in-
cludes microphone with control switch. Trans-
cribing unit includes single earphone and
dual foot control. Simple "cartridge" load-
ing eliminates threading. Tape speed, 3^'
per sec. Recording time, Yi hour per maga-
zine. Includes provision for card indexing of
corrections, extra carbons, length, rush, etc.
Available accessories include: carrying case,
telephone pick-up, magazine packet, tape mail-
ing envelopes, dual foot control, single or
double earphones, paddle-type or conference
"mike," microphone adapter, external speaker
and extra tape magazines.
PRESTO
RECORDING
CORP.
p. O. Box 500,
Hackensack,
N. J.
Model and Price
RC-7 Transport Mechanism $425.00
A-920 Amplifier 324.00
Model RC-10-14
$684.00
Model RC-IO-24
$761.00
Console
Model
SR-950
$2,785.00
Frequency
Response
To 15,000
cycles, at
15"/5ec.
To 15,000
cycles, at
15"/$ec.
50-15,000
cycles (±1 db)
at 15"/sec.
Professional type equipment for portable or
stationary use. Tape transport mechanism
has true three-motor drive and separate re-
cording and reproducing heads. Instantan-
eous monitoring from tape is provided. Input
for single microphone or high impedance
bridging. Output, 10 watts. Also zero level
line. Two speakers are mounted in amplifier
for playback. Monitoring output for 'phones.
Professional, single-channel, dual-speed re-
corders (15" and 7'/2"/sec.) for rack
mounting. Three separate heads, permitting
monitoring from tape while recording. Three-
motor drive mechanism. Fast forward and
reverse. RC-10-14 controlled by rotary type
selector switch. RC-10-24 completely push-
button controlled. Can be arranged for re-
mote operation.
Professional, single-channel recorder, with
15 and 71/2" tape speeds (15" and 30" op-
tional). Signal-to-noise ratio, over 58 db
below max. signal. Fast forward and reverse,
240 ft. /sec. Three separate heads. VU meter.
Amplifier and power supply units on hinged
panel.
Tape
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
Portable Model R-5P (Less pre-amp) $2,618.00
RANGERTONE
INC.
73 Winthrop St.,
Newark 4,
N. J.
-■u X" "11.. . Wi ^■r'
>»-«^
i
45-15,000
cycles (±2 db)
at 15" /see.
50-8,000
cycles {±1 db)
at 7 Vj"/ sec.
ConsaU
Model
R-5C
(Less MP synchronizer)
$3,117.00
45-15,000
cycles ( + 2 db)
at 15"/sec.
50-8,000
cycles (±2 db)
at 7 Vj "/see.
Professional-type, single-track, dual-speed
recorders, with choice of 3%", 71/2", 15" or
30" per second tape speeds. Up to 2 hours
recording at 71/2" per sec. on 14" reel. Dis-
tortion, less than 2% total harmonic. Maxi-
mum signal-to-tape noise, 55 db. Double-
puck, tight-loop tape drive. Peak-to-peak
flutter, less than 0.1% at 15"/sec. Rewind
speed controllable continuously from 0 to
250"/sec. in both forward and rewind. Meets
all N.A.B. adopted standards. Complete
monitoring and mixing facilities. VU meter,
signal indicator and footage counter cali-
brated in minutes and seconds. Complete tape
editing facilities. Also available with positive
"sprocketless" synchronization for motion
picture and TV applications. Weight of
portable model — drive unit 85 lb. playback
amplifier 52 lb., record amplifier 37 lb
Wound
with
OXIDE
IN
Red or
Block Oxide,
Plastic Base
RCA
BROADCAST
EQUIPMENT
SECTION
Camden, N. J.
^^B '^
» 0
Cabinet
Rock Model
RT-llA
$1,975
Console
Model
RT-12A
$2,270
50-15,000
cycles (±2 db)
at 15"/sec.
50-5,000
cycles (±2 db)
at 7'/j"/see.
Single-track, dual-speed professional type
recorder, available in cabinet rack or console
mounting. Separate erase, record and play-
back heads permit simultaneous recording
and monitoring. Distortion, less than 1 % at
10 db below maximum level. Signal-to-noise,
60 db below maximum level. Wow and flut-
ter, 0.1% at 15" per sec. Fast forward and
rewind time, 60 sec. for 2400 ft. reel. Timing
accuracy, ±21/2 sec. for 30 minute run. In-
stant stop and start (within 1/10 sec). All
control functions push-button controlled.
Remote push-button control also available.
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
REVERE
CAMERA
CO.
320 East
21 si St.,
Chicago 16,
III.
SONAR
RADIO
CORP.
59 Myrtle Ave.,
Brooklyn 1,
N. Y.
Model and Price
Model T-100
1 Hour Play
$169.50
Model T-200
1 Hour Play
(with radio)
$209.50
Frequency
Response
Model T-500
2 Hour Play
$179.50
Model T-600
2 Hour Play
(with radio)
$219.50
ia_:
4Y*
'^
Model PTM
Transport Mechanism
$229.90
Model RPA-1
Amplifier
$190.00
"Minitape"
Model M5A
$249.00
To 7,500
cycles (±3 db)
at 3'/4"/sec.
To 5,000
cyles (±3 db)
at 1^8 "/sec.
30-10,000
cycles
(±2Vt db)
at 7 Vj "/sec.
Portable dual-track recorder available with
either 3J4 " or ^Vi" tape speed, providing 1
or 2 hours recording time on a ?" reel.
Signal-to-noise ratio, over 50 db on 2-hour
machine. Rewind speed, lOZYi'/sec. Fast
forward, 37!/2"/sec. Flutter, less than 0.3 5%.
Two-level neon recording indicator. Instant
start and stop lever for editing, etc. Out-
puts for external speaker or headphones.
Microphone and 5"x7" PM speaker included.
Weight— 25 lb.
Portable, single-channel recorder with 7J/2"
tape speed. Signal-to-noise ratio, 50 db or
more. Total harmonic distortion, less than
2%. Wow and flutter, 0.25%. Fast forward
and reverse, 58 sec. for 2,500 foot reel. Three
separate heads. Playback timing, ±0.3% for
3 3 min. program. Includes RF filter, 40-step
attenuator, VU meter and RC equalizers.
Equipment can also be console or rack
mounted.
THE
STANCIL.
HOFFMAN
CORP.
1016 North
Highland Ave.,
Hollywood 38,
Cal.
Model S5
Synchronous Magnetic
Film Recorder and
Reproducer
$2,142.00
100-5,500
cycles (+2db)
at 7 '/j" or 15"
100-4,000
cycles (±2 db)
at 3V4"/sec.
50-15,000
cycles ( + 1 db)
at 15"/sec.
45-7,500
cycles (±2 db)
45-15,000
cycles (±2 db)
1 7 '/j mm
ModelCRM-15
Multi-Channel
Communications
Recorder
(Prices on Request]
200-7,500
cycles (±3db)
at 7Vi"/sec.
200-3,500
cycles (±3db)
at 3 5/4 "/sec.
Portable, single-track recorder with tape
speeds of 3^, 7J/2 and 15" per sec. Signal-
to-noise ratio, at least 3 5 db. Completely
self-contained battery operated unit (record-
ing only). Weight — 13 lb.
Portable, professional-type, single-track re-
corder with tape speeds of lYi and 1 5" (or
15 and 30") per sec. Signal-to-noise ratio,
over 60 db. Separate record and playback
heads and amplifiers with independent moni-
tor amplifier and speaker.
Synchronous magnetic film equipment for
motion picture and TV sound recording. In-
cludes proper speed and equalization for
both 16mm and 17.5mm film width. Full
synchronous sprocket drive arranged for
forward or reverse recording or playback.
Also fast forward and reverse for editing.
Gearless drive. Signal-to-noise, at least 50 db.
Max harmonic distortion, 1.5% from full
level Playing time; up to 1 hr. for 16mm,
up to 24 min. for 17.5mm. 2,000-ft. reel
capacity.
Provides up to 15 simultaneous recording
channels on 0.7" wide tape. Recording time,
up to 41/2 hours for 1,000 foot reel. Two
units, with automatic sequence control per-
mit continuous, 24-hour recording, Signal-
to-noise, at least 40 db. Distortion, not more
than 5% total harmonic at "0" input level.
Negligible crosstalk between channels. Push-
button control. Fast forward and rewind.
Automatic stop.
UNIVERSAL
ELECTRONICS
SALES CORP.
1500 Walnut St.,
Philadelphia 7,
WEBSTER
CHICAGO
CORPORATION
5610
Bloom ingdale Ave.,
Chicago 39, ill.
Model and Pn
"Reelest"
Model C-1-A
Web-Cor
Portable
Model 210
70-8,000
cycles (±3db)
at 7' z" sec.
70-7,500
cycles
at 7' 2" sec.
70-4,000
cycles
at 3'V/sec.
Portable, dual-track recorder with lYz" tape
speed and automatic reversal, giving 1 hour
continuous play on 7" reel. Signal-to-hiss,
60 db. Signal-to-hum, 50 db. Fast forward
and rewind. Electronic recording level indi-
cator. Inputs for microphone, phono and
radio. Output for external speaker or PA
system. Weight — 34 lb.
Portable, dual-track recorder with tape
speeds of 3 '4" and 7!/2" per sec. Gives up
2 hours recording on 7" reel. Records or plays
in both directions without reel turnover. Fast
forward and rewind. Two recording heads
and two motors. Signal-to-noise, 3 5 db.
Amplifier automatically equalised for both
speeds. Includes electronic eye volume level
indicator, 6" PM speaker and microphone.
Weight— 38 lb.
Tape
Wound
with
OXIDE
OUT
Red Oxide,
Plastic Base
IN
Red or
Black Oxide,
Plastic Base
WEBSTER
ELECTRIC
CO.
Racine,
Wise.
'Ekotope" Model 109
$169.50
60-4,000
cycles, at
3^4" sec.
Model 111
$169.50
60-7,000
cycles at
7' 2" sec.
Portable, dual-track recorders with 3^4" o""
TYz" tape speed — giving 2 or 1 hour record-
ing time respectively on 7" reel. Fast forward
and rewind, 75" per sec. Neon recording
level indicator. Input jacks for microphone
and radio-phono. Output jack for external
speaker. Includes 5"x7" PM speaker and
crystal microphone. Weight — 34 lb.
"Ekotape" Portable
Model 101-8
$369.50
Model
101-9
$395.00
40-8,000
cycles, at
Portable, single-track recorder with 71 2 "
tape speed. Fast forward and rewind, 75"
per sec. Electronic eye recording level indi-
cator. Inputs for microphone and radio-
phono. Output for external speaker. Includes
S" PM speaker. Weight — 50 lb.
Model 101-8 includes crystal microphone.
Model 101-9 includes receptacle for connect-
ing a remote control foot switch.
Wound
with
OXIDE
IN
Red or
Black Oxide,
Plastic or
Paper Base
"Recordio"
Model 1B10
85-6,000
cycles, at
1.875" sec.
WILCOX-GAY
CORP.
Charlotte,
Mich.
"Recordio"
Model 1C10
"Recordio"
Model 2A-10
$149.95
Portable, dual-track unit giving 2 hours re-
cording on 5" reel. Includes phonograph
turntable and pick-up for recording from
disc to tape. Rewind time I'/z I'll"' fo'' '"
reel. Jack for external speaker. Recording
level indicator. Includes 6" oval speaker and
crystal microphone. Weight — 21 lb.
65-8,500
cycles, at
3^4" sec.
Portable, single-track unit giving 1 hour re-
cording on 5" reel. Includes disc recorder
and reproducer. Records from tape to disc
and vice versa, and from microphone or
radio-phono to disc or tape. Fast forward and
reverse. Automatic stop. Recording level in-
dicator. Jack for external speaker. Includes
5"x7" oval speaker and microphone. Weight
—27 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
85-10,000
cycles at
7' 2" sec.
Portable, single-track, dual-speed recorder
with choice of 3J4" and 71/2" o"" 1/4" and
3|.i" tape speeds. Finger-tip push-button
control. No separate amplifier switch; record
button shifts amplifier and erase head. No
clutches. Records from mike, external radio
or other source. Fast forward and reverse.
Neon recording volume indicator. Includes
5"x7" speaker and jack for external speaker.
Weight, under 20 lb.
NOTE: All prices listed are subjc
MACON
ELECTRONICS
Division of
York Radio and
Television Corp.,
801 N. Broadv/ay,
Decatur, ill.
"Musictape" Portable
50-7,000
cycles,
at 3y4"/see.
Portable combination tape and disc recorder,
with 3%" tape speed (dual track) and 78
rpm disc speed. Records from tape to disc
or vice versa. Also records from microphone,
external radio or phono to either disc or
tape. Simple push-button control of all func-
tions. Includes automatic erase, neon record-
ing level indicator, fast forward and rewind,
5" X 7" speaker, crystal microphone. Weight
—32 lb.
Wound
virith
OXIDE
IN
Red Oxide,
Plastic Base
RECORDING TIME
For Various Tape Speeds and Reel Sizes
REEL SIZE
3"
4"
5"
7"
10'/2"
14"
LENGTH IN FEET
Audiotape
Other Types
150
150
300
300
600
600
1250
1200
2500
2400
5000
4800
RECORDING SPEED
TOTAL RECORDING TIME (Based on Audiotape footage)
, ,, „ f Single Track
1 % per sec. , [)„„| Track
16 min
32 min
32 min.
1 hr. 4 min.
1 hr. 4 min.
2 hr. 8 min.
2 hr. 1 3 min.
4 hr. 26 min.
4 hr. 26 min.
8 hr. 52 min.
8 hr. 52 min.
1 7 hr. 44 min.
„,, „ ' Single Track
3 ¥4 per sec. ; Dual Track
8 min
1 6 min
16 min
32 min
32 min.
1 hr. 4 min.
1 hr. 6'/2 min.
2 hr. 1 3 min.
2 hr. 1 3 min.
4 hr. 26 min.
4 hr. 26 min.
8 hr. 52 min.
-,,, „ ( Single Track
7-/2 per sec. , d.^I Track
4 min
8 min
8 min
1 6 min
1 6 min.
32 min.
33'/3 min.
1 hr. 6'/2 min.
1 hr. 6'/2 min.
2 hr. 13 min.
2 hr. 13 min.
4 hr. 26 min.
, _ „ 1 Single Track
15 per sec. Dual Track
2 min
4 min
4 min
8 min
8 min.
1 6 min.
1 6'/2 min.
33'/3 min.
33'/3 min.
1 hr. 6'/2 min.
1 hr. 6 'A min.
2 hr. 1 3 min.
, ! Single Track
30 per sec. , p^^, ^^^^^
1 min
2 min
2 min
4 min
4 min.
8 min.
8'/4 min.
161/2 min.
1 6 V2 min.
33!/3 min.
33/3 min.
1 hr. 6'/2 min.
AUDIOTAPE DATA
Reel
Coating
PLASTIC BASE
PAPER BASE
Type No.
List
Price
Type No.
List
Oxide Out
Oxide In
Oxide Out
Oxide In
Price
1 50 ft.
3 " Plastic
Red Oxide
150
151
$0.85
120
121
$0.70
300 ft.
4 " Plastic
Red Oxide
350
351
1.60
320
321
1.25
600 ft.
5 " Plastic j
Black Oxide
Red Oxide
640
650
641
651
3.50
3.50
600
620
601
621
2.25
2.25
1250 ft.
7 " Plastic 1
(or aluminum)
Black Oxide
Red Oxide
1240
1250
1241
1251
5.50
5.50
1200
1220
1201
1221
3.50
3.50
2500 ft. 1
Std. N.A.B. Aluminum Hub
Complete 10 '/2 " Alum. Reel
Red Oxide
Red Oxide
2550H
2550R
2551H
2551R
10.00
12.85
2520H
2520R
2521H
2521R
6.50
9.35
5000 ft. ■
Std. N.A.B. Aluminum Hub
Complete 14" Alum. Reel
Red Oxide
Red Oxide
5050H
5050R
505 1H
505 IR
20.00
26.00
5020H
5020R
5021H
5021R
13.00
19.00
AUDIOFILM, Is olso available in 16 mm, 17V2 mm ond 35 mm sizes, for sprocket-type synchronization of separately recorded sound in motion picture and
TV applications. The magnetic oxide coating is applied on the same base material as standard motion picture film, with conventional sprocket holes. Prices
and data on request. ,
10
August-September, 1 95 1
AUDIO RECORD
by C. J. LeBel, Vice President,
Audio Devices, Inc.
TAPE RECORDER TRENDS
Another year has
rolled around, and
with it another
Quick Facts issue
appears. Reading
about so many ma-
chines all at once is
an excellent way to
see the trend of the
industry, so we will
take a few columns
to discuss what we
found. C. J. LeBel
Wider Frequency Range
Some years ago it was considered that
the best designs would produce a fre-
quency range of 1000 cps per inch per
second of tape speed. The present relation-
ship seems to be at least 2000 cps per inch
of tape speed, and a few designs approach
4000 cps per inch of tape speed. The econ-
omy of tape use which this permits is ob-
vious, though in the more extreme cases it
is purchased at the expense of signalto-
noise ratio. Where the latter is important,
as in professional equipment, 2000 cps per
inch per second seems the limit.
Simple Operation
There seems to be a definite trend toward
more simple operation, particularly on
home machines. We have one knob control
where we often used to have two knobs,
or a gearshift. This is all to the good if it
encourages wider home use as it surely will.
Three Heads
There are rather more professional ma-
chines, even in the low cost class, with pro-
vision for monitoring off the tape while
recording. This is the three head design,
with separate recording and reproducing
heads. We like this trend for two reasons:
First, because monitoring off the tape is
good insurance against lost takes; and sec-
ond, for better quality. The design con-
siderations for recording and reproducing
heads are by no means alike and combining
both functions in one unit leads to a com-
promise which is good but still a compro-
mise. With the trend to lower tape speed,
such compromise will become less and less
desirable.
Lower Cost Professional Machines
It is good to see considerable attention
given to professional machines in the $400
to $750 class. Not only does this help the
broadcaster, but the school will find it use-
ful. Much school recording can be done
only with machines of full professional
quality, and this price class fits well within
the average school budget.
Many broadcasters with studio equip-
ment in the $1500 to $3000 class like to
use lower cost truly portable machines for
their remote work. Home machines are
seldom really adequate for broadcast qual-
ity, and we are glad to see more equipment
in the most popular price class.
Sprocket Hole Magnetic Film
Judging by sales figures on Audiofilm,
the motion picture industry has found mag-
netic film very useful, and so we welcome
the advent of more light portable machines.
For location work, particularly, they will
reduce costs amazingly.
There has been considerable discussion
of the comparative virtues of sprocket hole
magnetic film and of standard quarter inch
Audiotape with synchronizing track for
motion picture recording. Since our sales
to proponents of both methods have been
large, we cannot say that either method
has defeated the other. Each seems to have
its place.
Business Machines
Judging by improvements in present ma-
chines, and advent of new manufacturers,
tape has come to stay in the dictating ma-
chine field. We are glad to see this, for we
have always felt that tape offered many
advantages over wire in business work.
Not Overlooked
While they are not listed, we have not
overlooked the airport recorder and the
digital computer. Both use wide tape for
multi-channel work, and both seem to have
a good future. Perhaps the next addition
of Quick Facts may show several of each
type. Telemetering is another multi-chan-
nel field which is moving rapidly ahead.
We see that the upper frequency limit in
telemetering recording has been pushed up
to 100 kc — surely a far cry from the 15
kc limit of the first professional recorders.
HAVE YOU SEEN THE NEW AUDIOTAPE SOUND MOVIE YET?
This educational film, in full color, is now quickly available for
free showings to all interested groups
When the new 16mm sound moving
picture on the manufacture of Audiotape
was first announced (Audio Record, Feb-
ruary 1951) the requests for copies far
exceeded our expectations — and our
supply of prints. As a result, many show-
ing had to be booked pretty far in advance.
Since then we have obtained an additional
supply of these films and copies can now
be obtained without delay for free show-
ings to all interested groups and organiza-
tions.
Several hundred showings of the new
Audiotape film have already been made —
to a wide variety of audiences, ranging
from professional recording engineers to
school students and amateur recordists.
Judging from the reports which are contin-
ually pouring in, the film is a huge success.
Audiences and sponsoring organizations
have commented very favorably on the
educational value of the film — its excel-
lence of color and photography — and the
fidelity of the sound reproduction (original
sound recorded on Audiotape, of course) .
For the benefit of those who might have
missed the original announcement, here's
what it's all about. The full-color, 16mm
sound film, entitled "Audiotape Speaks
for Itself", takes you on a personally guided
tour through the modern plant where
Audiotape is made. You see actual labora-
tory demonstrations of how the magnetic
oxide is formed — dried — ground —
mixed — and applied to test samples on
miniature, pilot plant equipment. After the
test samples are carefully checked for phys-
ical and magnetic properties, the ingre-
dients tested are released for production
use. Then you are taken out into the plant
itself, to see Audiotape actually being made
— batch mixing, ball milling, coating, mon-
itoring, slitting, production testing, and
packaging for shipment.
We believe that this new film will give
a much better understanding of how and
why Audiotape has achieved the recog-
nized superiority that has made it the first
choice of so many professional recordists.
It shows how the extra care and precision
in formulating and applying the coating
produces a magnetic recording tape that is
unequalled in fidelity of reproduction and
uniformity of output.
Prints of the 16mm sound film will be
loaned without charge to interested record-
ists and educational institutions. Requests
should be mailed to Audio Devices, Inc.,
444 Madison Avenue, New York 22, N. Y.
12
AUDIO RECORD
August-September, 1951
TEACHERS: Cash-In On Your Knowledge of Educational Recording!
Audio Devices offers $25 plus 10
reels of Audiotape for each of the
ten best articles on the use of sound
recordings in educational work
Within the past few years, the use of
sound recording in schools and colleges has
grown by leaps and bounds. In fact its
growth has been so rapid that we're frank
to admit that our knowledge of the subject
is far from complete. Naturally, we want
to know more about it — for our own in-
formation and to help other educators to
utilize the full potential of this new teach-
ing tool.
Audio Devices is therefore offering cash
awards of $25 — plus ten 1250-ft. reels of
plastic-base Audiotape — for each of the
ten best articles on the use of tape or disc
recordings in educational work. In addi-
tion, 10 reels of Audiotape will be given
for all other articles which are used, m
whole or in part, for publication in Audio
Record or in special literature prepared by
Audio Devices for the educational field.
Since we want to gather this informa-
tion as quickly as possible, the above offer
will be limited to material post marked not
later than December 15, 1951.
Here are a few suggestions that will help
you prepare your entries in this contest.
1. Make the information as complete and
detailed as possible, telling exactly how
you are using recordings in any or all
fields — such as music, drama, lan-
guages, speech correction, elocution,
science, or what have you.
2. Explain how or why the use of record-
ings simplifies or improves the teaching
technique over previously used
methods.
3. Include specific data on the type of
equipment used — recording speeds,
quality requirements, etc.
4. Include, if possible, good photographs
of the recording equipment in use.
The articles will be judged on the basis
of the factual information which they con-
tain, rather than on the literary merit of
the text. Stories covering some of the more
unusual applications in educational work
will be particularly welcome.
Even if you have already contributed
educational recording stories for Audio
Record, don't hesitate to send in a new
entry amplifying the same subject. The
fact that we may already have part of your
story will in no way detract from its con-
sideration in judging the articles entered
in this contest.
Articles submitted by teachers or other
education personnel in Elementary Schools,
High Schools, Colleges and Universities
throughout the United States will be eligi-
ble for this educational recording contest.
If you are engaged in any type of educa-
tional recording work (disc or tape), send
in your story before Dec. 15, 1951. It may
bring you $25 in cash — plus $55 worth of
free Audiotape. And even if your article
doesn't happen to get one of the ten first
awards, you can still get the $55 worth of
free Audiotape if your story is printed in
Audio Record or any other material pub-
lished by Audio Devices, Inc. Wouldn't
this be worth a few minutes of your spare
time?
All articles submitted become the prop-
erty of Audio Devices, Inc., and no entries
will be returned.
Entries should be addressed to Contest
Editor, Audio Devices, Inc., 444 Madison
Ave., New York 22, N. Y.
AUDIOSCRIPTS 1951
Now Available
12 Complete, Non-Royalty Radio
Scripts Selected from Prize-Winning
Entries in the Scholastic Magazines
and AER National Script Writing
Contests for 1 95 1
Here's a timely answer to the need for
good, non-royalty radio scripts suitable for
educational or amateur recording or broad-
casting. In Audioscripts 1951 you get a
collection of twelve complete prize-winning
radio scripts for Jess than ten cents each.
These student-written scripts, selected
from prize-winning entries in the Scholas-
tic Magazines and AER Contests, cover
a wide variety of subjects — original radio
dramas, radio drama adaptation, and gen-
eral radio scripts. Here's the list of contents
for Audioscripts 1951:
ORIGINAL RADIO DRAMA
(Scholastic Magazines' Contest)
Fir.st Prize — The End of the Journoy by
William Galarno. Interesting highlights on the
early life of Doctor Samuel Forrester.
Second Prize — Emergency Assignment, by
Richard S. Reamer, Jr. Tense drama urging
safety in teen-age driving.
Tliird Prize — The Emerald Flame, by
Thi^mas J. Walsh. An action-packed biblical
drama.
Fourth Prize — Lefty, by Carmia Amato. A
humorous story about a potential thief and
his "conscience".
RADIO DRAMA ADAPTATION
(Scholastic Magazines' Contest)
Fourth Prize — Great Expectations. A skilful
condensation of the famous Dickens novel,
adapted for radio by Edward J. Golden.
GENERAL RADIO SCRIPTS
(Scholastic Magazines' Contest)
First Prize — The Stars Point the Way, by
Geraldine G. Heuermann. In which four
famous radio personalities join the fight for
better English in the schools.
Second Prize — The First Performance of
Hamlet, by James D. Stashcff. An on-the-
scene report of this famous stage premiere.
Tliird Prize — The Vision, by Edward Q. Field,
Jr. A startlingly realistic alcoholic phantas-
magoria.
Fourth Prize — Junior's First Train Ride, by
Nancy Rae Riley. A humorous episode about
the antics of a very unruly youngster.
SCRIPTS FOR
HOME AND SCHOOL RECORDING
(AER Contest)
First Prize — History Is My Beat, by Meric L.
Legnini. A newspaper reporter covers the
Boston Tea Party.
Second Prize — When They Count the
American Dead, by William H. Robinson,
Jr. Dramatization of the Boston Massacre and
the death of Crispus Attux.
Third Prize — The Scar, by William A. Cof-
field. The story of how Andrew Jackson got
the scar on his forehead.
As a service to educational radio, and as
part of Audio's sponsorship of the Scholas-
tic Magazines' and AER Contests, this "\
valuable collection of radio scripts is of-
fered at cost — $1.00 net each. Copies can
be obtained by sending check or money
order (no stamps please) to Audio Devices,
Inc., 444 Madison Ave., New York 22,
N. Y.
record
Published by
AUDIO DEVICES, INC.
444 MADISON AVENUE, N.Y.C.
CUluIOCUXCS
aucilofiim ^
audlopuoinis
V^m.
Miss Joan T. Peterson of Ficker Recording Service, pulls out another request number from
their 300-tape library. Note Audiodisc Chip Chaser at each of the four disc recorders below
the tape shelves. Story on Pages 4 and 5.
• Universal Recorders
• New Plastic Reel
• Ficker Recording Service
• Radio Script Contest
• Fundamentals of Magnetic Recording
• New Midget Tape Recorder
• Educational Recording Contest
• Turn Discs into Dollars
AUDIO RECORD
October-November, 1951
How UNIVERSAL Cuts Cost of TV Sound
Universal Recorders Adapts Radio
Production Technique to Filnn —
Saves Cost on Top Quality.
Universal Recorders, one of the most
progressive studios in the world, using only
the most modern equipment, has recently
added new facilities to its headquarters at
6757 Hollywood Blvd. in Hollywood to
help service its clientele in the field of
television.
Universal is now geared to the new
medium, using radio production techniques
in adding sound to films made for teevec.
It has pioneered the new approach m
Hollywood. Because of excessive costs in
volved, television production has to adopt
a middle road between motion picture and
radio technique. As the head of the sound
department of a major motion picture
studio said recently at a luncheon during
which he addressed TV packagers: "Sound
recording for a feature film on 35mm film
costs about $5600 for raw stock and proc-
essing, for each full length picture. The
same thing can be achieved on % inch tape,
with all editing done on tape for under
$800. Moreover, the additional savings on
labor is terrific."
Using Rangertone ^4 inch lip synchron-
ization tape recorder. Universal is well in
front of others in the use of tape. Will
Voeller, president of Universal Recorders,
and Arthur Hogan, chairman of the board,
estimate they can save motion picture pro-
ducers up to 70% of the cost of sound on
film. The new method not only saves money
but is an infinite time-saver.
"Television cannot afford to cut the costs
of good properties for dramatization. It
cannot carp on the price of good actors and
good technical and creative talent. It must
save on the technique of production," says
Voeller. "Television producers have to
give top quality on an economic price level,
and we can now give it to them."
Most motion picture producers are try-
ing to continue with the same methods they
have used in the past twenty years. They
contracts for series of air shows produced by
sal Recorders for the U. S. Marine Corps, are
' Frank Danzig, Chairman of the Board Athur
(seated), Lt. Jack Sorensen, Patti Clayton, and
ra leader Jerry Gray.
Engineers DeW
% " tape record<
have refused to recognize the great ad-
vances made by radio. It is possible to save
an inestimable amount of raw stock with
the use of tape. For instance, suppose a
producer of motion pictures has a director
who needs ten, twenty, or thirty "takes"
for the scene he means to use. All the sound
recorded on film is ruined on the "out
takes", and the raw stock cannot be used
again. On tape, he can pick his best scene
(or several scenes) of the thirty and wipe
out the rest using that tape over and over
again. Moreover, if he is on location, in-
stead of waiting days to have the raw stock
processed, on tape he can hear the results
immediately.
For puppet shows made for television,
producers can record, say, ten programs in
one day and film to the sound at their con-
venience. It obviates the cost of having
sound men and their equipment on the
stages for days during filming. It is the
cheapest and only method.
For short films, such as those used in
oimmercials, it is possible to film days of
sequences "silent" and then project the
image on a screen at Universal, with the
actors reading the lines to the screen.
al Record*
the minute as any
36' by 46'
are as complete and up to
:ld. Studio above measures
accommodate up to a 35 piece orchestra.
This leaves capable sound men free to
creative activities rather than to mechan-
ical duties.
Universal Recorders now has perfect
sync, adopting the radio technique of cue-
ing in on V4 inch tape all dialogue, sound
effects, special effects, and background
music.
They also use 17'/2mni magnetic film,
inscribing a visual track next to the mag-
netic track in a technique called "modula-
tion writing".
Among the producers using Universal
(Coutnnied cm Page Ti, Col. 1)
cuidla li record
VOL. 7, NO. 8
OCT.-NOV.. 1951
J m.iiitlily by Audio Devices, Inc.. 444 Madison
Ww "I'ork City, in tile interests of better sound
t; M.iiled without cost to radio stations, record-
iios, motion picture studios, colleges, vocational
and recording enthusiasts throughout the United
nd Canada.
Oc+ober-November, 1951
AUDIO RECORD
Universal Cuts Cost —
(Continued from Page 2, Col. 3)
Recorders facilities are: George Carillon,
Eddie Bracken Productions, Consolidated
TV, Tom Kelley, Rene Williams, Boh
Baker, Churchill-Wexler.
Voeller believes that ultimately pictures
will be recorded electronically on tape.
When the process becomes practical, it
will mean all sound as well as pictures will
be recorded on tape. It will mean a simpler
process, cheaper, and a more faithful re-
production of image and sound.
Recording sound for television is by no
which he received a Legion of Merit
Award.
The entire staff of Universal Recorders
is orientated and alerted to assist in each
phase of recording. Working with hun-
dreds of clients, they still devote personal
attention to each order. The operation is
complete from studio to shipment.
The company is unique in its field in
that it has an employee profit-sharing plan.
This supplies additional incentive to the
employees to see that customers are satis-
fied and works for the benefit of the client.
The entire operation is geared to pre-
cision and speed, and no assignment is too
Something New
in Plastic
Reels
AUDIO DEVICES, INC.
44:4 Madison Avenue
New York 22, H. Y.
To Our Readers:
We are pleased to place your name
on the mailing list to receive the Audio Record,
as you requested.
If you have some story on recording
work, suitable for publication, we shall be glad to
hear about it. Any questions on recording technique
will also receive our prompt attention.
The Editor
Audio Record
444 Madison Avenue
New York 22, N. Y.
An engineer al Universal Recorders checks
the depth of
two or
cut, the condition of the stylus and the dis
ance between
job; or
each groove through a microscope.
IS com
ina[ recordings for every important proces
to be filed in the library (shown above I w
lied for proper temperature and humidity.
selections spuceu cogecner, as any aesirea
portion can be more quickly spotted by
noting the position of the splices on the
reel before unwinding. The use of a grease
pencil to mark the position of splices di-
rectly on the reel flange, also facilitates easy
spotting of selections on a machine.
When a reel of plastic-base tape is held
up to the light, any splices will show up
clearly as white "pips" of light, something
like the dots on a radar screen. Incident-
ally, all plastic base Audiotape, in both
1250 and 2500 ft. sizes, is guaranteed to
be splice-free. See illustration on back
cover.
AUDIO RECORD
October-November, 1951
How UNIVERSAL Cuts Cost of TV Sound
Universal Recorders Adapts Radio
Production Technique to Film —
Saves Cost on Top Quality.
Universal Recorders, one of the most
progressive studios in the world, using only
the most modern equipment, has recently
added new facilities to its headquarters at
6757 Hollywood Blvd. in Hollywood to
help service its clientele in the field of
Signing contracts for series of air shows produced by
Universal Recorders for the U. S. Marine Corps, are
director Frank Danzig, Chairman of the Board Athur
Hogan (seated), Lt. Jack Sorensen, Patti Clayton, and
orchestra leader Jerry Gray.
venicnce. It obviates the cost of having
sound men and their equipment on the
stages for days during filming. It is the
cheapest and only method.
For short films, such as those used in
commercials, it is possible to film days of
sequences "silent" and then project the
image on a screen at Universal, with the
actors reading tlie lines to the screen.
ing in on l^ inch tape all dialogue, sound
effects, special effects, and background
music.
They also use liy^mm magnetic film,
inscribing a visual track next to the mag-
netic track in a technique called "modula-
tion writing".
Among the producers using Universal
(Contmiiec! o?i Paoc 3, Col. 1)
CLudIa il reccrrcL
VOL. 7. NO. 8
OCT.-NOV.. 1951
Published monthly by Audio Devices. Inc.. 444 Madison
Avenue, New York City, in the interests of better sound
rtcording. Mailed without cost to radio stations, record-
,no cri.rlios. motion picture studios, colleges, vocational
nd recording enthusiasts throughout the United
Sta
nd Canada
October-November, 1951
AUDIO RECORD
Universal Cuts Cost —
(Continued from Page 2, Col. 3)
Recorders facilities are: George Carillon,
Eddie Bracken Productions, Consolidated
TV, Tom Kelley, Rene Williams, Bob
Baker, ChurchiU-Wexler.
Voeller believes that ultimately pictures
will be recorded electronically on tape.
When the process becomes practical, it
will mean all sound as well as pictures will
be recorded on tape. It will mean a simpler
process, cheaper, and a more faithful re-
production of image and sound.
Recording sound for television is by no
means the only service accorded by Uni-
versal Recorders. Since its inception six
years ago, Universal has grown to be one
of the largest studios in the world. Stream-
lined to maximum efficiency and fastest
service, it is devoted to making highest
quality records. It services the government,
motion pictures, radio, phonograph record,
and transcription industries (as well as the
religious field) with five, modern, air-con-
ditioned Studios, a complete Recording
Room, a large disc and tape library, and
the finest audio, disc and magnetic tape
equipment as well as all the lip-sync equip-
ment and projection rooms mentioned
before.
Chairman of the Board of Universal
Recorders is Arthur B. Hogan, whose wide
experience in the fields of finance and in-
vestment banking, equips him admirably
for the position. Hogan became part owner
of Universal in 1946 and bought out Wes-
ley Dumm in 1950.
Will Voeller, president of Univers.il
has degrees as Doctor of Laws, Politic, il
Economy and Philosophy, was once execu
tive assistant at Paramount Publix, was one
of the leaders in developing foreign radio
broadcasting for American manufacturers,
was one of the pioneers in custom-built
package shows and syndication of radio
programs, was in the army from 1942 to
1945 working with Armed Forces Radio
Service where he was responsible for de-
veloping a special system of distribution of
radio programs among overseas radio sta
tions and was instrumental in gearing the
recording, processing, and pressing indus
try to the war-time demands of APRS, for
which he received a Legion of Merit
Award.
The entire staff of Universal Recorders
is orientated and alerted to assist in each
phase of recording. Working with hun-
dreds of clients, they still devote personal
attention to each order. The operation is
complete from studio to shipment.
The company is unique in its field in
that it has an employee profit-sharing plan.
This supplies additional incentive to the
employees to see that customers are satis-
fied and works for the benefit of the client.
The entire operation is geared to pre-
cision and speed, and no assignment is too
small or too large. As a result. Universal
Recorders has become in a comparatively
short time one of the recognized leaders
in its field.
Another Vin>lite pressii
off the fast-moving produ
ers* huge, modem processmg pU
cut, the condition of the stylus and the
each groove through a microscope.
Something New
in Plastic
Reels
*o original recordings for every important processing
3b; one to be filed in the library (shown above) w
i controlled for proper temperature and humidity.
Audiotape, in 1250 foot sizes, plastic
and paper base, is now being supplied on
a new, 7-inch, clear plastic reel. The reel
has been especially designed for attractive,
streamlined appearance and added strength
and durability. The side flanges, which have
less cut-away area than conventional plas-
tic reels, give more uniform support for
the tape and greater resistance to break-
age, warping or distortion. What's more,
this distinctively Audio design is easier to
thread, smoother winding and provides
greater protection against damage to the
edges of the tape when wound on the reel.
The new plastic reel has been very well
received by users in many divergent fields
of recording work. And when a busy re-
cordist takes time out to make favorable
comments on a new reel design, you can
be sure it's really good. It combines the
extra strength and rigidity of Audio's all-
aluminum reel with the desirable trans-
parency of clear plastic material. You can
see right through it. This is particularly
helpful on reels containing two or more
selections spliced together, as any desired
portion can be more quickly spotted by
noting the position of the splices on the
reel before unwinding. The use of a grease
pencil to mark the position of splices di-
rectly on the reel flange, also facilitates easy
spotting of selections on a machine.
When a reel of plastic-base tape is held
up to the light, any splices will show up
clearly as white "pips" of light, something
like the dots on a radar screen. Incident-
ally, all plastic base Audiotape, in both
1250 and 2500 ft. sizes, is guaranteed to
be splice-free. See illustration on back
cover.
AUDIO RECORD
October-November, 1951
FICKER RECORDING SERVICE
Ficker Brothers of Old Greenwich,
Connecticut, find that there's big
business in "small-lot" duplicating
of discs and tapes.
Just an hour out of New York City, in
Old Greenwich, Conn., is one of the busi-
est Httle recording plants we've seen yet.
Notice we didn't call it a recording studio
— there are no sound-proof rooms, no
grand pianos, no fancy trimmings. Yet, out
of this httle plant go hundreds of acetates
each week plus a fair share of pressings.
Inside, you'll find a beehive of activity —
duplicates being made from tape to disc by
means of a Magnecorder and a bank of
cutters, stacks of packages containing any-
where from one to fifty records being
readied for shipment, sales promotion plans
and new ideas being formulated in the
front office, newly recorded tape being
edited, and last minute packing and check
ing for a music festival almost anywhere
in the East.
This is a first impression of Ficker Re-
cording Service, established in 1947 and
fast becoming one of the leading organiza-
tions of its kind in the country.
While there are many recording studios
and pressing plants thoughout the coun-
try, there seems to be a need for someone
to specialize in a fast, high quality, acetate
duplicating service. Not only is this needed
to satisfy the requirements of small quan-
tity purchasers and people who cannot
wait the time required for the pressing
process, but also because it opens greater
channels in the field of on-the-spot record-
ings of community, school, and industrial
events in which the participants have a
strong interest and can be sold acetate cuts.
Starting its fifth year as a recording or-
ganization, the Ficker service has made a
positive move to overcome the confusion,
for itself and all other small recordists, of
attempting to travel throughout an ex-
tended area to tape on-the-spot events and
concerts AND THEN being faced with
the problem of rushing its limited person-
nel back to home base to complete the op-
eration by editing and dubbing the order.
A separate department assigned exclu-
sively to full time duplicating has been
established as the most economical method
for themselves as well as for all other re-
cordists wishing to use their facilities.
Through sheer concentration upon, and
specialization in, the project of efficient
acetate duplication, the Ficker Recording
Service has developed a quantity produc-
tion technique for a process that does not
naturally lend itself to mass production
Dave Ficker keeps an eagle eye on the bank of four cutlers, making acetate duplit
Magnecord tape recorder is shown on the cover illustration.
of .1 tape recording.
methods. Their lathes have, at present, the
capacity to turn out large quantities of ten
and twelve inch 78's a day and a smaller
number of 16 inch discs for its own cus-
tomers, and the concern contemplates the
installation of another bank of cutters as
the need arises. In addition, the shop's tape
duplication service is assuming larger pro-
portions as magnetic recordings are becom-
ing increasingly popular. Duplicate copies
of recorded tapes — in any quantity — can
be produced at attractively low prices.
Audio Devices, Inc. hastens to mention
that the entire recording program of this
firm is carried on with the use of Audio-
tape and Audiodiscs, exclusively.
Five years ago the brothers, Nicholas T.
and David B. Ficker, not then in the re-
cording business, looked about for a method
by which they could earn money in their
spare time. Having had a musical back-
ground, which they had used to help them-
selves through college, they naturally
explored the field of music merchandising
and suddenly hit upon the idea of record-
ing local events and selling acetates to the
October-November, 1951
AUDIO RECORD
■■fej^^ _
Long-playing Vinylite pressing and record jacket of a
recent Ficker Recording Service release featuring the
Wesleyan University Glee Club.
participants. Starting out with a home tape
recorder, no technical knowledge, and con-
siderable nerve, they gradually began to
build a recording service that now satisfies
the needs of over 300 colleges, high schools,
private schools, community musical groups,
and state music festivals throughout the
East for both acetates and commercial type
pressings. Although the quality of their
work is considered top grade, they delight
in pointing out with a grin that being non-
technical, they, as owners, really have not
the foggiest concept of the electronic ac-
tivity that goes on inside of a recording
machine. That problem is left up to their
chief engineer who is allowed complete
freedom, but whose sole responsibility is
to give them good musical reproduction.
One important phase of F.R.S. opera-
tion is the recording of state and sectional
music festivals. These present no problem
to the Pickers. Using a well-proven plan
of action, they make tests during rehearsals,
recordings of the concerts, play back to the
participants, and merchandise the sale of
records — all without fuss or bother to the
director or chairman. Another service that
is becoming increasingly popular with their
customers is the production of high school
and college glee club pressings. Working
in conjunction with one of the major
record manufacturers, they are putting out
some mighty fine standard speed albums
and L.P. records.
The Audio Manufacturing Co. has pro-
duced a tape developed by Ficker Record-
ing Service for the purpose of vocabularly
exercises in language study to be used in
conjunction with tape recorders having a
switch-over button that automatically
throws the machine from playback to rec-
ord position for as long as the button is
depressed. This tape is made with alter-
nating five-second sections of clear and
colored tape. It enables the teacher to place
a ninety word vocabulary pronunciation
exercise at 71/2 inch speed, or a ninety
sentence exercise at 3y4 inch speed on a
600 ft. reel of Audiocator tape using the
uncolored segments while any number of
students can then use the colored section,
erasing each other while the instructor's
words are left untouched. This system has
been designed to allow out of class study
and practice by the student without the
presence of the teacher being necessary.
Thirty dollars a week for spare time tap-
ing is a modest ,un-exaggerated estimate of
what anyone with just a tape recorder can
make with a minimum of ease and a maxi-
mum of fun in and about his home town.
The Pickers have had long experience with
just such an operation, and we are sure
they would be willing to send specific facts
and figures to anyone interested. Such facts
as: where to get local recording jobs with
a minimum of effort, how many duplicates
you probably would sell, suggested prices,
profits, copyright clearances, etc. Also, how
they could serve you by handling the many
details which, for a part time recordist,
would make the operation too compUcated
and time consuming to be worthwhile. This
information is available at no cost by writ-
ing Picker Recording Service, Old Green-
wich. Conn.
SCHOLASTIC MAGAZINES' RADIO SCRIPT CONTEST
FOR 1952 SPONSORED BY AUDIO DEVICES
For the Fifth Consecutive Year,
Audio Devices is offering valuable
cash prizes for the best entries in
Scholastic Magazines' National
Script Writing Contest for
High School Students
If past performance is any index, the
Scholastic Magazines Radio Script Contest
for 1952 will be bigger than ever before.
For the steady increase in quantity and
quality of scripts submitted over the past
four years indicates an ever growing inter-
est in radio work among the Nation's high
school students.
To students with a flair for writing and
an interest in radio and TV work as a
possible career, this contest offers a two-
fold inducement — in the form of valuable
cash awards, plus national recognition for
outstanding ability in this very promising
field.
This contest is open to any high school
student in America. One or more scripts
can be entered in any or all of the follow-
ing three classifications:
1. Original Radio Drama
2. Radio Drama Adaptation
3. General Radio Scripts
A total of 24 cash prizes will be awarded
for the best scripts submitted — eight
awards for each of the above classifications,
as follows:
First Prize— $25.00
Second Prize— $15.00
Third Prize— $10.00
Five Fourth Prizes — $5.00 each
In addition, students whose scripts are
selected for publication in "Audioscripts
1952" will receive special supplementary
awards.
Teachers, too, receive both recognition
and reward for their efforts in developing
the ability of prize-winning students. The
teacher of each student receiving a First
Award will receive 25 Audiodiscs, 3 Sap-
phire Recording Audiopoints and 3 Sap-
phire Playback Audiopoints — or equivalent
value in reels of Audiotape.
If any of our high school readers have
not yet received the contest rules and entry
blanks, they can be obtained by writing to
Mr. William D. Boutwell, Scholastic Mag-
azines, 351 Fourth Ave., New York 10,
N. Y.
Students and teachers who are planning
to enter the 1952 contest will be particu-
larly interested to know that the prize
winning scripts from the 1951 contest are
now available in convenient booklet form.
"Audioscripts 1951", published by Audio
Devices for the benefit of future partici-
pants, contains twelve complete student-
written scripts selected from prize-winning
entries in both the Scholastic Magazines'
Contest (for high school students) and the
AER Contest (for college students) . These
scripts, by the way, are all royalty-free,
and make excellent material for school
dramatization and local radio programs.
"Audioscripts 1951" is available at cost —
$1.00 net each. Send check or money order
to Audio Devices, Inc., 444 Madison Ave.,
New York 22, N. Y.
AUDIO RECORD
October-November, 1951
FUNDAMENTALS OF MAGNETIC RECORDING
By C. J. LeBel,
Vice President,
Audio Devices, Inc.
New, 50-page, Technical Handbook
Now Available Without Charge
to All Tape Recordists
The recording industry has long been
faced with the need for a complete, up-to-
date and authoritative reference manual
on the subject of magnetic recording. This
new recording medium has grown so rap-
idly in recent years that even many pro-
fessional recordists who use it every day
are not thoroughly familiar with all of the
basic principles involved — the physical
and magnetic characteristics of the tape —
and the machine design requirements for
optimum performance.
Audio Devices' new manual on "FUN-
DAMENTALS OF MAGNETIC RE-
CORDING" has been especially prepared
to meet this need — to combine, in one
convenient, pocket-size volume, all of the
basic information which has heretofore
been available only from widely separated
sources in the technical press. The author,
Mr. C. J. LeBel, Vice President of Audio
Devices, Inc., is well known to all Audio
Record readers through his informative
and very readable discussions in our
monthly Audio Pointers column. He is one
of the country's foremost authorities on
the subject of audio engineering and prac-
tical acoustics, with an extensive back-
ground of experience in every field of
sound recording.
The "FUNDAMENTALS OF SOUND
RECORDING" is not a highly technical
treatise, intelligible only to the relatively
small circle of audio engineering special-
ists. It is an intentionally simplified text
which contains all of the important factual
information on the subject, presented in
such a manner as to be readily understood
by anyone familiar with the basic prin-
ciples of electronics and sound reproduc-
tion. It is not recommended, however, for
the strictly amateur recordist who doesn't
know a decibel from a kilocycle. But any-
one who is seriously interested in obtaining
a better understanding and practical work-
ing knowledge of magnetic recording will
find this new handbook extremely helpful.
It will answer many of the important ques-
tions which are still unresolved in the
minds of many recordists and will enable
them to use this relatively new recording
medium with maximum efficiency.
The following synopsis, by chapter head-
ings, indicates the scope of the information
contained in this 50-page, pocket-size
booklet.
A Brief History — where and when mag-
netic recording was first developed and
how it was improved upon both here
and abroad.
Tape Vs Wire — a comparison of physical
characteristics, frequency response, print-
ing effects and timing errors.
Magnetic Recording Method — explanation
of transverse and longitudinal magnet-
ization.
Magnetic Relations — B-H curves, hystere-
sis, remanence and coercive force clearly
explained.
Bias — DC and supersonic bias and relative
effects on noise level and distortion.
£ra.s-mg — DC, AC and modified DC erase,
bulk erasure and head demagnetization.
Output — effects of bias current, coating
thickness and surface irregularities on
output volume and uniformity.
Frequency Response — effects of slit width,
azimuth alignment, tape speed, coating
thickness and bias current.
Distortion and J^oise — relative effects of
bias current for different oxides and base
materials, bias wave form, harmonic dis-
tortion and optimum recording level.
Modulation A[oise — causes, effects and
measurement.
Tape Construction — base materials, oxides,
binders; physical and magnetic proper-
ties.
Head and Capstan Cleanliness — sugges-
tions for improving machine perform-
ance.
Head Wear — effects on frequency re-
sponse.
Printing — its cause, effect and cure.
Storage — recommended conditions for
maximum shelf life.
Splicing — simple rules for quieter splices.
Selecting a Tape Recorder — dimensions of
performance and minimum require-
ments for various classes of service —
radio broadcasting, disc recording stu-
dios, educational recording, home re-
cording and office recording.
Machine Features — two vs three heads,
bias adjustment, rewind and shuttle
speeds, tape speeds vs frequency re-
sponse ratios.
Maintenance — what to check and how
often, for best machine performance.
It can be seen from the above that this
handbook covers every significant aspect
of magnetic recording as simply and con-
cisely as possible. It is 7%" by 5%" in
size — profusely illustrated with charts,
curves and diagrams.
To obtain your free copy, simply send a
request on your company letterhead, to
Audio Devices, Inc., Dept. R3, 444 Madi-
son Ave., New York 22, N. Y.
October-November, 1951
AUDIO RECORD
NEW MIDGET TAPE RECORDER
Repeats Messages Endlessly for Sales and Safety
Now in production by the Mohawk
Business Machines Corporation, 47 West
Street, New York City, this midget-size
automatic tape recording and playback
unit weighs only 6 pounds, and measures
only 6" square. It is intended primarily as
a selling tool — for the continuous or inter-
mittent repetition of a sales or advertising
message. It also has a wide field of applica-
tion as a safety or warning device, as well
as for repetitive announcements of the
type required at transportation terminals.
Despite its small size, the equipment is
completely self-contained, including a 5"
Alnico V speaker, 3 -tube amplifier with
11/2 watts output, driving mechanism for
3%" tape speed, and a unique, automatic
loading tape cartridge. This removable
plastic cartridge, containing the endless
reel of magnetic tape (2 minutes playing
time) is not much larger than a package
1 of cigarettes. To load, the cartridge is sim-
I ply slipped into a slot in the top of the
! case. This automatically brings the tape in
proper contact with the magnetic heads
, and engages the drive mechanism. For easy
removal, the cartridge pops up when a re-
lease button is pressed. Tape can be erased
and recorded on the spot, obviating the
need for sending cartridges back to the
factory for recording.
A full two minute tape will repeat its
message continually, or the message can be
divided into as many intervals as required
— the tape mechanism stopping, if desired,
after each interval. The device can be actu-
ated by its self-contained stop-start switch,
or by any external control device, such as
a photo electric cell, treadle switch, or
micro switch. Jacks are provided for ex
ternal speaker, booster amplifier and micro-
phone. The Message Repeater has a fre-
quency response of 120-6000 cycles per
second. It retails for $159.50.
The manufacturer also expects to pro-
duce cartridges, at some later date, con-
taining up to 30 minutes of recording time,
which will not only extend commercial
usage, but will offer interesting possibilities
in the field of recorded music for home use.
Suggested applications for the Message
Repeater include the following: At super
markets — to call attention to special sale
items or displays. In industrial plants — to
repeat safet\' w.triiinu- At bus, airline and
railroad terminals to repeat announce-
ments of arrivals and departures. In de-
partment stores — for talking counter
displays. In auto show rooms — to give sales
talks automatically when car door is
opened. In hotels — to repeat special an-
nouncements. In hospitals — to page doc-
tors. For civil defense — to repeat air raid
instructions.
Complete information on the new,
midget-size Message Repeater can be ob-
tained by writing to the Manufacturer.
EDUCATIONAL RECORDING
CONTEST UNDER WAY
$ $ $
Although Audio Devices' olfer of cash
prizes for the ten best articles on educa-
tional recording was only announced in
the last issue of Audio Record, many en-
tries have already been received.
If you are engaged in any phase of edu-
cational recording work don't overlook this
opportunity to cash-in on your experience.
For each of the ten best articles submitted.
Audio will pay $25 cash, plus ten 1250-ft.
reels of plastic-base Audiotape. In addi-
tion, ten reels of Audiotape will be given
for every other contest entry which is used
for publication in Audio Record or any
other literature prepared by Audio Devices.
Please make your stories as specific as
possible — telling exactly how you use tape
or disc recordings in your work. Cover as
many applications as you wish. Length is
no object. And don't forget to include
photographs if they are available.
Entries must be post marked not later
than Dec. 15, 1951 — addressed to Contest
Editor, Audio Devices, Inc.. 444 Madison
Ave., New York 22, N. Y.
TURN YOUR OLD DISCS INTO DOLLARS
— and help insure your supply of new aluminum-base discs, too!
Your old used aluminum base discs may
be worth more than you think. For, despite
today's restrictions on the purchase and
use of scrap aluminum. Audio Devices can
still pay you top cash prices for your used
discs.
By taking advantage of this long-stand-
ing offer, you benefit two ways — in direct
cash payments that can mount up to a
really substantial sum, and in contributing
to the supply of aluminum available for
disc production. This means more new
discs for you when you want them.
Audio Devices will purchase any make
of aluminum base disc — of any size — and
in any quantity — at the following rates:
1 0 " — 4 cents each
12" — 8 cents each
I3V4" — 10 cents each
16" — 15 cents each
17%" — 15 cents each
You don't have to pay the shipping
charges, either. Audio Devices will pay
cheapest way freight on all shipments of
100 pounds or more. All used discs should
be returned to:
The Audio Manufacturing Corporation
25 Palmer Avenue,
Glenbrook, Connecticut
Every year, recordists receive checks
amounting to many thousands of dollars
from Audio Devices for the return of their
old discs — dollars that mean lower over-all
recording costs.
If you have a supply of used aluminum-
base discs on hand — discs that are just col-
lecting dust, why not let them collect cash
for you instead. You'll be surprised how
much it can add up to.
HOW DO YOU LIKE
OUR NEW FORMAT?
As you've probably noticed by
now. Audio Record has had its face
lifted. We hope you like it — and
would appreciate your frank com-
ments on the subject.
If you have any suggestions for
improvement of the subject matter
or style, please send them in. Audio
Record is your publication, and we
want to make it as interesting and
helpful to you as possible.
You don't have to look, because
THERE ARE NO SPLICES
in audiotape*
but this "ti'ansparency test" shows some other
important things about Audiotape quality
U When you hold a reel of plastic base Audiotape up to the
light, notice its extremely uniform translucency — free from dark
rings or fuzzy areas. You can see your fingers right through it,
sharply outlined against the light. This is proof of the clean,
straight line slitting that makes Audiotape track and wind abso-
lutely flat. There are no rough or turned-over edges which would
lift the tape away from the heads, causing loss of high-frequency
response. Of course this test also proves that the tape is entirely
free from splices. But with Audiotape you can be sure of that
without looking. For all 1250 foot and 2500 foot reels of plastic
base Audiotape are guaranteed splice-free!
You can see the output uniformity of Audiotape, too. For
every 5-reel package includes an Esterline-Angus output chart,
showing the measured output of the entire length of one of the
reels in the package. And since all 5 reels are slit from the same
roll after coating, the chart actually measures the uniformity
of all the tape in the package. This gives positive visual proof
of Audiotape's unequalled output uniformity.
NO OTHER TAPE OFFERS YOU ALL
OF THESE EXTRA-VALUE FEATURES:
■ Splice-Free Reels. All 1250 and 2500 foot reels of
plastic base Audiotape are guaranteed to be free
from splices.
■ Unequalled Uniformity. Plastic base Audiotape is
guaranteed not to exceed ± 'Adb within the reel
and ± '/adb from reel to reel.
■ Output Curves in every 5-reel package of plastic
base Audiotape show actual measured output of
the tape contained in the package.
■ Maximum Output with Minimum Distortion. Oxide
formulated to give high output at bias which re-
sults in low harmonic distortion.
■ Safe-Handling Package for 2500 and 5000 foot reels
permits loading onto turntable without danger of
spilling tape from hub, simplifies attachment of
reel flanges, and provides safe storage without
Hattening bottom of roll.
*7rode Marl;
AUDIO DEVICES, Inc.
444 Madison Avenue, New York 22, N. Y.
Export Dept.: 13 East 40lh St., New York 16, N. Y, Cables "ARLAB"
record
Published by
AUDIO DEVICES, INC.
444 MADISON AVENUE. N.Y.C.
cuicltocuxcs
cuuUotape /*^x^.j
aiuiiafilin ^^
for ttiam sound studio at the new Fulton Recording Company. 80 West 40lh
Street. New York, N. Y., showing Western Electric, six-mike mixing console and two of the
seven Ampex consote-type magnetic tape recorders. Story on pages 2 and 3.
• Fulton Recording Company
• Simultaneous Translation
• Tape Package Patent
' Hints on Selecting a Tape Recorder
AUDIO RECORD
December, 1951
"CLEAN SOUND" KEYNOTES NEW YORK'S
NEWEST RECORDING STUDIOS
Fulton Recording Company Opens
Ultra-Modern Sound Studios
In Mid-Manhattan
Unlike many present-day recording stu-
dios, which started from small beginnings
and "just grew" hke Topsy, the Fulton Re-
cording Company started life as an already
full grown organization, with completely
modern facilities and equipment conceived
and engineered as a unit, to provide the
finest in sound recording service. Occupy-
ing the third and tenth floors at 80 West
40th Street, New York City, this new or-
ganization offers an interesting example of
carefully planned studio layout, modern
acoustical treatment, and the last word in
precision sound recording methods and
equipment.
The Fulton Recording Company is com-
pletely equipped for disc, tape and film
recording — with two separate recording
studios and control rooms, instantaneous
and master disc cutting rooms, large tape
and disc storage facilities, and private tape
editing rooms on a separate floor.
The entire suite of offices, studios, con-
trol rooms and work rooms is air condi-
tioned to precise specifications of tempera-
ture, humidity, and freedom from airborne
dust particles. The constant temperature
and humidity keep all studio musical in-
struments in perfect tune regardless of am-
bient temperature changes and assure exact
duplication of acoustical effects for a given
recording setup, regardless of t-he time in-
terval between recording sessions. Freedom
from dust particles is, of course, a tremen-
dous asset in cutting microgroove discs and
preparing masters for processing.
The main recording studio is of particu-
lar interest, as its unusually great height
permits a very large floor area yet maintains
an overall length -width -height ratio which
is remarkably close to the theoretically
ideal acoustical proportions of 5 — 3 — 2.
This studio is 50 feet long, 35 feet wide
and 24 feet high — enclosed on all sides by
double walls with air space between. In
acoustical treatment, this large studio has
been designed to offer a practically limitless
combination of sound reflection and ab-
sorption effects. The walls themselves are
absolutely plain, with no fixed acoustical
paneling. And both walls and ceiling are
so constructed that the studio is completely
free from parallel surfaces. A series of full
length curtains 24 feet high are suspended
from ceiling tracks all around the room, in
such a manner that any or all portions of
of the
t.cafly"
nd studio at Fulto
on of acoustical
,tical proportions of 5 — 3-
howing the 24-foot high curtains on ceiling
50 by 35 by 24 fe€t, closely approaching
the wall area can be covered or uncovered
as desired simply by opening or closing the
proper curtains. In addition, the studio is
provided with a number of movable acous-
tical panels, one side designed for reflec-
tion and the other for absorption of sound.
This gives still further flexibility in obtain
ing special acoustical effects tcir small or-
chestral groups and solo numbers.
The main studio's musical equipment in-
cludes a Steinway grand piano, Hammond
organ. Celeste, Vibraphone, Chimes — plus
an extensive collection of live sound effect
gadgets. The latter, of course, are supple-
mented by a sound effects library of several
hundred discs, covering just about every
giictlq # reccjrcl
VOL. 7, NO 9
DECEMBER, 1951
Published monthly by Audio Devices. Inc.. 444 Madison
Avenue. New York City, in the interests of better sound
recording. Mailed without cost to radio stations, record-
are studios, colleges, vocational
thusiasts throughout the United
prding I
December, 1951
AUDIO RECORD
conceivable natural and man-made sound
— from the chirping of a cricket to the roar
of a bomber in flight. In order to take full
advantage of the perfect sound control
which this studio provides, only the finest
and most costly microphone equipment is
used, including the recently developed
Telefunken condenser microphone. (This
device is described in the October 1951
issue of Audio Engineering.)
The control room for this studio is lo-
cated high in the east wall, with a large
inclined glass window giving an unob-
structed view of the entire studio floor. It
contains a Western Electric six-microphone
input mixing console, three Ampex console-
type magnetic tape recorders (there are a
total of seven of these machines through-
out the various recording rooms), a large
RCA monitor speaker and complete tim-
ing and intercommunication facilities. The
operation of the tape recorders is com-
pletely controlled by push buttons located
at the right side of the control console. The
engineer in charge therefore has the entire
recording operation right at his own finger-
tips, without the need for flashing a signal
to another operator handling the tape
machines.
The second recording studi® is smaller
in size, designed primarily for voice re-
cording of small groups. Here, too, a wide
variety of acoustical treatment is permitted
by the use of plain walls and movable
acoustical panels of the type previously de-
scribed for the large studio. This small
studio has its own separate control room,
equipped with a four-microphone RCA
mixing console and Ampex tape recorders
push-button controlled from the console.
ton Recording Company,
operation of the Ampex
For outside tape recording work, portable
Magnecord machines are used.
Equipment for the cutting of instantane-
ous and master discs includes two Fairchild
variable-pitch, hot-stylus disc recorders and
three Presto machines. Master discs are cut
in a separate room, provided with inde-
pendent amplifiers and equalizers. Engi-
neers familiar with the intricacies and
precision requirements of cutting micro-
groove discs will appreciate the importance
of being able to do this exacting work in
private and without interruption or dis-
traction.
The provision of separate tape editing
rooms is another feature planned for the
convenience of Fulton clients. For exam-
ple, after making a dozen or so "takes," the
client and an engineer can immediately re-
tire to one of the editing rooms and play
back all of the recordings in undisturbed
privacy — giving their undivided attention
to the job at hand.
Sound recording for motion picture and
TV films is done on standard %-inch mag-
netic tape, with a separate synchronizing
signal added directly on the tape while re-
cording. This is accomplished by means of
a Rangertone synchronous signal machine
which forms a part of the specially designed
film recording equipment. Here's how this
system works. Assume, for example, that
a client comes in with a 16mm print of a
film to which he wishes to add a sound
track. While the film is being projected,
the sound is simultaneously recorded on
■■/(-inch tape together with the synchroniz-
ing signal. After recording, film and sound
can be played back immediately — the syn-
chronizing signal keeping the picture and
sound in exactly the same relationship to
each other as during the recording. This
playback gives a fool-proof check on the
correctness of both the sound and the syn-
chronization, after which the film and reel
of tape are sent to the photographic proc-
essing plant where the sound is transferred
to the film track.
Mr. R. J. Oulmann, General Manager
of the Fulton Recording Company, states
that although this new organization is
geared to do large volume recording work,
the major emphasis is on quality rather
than quantity. With this objective in
mind, all recording equipment is completely
checked every day ... to make sure that
there is not the slightest deviation in re-
cording characteristics and fidelity of sound
reproduction. Every tape and every disc
produced is checked from beginning to end,
and must measure up to quality standards
even higher than those actually required
by Fulton clients. Hence the slogan "Clean
Sound" which is used in this Company's
promotion to characterize the quality of
their service.
One particularly exacting assignment
which is currently in production for the
Haydn Society is the recording of 8 1 sides
of an 83 side collection of the complete
quartets of Haydn performed by the Alex-
ander Schneider String Quartet. The other
two sides were recorded in Europe. This is
typical of the character of work which the
Company is equipped to handle.
Mr. Oulmann brings to the Fulton Re-
cording Company an extensive background
of experience in the sound recording and
motion picture field both here and abroad.
He was director of motion picture produc-
tion at MGM International and has been
in the recording end of this business for
the past 24 years. Mr. Newton Avrutis,
Supervising Engineer, was formerly with
MGM International in charge of recording
foreign sound tracks on feature films and
shorts. Mr. Richard E. Mack, Chief Sound
Engineer, was previously with Audio and
Video Recording Corporation and the
Carnegie Hall Recording Company.
Three of the five disc lathes in Fulton Recording Com-
pany's disc recording room. Equipment includes two
Fairchild variable-pitch recorders with hot-stylus cut-
ting heads.
AUDIO RECORD
December, 1951
LANGUAGE BARRIERS BROKEN
by IBM Simultaneous Interpretation System
Editor s Note The new Un.ied Nat.ons Building in New York ,s probably as close to being a modern
•Tower of Babel- as it is possible to get. For here delegates from all over the world speak freely-^ach
m his native tongue. Yet each can be heard-and undentood-h^ all others present. Because of the
importance and technical ingenuity of the multi-lmgual communication equipmem used here and at
other international gatherings, we are sure that the following description will be of timely intetest to
our readers. This same IBM system is also used in the teaching of foreign languages and other applica-
tions involving the simultaneous transmission of recorded material to a diversified audience on a
selective basis.
With the advent of large international
meetings in connection with world trade
and international commerce following the
first World War, the frustration of the
language barrier brought into being the use
of simultaneous interpretation.
About 20 years ago, Mr. E. A. Filene
conceived the idea of expanding the whis-
pering interpreter technique, then being
used by some delegations, to a system
whereby a complete service could be ren-
dered to the conference as a whole. In the
whispering technique a delegate who does
not understand the language being spoken
could have an interpreter sitting at his el-
bow give him a running whispered transla-
tion of the proceedings. While this was an
improvement over the consecutive inter-
pretation system whereby each speech was
repeated into each of the different lan-
guages causing much delay and confusion
in the meetings, it was still rather crude
and annoying to the surrounding delegates.
The basic idea of the simultaneous in-
terpretation was to provide booths semi-
soundproofed from the main convention
hall in which interpreters could listen to
the speaker's words conveyed to them from
the speaker's microphone through a wired
system to sets of headphones. While listen-
ing to the speaker's words on the head-
phones, they would give a simultaneous
running translation into their own micro-
phones. The microphone of each different
language interpreter would have its asso-
ciated amplifiers and wired distribution
cables to every seat in the room. Each seat
would he equipped with a pair of head-
phones and a selector switch allowing every
delegate to listen to the language of his
choice.
From the crude beginning of this tele-
phone type of system, another interna-
tional figure, Mr. Thomas J. Watson of
the International Business Machines Cor-
poration and associated with Mr. Filene in
the International Chamber of Commerce,
picked up the idea and with the facilities of
the international organization of the IBM,
proceeded to improve the system and build
a workable set of equipment which could
he used at the meetings of the Interna-
tional Chamber of Commerce, the Inter-
national Labor Organization, Rotary In-
ternational, and the League of Nations.
Simultaneous interpretation equipment
has been used for the last 20 years at these
large international meetings and finally
came into its own with the needs brought
up at the War Crimes Trials at Nuern-
berg. Here a vital need for continuous and
immediate understanding of everything go-
ing on at the trials caused the United States
Government to promote the idea of instal-
Schemalic diagram of typical setup for
IBM wireless translating system, of the
type used for so-called "temporary ' in-
stallations wliich arc to hr used for oiily
Pen
nations such as that i.
sed at the
nilcd Nations are similar
except that
e listeners headsets are w
red directly
the speech amplifier
equipment
thout the radio link.
Headset and miniature radio receiver for the IBM Wire-
less Translating System embodying Filene Finlay Pat-
ents. Tlie shoulder strap contains an embedded antenna
and the receiver is battery operated, permitting the
listener to move about freely without any fixed connec-
tion to power or other outlets.
lation of the IBM equipment in all of the
court rooms at Nuernberg and likewise at
Tokyo. IBM agreed to lend the necessary
equipment to the Allied High Command
and proceeded to overcome the difficulties
of procurement in order to build the addi-
tional equipment required and to bring in
all existing equipment for use in Germany.
The success of this system at Nuernberg,
which was capably organized and operated
under the direction of Col. L. E. Dostert,
made the use of simultaneous interpreta-
tion a "must" at the United Nations. At
the conclusion of the trials in Nuernberg,
Col. Dostert became associated with the
UN at Lake Success and again became the
guiding hand in the formative days direct
ing the work connected with the installa
tion of IBM Simultaneous Interpretation
Equipment in the conference rooms and
council halls.
One of the most difficult tasks in con
nection with the use of simultaneous inter
pretation such as that experienced by the
UN, was the building up of a corps of
interpreters capable of simultaneous inter
pretation and of top caliber necessary for
the deliberations of the world's top tri
bunal.
A serious drawback to the use of thc
simultaneous interpretation up until thi.'^
time was the time and labor involved m
wiring the language channels to each seat
This not only required many hours of labor
and a rather high expense in the installa
tion, but it definitely "fixed" the seatins,'
arrangement of the room because of the
attachment of the cables to the chairs.
Mr. Watson had, for a long time, pro-
posed the building of a complete wireless
system but due to restrictions caused by
the war and the press of other more im-
December, 1951
AUDIO RECORD
portant development projects the wireless
system had not been completed at the time
of the Nuernberg trials. The development
project was given top priority in 1946 and
the system completed for the first use on a
I large scale at the International Radio Con-
I ference in Atlantic City in 1947.
The IBM Wireless Translating System
consists of miniature battery-operated re-
ceivers for each delegate. This receiver has
a neck strap for support which also acts
as an antenna. The three small hearing-aid
I type of tubes furnish the necessary pick up
and amplification to operate a pair of head-
phones attached to the receiver. Each re-
ceiver is provided with seven separate chan-
nels which can be selected by the delegate
simply by turning a selector dial on the
top of the receiver. The simultaneous inter-
pretations are "broadcast" to the confer-
ence area by small radio transmitters con-
nected to the interpreters" microphones.
Each interpreter's booth or language has
its own broadcast frequency.
In a conference where several delega-
tions are meeting in a round table discus-
sion, microphones are provided for each
delegation and are controlled from a cen-
tral point by the control operator handling
the equipment for the entire conference
room.
With the availability of the IBM Wire-
less Translating System at moderate cost
to international conventions, the use has
increased tremendously in the last two or
three years. International conferences both
large and small can now reap the benefits
of universal understanding and break down
the language barrier which has existed in
the past by the use of this system. Equip-
ment can be installed at a conference site
in a very short time because there is no
longer the requirement of cabling or wiring
all of the seats.
IBM built 5000 of these miniature wire-
less receivers and keeps the supply about
evenly distributed between Europe and
the United States. Complete equipment is
available for 16 international conferences
running simultaneously in various parts of
the world. Conferences in Europe and the
Near East are serviced with equipment
from the IBM organization in Zurich,
Switzerland, w'hile conferences in North
and South America are serviced from the
IBM main factory at Endicott, New York.
In order that the record may be straight
and the necessary documents available at
international meetings, the practice of re-
cording the proceedings is becoming more
and more prevalent. The entire conference
proceedings from the speakers or floor mi-
crophone are normally recorded on tape or
on discs. In many cases recorders are also
connected to the individual channels of
the simultaneous interpretation system in
order to afford verbatim reports of the
actual proceedings as translated and as
heard by the delegates. This system of re-
cording the translated channels provides a
quick check if a question is raised as to the
accuracy of any particular simultaneous
interpretation of a knotty question. Record
ing of the various language channels pro-
vides a means of producing the necessary
conference documents immediately so that
mimeographed resumes of the proceedings
into working languages may be furnished
to the delegates at once.
Patent Awarded for
'Safe-Handling"
Audiotape Package
The United Nations Get
interpretation system in u
permitting each delegate I
biy in session at Lake Success, New York, showing the IBM simultaneous
le permanently wired system is in i^e in the new U.N. building in Manhattan,
running interpretation of every speech while it is being given.
covered by U
Patent No
2571133.
With the many thousands of different
package designs in use today, you've got
to have something that's really original and
distinctive in order to obtain a clear patent
on it. That's why it was very gratifying to
receive word that the "Safe-Handling"
Audiotape package had been found patent-
able and is now fully protected by \J S.
Patent No, 2571133.
For the past year, this distinctive package
has been used for all 2500 foot and 5000
foot reels of Audiotape, on Standard
N.A.B. hub or complete aluminum reel.
The separate folding inner container,
with wooden hub core and turntable load-
ing slot, oflFers three important advantages :
1. It permits tape on hub to be trans-
ferred from package to turntable without
danger of becoming unwound or slipping
from the hub. The inner container, held as
in insert above, is placed on the turntable
so that the tape hub engages the hub core
of the machine. The container is then sim-
ply pulled out from under the tape. In
returning tape to container, this operation
is just reversed.
2. It simplifies the attachment of reel
flanges to the standard N.A.B. hub. After
one flange has been set in place and the
half-screws dropped into the holes, the in-
ner container is folded down onto the reel,
permitting it to be turned over without
dropping the screws.
3. It protects tape in storage and pre-
vents flattening of the bottom of the roll.
That's because the tape is suspended from
the wooden hub core fixed to the inner
container and does not rest on the outside
edge of the roll.
AUDIO RECORD
December, 1951
by C. J. LeBel, Vice President
Audio Devices, Inc.
HINTS ON SELECTING
A TAPE RECORDER
The past several
years have seen
many new tape re-
corders offered ti i
broadcaster, studiii,
school, and home
Prices vary from
under a hundred ti i
over four thousand
dollars and it is
only natural for
the purchaser to
want to pay as lit-
tle as possible. If he is wise, he will also
wish to spend enoujjh to secure the facili-
ties and results he needs for his work. A
full discussion of machine design would
take a book in itself, so that we will have
to content ourselves, in this section, by
pointing out the factors to be considered,
and by touching lightly on certain neces-
sary characteristics.
Dimensions of Performance
In any applic.uion the rccorduig per-
formance is the first thing to be considered,
the most important point being, the fre-
quency range. If this is too small for your
work, there will be complaints of poor in-
telligibility or of lack of naturalness, or
refusal to broadcast your tapes. If the range
is too great, you have paid too much for
your equipment. The next factor is that of
signal to noise ratio, for if this is too small
background noise will be offensively loud,
and the adjustment of recording level will
be too critical. Again, if the ratio is much
greater than necessary then the equipment
cost has been higher than it might be. Fi-
nally, the distortion should be low, since
high distortion leads to a loss of clarity and
naturalness, and listener fatigue is rapid.
Next we must consider economy of tape
use. Low tape speed means that we need
less tape for a given program, but it also
means either reduced frequency range or
increased noise level, for a given perfection
of design. We can cut our tape require-
ments in half, theoretically, by using dual
track recording. Practically, this is often
undesirable, for it makes editing impossi-
ble, and introduces slightly higher noise
level.
Convenience of operation is particularly
important to the non-professional, as are
size and weight. No amateur wishes to
carry his machine around on a hand truck.
Many semi-professionals overvalue the ex-
treme in portability, and so sacrifice some
of the quality of performance that they
need. In many cases a heavy machine can
be rolled around on a tea cart.
Finally, we must not overlook stability of
characteristics, and durability. The broad-
caster and the studio must have it, the
school needs it, and the home user is irked
by the lack. Some machines have been made
with every component driven too hard,
suitable for operation over only a short
period of time, while others have been
built to stand up when used sixteen hours
a day.
In each field ot application a different
set of requirements predominates, for what
is best for one is not necessarily best for
the other. So each application must be stud-
ied .separately.
Radio Broadcasting
The National Association of Radio and
Television Broadcasters has adopted stand-
ards for frequency response, shown below.
Studio recorders should conform to the pri-
mary standard curve, but portable ma-
chines u.sed for field interviews — speech
only will find the .secondary standard
satisfactory.
The signal to noise ratio should be at
least .'iO db, using a reference point of 2%
harmonic distortion. Since this reference is
a peak level, distortion should be less than
1%, harmonic, at 10 db or more below the
reference level. The volume indicator set-
ting, that is, the nominal recording level,
.should be at least 6 and preferably 10 db
below the 2% reference point, to allow
for the fact that the peak level is about 10
db above the meter-indicated level.
Remembering that a station must often
run many hours a day with no time out
for equipment maintenance, the recorder
should be able to run for at least 16 hours
continuously without significant change in
gain or distortion.
The average studio recorder is too heavy
to be portable, but there are several makes
of semi-portable design, using two 3.'i to 45
jtound units. These offer nearly full studio
quality, and many stations use them inter-
changeably in studio and field.
Disc Recording Studios
While these remarks are directed mainly
to the phonograph record and transcrip-
tion studio using tape for original record-
ings, they also are significant to the radio
station which produces commercial records.
The main objective is to make sure that the
tape will produce minimum impairment of
the quality of the disc recorded from it.
The frequency range should be at least
as good as the NARTB primary .standard
(see chart), and might well be somewhat
better — say not over 2 db change in re-
sponse up to 15 kc. The signal to noise
ratio must be at least 60 db to match a
modern vinyl pressing, and preferably 62
or 6.'^ db. The distortion should be as low
as po.ssible in the normal range of record-
ing levels. Stability should certainly be ade-
quate for 16 continuous hours of operation
without significant change of gain or dis-
tortion.
There are no portable machines con-
forming to this specification; there are a
few transportable models consisting of two
sections of about 75 pounds each. For the
lower grades of work a broadcast portable
machine may be used, but there is a sig-
]-iificaiu sacrifice in performance.
Educational Recording
There is no single educational applica-
0
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-3
S-4
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50 100 1,000
FREQUENCY IN CPS
NARTB Recording and Ri-producinB St.ind.ird. showing frequency respons
5,000 7,50010,000 20,000
December, 1951
AUDIO RECORD
tion — instead there are at least three, each
with Its own special aspects.*
First comes material which is to be broad-
cast; this should certainly be prepared on
equipment at least equal to broadcast stand-
ard. Sec the broadcast section. Next comes
material where accuracy of reproduction
is essential. In order of decreasing need
for wide frequency range we have experi-
mental phonetics, and speech correction.
For the former a full 15 kc range is essen-
tial, while for the latter 7.5 to 10 kc may be
satisfactory. The frequency range needed
to clearly show a student a speech fault
is surprisingly great.
Finally we have applications where re-
production must be pleasing and inteUigi-
ble, but need not be particularly accurate.
Here 6 kc is quite adequate. It should be
pointed out that the school v/ith only 6 kc
equipment will be unable to do a workman-
I like job of speech correction, whereas a
wider range machine can be used for less
stnngent projects when the full range is
not essential. Therefore, any school should
have at least one wide range machine, even
if the full range is only needed part of the
time.
Listener fatigue is particularly to be
avoided in educational applications, and
wc beUeve that a signal to noise ratio of
at least 50 db is essential for material which
is to be listened to with attention for more
than five minutes at a time; for other cases
45 dh may well suffice. For minimum fa-
tigue the distortion should be under 1 % in
the normal level range, though it may rise
to 2% on peaks.
The school has rather special stability
requirements, for a machine should operate
for five months (one term) a few hours a
day, without need for maintenance, and
major maintenance should be required no
more often than once a year,
A school machine must have fast for-
ward and fast rewind (at least 5 and pref-
erably 10 times normal speed) so that a
given section of tape may easily be picked
out for use.
One educational group has voted to
standardize on single track equipment to
make editing possible, but this is not yet
exclusive practice throughout the country.
The need for portability in educational
equipment is badly overestimated. If the
individual sections are not over 35 to 40
pounds in weight, the heavy combination
can well be carried about on a tea cart or
cafeteria cart.
Two input circuits arc virtually essen-
tial, a radio tuner or line, and one (or
more) microphones. As to the output, it
should be possible to use a high quality ex-
ternal loudspeaker instead of the wretched
*See Standards for Educational Recording Machines, by
C. J. LeBel, Quarterly Journal of Speech. Vol. 56, No. 4,
pp. ^20-523. Dec. 1950. Reprints available from Audio
Devices, Inc.
unit so often built in. It should also be
possible to feed a line — usually the school
public address system.
Machines which live up to all these speci-
fications may cost three to four times as
much as the lowest cost equipment.
Home Recording
Home use takes either ot two forms:
speech or music. In the former case, 6 kc
frequency range is likely to be adequate;
in the latter, at least 9 kc and preferably
15 kc should be available. Modern home
phonograph records have good response up
to at least 12 kc, and 15 kc in some cases,
so that comparable response should be
available.
For short time listening a signal to noise
ratio of 40 db may he adequate, but for
extensive use at least 50 db should be avail-
able. Remember that a modern vinyl phono-
graph record has at least 60 db when meas-
ured by the same method as a magnetic
recorder.
The same dual standard applies to dis-
tortion. For a few minutes a sustained 5%
is bearable, but for long continued listening
with close attention, minimizing listener
fatigue demands an upper harmonic limit
of 1 or 2 % .
The choice between single and dual track
recording is again a question ot editing
versus economy.
Portabihty demands a weight of not over
30 to 35 pounds, though some enthusiasts
have managed to handle a 65 pound pro-
fessional machine. If left in a single place,
weight is certainly not a serious matter.
Home machines generally have all the in-
put and output circuits required.
Office Recording
If we arc to judge by European exam-
ple, the office dictation field will be a very
successful application for magnetic record-
ing, and indeed several manufacturers are
already in the field. Economy possibilities
are very attractive.
For clear reproduction ot the sibilants
and fricatives of speech, at least 4 to 5 kc
range is necessary, and 6 kc may be desir-
able. For minimizing listener fatigue the
signal to noise ratio should he at least 35
and preferably 40 db. The distortion should
also be low, not over 2% during normal
operation, and not over 5% on peaks.
Portability is not essential, but minimum
use of desk and floor space is quite neces-
sary.
Machine Features
A number of features are available in
the better grade of machine, and the pur-
chaser should decide in advance which are
necessary for his particular application.
First we have the question of two head
versus three head machines. All machines
have an erase head; a two head machine
uses the second head alternately for re-
cording and reproducing, whereas a three
head design has separate record and re-
produce heads. Since the requirements for
optimum performance in recording and re-
producing are not alike, a double duty head
is at best a compromise, and slightly better
performance can be achieved with separate
heads. They also permit monitoring off the
tape during recording — a wise safety pre-
caution during important jobs.
Adjustable bias is desirable if the abso-
lute utmost in quality is to be obtained.
Lower cost machines have a fixed value of
bias, which is somewhat non-uniform from
one machine to the next off the production
line. Fortunately, Audiotape has consid-
erable bias latitude, and so long as the bias
is more than a minimum safe value, good
results will be obtained.
In professional machines rectjrding at 15
inches per second, excessively fast rewind
and forward shuttle speeds should be
avoided. At very high speed momentary
heavy stresses are induced in the tape, de-
forming it and leading to trouble during
subsequent handling.
To minimize head wear it is desirable to
have means for lifting the tape off the
heads during rewind and fast forward
operation.
Since demagnetizing the recording head
is a regular operation, convenient provision
for it should be made.
A year or two ago, the relatitm between
frequency range and tape speed seemed to
be one kc range per inch per second speed.
Today, professional machines may off'er 1.4
kc per inch per second, and some home ma-
chines (where signal to noise ratio is not
so much of a problem) offer 2 kc per inch
per second
The foregoing
is an excerpt from
one of the chap-
ters in Mr. Le
Bel's new hand-
book on the Fun-
damentals of
Magnetic Record-
ing.
This 5 0- page
pocket-size vol-
ume includes a
wealth of valu-
able information on all phases of magnetic
recording — including background, record-
ing methods, magnetic relationships, tape
characteristics, AC and DC bias, erasure,
frequency response, noise level, distortion,
machine features and helpful hints on op-
eration and maintenance.
Copies may be obtained by writing to
Audio Devices, Inc., Dept. R3, 444 Madi-
son Avenue, New York 22, N. Y.
CmCmyCtlSCS For more than 12 years, Audiodiscs have
consistently set the standards for the finest professional performance
in instantaneous and master disc recording. Their flawh ss perfection,
wide-range frequency response, extremely low surface noise at all di-
ameters and complete freedom from humidity effects are just a few
of the reasons why Audiodiscs are first choice with professional record-
ists from coast to coast. They know from long experience that they
can depend on Audio for the consistent, uniform quality that is so
essential in modern sound recording work.
^MJ^UW1A4^V^9 Wherever professional-quality magnetic re-
cordings are made, the trend is to Audiotape. That's because Audiotape
is made by audio engineers for audio engineers — with the right com-
bination of properties for finest performance in any tape recorder.
Produced on Audio's highly specialized precision coating machines.
Audiotape has achieved unequalled unijormity of output — plus maxi-
mum output with minimum distortion at practical bias range. What's
more, it's less sensitive to bias changes, has no audible low-frequency
modulation noise, and is guaranteed splice-free in both 1250 and 2500
ft. sizes, plastic base. In every respect. Audiotape meets the exacting
standards of quahty and performance which have characterized Audio-
discs for more than a decade.
Handbook on
The Fundamentals
of Magnetic Recording
This completely new and up-totlie-minute tecli-
nical manual contains 50 pages of valuable in-
formation on basic magnetic principles and
tape performance. Professional recordists will
fmd it extremely interesting and helpful — an
important addition to their reference files. A
request on your business letterhead will bring
you a free copy by return mail.
Write to .\udio Devices, Dept. R3.
CUKilOffUIH extends the ad-
vantages of finest quality magnetic
recording to motion picture and TV
applications. Available in 16mm,
17'/imm and 3Smm sizes.
OUdlOpuOXniS are preci-
sion matched recording and repro-
ducing styli available in types and
sizes to meet the precise requirements
for every phase of disc recording work.
AUDIO DEVICES, Inc.
444 MADISON AVE., NEW YORK 22, N. Y.
Export Oepl.: 13 East 40th St., New York 16, N. Y, Cables "ARIAB"
00
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record
Published by
AUDIO DEVICES, INC.
444 MADISON AVENUE, N. Y. 21, N. Y.
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The new "Multitape" magnetic tape duplicating machine m process of loading by Dr. F.
Rawdon Smith, president of Rawdon Smith Associates, Inc. Story on page 2.
* "Multitape" Duplicating System
* Purdue Language Laboratory
* Educational Recording Contest
* Tape Recording in Cardiology
* "Every Man Heard Them Speak
in His Own Longuage"
* New Audio Self-Timing Leader Tape
* Audiodisc Chip-Chaser
AUDIO RECORD
January, 1952
"Multitape" System for Tape Copying
Announced by Rawdon Smith Associates, Inc.
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New Tape Duplicating System Per-
mits Quantity Reproduction of
Recorded Tapes at Low Cost and
Without Loss of Quality
Most tape users who have had access to
two tape recording mechanisms simultane-
ously have tried the experiment of recording
a tape on one from a "master" played back
on the other. Oftentimes, the results of
such an experiment are remarkably satis-
fying and, particularly where equipment
of limited frequency response is used for
the final listenmg, it may even be difHcult
to tell the copy from the original tape.
Where home recorders are used, such
satisfactory results are most often obtained
where both sets of equipment are in good
condition and where the recorded material
is such as to be relatively undisturbed by
small transient changes in pitch, i.e., wow
and flutter. Where a piano or organ re-
cording is involved, however, the results
are usually less satisfactory, since both
these instruments are capable of giving out
sustained notes of remarkably constant
pitch and will hence sound unnatural where
a pitch variation is introduced in the proc-
ess of reproduction.
Magnetic tape, however, is used for the
original recording for virtually all present
day commercial discs — which are produced
by re-recording from the master tape — so
there would seem no impossibility in pro
ducing tape copies by the use of a similar
re-recording process, provided both the
play back and the re-record tape mechan-
ism arc in proper adjustment. The cost of
producing copies in this fashion, however,
IS high and when an attempt is made to
lower this by the simultaneous use of sev-
eral recorders coupled to one play back
mechanism, a number of difficulties become
apparent.
In the first place, it is difficult and ex-
pensive to maintain many recorders in first-
rate order. Secondly, even when recorders
of identical manufacture are used, the bias
frequencies will vary by an amount which
is often sufficient to cause "birdies" in the
final tapes. If this is overcome, either by
the use of a common bias oscillator or by
synchronizing several oscillators, there re-
main such problems as increased wow from
master to copy and — particularly impor-
tant for broadcast use — slight differences
in timing between the master and copy and
between one copy and another, as a result
of very slightly differing tape velocities on
different machines.
All the foregoing difficulties, and others
with which those who have tried "multiple
dubbing" are well familiar, were in the
minds of the co-developers of the Multi-
tape machine pictured above. The mechan-
ical arrangements of this machine are the
brainchild of L. S. Toogood of the Too-
good Recording Company, 221 North La
Salle Street, Chicago 1, Illinois. A com-
mon, large diameter mandrel is used to
drive all the tapes involved, both master
and "slaves", powered by a large synchro-
nous motor. This mandrel holds the speed
of master and copies so closely that the
latter are to all intents identical in length
with the former, and hence pose no timing
problems in broadcast use.
But the problems of tape duplication by
this process do not end with the evolution
of a satisfactory mechanical design. On
the electronic side, the problem of provid-
ing bias for as many as ten channels means
the design of an unusually high-powered
bias source. Equalization problems also
differ from those in a plain recorder, since
the higher tape velocity which most dupli-
cation systems employ means that both
low and high equalizatit)n must be designed
on a wave-length basis and will therefore
depart materially from that used at stand-
ard tape speeds.
Yet another very difficult problem in the
tape duplication field is that which results
from the fact that not all play back heads
on all play back machines arc always in
perfect alignment! In the machine pictured,
a novel arrangement has been introduced
to make the duplicate tapes relatively in-
sensitive to minor play back head misalign-
ment.
The equipment shown is installed in the
laboratory of Rawdon Smith Associates,
Inc. of Washington, D. C, who developed
the electronic equipment which is utilized.
It has been exhaustively tested for fidelity
of the duplicate to the original, for free-
dom from introduced harmonic distortion
and, in particular, for any increase in wow
produced by the duplicating process. In
this latter respect, the machine is particu-
larly successful, a matter of importance
since, however insensitive the average lis-
tener may be to degraded frequency re-
sponse, or even to moderate harmonic
distortion, he readily perceives (even on
a $10.00 radio) that his music is "canned"
if sustained piano notes, for examples, have
a pitch waver.
Many tapes made on this machine have
now been used by broadcasters, by educa-
tional institutions and by the U. S. Army,
which broadcast a Christmas message to
all troops overseas by "Multitape." The
most influential local radio station paid the
process the most welcome compliment of
all by broadcasting a 15-minute program
devoted to praise of the process and its
co-developers — all from the 150th "Multi-
tape" copy of the original tape recording!
The economy of this method of tape
duplication is reflected in the following
price schedule, which nichide,'; the highest
quality plastic-base tape (Audiotape, of
course:
.AJumber of
Reels 7" Reel 5" Reel
2-4 $5.50 $3.30
5 - 10 4.70 2.80
11-50 4.40 2.65
51 - 100 4.00 2.40
Further information on this Multitape
process can be obtained by writing to Raw-
don Smith Associates. Inc., 2217 M Street,
N.W^, Washington, D. C.
qmcUoT Oi
VOL. 8. NO. 1
JANUARY. 1952
,shtd monthly bv Audio Dcv,
CCS. Inc.. 441 Madison
luc. New York City, in the ir
tcrcsts of better sound
dine. Mailed without cost to
radio stations, record -
studios, motion picture studio
s, colleges, vocational
lis and recording enthusiasts
hrouRhout the United
January, 1952
AUDIO RECORD
Purdue University Opens New Electronic
Language Laboratory
I Large, Fully-equipped Laboratory is
I Designed to take Full Advantage of
both Audio and Visual Aids in
Language Study
The Department nt Mt)dern L,inguat;es
of Purdue University, Lafayette. Indiana
has announced the opening of its new-
language laboratory for elementary classes,
beginning this semester. This large and
fully equipped laboratory marks still an-
other addition to the roster of key educa-
tional institutions to attack the problem of
improving language skills of college stu
dents.
The facilities of the laboratory will first
be concentrated on students undergoing
training in basic familiarization with a
new language. At a later date, the facili-
ties can be directed to training for higher
academic achievement and for experi-
mentation. The installation, entailing an
expenditure of more than $15,000., was
designed and equipped by Educational
Laboratories, Inc., of Washington, D. C.
The main laboratory has twenty-eight
semi-soundproof booths with sliding front
panels which can be raised to isolate the
student during intensive audio work. The
booths are aligned by rows in "chevron"
formation which, with the front panel
lowered, facilitates viewing of the screen.
Each booth is equipped with a flush -
mounted custom Brush Soundmirror tape
recorder, button controlled microphone
and high quality earphones. Additional
audio equipment includes a master tape
recorder, disc recorder, radio and asso-
ciated equipment and connections for pip-
ing recorded material or the instructor's
living voice directly into each booth. Visual
equipment includes the new Bessler opaque
projector and a Speed-Reader.
The switching system of the Laboratory
is custom designed and permits complete
flexibility in the use of the equipment. One
important asset of the system is apparent
in that each student is in contact with the
instructor by way of his earphones for
every minute of the class period. More-
over, in supplementing this electronic com-
munication, with the individual recorders
in operation the students respond to the
instructor's questions and directions while
the recorder makes a tape record of the
voices for later comparative study. The
effect is thus to eliminate a division and a
spreading of the instructor's efforts over
the twenty-eight students and each student
participates 100% of the class period. The
switching system also provides for a re-
corder to conduct the class, as it were, by
means of a pre-recorded tape, while the
instructor at the same time is auditing by
earphones the responses in any booth. The
instructor can cause any booth to function
independently or as a master control for
a variable number of its neighbors. In this
way, using each row of booths as a unit,
it is possible to conduct five different acti-
vities simultaneously. Students are not dis-
turbed by events taking place which do not
concern them due to the acoustical treat-
ment of the installation and to their ear-
phones, which command attention and
narrow their concentration.
Multi-sensory impression, a potent in-
gredient in language learning, is achieved
through use of visual material combined
with oral texts, both keyed to the class
work. Excellent contemporary visual ma-
terial for the opaque projector is available
in the nearest magazine. Neither the
opaque projector nor the Speed-Reader
requires total darkness for projection;
enough light can be maintained to conduct
opaque projector nor the Speed-Reader
operates without shutter and projects
printed matter at a chosen speed from
very slow to very fast. The image moves
upward out of vision similarly to the
"leader" in an entertainment film. Incor-
porating visual material by projection into
the laboratory system permits the student
in one case to identify an unknown sound
with a known object, and in another case
involving reading, to associate a newly
learned sound with its written equivalent
in the new language.
The past two years have seen the in-
ception of the modern language laboratory
such as has been installed at Purdue, the
University of Puerto Rico, Georgetown
University, American University, a spe-
cial project in Manila and in the United
States Government. The methodology be-
ing developed in these projects is well along
towards setting the standard for language
teaching in our country'. These new tech-
niques where sound is used as the bridge
in learning are bringing language classes
back to life again, making the learning
process a stimulating, exciting adventure
for the students.
AUDIO RECORD
January, 1952
Audio Devices Announces Winners
of Educational Recording Contest
Twenty-six Educators Awarded
Prizes Totaling $275.00 in Cash,
Plus $ 1 ,430.00 Worth of
Audiotape
The Educational Recording Contest an-
nounced in the August-September 1951
issue of Audio Record brought in a total
of more than one hundred scripts, sub-
mitted by educators in 24 States, and even
from Hawaii, South America and Europe.
Entries varied in length from a single sheet
written in longhand to 17 typewritten
pages. The applications mentioned included
just about every conceivable use in prac-
tically every field of education. But they
all had one thing in common — a tremen-
dous enthusiasm for sound recording as a
teaching tool.
Selecting the prize-winning scripts was
a much more difficult job than our judges
expected it to be. As is the case in any
contest of this type, many excellent and
well-deserving scripts had to be eliminated
in the "Finals". We know, too, that many
of the contestants will be disappointed that
their entries were not selected. Frankly,
we feel the same way about it. But a con-
test would be no contest at all if every
entry received an award, and the judges
had to do the best they could in evaluating
all of the scripts on an equal and impartial
basis. It was originally planned to award
ten first prizes and ten second prizes. In
view of the nature of the material sub-
mitted, this was changed to elei'eTi first
prizes and fifteen second prizes. And still
a great many very fine scripts had to be
passed up entirely.
To the winners, we extend our sincere
congratulations. To all others who devoted
their time and effort in preparing material
for this contest, we wish to express our
thanks and wish them the best of success
in the work which they are doing so well.
All scripts were judged on the basis of
the completeness of the information — its
probable value to other educators — the
scope of applications covered — the unusual
interest of certain unique and special ap-
plications— and also, but to a lesser extent,
the availability of suitable illustrative ma-
terial for use with the articles when they
appear in published form. All of the first
and second prize-winning articles will be
published in future issues of Audio Record.
In addition, many of them will also be
made available in convenient booklet form,
to provide teachers with a complete educa-
tional recording guide that will help them
to realize the full potential of this power-
ful new teaching tool.
A glance at the titles of the following
26 prize-winning scripts will give some idea
of the wide range of applications covered,
as well as the educational levels from
which they originated.
FIRST AWARD WINNERS
(^25 Cash plus 10 Reels of Audiotape)
1. "Our Busy Tape Recorder"
by Sister Mary Agnetta,
Band Conductor,
Immaculate Heart o( Mary Home
for Children,
Buffalo, New York
2. "Building a Library of Radio
Programs on Tape"
by Harold Hainfeld,
Roosevelt School,
Union City, New Jersey
3. "Tape Recording in Educational
Theatre"
by James W. Thompson,
Yale University Drama School,
New Haven, Connecticut
4. "On the Listening Road to Learning"
by Marg.iret Sebcrgcr.
Director of Research and Guidance,
Monrovia City Schools,
Monrovia, California
5. "The Use of Recordings at the
Berkeley Opera Workshop"
by John E. Meeker,
Director of Recordings,
Berkeley Opera Workshop,
Berkeley, California
6. "The Use of Audiodiscs in College
Speech Classes"
by Clara B. Weir,
Ithaca, New York
7. "Every Man Heard Them Speak in
His Own Language"
by Joseph Hocking,
Pucallpa, Peru, South America
8. "Tape Recording in Cardiology"
by J. Scott Buttcrworth, M.D.
Associate Professor of Medicine,
University Hospital,
New York, N. Y.
9. "A New Technique Utilizing Tape
and Disc Recording in Speech
Training"
by Duncan Whiteside,
Director of Radio,
University of Mississippi,
University, Mississippi
10. "A Syllabus of the Tape Recorder"
by Claude D. Bickier,
Assistant Principal,
Lincoln School,
Wausau. Wisconsin
11. "Recording Activities at Yakima
Radio Workshop"
by Miss Murle J. Birk,
Director of Radio Education,
Yakima Public Schools,
Yakima, Washington
SECOND AWARD WINNERS
(10 Reels of Audiotape)
1. "A Precision Tool"
by Miss Minnie R. Moore,
709 West 15th Street,
Tyrone, Pennsylvania
2. "Teaching French with Tape"
by Fcrnand L. Marty,
Instructor in French,
Middlebury College,
Middlebury, Vermont
3. "Inter University Recording"
by Edgar G. Will, Jr,
University of Hawaii,
Honolulu, T. H.
4. "Unusual Uses of a Recording
Machine"
by Charles R. Morris,
Milton Academy,
Milton, Massachusetts
5. "Tape Recording in Citizenship
Classes"
by Louis Ratner,
Teacher of English and Citizenship,
P. S. 178,
Bnxiklyn, New York
6. "How Tape Recording Helps the
Drama Instructor"
by Daniel Seidman,
2 Peter Cooper Road,
New York 10, N. Y.
January, 1952
AUDIO RECORD
7. "How We Use Recording to Improve
Our Public School Music"
by Frank H. Groff,
Director of Music,
West Hartford Public Schools,
West Hartford, Connecticut
8. "Making Assurance Doubly Sure"
by Robert C. Schimmel,
Radio Coordinator,
Boston Public Schools,
Boston, Massachusetts
9. "The Recorder in a Propaganda
Unit"
by Sidney B. Simon,
Bradford Senior High School,
Bradford, Pa.
10. "Educational Recording"
by Sister Mary Constance,
St. Agnes Academy,
Alliance, Nebraska
11. "How Recorded Sound Helps Teach
Anatomy and Physiology"
by R. Dean Schick, Ph.D.,
Science Department,
State Teachers College,
Cortland, New York
12. "Now We Tape It"
by Worthington A. Gregory,
Director of Radio,
Sewanhaka High School,
Floral Park, New York
13. "How Tajje Recording Lightens the
Teaching Load"
by John Wall,
Del Norte Consolidated Schools,
Del Norte, Colorado
14. "Radio Expression in Elementary
Schools"
by Armin H. Beck,
Grant School,
Decatur, Illinois
15. "How Tape Recordings Stimulate
Creative Imagination"
by Bethel Jane Graves,
Junior High School English Teacher,
North Syracuse, New York
TAPE RECORDING IN CARDIOLOGY
by J. Scott But+erworth, M.D.
Associate Professor of Medicine
University Hospital, New York, N.Y.
(One of ihc First Pri
in the Educational Recording Contest )
The teaching of cardiology at New York
Post-Graduate Medical School has posed
many problems. Cardiology, or the study
of heart disease, depends to a great extent
upon training the sense of hearing and
particularly the appreciation of low fre-
quency sounds. For a number of years we
have been engaged in developing and work-
ing with an electronic type of amplification
that would exactly reproduce the sounds
a physician hears through his own stetho-
scope. This seems rather a simple proposi-
tion hut it is complicated by the fact that
the frequency of the sounds produced by
both normal and diseased hearts is in the
low spectrum. Most of these sounds are
below 200 cps and go as low as the thresh-
old of audibilty at the intensity produced
by the heart (there are many frequencies
below the threshold which we do not
hear) .
It was formerly necessary for each stu-
dent to examine a patient individually
with his own stethoscope. This not only
consumed a great deal of time and wasted
the time of the group, hut also left much
to be desired as far as a teaching method
was concerned since the instrtictor was
never entirely sure of what the student
was hearing.
We now use a system composed of a
special microphone for picking up the
sounds from the patient's chest, a good
amplifier flat in the low frequency range
and multiple electronic stethoscopes so
that an unlimited number of students may
he microphone on the patient's chest which feeds
Cardioscope. The output goes to the individual stethophones of the students i
The instructor has a microphone and earphones and can talk to the group
at the same time (or recording the heart sounds.
all listen at the same time (see illustration).
We have found loud speakers rather un-
satisfactory because of the very low fre-
quencies which in a room that is not spe-
cially sound conditioned tend to feed back
even at low intensity. With this equipment
we are able to examine patients with ease,
accuracy and speed and at the same time
to visualize the sound at the same instant
it is being heard, on a special 16 inch tube
coated with a long persistent material.
There are many times, however, when we
do not have a patient easily available to
illustrate the particular subject in which
we are interested and that is where tape
enters the picture.
We originally used discs for our records
but were troubled by surface noise (which
stands out much more where only lows are
present) which tended to become more pro-
nounced the longer the record was used.
We turned to tape for the solution and
we now have several recorders which have
been adapted to the recording of heart
sounds.* This requires extremely good
fidelity in the range from 500 to 20 cps
and the additional use of filters to accent-
uate certain frequencies in this range.
Over a period of time we have developed
a large library of tape recordings of all
types of heart sounds and murmurs so that
we are no longer dependent upon the
presence of an actual patient. The records
may be played in continuous recordings
of an hour or more with lectures and com-
ments interspersed or endless tapes may be
used to play a certain type of record end-
lessly until the student has had plenty of
AUDIO RECORD
January, 1952
Tape R
to the
Educai
on ihe
ecorder rcpl
stethophone
onal Cardio
face of the
aces ih
cope w
special
e patient and th*
illustrated) and
here the sounds a
picture tube. In
play 30
onttnuou!. tape is
seconds at J '4 " 0
shown
n position
time to become accustomed to the sounds.
Most of the recording is done at 33/4" or
I'/s"- which enables us to put a lot of mate-
rial on a 7 inch reel and which does not
detract from the low frequency response.
Tliis system of tape recording has many
other advantages: It is easy to edit the
tapes; It facilitates teaching since the rec-
ord may be played as long as desired by
either the instructor or the student; It
produces a permanent record of a patient
at a given time. The latter is most useful
in following changes in the sounds of an
individual patient over a period of months
or years, or in illustrating the changes that
occur as the result of our modern cardiac
operations where certain types of cardiac
murmurs may be entirely abolished by the
proper surgical procedure. The field is still
new and the possibilities are relatively un-
limited.
'' These recoidcr.s are not commercially available
at present but any tape recorder having good
low frequency characteristics may be adapted.
Our recorders were originally developed with
the fine cooperation of Mr. Jack Bicger of
Tapetone Corporation
''Every Man Heard Them Speak in His Own Language"
by Joseph Hocking
Pucallpa, Peru, S. Amer.
The arrival and development of mag-
netic recording has opened vast possibilities
for the missionary to reach and teach illit-
erate Indians or Indians without a written
language. Something has been done and
more will be done so that the red skin
seated in darkness may recieve the light
as he listens rather than as he reads. The
problem of illiteracy disappears when we
seek to reach the uncultured through the
ear-gate. Let us talk of what has been done.
We have been carrying on a campaign
here in the jungle country to tr>' and give
every missionary and linguist working
with primitive people an opportunity to
produce a set of records presenting his
messages to that group in their own lan-
guage. Before tape recording became avail-
able Presto portable disc recording equip-
ment was used here. Centers were set up
as near the tribe as possible where electric
current and other facilities were available
or the entire equipment with a portable gen-
erator was carried or flown to the Indian
center. This method was expensive and
the equipment cumbersome. No matter how
well coached by the missionary, the native
Tt-ader would often make mistakes, spoil-
ing blanks and adding to the expense. One
native Quecha boy was very polite when
he made a mistake always saying "pardon
mc" and then making the correction. He
couldn't understand and was quite put out
that we recorded his "pardon me"s". Edit-
ing the tape now it is quite a simple matter
to cut out the error and the "pardon me".
I must someday go back and tell that boy
that he can now say "pardon mc" and we
won't play it back.
Just as the sulfas and the biotics have
simplified our medicine so the magnetic
tape recording has simplified our record-
ing problems. Now. even when traveling
lightly, one can still t.ike a tape recorder
along to the tribe. For several years we
have been using Brush portable equipment.
Our Audiotape often comes out parcel
post bringing a message from a friend t)r
a favorite program. Sometimes the custom
charges are high, sometimes the tape comes
in as gummed tape or the like with little
or no charge. These same tapes go back
carrying Indian programs to be duplicated
and returned. As the prices come down
more and more workers arrive in the jungle
country bringing a magnetic recorder. Re-
cently we have seen Wilcox-Gay portable
equipment and Minitape brought in.
The field recordings are usually made
up into three and a half minute programs.
These are sent to a group in Los Angeles
(Gospel Recordings Inc.) to be dubbed
and a hundred or more pressings made of
each. These records are sent or brought out
to the Indian area to be used with suitable
portable victrolas. The records are usually
given to the Indians and the play back
machine lent or sold below cost .
You can imagine the surprise of the
Indians as they hear for the fir.st time the
box that talks their language. Some chatter
like monkeys forgetting to listen. One
Indian stood up and repeated word for
word the message as the record was first
played. Others want to add their comments
to the record after it is played. Often they
look .tround and in the box to find the
voice. It is amusing to see them examine
the needle and record to try and under-
stand how it is done. One Indian lumped
to his feet after the second playing calling
attention to all listening that the record
has said the same thing the second time it
was played. He was so impressed by this
th.it he said it must be the truth and he
would believe it if it said the same thing
the third time. Of course a convert was
won. One Indian group traveled days to
return their victrola which they said was
broken. It was discovered that they had
played their records till they were no
longer understandable. With a new set
of records their machine was fixed.
Our little wooden missionaries are un-
tiring workers, willing to repeat their
messages any number of times at any hour
of the day or night. They don't mind the
mosquitoes and other insects and they
don't get sick from poor food and disease.
They speak fluently many difficult lan-
guages. We take our hats off to them —
they are doing a good job.
A linguisl. J
beforr ni,iklr
on the Uppt
Shipivo Indians listen u
from fhe tape recording
at Roaboya. Peru.
phonograph record mad
iheir own language. Take
January, 1952
AUDIO RECORD
pointe/^
C. J. LeBcl
'^^^i?**^
By C. J. LeBcl, Vice President
Audio Devices, Inc.
EDUCATIONAL RECORDING
W c have just
h.id a most inter-
esting several days
reading the manu-
seripts entered in
our Educational
Recording Con-
test. Especially sur-
prising are many
ot the uses to which
tape recording is
being put today,
ranging from stand-
ard school applications to psychiatry and
missionary work.
Although the total number ot entries
was not sufficiently great to permit draw-
ing any hard and fast conclusions on edu-
cational level and territorial distribution,
some interesting trends seem to be indi-
cated.
Papers were submitted at all levels, with
the following somewhat surprising dis-
tribution :
Elementary School
Junior High School
High School
College ....
Miscellaneous
Based on the number of institutions in
each field, one would expect a higher per-
centage of returns from the elementary and
junior high school groups, and a lower
percentage in the high school and college
brackets. Since writing ability is possessed
at all levels, it looks as though sound re-
cording equipment is still too scarce in
elementary and junior high schools. This,
however, is a situation which is sure to
correct itself as more and more educators
in this group become familiar with the ad-
vantages and economy of tape recording.
When we come to the state of origin
we have another surprise. Although scripts
were submitted from a total of 24 states,
71 per cent came from the following group :
16''f
17%
18%
New York
California
Massachusetts
New Jersey .
Pennsylvania
Illinois
Wisconsin
26%
10%
8%
7%
7%
7%
6%
NEW SELF-TIMING
LEADER TAPE ON
PLASTIC BASE
Audio Devices, Inc., has now perfected
,in improved, self-timing leader tape made
of a strong, durable white plastic material.
It can easily be marked with pencil or ink
to identify selections and will outlast paper
tapes many times over. Used with standard
'/4-inch magnetic recording tape, it offers
the following advantages.
Saves Recording Tape — leaders at begin-
ning and end of reel permit full length of
magnetic tape to be used for recording.
Protects Recording Tape — outer wrap of
leader tape protects outer turns of mag-
netic tape from accidental damage.
Easy Identification — marked leader tape
between selections on a reel permits quick
spotting of any desired material.
Accurate Timing — the words "Audiotape"
are spaced exactly ly^ inches apart, pro-
viding a simple and accurate method of
timing at all standard tape speeds.
What Is a CHIP CHASER?
Several people have asked us this
question, after seeing a reference to
it in a recent Audio Record Article.
Briefly, the Audiodisc Chip
Chaser is a simple and effective de-
vice for keeping the thread out of
the way of the stylus when record-
uig outside-in. It has a heavy base
u'hich is placed beside the turntable
and requires no fastening down or
adjusting. The wiper blade is set on
the disc before starting the record-
ing.
It automatically and infallibly
brushes the thread toward the cen-
ter of the disc where it winds up
on the center post or drive pins,
without any danger of fouling the
stylus. Once in place, it operates
without attention — fits any ma-
chine— is self-adjusting — and tips
up out of the way when not in use.
The blade cannot scratch or dam-
age the disc surface.
Two sizes are available from your
Audiodisc dealer:
12' Turntable
S;.00 List Each
6.25 List Each
Audio Self-Timing Leader Tape is avail-
able in 150-foot rolls, individually pack-
aged in a self-dispensing container for easy
use. List Price, 60 cents per roll.
Another way of putting it might be that
only four states supplied over 50% of the
replies. Are some states too slow to adopt
improved techniques? Or is it that their
teachers are just more reticent to talk about
their accomplishments?
Finally, our analysis comes to a point
which has been a pet interest of the writer:
quality needs. Administrative personnel
have often told him that most schools do
not need high quality equipment- -for very
few engage in activities that require high
quality results. It is therefore significant
that 26''r of the users have applications
where quality is vital: speech correction
and/or music. This does not mean that
all are full time teachers of speech cor-
rection, but rather that child speech (for
example) is often bad enough so that
correction becomes an accompaniment to
other work.
Bearing in mind the number of schools
which have only one recording machine,
it is evident that most machines should be
capable of good enough quality for speech
correction. Yet many of the contestants are
still limited in their activities by obsolete
and inadequate equipment. It is indeed a
tribute to their perseverance and ingenuity
that they have been able to do so much
w'ith so little. We sincerely hope that these
limitations will soon be removed — that
their efforts will be rewarded by the pur-
chase of recording equipment capable of
performance that is commensurate with
the basic minimum requirements for the
job to be done. We will then see a tremen-
dous increase in the effectiveness of sound
recording in all phases of educational
work.
A reprint of an article on quality requirements for edu-
cational recording, by Mr. LeBel, is available from
Audio Devices, Inc. on request.
They bring true listening enjoyment to millions — through
the finest in modern sound recording methods and equipment
RCA Victor's modern Vinylite phonograph records are
infinitely superior to the old shellac pressings of a few years
ago. Better in tone quality, distortion, surface noise and
frequency range. This improvement in quality requires more
precision than ever before in every step of record manufac-
ture and processing. That's particularly true of the original
sound recording and the master discs from which the stamp-
ers are made. And RCA Victor has found that Audiotape
and Audiodiscs are an ideal combination to meet the exacting
demands for today's high fidelity phonograph records —
Audiotape for clearest recording of the original sound and
Audiodiscs for fast, easy processing without loss of sound
quality. In fact this record-making combination is now being
used with outstanding success by America's leading producers
of fine phonograph records and broadcast transcriptions.
Whatever your recording work may be, Audiotape and
Audiodiscs offer you this same sound perfection — the result
of more than 12 years of specialized experience by the only
company in America devoted solely to the manufacture of
fine sound recording media, both discs and tape.
AUDIO DEVICES, Inc.
444 MADISON AVE., NEW YORK 22, N. Y
Export Depl.: 13 Eait 40lh St., New York 16, N. Y, Cables "ARIAB"
. . . including
flllfl ifl*fl Pf *
for the original sound
and CUlcUodwCS*
for the master recording
Published by
AUDIO DEVICES, INC.
444 MADISON AVENUE, N. Y. 22, N Y.
cuuilaeUxc* VM^
audiofUm ^
A ponion ol the •Miiiu.il Room" jl WOR Recording Studios, showing 6 of ihc 12 rack-
mounted Magnecorders and the specially designed central control panel for all machines.
Here every Mutual program is taped and re-transmitted one hour later during daylight
saving time. Story on Page 2.
In this issue
• WOR Recording Studios
• Berkeley Opera Workshop
• Radio Station Survey
• Effects of Head Wear
AUDIO RECORD
A World Of Recording at WOR
Here, in one of the country's largest and most modern
sound studios, discs and tape now share the recording load
on a 50-50 basis.
When you enter the WOR Recording
Studios at 1440 Broadway in New York
City, you enter a realm apart from the
mad hubbub of the metropolis — a quiet,
busy little world where sound is king. Yet,
far from being isolated from the outside
world, these studios are a veritable nerve
center of New York's vast communica-
tions system — and programs recorded here
are heard throughout the nation and even
in the far corners of the world.
If you're looking for the finest in mod-
ern sound recording methods and equip-
ment, you'll find them at WOR. And if
you're interested in knowing just how far
magnetic tape has revolutionized the re-
cording industry, you'll find the answer at
WOR, too. For here, in one of America's
largest sound recording organizations, you
can see the result of ten years of audio
evolution.
The WOR Recording Studios were
opened in 1942 — with a full complement of
what was at that time the finest disc re-
cording equipment obtainable. For the
next six years the entire operation was on
a disc basis. Then, in 1948, tape entered
the picture. It was at first tried out on an
experimental basis, but later on, as the
quality of both the tape and the recording
equipment was improved, this phase of the
operation grew rapidly in importance. And
today, the recording work done here is
about equally divided between discs and
tape. During this period of evolution, the
disc recording end of the business did not
remain static either. For as quickly as im
provements in disc equipment were made
available, they were put into use at WOR,
to keep the quality of the recorded sound
at the highest level obtainable.
The combined tape and disc equipment
now being used at WOR includes 12
Ampex tape recorders, 3 Rangertone tape
recorders, 14 Magnecorder tape recorders,
8 Scully disc lathes, 12 Presto reference
disc recorders and RCA and Fairchild
transcription turntables.
There are nineteen different studios, in-
cluding a theatre, each v^ired to a central
control switchboard which connects any
desired recorder combination to any studio
at any time. But "four walls do not a prison
make" — and the WOR recording facilities
are not limited to the studios at 1440
Broadway. By means of direct lines or
connections through a central exchange,
the WOR studios can make recordings of
programs originating in practically any
metropolitan radio station or remote point
— including the Mutual Broadcasting Sys-
tem, The American Broadcasting Com-
pany, The Columbia Broadcasting System,
Stations WNEW, WNYC, WINS and
WMGM. Specially developed receiving
equipment is also installed to permit off-
the-air recording of the audio portion of
any AM, FM or TV program material.
A quick look at some of the recording
rooms will be of particular interest to our
professional readers.
In the so-called "mutual room", there
is an impressive array of twelve rack-
mounted Magnecorder tape machines with
a specially designed control console which
puts the operation of the entire setup at
the fingertips of the engineer in charge.
This exceptionally large tape installation
was designed to handle the Daylight Sav-
ing Time requirements of the Mutual
Broadcasting System. From April to Sep-
tember, this equipment operates continu-
ously 16 hours a day, 7 days a week, taping
every Mutual program as it is aired and
re-transmitting it one hour later. The taped
programs are sent by wire line to local
MBS stations in various part of the coun-
try where the later time coincides with
local broadcasting schedules. Each program
is recorded on duplicate tapes, and during
playback, the two tapes are run simulta-
neously in synchronism, so that, in the
event of a failure in any one machine, the
other can be switched in instantly without
any break in the program. This operation
requires the use of about one million feet
of tape.
The large Reference Recording Room
contains a bank of 12 Presto disc lathes,
designed primarily for air checks, line
checks, and broadcast reference recordings.
The equipment in this recording room also
includes rack-mounted tape recording ma-
Ralph Schlcgcl. Recording Supervisor, at the conlrol
recording rooms. A Rangertone tape recorder is shov
cLLudiam reccrrd
VOL. 8, NO. 2
FEBRUARY. 1952
Published monthly by Audio Devices, Inc., 444 Madison
Avenue. New York City, in the interests of better sound
lecording. Mailed without cost to radio stations, record
ing studios, motion picture studios, colleges, vocational
schools and recording enthusiasts throughout the United
States and Canada.
February, 1952
chines. Here, also, is the master control
switchboard, with provision for connecting
any recorder or combination of recorders
to any of the 19 WOR recording studios
as well as to practically any AM, FM or
TV radio station in the metropolitan area.
The Central Cutting Room for tape in-
cludes four Ampex console type machines,
with complete facilities for program feeds
and tape editing. This extremely flexible
setup makes it a simple matter to mix two
tapes and record them on a third — com-
bine any desired selections from two or
more tapes on to a single, splice-free reel,
etc.
In Studio C, a so-called workshop studio,
is a unique, two-turntable re-recording
console, designed by WOR recording engi-
neers for the quality improvement of rec-
ords or transcriptions submitted by clients.
By means of complex equalizing networks
and frequency-selective pre-emphasis and
volume suppression, weird and wonderful
things can be done to bring out the hidden
quality of a disc recording — or, in other
words, to make a "copy" the quality of
which is actually far superior to the orig-
inal record.
For cutting phonograph and transcrip-
tion masters, only the finest Scully Lathes
are used — including two fully automatic
machines with continuously variable pitch
and pre-selective push-button control of all
disc recording functions. At the touch of a
button, these machines will automatically
perform every cycle of operation, from
starting the turntable and lowering the
cutter to tracing the center spiral control
groove, thus eliminating the possibility of
human error from this mechanical phase of
master disc production.
Mr, Ralph Schlegel, WOR's Recording
Supervisor, believes that the studio's opera-
tion as carried on today, with a fairly equal
A lypical WOR recording room setup, looking from disc cutting room (with Scully lathe in foreground I
glassed-in control room (with Rangertone tape machine) and into the studio beyond.
division of load between tape and disc re-
cording, is pretty well stabilized, and will
continue on that basis for a long time to
come. In his opinion, the lacquer disc still
represents the finest available medium for
top quality recording and reproduction
and for permanent storage of valuable re-
cordings. Tape, on the other hand, with
its easy editing and very high quality stand-
ards, is the preferable medium for many
types of recording work carried on in any
large studio operation. Many clients prefer
to use tape, even though the cost for a
given program time is considerably higher
— largely because changes and corrections
can be made so easily after the recording is
completed.
Where previously double discs were cut
on every recording, it is now the usual
practice to make one disc and one tape.
Sometimes double tapes are made, with
no disc recording at all. Tape recordings
at WOR are made at 71/2, 15 or 30 inch
speed, with about 90 per cent of the work
done at 1 5 inches per second. Studios and
equipment for making high fidelity sound
on film, with complete services for adver-
tising agencies and TV producers are now
being planned.
Mr. N. B. Lockwood, Manager, and
Mr. John Hayes, Assistant Manager, ex-
plain that WOR's clients include prac-
tically all of the major advertising agencies
(Continued on Page 6)
:$m.
AUDIO RECORD
The Use of Recordings at the Berkeley
Opera Workshop
by John E. Meeker
Director of Recordings
Berkeley Opera Workshop
Berkeley, California
(One of the eleven first-prize winning entries in
Audio Devices' educational recording contest. )
The Berkeley Opera Workshop is a
function of the Berkeley Adult Evenini;
School which aims to provide a class for
those persons who are interested in singing
in an opera production or playing in the
orchestra for the production. It has as its
chief purpose the provision of a place where
practical experience may be had in singing
opera music, either as a member of the
chorus or as a principal. Members of the
group are given a chance to try singing
the leading roles during class sessions and
any who feel up to it may have a chance
to sing a leading role in one of the actual
performances the group stages for the pub
lie. It is hoped that eventually the group
will be able to organize a stagecraft and
costume section to supplement the music, il
sections. In that way it will be possible t.*
overcome some of the financial problems
involved in staging an opera.
At the moment the group is rather small
but those who come are very much inter
ested in it and we are planning on putting
on a production in the near future. Meet-
ings are held twice a week in the new music
building the Berkeley High School com-
pleted last year. For our productions we
have available the complete facilities of
either the large community theater with
its great stage or the small Little Theater
which is more compact.
The use of recordings in conjunction
with the activities of the Opera Workshop
consists in making spot checks of rehearsals
and complete recordings of performances
given on the stage. Both of these uses give
the members of the group an opportunity
to hear themselves in action. The original
recordings are made on Audiotape and
disc copies of excerpts are available to those
who wish them. A nominal charge is made
for the discs to cover cost of materials used.
A master copy of each complete recording
is copied onto discs to be filed as a perma-
nent record of the group's accomplish-
ments.
Typical recording setup as used for making rehearsa
Equipment shown includes two portable Magnecordi
The recording equipment is furnished by
one of the members of the group who is
operating a more or less non-profit record-
ing service and is very much interested in
the activities of the Opera Workshop and
in educational recording for music stu-
dents. The tape recorders are Magnecord
PT6-AH units operated from a custom
built recording amplifier. The amplifier has
facilities for mixing three mikes and is also
equipped to dub from tape to tape. The
present disc recorder is a Presto 6-N ma-
chine which is used for making the disc
copies of tape recordings. All original re-
cordings are made on tape and then copied
onto discs. The tape machines are equipped
with carrying cases and a changeover switch
for continuous recording on location. An
accessory gadget that has been picked up
is a small hand crank which fits over the
spindle and into the slots on the tape reels.
of the Berkeley Opera Workshop.
This simplifies hand rewinding during a
performance when the recorders are in a
position which would make use of the
motor rewind out of the question due to
the noise produced. We find it simpler to
keep track of the sequence of reels if they
are rewound immediately. A tape speed of
fifteen inches per second is used when re-
cording for the Workshop and that allows
fifteen minutes in which to rewind the reel
and place the new reel on the machine
ready for operation. It has also been found
that the noise of rewinding by motor gets
picked up by the other tape when re-
cording.
When the equipment is used at the class
sessions for making spot recordings of the
rehearsal, the recorders are set up at the
rear of the classroom on portable folding
tables and positioned so that the operator
can watch the director of the class and
February, 1952
receive instructions from him as to what
and when to record. The mike is placed
on a boom and put in a front-center posi-
tion where it will give reasonably adequate
pickup of the singers and piano. With a
small group it is simpler to figure out the
mike placement than it is with a larger
group due to the fact that the larger the
group the more spread out it will be in a
sideways direction. The speaker for play-
back is placed in a suitable spot at the
front of the room where it will be heard
by all the members of the group. In actual
operation the director of the group requests
that specified portions of the music be re-
corded and then played back immediately.
During playback he will point out any
special items that he wishes to bring to the
attention of the class. In this the class hears
itself as a group and the individuals can
find out if they are blending in with the
whole group or not.
During the past year, two complete
opera productions have been staged by the
class in the big community theater which
will seat three thousand persons. Complete
recordings were made of each production
and the results were quite good, especially
for a first attempt. The first production
was Aida and it provided an excellent
opportunity to find out by trial and error
how to record a live opera complete with
chorus, orchestra and principals. The mike
placement was figured out by guesswork
plus a bit of semi-experiment at the dress
rehearsal. For this opera the mike was hung
from the spotlight bridge approximately
over the center front of the stage just back
of the main curtain. There was no prac-
tical way of stringing the mike in front of
the curtain and it was also desired to keep
the orchestra from drowning out the chorus
and soloists. Experimental recordings made
during the dress rehearsal provided some
idea of how well the orchestra would be
picked up from a position near the foot-
lights. The mike was about fifteen feet
above the stage floor which was a promi-
nent position. However, there were three
other mikes hanging at the same level to
provide p. a. reinforcement when needed so
the "looks" factor was put aside for this
production. The results achieved with this
mike placement were sufficiently good to
warrant its continuance with slight modi-
fications at the next opera production. The
second opera we staged was Die Fleder-
maus and it had a feature which Aida had
not had. This time there was spoken dia-
logue to record as well as music. The mike
was again hung from the spotlight bridge
but this time it was placed so that it would
be as inconspicuous as possible. The mike
barely protruded beyond the edge of the
horizontal border fringe that formed the
top border of the main curtain. This put it
about thirty feet above the stage floor and
AND HERE'S
THE
"PAYOFF"
Author John Meeker (right I
fintjs that the preparation
of this first-prize winning
article was quite profitable.
Here he receives his S25
check from Miss Florence
Erikson of Photo and
Sound Co., Audio Devices"
distributor in San Fran.
Cisco. Mr. Charles N. Meyer
of the W. C. Hitt Co., one
of Audio's Factory Repre-
sentatives, stands ready to
award the additional prize
of 10 reels of plastic base
Audiotape.
yet there was still plenty of reserve gain
during the singing. The mike used was an
Electro- Voice dynamic microphone (model
6J5) which was suspended vertically fac-
ing the floor of the stage. This position
provided a 360 degree angle of pickup and
resulted in surprisingly good balance be-
tween singers and orchestra. The only
other mikes we had available were velocity
type instruments which nullified their use-
fulness since they reinforced the orchestra
as well as the singers. When we have the
necessary equipment wc will place two
cardiod type mikes in the footlights to
pick up the action at stage right and stage
left. That will give better results when the
principals are off at the edges of the stage
and at a great distance from the central
mike. However, the one mike did remark-
ably well most of the time with only two
or three places where the sound quality was
not as good as it should have been. In the
Little Theater the distances will be much
smaller which will simplify things greatly.
The recordings of the show were played
back for the class soon after the weekend
of the performance and they thus had a
chance to hear how they had actually
sounded. Of course, the balance between
orchestra and singers was not the same on
the recordings as it was to those sitting in
the audience but we did not aim to dupli-
cate that particular set of conditions. In
fact, the balance on the recordings was
better than that out in the audience. All
members of the group who wanted disc
copies of portions of the show were given
an opportunity to order what they wished
and before the tapes are re-used a master
copy will be made for the class files.
It is hoped that in the near future we
will be able to make spot checks of the
orchestra rehearsals as well as continuing
with the chorus rehearsal checks. Wc find
that this procedure is of great help in
smoothing out rough spots in the blend of
the ensemble since the members of the
group can hear for themselves what they
sound like in combination with other voices.
While singing they are primarily conscious
of their own pertormancc and perhaps the
performance of the person next to them
but find it difficult to achieve an adequate
conception of the total sound produced
by the group. The playback of the tape
shows them how they are related to the
other singers and whether or not they stand
out too strongly as individual voices when
it is desired to produce a smooth blend of
composite voices. All musicians should have
periodic practice recordings made so that
they may study their performances and
spot the little flaws that may not be very
noticeable during the actual performance.
A recording gives a permanent record of a
fleeting sound and can be given close study
under relaxed conditions with a resulting
improvement in technique and interpreta-
tion. We of the Opera Workshop are
thoroughly convinced of the importance
and practical value of high quality record-
ings as an aid to the study of music and
the performance of music.
All sound recordists who attend the IRE Show
at Grand Central Palace will certainly want to
visit the Audio Devices exhibit.
There will he a complete display of all Audio
Devices products for fine sound recording and
reproduction — including Audiodiscs, Audiotape,
Audiofilm and Audiopoints. And in the sound-
proof theatre, there will be regular showings of
the full-color sound moving picture, "Audiotape
Speaks for Itself". This film conducts you on a
tour of the plant where Audiotape is made —
shows the whole process from beginning to end.
If you can't get to the show, and would like
to obtain a 16mm copy of this film for showing
to any interested group, just write to Audio
Devices, Inc., 444 Madison Ave., New York 22.
AUDIO RECORD
RADIO STATION SURVEY SHOWS
IMPORTANT TRENDS IN USE OF
TAPE AND DISC RECORDINGS
78% of stations use discs — Audiodlscs
leading by a 3-+0-I nnargin
98% of stations use tape — Audiotape
gaining rapidly in popularity
Audio Devices, Inc. has just completed a
nation-wide survey among radio stations
to determine:
1. The extent to which broadcasting
stations use recording discs and mag-
netic tape.
2. How AUDIODISCS and AUDIO-
TAPE compare in popularity with
other makes of discs and tape.
A brief questionnaire was sent to 2,319
radio stations and replies were received
from 1,527 of them — a return of 66%. The
following questions were asked :
Do you use recording discs? Yes.... No....
If yes, IS the brand AUDIODISCS....
Or other make....?
Do you use magnetic recording tape?
Yes.... No....
Is the brand AUDIOTAPE.... Or other
make....?
The replies revealed that 78% of the
stations use recording discs in their work
and 98% use magnetic recording tape.
Of those using recording discs. 85% use
AUDIODISCS either exclusively or with
other brands — 63% use AUDIODISCS
exclusively — and only 1 5 % use other
makes exclusively.
Of those using tape, 63% use AUDIO-
TAPE either exclusively or with other
brands— 25% use AUDIOTAPE exclu-
sively— and 37% use other tapes exclu-
sively.
To give an impartial basis of comparison
and eliminate overlapping percentages, a
"point system" of scoring was applied to
these figures, counting one point for every
station where AUDIODISCS or other
makes of discs are used exclusively , and V^
point for each station where both are used.
This indicates a 74% use of AUDIO-
DISCS as compared to 26%^ for all other
makes of discs combined.
A similar calculation for tape shows a
volume of 44% for AUDIOTAPE as com-
pared with a total of 56% for all other
makes of tape combined.
A detailed breakdown of results from
this survey is given in the following tabu-
lation :
No. of Stations
No. of Replies
%
2,319 —
1.527 66
Use Discs 1.193 78
Use AUDIODISCS 1,018 85
Use other discs 446 37
Use AUDIODISCS exclusively 747 63
Use other discs exclusively 175 15
Use magnetic tape
Use AUDIOTAPE
Use other tapes
Use AUDIOTAPE exclusively
Use other tapes exclusively
1,496
943
1,122
374
553
98
63
75
25
37
Reliability of Survey
It will be noted that questionnaires were
sent to all radio stations, and replies re-
ceived from 66% — a very high proportion
in any survey. Further, the calculations on
volume, as previously mentioned of 74%
for AUDIODISCS and 26% for all other
makes, check very closely with several
previous surveys made in the past few
years.
In the case of AUDIOTAPE, the vol-
ume of 44%, as compared to all other
makes, is most encouraging since AUDIO-
TAPE has only been on the market half
as long as some other brands.
The survey figures by sales territories
also check very closely with previously
known facts with reference to these terri-
tories.
C Use
Iaudiotape
^ 1 ■ 1
^ exclusively
-
-
MWMMM
Use
AUDIODISCS
exclusively
Use
AUDIOTAPE
and other
makes
Use
other makes
exclusively
Use
AUDIODISCS
and other
makes
Use
other makes
exclusively
WOR Recording Studios
(Continued from Page 3)
in New York, and that their radio and
TV commercials and transcribed programs
constitute a large part of the work carried
on here. Fund raising organizations, slide
film companies, and independent phono-
graph record companies also account for
an important share of the recording work.
He also states that the majority of press-
ings used throughout the country bear the
familiar WOR label — which has come to
be accepted as a mark of quality recording
in radio stations throughout the country.
WOR offers its clients a complete record-
ing service — including studio rental, tape
recording, disc recording, phonograph rec
ord and transcription masters and press-
ings. They take full responsibility for the
entire job, even to the extent of maintain-
ing inventories of pressings and taking care
of all shipments and deliveries as requested.
One very large tape recording operation
which is carried on here is of particular
interest and world-wide significance right
now. That is the recording of all program
material for Radio Free Europe — an or-
ganization which operates a group of radio
transmitters situated in Europe on the
"free" side of the Iron Curtain. These sta-
tions beam their programs directly into
"Behind the Iron Curtain" countries, giv-
ing them a true picture of what's going
on in the outside world. This is an all-tape
operation and WOR records all of the
material in many ditFerent foreign lan-
guages. The recorded tapes are flown over-
seas for local broadcast by the Radio Free
Europe stations.
It can therefore truly be said that the
sound recordings made at WOR are heard
around the world.
February, 1952
poiitte/^
j^iiie^/^cot^^t^
by C. J. LeBcl, Vice President
Audio Devices, Inc.
OVERLOOKED RESULT OF HEAD WEAR
Users of mag-
netic recorders
have paid insuffi-
cient attention to
the heads of their
machines. Conven-
tionally, loss of
high frequency re-
sponse has been
taken as the sole in-
dication of head
wear, and a more
serious effect
(grooving) has been ignored
C. J. LcBel
Wear and High Frequency Response
Whenever two surfaces rub (as in an
automobile engine) wear results after a
time. The tape chemist formulates a lubri-
cant into the binder material, or puts a
little on the tape surface, and thereby
minimizes the wear, but he cannot prevent
it completely any more than an engine can
run forever without repair. The tape must
touch the heads' surface, after all, or a
disastrous loss of high frequency response
will occur, so the lubricating layer can be
of only molecular thickness. The loss of
head high frequency response results from
the effect shown in figure No. 1 . Note the
increase in gap length of the worn head.
a result, a groove is worn in the head, as
shown in exaggerated form in figure No. 2.
Nevertheless, the accurate width and guid-
ing cannot be sacrificed, for otherwise azi-
muth error could occur, leading to an
erratic loss of high frequency response.
NEW HEAD WORN HEAD
Fig. 1, Diagram showing how continued bead we
increases effective slot width, with corresponding lo
of high-frequency response.
Grooving
The effect we wish to consider here is
much more rapid than gap length increase,
and results principally from the high pre-
cision with which tape and machines must
be built. Although the RTMA standard
for tape width permits a range of .244" to
.250", we try to hold it within a range of
variating of .001" to .002". The conscien-
tious machine manufacturer in turn tries
to guide the tape path very accurately. As
TAPE
NEW HEAD
WORN HEAD
Fig. 2. Edge-wise view of the same two heads shoi
Fig. 1, illustrating the groove which has been
into the second head.
In figure No. 3, we have magnified the
t.ipc thickness enough so that wear effects
•irc more apparent, and in figure No. 4 we
show the effect of normal variation in tape
width. If the tape is wider than the groove,
loss of high frequency response and signs
of poor motion occur, at their worst when
the tape is only very slightly wider than
the groove.
' BASE
OXIDE pt
NEW HEAD
WORN HEAD
Fig. 3. Enlarged view of heads shown in Fig. 2. better
illustrating the grooving effect of normal head wear.
In this and the following sketches, relative base and
oxide thickness are exaggerated for clarity, and are not
in their true proportions.
TAPE BEING DAMAGED _
AT CORNER OF GROOVE
TAPE
NARROWER
THAN
GROOVE
Fig. 4. Diagram of
THAN
GROOVE
1 heads showing the
width.
It IS apparent that if we could use nar-
rower tape after the groove were cut, a
temporary improvement would occur (but
only until a narrower groove were cut as
in figure No. 5). In fact, a brief competi-
tive advantage might accrue to the manu-
facturer who disregarded standards and
reduced his tape width by .002" per month.
If this kept up, every machine would need
narrower guides every few months, and we
would have J/g inch wide tape in about
five years! One manufacturer actually tried
this last year, until forcibly dissuaded, but
an engineering remedy would be prefer-
able.
ORIGINAL GROOVE
SECONDARY GROOVE
Fig. 5. Diagram showing I
wear resulting from the
tape widths.
Remedies
I consecutive stages of head
e of successively narrower
The easiest remedy would be to replace
the heads whenever they show signs of
grooving. Another remedy is available, but
it must be used with the greatest of cau-
tion: This is to lap the head surfaces flat
once more with a very fine abrasive stone.
In our laboratory quality control section,
heads are used day in and day out for tape
uniformity tests, so our toolmaker uses a
very lightly oiled Arkansas stone. Perhaps
a Belgian water stone might be finer and
less risky in unskilled hands.
A Precaution
If you do choose to use an abrasive, do
check frequency response before and after
stoning. If you have too heavy a hand,
equalizer readjustment may be necessary,
and in the extreme the head may be ruined.
If we may anticipate the obvious ques-
tion, yes, machines differ greatly in rate of
head wear. Different makes are most differ-
ent, but successive heads from the same
manufacturer will not wear equally. Tape
tension, angle of wrap, guiding accuracy,
and hardness of metal all have their effect.
Since smooth surfaces wear less, it is
important that the tape surface be smooth.
While all tapes become smooth after some
use, many organizations do not use a given
tape enough times to polish it, and the
smoothness when brand new becomes sig-
nificant. For this reason, AUDIOTAPE
is given a special polishing before shipment.
Thus the surface is smooth right from the
beginning, which also stabilizes the fre-
quency response of the tape.
If you stone your heads, be sure to use
the lightest touch possible. You are trying
to remove only a few thousandths of an
inch — and a modern stone cuts fast.
Any Questions?
If there's anything that's puzzling you
about the technical aspects or operational
procedure involved in your tape or disc
recording work, just drop us a line.
Our staff of recording experts will be
glad to give you the answer — without obli-
gation, of course. Questions and answers
published in Audio Record won't mention
any names, so don't be bashful. Address
your questions to: Editor, Audio Record,
444 Madison Ave., New York 22, N. Y.
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mean maximum
^istejiing
Pleasure
— thanks to the finest in modern sound
recording methods and equipment
Music lovers everywhere know that Columbia LP records mean
more listening pleasure — not in playing time alone, but in
superb quality of reproduction. Yet few listeners outside the
professional circle realize the degree of perfection which this
record quality requires in every step of manufacture and proc-
essing. Take the original sound recordings and the processing
masters, for example. Frequency response, signal-to-noise ratio,
distortion and surface noise must measure up to standards
which would have seemed entirely impractical a few years ago.
But Columbia has found that Audiotape and Audiodiscs are
an ideal combination for meeting all of these exacting re-
quirements — Audiotape for recording the original sound and
Audiodiscs for the masters from which stampers are made. In
fact this same record-making combination is now being used
with outstanding success by America's leading producers of
fine phonograph records and broadcast transcriptions.
You can get this same sound perfection in your recording
work, too — with Audiodiscs and Audiotape. Their superior
quality is the result of more than 12 years of specialized experi-
ence by the only company in America devoted solely to the
manufacture of fine sound recording media, both tape and discs.
®The exclusive trade-mark oj Columbia Long Playing Records— symbol of highest quality.
Trade-Harks "Columbia." "Masteraorks," 9C. ® Ref. U.S. Fat. OS. Marcas Registrajas.
AUDIO DEVICES, Inc.
444 MADISON AVE., NEW YORK 22, N. Y
Eipotl Depl.: 13 East 40th St.. New York 16, N. Y, Cobles "ARIAB'
including;
for the original sound
and audiocUxcs*
for the master recording
Published by
AUDIO DEVICES, INC.
444 MADISON AVENUE, N. Y. 22, N. Y.
ctiidioclixcs
cuuUolUm
aucUopuoints
I-up for duplication of recorded tapes at
Laboratories, Camden, N. J. Story on Page 2.
• Recorded Publications Laboratories
• "They Have Ears but They Hear Not"
• "Recording in Ten Seconds"
• The Tape Recorder in a Propaganda Unit
• Tape Breaks "Paper Bottleneck"
AUDIO RECORD
"IT'S TIME TO GO ON RECORD
J J
This appropriate slogan keynotes the fast growing operation of
Recorded Publications Laboratories
Recorded Publications Laboratories at
61 South 6th Street, Camden, New Jersey
symbolizes the gigantic growth of the re-
cording field with the modern development
of tape recording. Here, in the city where
the phonograph record industry was vir-
tually born and developed, is found this
modern recording laboratory specially es-
tablished to service the tape and acetate
re-recording needs of recordists throughout
the nation.
A stop at the Recorded Publications
Laboratories receiving and shipping depart-
ment vividly demonstrates the magnitude of
professional — and non-professional — re-
cordings that are now being made in the
United States. Tape and disc recorded mate-
rials arrive daily from radio stations, pro-
gram producers, advertising agencies,
syndicates and networks, and recording
studios for editing, programming and re-
production. Then too, one will observe the
inflow of non-professional recorded mate-
rials from educational, church, fraternal
and civic groups as well as from the indi-
vidual recording enthusiasts.
Continuing through the actual recording
laboratories, you immediately realize why
discriminating, quality-minded recording
services avail themselves of these modern
complete facilities. Emphasis is placed
throughout on quahty in equipment and
engineering with the consequent develop-
ment of a superior end product.
One section is devoted completely to
multiple tape duplication of one, a hundred,
or any number of exact copies. This unique
Ampex installation is specially engineered
and designed for mass duplication work
with amazing precision and economy. Flexi-
bility, too, is most amazing in that both full
and twin track recordings in any of the
standard speeds can be reproduced and
duplicated in any combination.
Of equal importance is the disc record-
ing section equipped with the finest equip-
ment obtainable for tape to disc and disc to
disc cutting. Fairchild lathes and cuttini:
heads equipped with marginal control,
thermo-stylus and radius equalization as
sure the highest fidelity with fullest fre-
quency range and minimum surface noise.
This installation provides to the outside
recordist quality equipment v.'ith skilled
engineers and technicians capable of pro-
ducing both microgroove and standard
groove acetates for master or instantaneous
use.
Behind this modern laboratory is an or-
ganization with years of experience in the
industry. Dave Goodman, with an engi-
neering degree from Rensselaer Poly and
many years with RCA-Victor, joined with
Ed Goodman, holding a degree and w'ide
experience in merchandising and sales man-
agement, to form Recorded Publications
Company for the purposes of promoting
successful application of the then new mag-
netic recording field. In charge of technical
and operational activities is Jim Stewart,
who adds to the organization his long ex-
perience in recording and major net-work
broadcast engineering.
At the outset. Recorded Publications de-
veloped a completely self-contained remote
tape-recording unit capable of economically
traveling anywhere in the nation. These
units were designed and equipped to over-
come the varying conditions of almost any
selected recording site. From the beginning
these units were designed to include such
full recording studio facilities as high-
fidelity multiple input mixing, audition-
monitor, play-back, cuing, operational sig-
nal system, etc. This equipment has been
continuously modernized to keep pace with
the latest improvements and to constantly
reach for maximum quality in recording.
Staffed by skilled and experienced pro-
ducer-engineers each unit capably produces
professional quality recordings for final
custom publication of complete phonograph
record album sets.
Typical of the college, church and civic
groups recorded on one recent Recorded
Publications itinerary — a combined hand
and glee club in Virginia — a forty voice
church choir in Tennessee — a seventy
voiced mixed a capella choir in Arkansas —
an eighty piece concert band in Nebraska —
a vocal group with full symphony in Iowa
— and a college men's glee club in Michigan.
Thus for the first time, such distantly lo-
cated groups today are successfully realiz-
ing profits and prestige from the merchan-
dising of these professionally produced and
published record albums.
In conjunction with on location record-
ing. Recorded Publications includes a com-
plete custom publishing service, handling
every minute detail of design, manufacture,
copyright, taxes and sales promotion assist-
ance for both records and albums. Today,
this organization is acknowledged to be
America's leading publisher of custom
in. Chief Engineer of Recorded Publicalions Lab
Fairchild variable pitch lathes with Thenno-Styli
cutting a phonograph
CLudla 1^ reccrrcL
VOL. 8, NO. 3
MARCH, 1952
Published monthly by Audio Devices, Inc.. 444 Madison
Avenue. New York City, in the interests of better sound
recording. Mailed without cost to radio stations, record;
ing studios, motion picture srudios. colleges, vocationai
stnools and recording enthusiasts throughout the United
States and Canada.
March. 1952
phonograph records and albums, and thou-
sands of their shining-gleaming cellophane
wrapped album sets are shipped to distant
points throughout the nation.
The laboratory has applied its facilities
to provide "Off-the-Air" recording and
monitor service to the entire Metropolitan
Philadelphia area. Programs picked-up
through Meissner AM-FM Tuners are
faithfully reproduced in perfect detail on
tape or acetate, thus making available an
additional service to broadcast stations and
advertising agencies serving the Philadel-
phia-South Jersey area.
As Ed Goodman says, "The growth of
Recorded Publications Company and Re-
corded Publications Laboratories is proof
of the tremendous future in the tape re-
cording field. For example, our laboratories
today have entered such new fields as the
duplication of college lectures and instruc-
tional materials, church services, rites and
ceremonials for fraternal organizations, ad-
vertising messages for public address and
broadcast. New uses of tape are being de-
veloped daily and these ,110 ^rnt tn u^ tur
our exacting laboratory true reproduction
on tape, acetate or pressing."
At Recorded Publications Laboratories,
a reel of recording tape is likened to a
photographer's negative. Just as a photog-
rapher imprints an interesting visual sub-
ject upon his plates, so the modern tape
recordist captures "audio shots". Now, with
the development of the many facilities of
the Recorded Publications Laboratories,
modern reproduction on a quality level can
be obtained for the duplication of tapes on
either acetate or tape with the same ease
and practicality that a photographer ob-
tains in the custom finishing of his prints.
A note to the Recorded Publications Lab-
oratories, 61 South 6th Street, Camden 3,
New Jersey, will place at your disposal the
highest quality equipment and engineering
facilities for the re-recording of your tapes
and acetates. Their engineering staff will
be happy to assist you in any recording and
reproduction problems with which you may
be faced and their experience can be con-
verted to your profit in finer quality repro-
LJiictinn work.
id H. Goodman (Icfil
nd Edward J. Goodman—
lers of Recorded Pub
tis Laboratories dis
left)
rded Publi<
keep a watchful eye
the VU meters while
ing a tape in the Remote
ording Control Room.
"THEY HAVE EARS,
BUT THEY HEAR NOT"
by Bethel Jane Graves
1 09 Wells Avenue
North Syracuse, New York
(One of the second award winning
entries in Audio Devices' Educational
Recording Contest)
"They have ears, but they hear not" is a
quotation which is unfortunately quite true
of most pupils of junior high age.
I am a junior high English teacher in a
large centralized school. I believe that chil-
dren's learning to listen attentively, intel-
ligently, and critically is a very important
preparation for their future living. I also
believe that another phase of good listening
should encourage resourceful, imaginative
young minds to do creative work — in writ-
ing, in my case.
And here is one way I use the Wilcox-
Gay lYi" /sec. tape recorder:
I record various everyday sounds around
the school or around the home. These may
be the swish of the janitor's broom, the
clanking of instruments going back into the
cases after band practice, the zip of a win-
dow curtain, the buzz of the shop saw, the
fizzing of an effervescent science experi-
ment, and so on.
I play these sounds back, either one sound
at a time or in groups, to the students in
my English classes. I then ask the students
to let their imaginations create a fantasy
and then write for me the story or mood
the sounds have suggested to them. We like
to decide later who has written the best
story.
Very seldom can these isolated sounds be
identified by the listeners and the entire
class is more than excited to see what the
other persons have written. We hear many
pupils read their own compositions to us
and then we listen to the sounds again. It
is such fun to hear their spontaneous laugh-
ter when they are told exactly what created
each sound.
The problem of motivating a class to
write on an imaginary theme is replaced by
a sort of splendid game which controls the
attention and curiosity of every child.
The learning skills are evident: (a) more
efficient listening habits, (b) better com-
positions — because they know the other
pupils will be listening to them read their
stories, (c) speech and oral reading prac-
tice, (d) friendly competitive spirit in the
game — PLUS — (e) the fun that can be
had from bringing the sounds of the every-
day world into Room 102 !
AUDIO RECORD
r«
RECORDING IN TEN SECONDS
n
by Randolph S. English
Program Director
WTRY and WTRI-FM
Troy, New York
"RECORDING IN TEN SECONDS'".
That's the cue that's used around our sta-
tion Monday through Friday of every week.
We at WTRY have recognized the terrific
usefulness of tape recording and have spent
four of the best years of our operation prov-
ing its worth — to us, to the sponsor, and
to the audience. What's more, we've saved
thousands of dollars doing it. Yet it's my
personal belief that the surface of tape
usage has hardly been scratched — particu-
larly by the local broadcaster.
Before the innovation of tape usage on a
professional broadcasting scale, the repro
duction of sound was, for the most part,
confined to the four walls of a radio or re-
cording studio. To go out on location with
portable disc equipment, or even with a
portable broadcast amplifier and feed to a
central recording headquarters via disc, was
generally too costly — particularly when re-
mote efforts were to be aired on a sustaining
basis.
Tape recording has changed all this!
Here at WTRY, we try to use tape record-
ings on a location basis as often as possible
— to take the listener outside of the studio
for a change; to go to the source, not just
"talk" about it. This, of course, opens new
vistas for the creative broadcaster. Tape
also permits the "In studio" operation to be
expanded, improved and simplified beyond
your normal expectations. I know — we've
experimented, and it's worked! BUT, it re-
quires careful planning, a little elbow
grease, a responsive technical staff, some
extensive program ideas and, in general, an
"operation tape". Once you've got the sys-
tem going it's just routine, like most every-
thing else in this hectic business. That's
what I'm going to discuss — our system,
how it's set up and how it operates. Perhaps
you can use some of these methods to your
station's advantage.
Approximately 25% of our total weekly
output (commercial and sustaining) is now
via magnetic tape. This includes db shows
and original presentations. Remember, we're
taping shows which were previously aired
quite nicely as per schedule; they were ex-
pected and planned for. Here are five
reasons why we now prefer to do it with
tape:
1. "PERFECTION IN PRODUC-
TION". With taped shows we can guar-
antee the client 100% perfection in his 13,
26 or 52 week contract. (Many are the
cases where Mr. Sponsor has cancelled or
failed to renew his contract simply because
of an announcer's fluff or an engineer's
wow.) With tape. Huffs, wows and all mis-
takes can be edited by splice or erasure with
ease. When a faux pas occurs, the tape is
reversed to the error, a re-do is recorded and
in a few minutes you're on your way again.
Many dollars may have been saved, not to
mention the prevention of embarrassment
for all concerned! I'd say that alone is rea-
son enough for converting "basic" pro-
grams to tape.
2. "EXCELLENT TECHNICAL
QUALITY". By using tape, you're assured
the best in quality in both speech and music.
It's imperative, however, that your tape
recording equipment be of professional
structure in order to attain this life-like
quality.
3. "FACILITY OF PERSONNEL".
By taping programs you can actually cut
down man hours, even with increased pro-
gram service, by having the staffs of the
various broadcasts "cut" during their nor-
mal work hours. This also gives you a chance
to get a change of voice on the air, especially
when you have a slim staff operation such
as over weekends and on holidays. If you
have a one-man voice operation for five or
six hours at a stretch, the alternate breaks
and spots can be cut in advance and run
consecutively on a single tape. In other
words, you can have a "full staff sound"
seven days a week.
4. "PRODUCTION BROAD-
CASTS". You can do the tough production
shows you've always wanted to do, by tap-
ing during "off air" hours, or during net-
work time. Or, to use the most ideal system,
by cutting from a special recording set up,
as we do at WTRY. In this way you don't
hamper local operation. As many of you
know, if you attempt to record during
normal broadcasting hours with your "on
the air" console, you are often confronted
with a hectic one-channel bottleneck on the
console, depriving you of a means of cue.
5. "SLOW THAT RAT RACE". In
the average station operation, the audio
production control man has several differ-
ent shows to run every day; many of which
require turntable spinning. Note how many
shows a couple of air men and audio con-
trol men have during a particularly heavy
section of your broadcast day. Listen to the
beginning of that day, then to the end of
the same period. If they're giving their all,
someone is sure to get "pooped". Result —
no one sells, not even themselves. If the
audio man gets an occasional rest while a
taped show is on, you'll be surprised how
much better he will perform in the follow-
ing programs.
So much for the principal reasons. I'm
sure you can conjure up many others to
suit your own station's operation.
Now for the recording equipment. We
have a special recording unit which in-
cludes a medium size up-to-date studio with
3 mikc inputs. The studio is equipped with
senior velocity mikes, announcers" tables
and script stands, piano, synchronous West-
ern Electric clock, sound effects material
and the usual operating gismos basic to any
broadcasting and recording studio. The con-
trol room is readied for mike work if needed.
The G.E. board is adequate to originate any
March, 1952
and all types of programs. This console is
flexible and interchangeable so as to receive
all kinds of desired modulation including a
half dozen remote lines with cues. The two
recording control room turntables are Presto
16" rim driven console models with uni-
versal arms for lateral and vertical play-
back, four position disc filters, microgroove
arms for LP playback, with facilities soon
to be inserted for 45's. In a pinch the entire
recording setup may be switched into imme-
diate emergency "on the air" operation;
however its importance to us is measured
by It usefulness as a recording setup.
Shows done from this recording plant arc
piped down to the A.M. control room (the
nerve center of our broadcasting) where
our two Magnecord tape recorders stand
ready to go to work at all times. Each of
these recorders has gear ratios of V',/, and
15" per second. For the most part our shows
are recorded at V'/^ ". giving each of our
full tape reels a 30 minute playing time.
Adjacent to the tape recorders are two
Presto 15" 78 and 33-1/3 rpm disc cutters.
In addition, we keep a third Magnecord
unit in the control room for test cuts, re-
hearsal playbacks and general emergency
traffic.
In the A.M. control room we post a re-
cording schedule which lists the time each
program is slated for cutting. (Every pro-
gram is recorded at the same time, daily or
weekly.) This schedule also lists the origin
of the recording (recording studio, A.M.
studio or other), announcer scheduled to
do show, and playback day and time. The
full recording schedule is laid out on a
Monday through Friday basis. Adjacent
to this schedule is a tape assignment sheet
on which is hsted every broadcast that is
taped. Each of these shows has a number
assigned to it (we have numbers 1 through
30) . Each show keeps that one particular
tape until the tape is deleted from usage,
at which time a new tape is inserted, retain-
ing the same number in order to prevent
confusion. Next to this list are the tapes
themselves, kept in a vertical rack with
metal partitions. Right beside the rack are
tape cards (3 x 5) to be made out after
each show and inserted in the box with
the tape. On these tape cards is the informa-
tion that the playback engineer needs to
know before "threading the show"; name
of broadcast, tape number, on what re-
corder show was cut (sometimes playback
on a different machine results in time lag
or time increase), day, date and air time
of playback, program time, whether or not
there is continuity to be read live, and
whether a cue sheet will accompany play
back — finally, the playback engineer's com-
ments, if any. These tape cards actually
make a second check over the information
found on the recording schedule. But to
prevent any possibility of error, a "tape
cue" is given verbally on all taped broad-
casts. This verbal cue is given ten seconds
before the start of recording. For example:
"Recording the 'Rex Stewart' show for
playback Saturday, February 16 at 7 P.M.
on Tape No. 17 using recorder No. 1. Re-
cording in 10 seconds." Incidentally, where
two scheduled playbacks come back to back,
each show is assigned an alternate recorder
on the tape assignment list.
What kind of shows do we tape regu-
larly at WTRY? All kinds — one time shots,
daily strips, across the board deals, once
weekly shows and location broadcasts.
Whenever we have permanent or semi-
permanent cuts to make on disc, the mate-
rial is taped first — then dubbed onto disc.
The quality is particularly good. These are
the different methods of recording at our
station, with tape used as the backbone of
our recording efforts: directly on tape —
tape to tape — tape to disc — directly on
disc. Then we can do the following five
recording and broadcasting jobs simultane-
ously: tape the network — tape from re-
cording studio — tape from remote pickup
— record on disc from A.M. studios — and
send out air program locally, using turn-
tables if needed.
Two rack-mounted Magnecord tape machines in WTRY's
A.M. Control Room. Plug-in strip at bottom is used
for patching th«$e units into board in recording control
room and all other combinations, including recording
studio on floor above.
So you see, when we here at WTRY say
"Recording in 10 seconds", we're really
wrapping it up — IN TAPE.
THE TAPE RECORDER IN
A PROPAGANDA UNIT
by Sidney B. Simon
Senior High School
Bradford, Pennsylvania
My tape recorder probably got its most
convincing workout, recently, when we
were studying a unit on propaganda. It was
a pupil-interest project that was really very
simple and yet that made a point that hit
home w»ith an impact that would have been
hard to equal in any other way.
Here is how it worked. I told a story and
cut it on the tape recorder. I found that an
account of an automobile accident served
to motivate itself and also brought to the
class another blow for safety's sake. I made
use of a room off of our library, although
any large closet or storage room off of an-
other room would serve as well, and called
in the students one at a time. The first stu-
dent listened to my account of the accident
on the playback, and then he recorded his
own version of the story. The second pupil
listened to the first pupil's version and then
recorded his account of the story. And so
we worked our way through the class —
(Another second award winner in Audio
Devices' Educational Recording Contest)
each person listening to the playback of
the story version of the student before him,
and then recording his own telling of the
same story.
The ne.xt day all the tapes were listened
to in sequence. Immediately there was a
roar of laughter as they saw how their own
version had differed from my original, and
then with paper and pencil, we kept notes
of the changes that were made in each suc-
cessive story, and we spotted the trends
and patterns which revealed the most con-
sistent inaccuracies.
It is amazing how convincing the experi-
ment can be, because the tape never lies. As
an outcome following this little e.xperiment,
it was almost humorous to observe the ac-
curacy they demand of each other now, and
fewer stories — gossip, propaganda, or rumor
— ever get blown up out of proportion.
What better weapon against propaganda
and rumor mongering than recorded truth!
AUDIO RECORD
NEW LANGUAGE LAB at University of Florida
70 Station Tape Setup Teaches Five
Languages at the Same Time
A pretty blue-eyed blonde adjusts her
headset and starts listening to a Spanish
short story while her neighbor answers
questions being put to her in French. Some-
where in the back of the room a concentrat-
ing college youth jots down the answers for
a test being dictated to him in German.
Scenes such as these are everyday events
at the University of Florida, Gainsville,
Fla., where "learning languages by listen-
ing" is the newest keynote for students of
a foreign tongue.
The U. of F's Department of Foreign
Languages has just been equipped with a
brand-new laboratory in which five tape
recorders spin away in various tongues for
the benefit of listening students who may
be tuned in at any of the 70 outlets located
in individual booths throughout the room.
To the visitor it all may sound like
tangled talk, but the students plugged in
to one of the recorders have discovered that
teaching by tapes in this manner is not only
informative but lots of fun. Right now the
lab is offering work in French, Spanish, Ger-
man, Russian and Portuguese and is pre-
pared to teach Italian, Greek and Latin.
The pretty blue-eyed blonde and her
neighbors will spend 50 minutes three times
a week on laboratory learning of a language
and also will attend two hours of lectures
weekly.
Although practical use of the language
comes in lab-time, the student finds that
time spent in the classroom is invaluable
since the structure of the language is ex-
plained, literary texts are read and assimi-
lated and the whole subject of language
study is developed in a simple and under-
standable manner as the basic means of
human communication.
As Dr. Joseph Brunet, head of the For-
eign Language Department, explains, "The
course remains, therefore, a liberal arts
course of educational value above and be-
yond learning how to speak a foreign
language."
The University "learning by listening"
laboratory is among the first in the nation
to use such machines, being similar to one
which has been achieving exceptional suc-
cess at Georgetown University. The equip-
ment was installed here last year and used
for experimental purposes on a small scale
in 1950-5 L With the start of the current
fall semester, the lab was placed in opera-
tion as part of the general foreign language
program.
Brunet points out that after his stalf has
trained a group of first-year students, the
program will be organized on a project
basis, the year's work consisting of groups
of recordings, each developed around a cen-
tral theme and aimed at giving students
fluency in conversing on that theme.
The main purpose of the current pro-
gram is to train students so that they are
not only able to read a modern foreign
language, but will be able, with fluency
and considerable correctness, to carry on a
conversation in the language at least by the
end of the fourth semester.
In pointing to results, Brunet said, "The
improvement in the method as compared
with earlier ones lies in the fact that for the
first time students have supervised and
planned practice in use of the language to
a degree that otherwise would be im-
possible."
He added that students in the lab are
now pronouncing better, expressing them-
selves more freely in the language and show-
ing far better comprehension of language
structure than in the past. Also — an impor-
tant factor — both students and faculty
members are enthusiastic about the way
the program is working out.
The lab with its rows of listening posts
and recording devices is by no means com-
plete at present and it is planned to put in
operation a shortwave radio so that for-
eign language broadcasts of interest to stu-
dents may be tape recorded for use in
second-year work.
"The program is in a state of continuing
development", the Foreign Language head
explained. "What we are doing now is cer-
tainly not in all respects what we will be
doing next year or after. Techniques and
methods are under constant examination
and review and the purpose is to develop
recordings that will be ideally suited to the
plan of a course."
The present laboratory setup includes 70
booths mounted on tables and connected by
five separate channels to a bank of five
BK-41 1 Soundmirror tape recorders located
at the front of the room. Each listening
booth is provided with a row of five tele-
phone jacks, one for each recorder channel.
The student simply plugs in his headset on
the channel which is playing the recording
of his particular class and lesson. The les-
sons to be played on each channel are an-
Above. These students busy in booths are studying tape recorded
language lessons in the University of Florida's new Language
Laboratory. Members of this group are working in Spanish,
French, German, Portuguese and Rus
Right. U of F coed Emily Chorpcning of Miami concentre
on her Spanish lesson in the University's new foreign language
listening lab, while her neighbor, Carole Linder, Miam
learns Espanol via tape recordings.
Dr.
Joseph
Bui
net.
Languages a
1 the Un
five
tape rc<
ocd
ng ir
Sllv
s brand
new
For
whi
ch launched
full
lead of the Departmenr of Foreign
iversit> of Florida, checks one of the
lacliines in operation in the Univer-
!ign Language Listening Laboratory
ale operatit
this
semester.
nounced on a blackboard near the machines.
Five groups of about 14 students each are
.iccommodated every hour. The laboratory
15 operating 41 hours per week on this
basis.
The recording speed is 71/2 inches per
second and, with 7 -inch reels of paper base
tape, the average playback time is about 45
minutes. Power is 105-120 volts, 60 cycles,
single-phase. Consumption is 85 watts. Out-
put impedance, both internal and external,
is 3.2 ohms. Power output is 1 watt un-
distorted.
In the meantime, however. University
language-learners are taking to tapes in a
big way. And whether they are using those
headsets for tests, short stories, or just plain
conversation in a foreign tongue, they're
virtually all agreed that learning by listen-
ing is a great innovation.
"The Language Laboratory"
This new booklet — reprinted from
the Report on Second Annual Round
Table Meeting on Linguistic and Lan-
guage Teaching held at Georgetown
University — covers the current thinking
of leading educators in this field.
Copies can be obtained without cost
by writing to Educational Laboratories,
Inc., 162? Connecticut Ave. N,W.,
Washington 9, D. C.
TAPE BREAKS "PAPER BOTTLENECK" IN FILM
PRODUCTION
Venti-Davis, Inc., producers of films
and other visual training aids, use
tape recordings to speed up
approval of scripts
Preparing the "text" for a sound film
or motion picture is a pretty big job in itself.
But when the script has to be approved by
a whole committee — as is often the case —
the approval job can be a major stumbliivj
block for all concerned.
Venti-Davis, Inc., of 152 East 40th
Street, New York City, has solved this
problem very simply and effectively, by
means of the tape recorder.
Previously, in a situation like this, a
typed copy of the script was given to each
of the many individuals who had to O.K.
it. Then each would take a firm grip on his
"blue pencil" and go to work. And when all
the suggested changes were combined, the
result was often a far cry from the original
carefully-prepared script. This method of
approval took a lot of time — conflicting
opinions had to be resolved — details of
phraseology laboriously worked out to
everyone's satisfaction.
Nov.', however, the completed script is
tape recorded, with one or more profes-
sional narrators, and played back to a group
meeting of the client's organization. They
get the story in the manner in which it is
intended to be presented — by ear, not by a
lifeless typed script. Often the way in
which something is said is just as important
as what is said. This gets across perfectly
with tape, but is entirely lost when read
from a typed page.
Mr. Robert F. Davis, President of Venti-
Davis, Inc., reports that since this method
was put into practice, the group approval
job has become very painless to all con-
cerned. It has been used on about 20 scripts
in the past four months, and has saved
countless hours of re-write work. In most
cases, playbacks have been given immediate
approval with but a few minor changes.
A portable Magnecorder is generally
used for this purpose. This machine, record-
ing on plastic-base Audiotape, fulfills the
sound quality requirements of the most
critical listener — gives a reproduction in
every way equal to the finished product.
The approved recordings of every script
are kept in the reference files for about a
year.
Recorded sound plays an important role
in many other ways at Venti-Davis, Inc.,
too. For sound motion pictures, sound slide
films, and sales and personnel training rec-
gets ready
lager (standing).
ords are the tools of their trade. One inter-
esting Venti-Davis job currently in pro-
duction, is the preparation of a series of
personnel training records for the J. C.
Penny Company. Typical interviews, dem-
onstrating the best way to cope with em-
ployee problems, are first recorded on tape
— then transferred to discs, for reproduc-
tion in the form of 78 rpm phonograph
records. Pressings of each record are dis-
tributed to the 1600 branch managers of
the Company. Tliese recorded interviews
are far more effective than a printed script
of the same situation, because the proper
"tone of voice" is extremely important in
problems that deal with human emotions.
Mr. Robert Bruce, Advertising and Pro-
motion Manager for Venti-Davis, Inc.,
states that the tape recorder offers un-
limited possibilities for rendering more
effective service to their clients.
They bring true listening enjoyment to millions — through
the finest in modern sound recording methods and equipment
RCA Victor's modern Vinylile phonograph records are
infinitely superior to the old shellac pressings of a few years
ago. Better in tone quality, distortion, surface noise and
frequency range. This improvement in quality requires more
precision than ever before in every step of record manufac-
ture and processing. That's particularly true of the original
sound recording and the master discs from which the stamp-
ers are made. And RCA Victor has found that Audiotape
and Audiodiscs are an ideal combination to meet the exacting
demands for today's high fidelity jjhonograph records —
Audiotape for clearest recording of the original sound and
Audiodiscs for fast, easy processing without loss of sound
quality. In fact this record-making combination is now being
used with outstanding success by America's leading producers
of fine phonograph records and broadcast transcriptions.
Whatever your recording work may be, Audiotape and
Audiodiscs offer you this same sound perfection ~ the result
of more than 12 years of specialized experience by the only
company in America devoted solely to the manufacture of
fine sound recording media, both discs and tape.
AUDIO DEVICES, Inc.
444 MADISON AVE., NEW YORK 22, N. Y
Export Dipt.: 13 East 40th St., New York 16, N. Y, Cables "ARLAB"
. . . including
fttifliff^fl Pf *
for the original sound
and
cuidicFcliscs*
recorrd
Published by
AUDIO DEVICES, INC.
444 MADISON AVENUE, N. Y. 22, N. Y
atuUofUm "^^^^"^
cujuuoojoxnis ^
Key Bank Recordings
Tape Brings News fo Life
Library of Radio Programs
Tape-Disc Recording Console
An "A" in Advertising
New Book for "Audiophiles"
Audio Question Box
Professional Coaching Via Tope
How to Help Your Processor
AUDIO RECOHlt
The Story of KAY BANK RECORDINGS
How an ex-newspaper man made
sound recording grow from a part-
time job to a full scale studio
operation
Visitors to the well equipped and com-
pletely modern sound studios of Kay Bank
Recordings m Minneapolis might he sur
prised to know that this flourishing business
started but a few years ago — as a spare
time job with a home wire recorder. At that
time Vernon C. Bank was a newspaper man
at the Minneapolis Star. In order to pick
up a little e.xtra income, he and his wife
Kay decided to get a Webster wire recorder
and do a few weddings. This worked out
pretty well and as soon as the news got
around, they received numerous requests
for recordings from local choir and chorus
directors.
Within six weeks Vern and Kay Bank
were in business with Presto turntables and
amplifiers, turning out acetate copies at a
pretty fast clip. This was still a spare time
job, carried on at home after hours. As the
business grew, the Banks moved to a larger
residence, where the living room was set
up as a sound studio — opening the way
for studio work in addition to on-location
recordings in schools, churches, etc. By fall
of last year the recording load had grown
to the point where it could no longer be
handled on a part-time basis, along with the
regular job. So Minneapolis lost a good
newspaper man — and gained a skilled
sound recordist. After leaving the Minne-
apolis Star, Mr. Bank lined up some inves-
tors, incorporated, and opened the present
spacious studios at 111 North 11th St.
Since the recording idea was originally con-
ceived by Mrs. Bank — who still takes an
active role in the business — the new or-
ganization was appropriately named "Kay
Bank Recordings". It is a name that is
already widely known in recording circles
throughout the North Central States.
In speaking of his present facilities,
Vernon Bank modestly states that "we have
enough basic good equipment to do a good
job — and we are progressing to the point
where we will give this area the kind of a
studio it should have." The main Kay Bank
studio is 32 by 35 feet, with I2V2 foot ceil-
ing — so designed that it can be divided
in half simply by closing a set of drapes.
The "half size" studios are used for record-
ings by individuals, soloists and small groups
— and the full studio, for television pro-
ductions, choirs and choruses, bands, and
certain types of dramatic presentations.
Additional space includes a combined
recording and control room, audition room.
'© "-^1
.'*****s.l^
Part of ihe control room at Kay Bank Recordings, showing RCA 76B2 console with talk-b-ick mike lo studi<
Ampex recorder for studio tape work, and transcription turntable.
reception room, lounge and mail room, tape
and disc storage room, and spare room for
maintenance work and storage of extra
equipment.
Complete control facilities are provided
by an RCA 76B2 console, through which
studio programs are fed to Ampex or Mag-
necord tape recorders, or direct to a Presto
8DG disc lathe equipped with a Fairchild
CLudla^ reccrrd
Published monthly by Audi.) De
Avenue. New York City, in the
recording. Mailed withou
32 by 33 foot space
head and Macintosh amplifier. For master
discs, a Fairchild Thermo-Stylus cutter is
used. The console type Ampex tape recorder
is primarily for studio work, with portable
Magnecord machines for remotes.
Choirs and choruses, which constituted
practically all of the early recording work,
are still an important part of the Kay Bank
operation. Their recordists range all over
VOL. 8, NO. 4
APRIL MAY. 1952
>, Inc.. -(44 Madison
rests of better sound
St to radio stations, record-
:udios, colleges, vocational
asts throughout the United
April-Mar, 1952
the ,irea — from Iowa to North and South
Dakota. Minnesota and Wisconsin — doing
vocal and instrumental groups for churches,
colleges, schools of all types, hospital
choruses, industrial choruses and many
others. Now, with the enlarged facilities,
more and more time can he spent on com-
mercial accounts. Many advertising agen-
cies in Minneapolis and St. Paul are
already bringing their work to Kay Bank
Recordings, where they are offered a really
complete service, including tape and disc
recordings, transcriptions, phonograph rec
ords, jingle writers, producers, singing ant!
acting talent, musical talent, arrangers -
in short, everything needed to wrap up ,i
program.
One Kay Bank project of particular in
terest is the current series of twenty-six
15 -minute transcriptions for Sister Kenney
— featuring such well-known talent as
Duke Ellington, Rudy Vallee, Stan Kenton,
Russell Nype, Les Brown and Xavier
Cugat. Some of these artists recorded
directly in the Kay Bank studios — others
were dubbed in from tape recordings made
elsewhere. This series, along with some
short spots, will be offered to every radio
station in the country.
Here's a business that started, not on a
shoe string, but on a spool of wire. Vernon
and Kay Bank have made a lot of progress
since then — in a field that still offers plenty
of room for future growth.
Tape Brings News to Life
by Jim F. Palmer
Professor of Journalism, University of Houston
briefs the stude
; jH^
the tape-recorded "Newsreel"
r^Bldi
program.
|n|^
Songstress Sophie Tucker re-
calls her early life on tape for
the University of Houston
"Newsreel" show, produced
^^H
and edited by students. The
^^1
young reporter is awed, but not
^H
enough to interfer with asking
S 1
questions.
, briefed on the tape editing of news
nbers of the Radio Department faculty of the
University of Ho
Living news, as it actually happens, is
recreated through tape recording in a new
series of "Newsreel" radio programs pre
duced by radio-news students at the Uni-
versity of Houston, in Houston, Texas.
Every day three news students tour the
campus and the city with portable tape
recorders, picking up the news as it hap-
pens, interviewing for the "feature" angle.
The students assemble every evening,
and edit out the unwanted material, leaving
anywhere from 10 seconds to a minute for
each news event. They take notes as they
go. Then, comes Thursday, and the news
bits are assembled into the right order and
timed to about 1 1 minutes, about right for
a 15-minute program.
Narration for announcer is prepared by
the student editor, who also selects suitable
"bridge" music from the recording library.
Friday morning, and the script is being
written, complete with announcer narra-
tion, bridge music cues, tape cues (with
exact time of each tape bit, in order to help
the control engineer in cueing), and any
incidental instructions. Then, the whole
program is rough-timed, by estimating time
of each bit of voice and music. It should
add up to 14:30 minutes for a 15-minute
show.
The whole program, then, is presented
from a studio and control room. The editor
serves as director, in the control room, cue-
ing the engineer and announcer. As the job
is somewhat complex, most of the student
editors prefer to run the show through in
its entirety, tape recording it throughout
on a second studio recorder, for playback
at the set time.
Thus, each Friday, the University of
Houston "Radio Newsreel" hits the air
over its own radio station, KUHF-FM.
From its first dramatic musical fanfare,
through its important voice of the mayor
announcing an ordinance, the learned tones
of a history professor, to the giggle of coeds
talking about leap year — and to the closing
music surge, the program is made possible
due to the magic of high quality tape
recording.
ALDIO RECORD
BUILDING A LIBRARY OF RADIO PROGRAMS
ON TAPE '^y Harold Hainfeld, Roosevelt School, Union City, New Jersey
(A first award winner in Audio Devices'
educational recording contest)
What are the reasons your teachers give
for not using radio more in the classroom?
Some of them may be : ( 1 ) The radio pro-
gram does not come on the air at the time
of day when I can use it; (2) Programs are
not at the proper time of the year to fit our
curriculum; (3) I can not prehear a radio
program and would hke to know what my
students will listen to; and (4) If I assign
after school listening, it may not be heard
by all students.
Once a radio program goes "off the air",
it is usually difficult to borrow a transcrip-
tion and almost impossible to keep it for
use in the classroom. There are many radio
programs worth saving for future school
use.
One of the solutions to these problems
is for the classroom teacher, radio chairman
or audio-visual coordinator to save valuable
radio programs on tape. In a short time the
school or school system can have a library
of important curriculum materials. If a
radio program has enough merit for use
in the classroom, serious consideration
should be given to making a tape recording
of it for future use when the program is
unavailable on radio. It can easily be erased
if the program is of limited value.
Being located in northeastern New Jer-
sey, two FM educational stations arc within
our range; WBGO-FM, Newark and
WNYE-FM, the New York City station.
Both transmit a full schedule of programs
during the school day. These programs,
however, are designed to meet the curricu-
lum needs of their schools. Many of the
topics are also studied in other classes, but
not at the same time. Making tape record-
ings of these programs makes them available
at any time of the day or year.
In making school-made tape recordings
of radio programs it is important to have
good equipment. This is not necessarily ex-
pensive. The Freed-Eisman "Educator"
radio used in many schools has ample fre-
quency response. Don't impare the quality
of the reproduction of the radio program
by using a recorder with less. One with a
higher frequency response is unnecessary
for this purpose. There are many tape
recorders that have this response, priced
about $200.00. The radio has an outlet to
permit direct recording from it into the tape
recorder and any outside noise will not be
reproduced on the tape.
Schools with a radio and tape recorder
can build up a library of useful radio pro-
grams. Federal Communications Commis-
sion regulations permit the use of tape for
this purpose, provided the recording is not
sold as a commercial project.
The storage of tape reels is no problem.
They are small and compact. The tape reel
is approximately the same size as a reel of
8 mm. film. Many photographic dealers
have cans and containers for the home movie
maker. Schools can use this 8 mm. equip-
ment for permanent storage of their tapes.
Don't overlook the possibilities of mak-
ing tape recordings from commercial radio
programs. Most of these stations, in addi-
tion to transmitting on AM wavelengths,
are also broadcasting on static free FM.
Record from the FM band; it has a higher
frequency response and almost no inter-
ference. With the program on tape, it is
easy to edit it and eliminate the advertise-
ments and announcements. Thus, a 30
minute broadcast can be made into a 23
minute tape recording, leaving plenty of
time in the usual 4.S minute period for the
teacher to introduce the program to his
Principal of Roosevelt School, Charles E. Brown and
Miss Anne Naddco, teacher, listen to a radio progr
from WNYEFM being recorded on tape by 8B stu-
dent Rhoda Lampidis of the school Audio-Visual Squad.
class and time for follow-up activities after-
ward. The recorders are light and portable
and easy to bring home from school to make
after-school recordings for in-school listen-
There is another possibility for the radio-
tape recording combination. WNYE-FM
presents a science quiz, where students
from two junior or senior high school classes
try to answer questions on their science
studies. Having the program on tape en-
ables the teacher to let his students hear
the question and stop the recorder before
the answer is given. Thus, the students in
class can answer and discuss the question
before the answer is given. This procedure
would be impossible with the radio.
Schools, school systems and county edu-
cational departments are building film and
visual aids libraries. Audio-Visual and Cur-
riculum personnel should not overlook the
possibilities of inexpensive audio libraries
of valuable radio programs on tape.
Radio and recording equipment are
usually less expensive in comparison to pro-
jectable equipment. The combination of
radio and tape recorder will allow the
teacher to pre-hear programs. Previewing
films before use is an important part of
proper utilization. With the program on
tape, it is possible for the teacher to know
in advance what his students will hear.
Building an audio library of radio programs
that meets curriculum needs is an important
step in using these aids in teaching.
April-May. 1952
New Tape-Disc Recording Console
NEW BOOK FOR
*<AUDIOPHILES"
The Henry G. Dietz Company, 12-16
Astoria Blvd., Long Island City 2, New
York, is now offering a new line of console
type tape-disc recorders, designed for in-
dustrial, business, home and school applica-
tions. Three different applications are avail-
able — Model l?n-A, as illustrated, with
tape-disc recorder, FM receiver and console
cabinet; Model 130-B, without FM re-
ceiver; and Model 130-C, with table-top
cabinet.
The Model I30-A unit is designed to per-
form the following recording and repro-
ducing functions:
Record on magnetic tape or acetate discs
Reproduce from tape or discs
Record from tape to disc or vice versa
Record from microphone, internal FM
radio, external radio or phono to tape or
disc. Can mix microphone with recorded
disc to record on tape.
Equipment includes automatic PM erase,
neon recording level indicator, fast for-
ward and rewind speeds and 6" PM speaker.
Tape speed is 3y4" per second, dual track,
giving one hour recording time on 5" reel.
Disc recorder cuts and plays back up to
10" discs at 78 rpm. When pivot of arm is
lifted, it snaps into recording position. Arm
IS pushed down to disengage lead screw for
playback. Cutting stylus and playback
needle easily interchanged.
The console type cabinet allows the unit
to be built to customer's specifications, in-
cluding FM or AM receiver, amplifiers, or
other equipment necessary for a particular
application. Further information can be
obtained by writing to the manufacturer.
An 'A" in Advertising Via Tape Recording
by Vincent Lee
Recently I completed my term assign-
ment for my Advertising course at New
York University.
Since Advertising is, in my opinion, a
subject of originality, I decided to do a
project which was unique. As a basis for
my report I chose the Marketing Research
phase of Advertising and the result was an
"A".
The project consisted of interviewing
various people on questions pertaining to
the brand of shaving cream they used. The
uniqueness of the report was that I pre-
sented it via tape recording machine and
color slides. I recorded the actual inter-
views among ten men and took color pic-
tures of each. In the classroom I projected
the slides and using the tape recording
played back the dialogue as it had occurred.
The results were nothing short of sensa-
tional. The class was impressed and even
more important "interested" in my project.
Professor Dale Houghton, my prof, liked
it to the extent that I presented it in two
of his other classes.
To achieve more sufficient data for the
survey I interviewed one hundred students
at N.Y.U. The same questions were asked.
After I computed the percentages I
recorded this information and thus pre-
sented the whole report on tape without
saying a word in class.
Some of the Statistics estimated are as
follows :
27% use electric razors and 73% use safety
razors
Of the 73% — 55% use brushless cream
and 45% use lather.
By percentage the four most popular brands
are 1) Palmolive 19%, 2) Colgate 13'7r.
3) Rise 12%, 4) Noxema 10%
The Saturday Review Home
Book of Recorded Music and
Sound Reproduction
... by Edward T. Canby, Cornelius G.
Burke and Irving Kolodin
This 312page book for home recordists
and music lovers is divided into three
separate sections — each by a recognized
authority in his field — giving an unusually
complete three-dimensional picture of this
fascinating subject.
In "The Record from Studio to Store,"
Edward Tatnall Canby offers a brief history
of the recording industry, then describes
how new high fidelity equipment records
all of the nuances of the music as it is per-
formed. Recent advances in recording tech-
niques are explained in the simplest terms.
A recording session is described, and the
reader is taken into a factory to watch the
manufacture of the various discs now avail-
able.
Cornelius G. Burke's "Home Reproduc-
tion and How to Improve It" answers all
the music-lover's questions about what
home equipment is best and how much it
costs. Concentrating on essentials, he shows
how to connect and set up speaker arrange-
ments, amplifiers, pick-ups, needles, turn-
tables, and other equipment. A series of
"how-to" sketches emphasize the practical
nature of this book.
In "Learning to Listen and Listening to
Learn," Irving Kolodin, America's fore-
most music critic, tells how to sharpen your
critical faculties and become your own
critic. Using a remarkable and entirely
original approach, Mr. Kolodin explains
how any record collector can judge for him-
self the best of the half-dozen or more
recordings of his favorite piece.
Published by Prentice Hall. New York.
Price, $4..=i0.
AUDIO RECORD
THE AUDIO
QUESTION BOX
Here are a few of the many questions
which we have received from sound record-
ists, m response to the "ANY QUES-
TIONS?" item in the February issue of
Audio Record. We heHevc that the ques-
tions and answers Hsted below will be of
interest to many of our readers.
QUESTION : Will you please advise how
I can determine if the head on my Magne-
cord tape recorder is magnetized.
Answer: If the noise level of the recorded
tape has gone up significantly and if the
reproducing preamplifier is not defective
(particularly the input tube) then it is quite
probable that the head is magnetized. For
best results, a machine which is used 8 hours
a day should have the heads demagnetized
once or twice a day.
the tape speed, the more difficult it is to
avoid cutting at the wrong place. Our ad-
vice would be to keep trying. It's just a
matter of skill which can be developed with
practice.
it must reproduce. The upper sensitivity
limit of the normal human ear is about
20,000 cycles.
QUESTION: We make on-the-spot tape
recordings of weddings and other events —
then re-record on Audiodiscs. Will Yellow
Label Audiodiscs give a satisfactory cut in
comparison to the Red Label?
Answer: Yes. This type of service probably
does not require the flawless perfection of
surface which characterizes the Red Label
Audiodisc. Any microscopic surface imper-
fections in the Yellow Label Audiodisc
would not be noticeable in recordings of
this nature — and the saving in cost is prob-
ably an important factor both to you and
your clients.
QUESTION: For the application men-
tioned above, is it better to buy a used pro-
fessional tape recorder (which would cost
about $600 to $800 new), or a new low
priced home recorder in the $200 class?
Answer: If the recorder is to see a great
deal of use and you want an ample margin
of safety in frequency response, signal-to-
noise ratio and distortion, a used profes-
sional machine would probably be the best
investment. If you don't know anyone who
has such a machine for sale, it might pay
you to run a want ad in one of the trade
publications.
QUESTION : With my Bell tape recorder,
how can I find the exact point at which to
cut the tape in order to eliminate unwanted
material? What methods do the profes-
'sionals use to do such a perfect lob of
editing?
Answer: The professional depends largely
on a trained ear — plus lots of experience.
Also, most professionals use a 15"/second
tape speed, which gives a wider tape spacing
between words and makes it easier to do an
accurate editing job. Obviously, the slower
QUESTION : I am interested in purchas-
ing a tape recorder, but haven't been able
to get much comparative information.
Would you please list the output responses
of four or five tape recorders that retail
below $250. Also, how does the response
of these recorders compare with that of the
average home radio-phonograph combina-
tion?
Answer: Probably the best compilation of
comparative performance data and prices
on tape recorders available today is the
"QUICK FACTS ON MAGNETIC
TAPE RECORDERS", published in the
August-September 1951 issue of Audio
Record. This lists 69 different models of
28 different manufacturers, and includes
all of the basic information needed for selec-
tion of the recorder best suited for any
particular application and budget. Reprints
of this section are still available and will
be sent on request without cost or obliga-
tion.
As to the second question, the frequency
response range of tape machines selling for
under $250 is well below that obtainable
from a good commercial phonograph record.
QUESTION: Without laboratory equip-
ment, how would a home recordist be able
to check frequency response of his equip-
ment? Is there any relatively simple way of
at least getting some idea of the range of
frequencies his recorder is capable of repro-
ducing?
Answer: Without laboratory equipment, a
trained ear is the only measure of frequency
response — and this is often surprisingly
accurate. For a rough approximation, we
suggest recording and playing back some
simple piano scales, and noting the point at
which tone quality begins to suffer. In this
connection, the following frequency figures
may prove helpful. Middle C on the piano
represents a frequency of 256 cycles, and
the frequency is doubled for each octave
higher — halved for each octave lower.
C (first octave above middle C) is there-
fore 512 cycles; C^ (second octave) is 1024
cycles; C•^ 2048 cycles; C\ 4096 cycles.
These, of course, are the fundamental fre-
quencies which, with their harmonics or
overtones produce the sound quality or
timbre which characterizes a particular
musical instrument. The fundamental alone
is not at all pleasing to the ear. For suitable
musical reproduction, therefore, a recorder
must have an upper frequency limit at least
three or four times the fundamental fre-
quency of the highest musical note which
QUESTION : On my tape recorder I find
that in rewinding I can hear a faint signal
(going backwards) of what is on the tape
and yet with this model the tape is moving
at least an inch away from the play-back
part of the head. What would be causing
this and could it be a sign that the recorder
is breaking down or is faulty in some way
and in need of expert attention?
Answer: This is a perfectly normal phe-
nomenon, due to the extreme sensitivity of
the head, which picks up the magnetic pat-
tern on the tape even at a distance of about
an inch away. If it is annoying, all you have
to do is turn down the output volume dur-
ing rewind.
PROFESSIONAL
COACHING VIA TAPE
by Daniel Seidman
2 Peter Cooper Road, N. Y. C.
(Second award winner in Audio Devices'
educational recording contest)
I am a Junior High School teacher and
alm<ist all teachers of grades three through
nine must present plays. Since I am a health
education teacher, my ability as a dramatic
director is sorely limited. I discovered an
easy way out of my predicament which
proved to be most successful.
I recorded a play directly onto my tape.
I took it off a long playing record but it
isn't necessary to tell you that I could have
taken it from almost any source . . . radio,
television, etc. I then cut the tape after
every two minutes of playing time, espe-
cially where the natural break came in the
dramatic presentation. I then spliced onto
the tape blank, unrecorded tape . . . about
5 minutes of playing time. In other words,
I had two minutes of the original play fol-
lowed by five minutes of blank tape, two
minutes of play continued from where it
was cut, five minutes of blank tape and
so on.
The final step was to record the children
on the blank tape after they listened to the
characters present their parts on the two
minutes of the recorded tape.
The children heard and reheard their
parts presented by the professional actors
and then listened to their own voices in
imitation of the experts. Of course, all their
errors were easily noted.
Incidentally, I used leader tape after each
splice upon which I wrote all pertinent in-
formation . . . the names of the characters,
children, etc.
April-May, 1952
pointe/^
by C J. LeBel, Vice
Audio Devices,
Presi
Inc.
HOW TO HELP YOUR
PROCESSOR
C. J. LeBcl
Wc are afraid
that the subject of
this article is in the
man-bites-dog class;
studios have often
complained about
their processing
laboratories, but
here's a case where
the laboratories
have a few justifi-
able complaints of
their own. After
talks v.-ith several large processing organiza-
tions, It becomes evident that hurry, care-
lessness, and new studio personnel unused
to the stringent requirements of master
recording are injuring record quality and
sometimes even making processing impos-
sible.
Faults may be separated into these three
classes:
A. Prevent a disc from being processed.
B. Produce noisy pressings.
C. Make unnecessary trouble for the
processor.
Faults Which Make Processing Impossible
Incorrect diameter of the disc is inexcus-
able — it is necessary to use a master size
larger than the disc to be pressed: 12-inch
for a 10-inch pressing, 13V4-inch for a
12-inch pressing, and 17i/}-inch for a 16-
inch pressing. A 16-inch lacquer cannot be
processed to produce 16-inch pressings, and
that's that.
Incorrect dimensions of the recorded
area may make it impossible to produce a
saleable record, even tho pressings can be
made — for example if the modulation starts
at too large a diameter, the outer grooves
cannot be played on an automatic changer.
Omitting the coarse pitch lead-in groove
will also make automatic playing impossible.
Both RTMA and NARTB have dimen-
sional standards, so use them as your guide.
Wrong groove dimensions can also create
trouble. Processors may have trouble press-
ing a 16-inch disc if it was recorded with a
small-radius microgroove stylus. If the
groove/land width ratio is too small, a disc
is unplayable even though pressings may be
made. Use a 60/40 ratio for transcriptions,
and a 70/30 ratio for microgroove discs.
Misguided economy can lead to trouble,
too. Lacquer masters cost more than regu-
lar discs, for they are especially selected
for perfection of surface. The difference in
sound may be imperceptible, but occasion-
ally a groove will go through a minute
surface imperfection, producing a groove
irregularity which makes it impossible to
press. Masters are picked to avoid such
faults.
Occasionally a stylus gets a notch in the
idgc as the result of wear. Such a stylus
-hould not be used for masters, for the
metal master will have a ridge which makes
It impossible to produce good pressings. As
-hown in figure No. 1, the pressing stock
catches on the ridge, and the pressing can-
not be stripped from the metal part without
ruining the groove wall.
BOLT THREADED
AT ENDS ONLY
CENTER SMOOTH
\
RECORDED
SURFACES
BOTTOM OF SHIPPING CASE
-igure
1. Enlarged cross sectional diagram showing why
disc
cut by a notched stylus often cannot be pressed
4ithou
ruining the groove wall of the pressing.
A serious problem results if lacquer mas-
ters are forced on an oversize metal spindle.
The resulting buckle makes the disc useless.
This seems to happen most often during
packing.
Causes of Noisy Pressings
Strange as it may seem, the worst source
of noise is very simple; use of a worn record-
ing stylus. The pressing can be no quieter
than the original lacquer.
Another source is equally simple; too low
recording level. The signal to noise ratio of
commercial pressings of the highest quality
will seldom average far better than 50 db,
so a recording level whic his 10 db too low
will produce a signal to noise ratio of 40 db
— commercially disastrous. Some have re-
duced their recording level because of high
frequency overload when using the 16 db
of preemphasis of the NARTB recording
characteristic; this problem is overcome by
changing to the AES characteristic and
using only 10 to 12 db of preemphasis.
Carelessness can add swishes, clicks, and
pops. Finger marks are the most common
cause of swishes. Once a finger mark has
been made, it is virtually impossible to re-
move. Handle a disc by the edges only.
Clicks and pops result from dirt. Ask your
processor to suggest a design for a shipping
case. Most important, do not ship masters
with the recorded surfaces in contact, for
this will imbed any dirt on the surface.
Ship masters back to back, with spacing
washers between the pairs, and with the
outer discs facing inward, as in figure No. 2.
Do not ship in envelopes.
Helping the Processor
Unless you like to play games (at your
own expense), be sure to put an identifica-
tion number on each disc, for otherwise the
processor has to guess which disc is which.
The marks should be placed at the very
center, or outside the recorded area. Make
numbering an integral part of recording
room routine — for a single slipup may be
costly.
Information on the faults most fre-
quently encountered in masters submitted
for processing vvas contributed by Columbia
Records. RCA Victor Recording Division,
and K. R. Smith Division of Allied Record
Manufacturing Company. Additional spe-
cific information on the proper preparation
of masters for processing is available in the
free publication, "Suggestions for Profes-
sional Master Recording", published by
Allied. Copies can be obtained by writing
to the K. R. Smith Division of Allied
Record Manufacturing Company, 619
West ?4th St.. New York, N. Y, — or
Allied Record Manufacturing Company,
1041 North Las Palmas Ave., Hollywood
38, California.
METAL MASTER
STYLUS
Figure 2. Proper method of packing lacquei
always protected from contact with othi
Behind the
familiair
blue label of
WOR recording studios . . .
the finest in modern sound recording methods and equipment
Radio stations from coast to coast recognize this label as
the mark of a top quality transcription. One that can be de-
pended on to meet or exceed the extremely high broadcast
standards of sound quality.
To maintain this reputation, WOR Recording Studios,
one of the largest in the world, use the finest and most costly
tape and disc recording equipment obtainable. And — what's
equally important — their engineers have found that
Audiotape and Audiodiscs are an ideal combination for
meeting the exacting requirements of broadcast transcrip-
tion and commercial recording work. This same record-mak-
ing combination is also being used with outstanding success
by America's leading producers of fine phonograph records.
With Audiotape and Audiodiscs, you can achieve this
same sound perfection in your recording work, too. Their
consistent, uniform quality is the result of more than 12
years of specialized experience by the only company in
America devoted solely to the manufacture of fine recording
media, both tape and discs.
AUDIO DEVICES, inc.
444 MADISON AVE., NEW YORK 22, N. Y
Export Dept.: 13 East 40th St., New York 16, N. Y, Cables "ARLAB"
. . . including
and
^iifiiflPCTiycy*
I '
::i
0\
op
record
Published by
AUDIO DEVICES. INC.
444 MADISON AVENUE, N. Y. 22, N. Y.
niiHiotnpe ^^^<
audlafUm
audlopuoints
Pare of the Audio Dev
Atnphilht;atre (o give r
National Conv
i-Magnecord tape recording center set up in Chicago's In
0 newscasters local-level coverage of the Republican and Democratic
1 recordings Magnecorded on Audiotape. Story on Page 2.
DIRECTORY OF TAPE RECORDERS
• Audiotape at Chicago Conventions
• New Language Lab at SHAPE
• Musical Engineering
• New 7" Reel Design
• New Adhesive Reel Labels
AUDIO RECORD
AUDIOTAPE STARS AT CHICAGO CONVENTIONS
New Tape Recording Service
Gave Both National Political
Conventions Wider Radio
Coverage Than Ever Before
A lot of mighty important things went
on at Chicago's big National Political Con-
ventions this year. Of course, there were
some pretty fundamental differences be-
tween the two. But both had one thing in
common — plenty of Audiotape. And it
played a mighty important part in keeping
the public informed on what transpired
behind the scenes at these history-making
events.
At Convention Time, the big network
newscasters are in an ideal position to give
complete coverage on a national scale. But
the hundreds of small and independent
radio stations throughout the country have
heretofore been left out in the cold — espe-
cially as far as on-the-spot coverage at the
local level is concerned.
This year, for the first time, these small
stations got a real break — thanks to a
unique tape recording service made avail-
able through the joint sponsorship of Audio
Devices, Inc. and Magnecord, Inc. This
service enabled any representative or news-
caster from any radio station in the country
to supplement the network coverage with
on-the-spot tape recordings custom-tailored
to the local interests of his particular radio
audience.
Under the auspices of the Chicago News
Broadcasters Association of Radio News
Directors, complete tape recording facilities
were set up in the radio and TV area of
The International Amphitheatre and in The
Conrad Hilton Hotel. This included individ-
ual recording booths, professional Magne-
cord tape recording machines. Audiotape,
convention accredited union engineers, and
an efficient packaging and mailing service
for air mailing the recorded Audiotape
back to the home station for broadcast.
Visiting newscasters were able to record
interviews with the delegates from their
local areas — to record their own local in-
terpretation of convention events as they
happened. All without having to bring
along any recording equipment or technical
personnel, or renting expensive space, lines
and loops.
All recordings were made with Magne-
cord machines on Audiotape — assuring
the highest professional quality of all taped
program material.
Another view of the busy
convention newscasters tape
recording center, — spon-
sored jointly by Audio De-
vices and Magnecord, Inc.
Here, more than 550 pro-
grams for a total of 81
radio stations were recorded
on Audiotape, and mailed
back to the station for local
re-broadcast.
In all, more than 550 programs, ranging
in length from five to thirty minutes were
recorded during the two Political Conven-
tions. Most were 15 minutes in length. Pro-
grams were recorded for a total of 8 1 radio
stations in 34 states, Hawaii, the District
of Columbia, the British, Canadian, French
and Swiss Broadcasting Companies and the
Voice of America.
The people who made use of the facili-
ties were just as widely representative.
There were Mrs. W. W. Jarrell, a 70-year
old grandmother from WKTG, Thomas-
ville, Ga. and Joel Lynch, 17-year old
student from WLAG, La Grange, Ga.
Convention highlights were reported to
WWDC, Washington, D. C. by Hazel
Markel, Mutual network commentator,
while those to WARL, Arlington, Va.,
were handled by State Senator Charles R.
Fenwick, a delegate.
Practically all the important dignitaries
and guests were interviewed in the Magne-
cord-Audiotape studios. During the Demo-
cratic convention, for example. Sen. Russell
(Ga.),Sen. Benton (Conn.), Sen. Kefauver
(Tenn.), Rep. Roosevelt (N. Y.), Secre-
tary of the Interior Chapman, Sen. Lehman
(N. Y.), Mrs. Barkley, Sen. Magnuson
(Wash.), Sen. Bird (Va.), James A. Farley,
Gov. Battle (Va.), and Gov. Long (Hawaii)
were only a few. The same impressive array
were Audiotaped during the Republican
convention.
In addition to providing the smaller sta-
tions with convention coverage to supple
ment network or press service coverage,
these recording facilities were used by net-
work commentators for local shows. It was
far easier to get guests at a convenient
hour in the Magnecord- Audiotape studios,
record them and then feed them back than
wait for the jammed network facilities.
Ralph O'Connor, Wise, Madison, Wise.
was typical of another group. These had
direct lines from the station. However, it
was impossible to get interviews during the
broadcast hour in a station distant from the
convention centers in the Amphitheatre
and Hilton Hotel, so the programs were
Audiotaped and fed back on the line at
broadcast time.
The entire floor proceedings in the
Amphitheatre from start to finish of each
convention were also Magnecorded on
Audiotape. Pierre Crenesse of the French
National Broadcasting System was a famil-
iar figure in the Amphitheatre studio. Each
morning he appeared to get the last sen-
tence of each nominating speech or major
address as well as 15 seconds of cheering
for background to his newscast.
In short, the Audiotape-Magneoord team
provided a heretofore unavailable news
recording service which brought vital, first-
hand information to millions of radio listen
ers the world over.
cuixUa ^record
VOL. 8, NO. 6
AUG.-SEPT., 1952
Published monthly by Audio Devices, Inc., 444 Madison
Avenue, New York City, in the interests of better sound
recDiding. Mailed without cost to radio stations, record-
ing studios, motion pictuie studios, colleges, vocational
stfiools and recording enthusi.ists throughout the United
If you're not already on the Audio Record mailing list, and would like to
receive it regularly, just send us a post card or letter. There's no cost or
obligation, of course.
.4ugu$t-Sept., 1952
audio H^recard
QUICK FACTS ON MAGNETIC TAPE RECORDERS
(Additional Information can be obtained by writing to the manufacturer)
Model and Price
Frequency
Response
Tape
Portable
Model 400-A
(Dual Track)
Model 401 -A
(Single Track)
$985.00
50-15,000
cycles (±2 db)
at 15'Vsec.
70-10,000
cycles (±i db)
at 7 '/J "/'sec.
Portable, single or dual-track recorder, with
tape speeds of 15 and lYi" per second. Sig-
nal-to-noise ratio, over 5 5 db at either speed.
Either half-track or full-track recordings can
be played back without changes in adjust-
ment. Separate record and playback heads.
Instantaneous starting. Rewind time, l'/2
min. Simultaneous monitoring. Weight —
approx. 80 lb.
AMPEX
ELECTRIC
CORPORATION
934 Charter St.
Redwood City
California
Console
Model 300-C
$1,860.00
30-15,000
cycles (±2 db)
at 15" /sec.
40-10,000
cycles (±2db)
at 7V2"/sec.
Professional-type, single-track recorder, with
tape speeds of 15 and lYl" P^r second.
Signal-to-noise ratio, over 60 db. Separate
record and playback heads and amplifiers.
Rewind time, 1 min. for full NAB reel. De-
sign flexibility permits modifications for spe-
cial applications, including multi-channel
recording and response beyond 80 KC. Cus-
tom built instrumentation machines avail-
able with response to 100 KC. Also available
in portable and rack-type units.
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Rocemmended
Model 402
(Dual Track)
Model 403
(Single Track)
$995.00
30-15,000
cycles (±2db)
at 15"/sec.
40-10,000
cycles (±2 db)
at 7'/2"/$ec.
Professional type, single or dual-track re-
corder with tape speeds of 15 and lYl"
per second. Signal-to-noise ratio, over 55 db.
Separate record and playback heads and
amplifiers. Rewind time, l'/2 min. for full
2400 ft. reel. Push-button controls. Timing
accuracy, within 3.6 seconds per 30 minutes.
Built-in preamplifier. Also available in rack
or portable mounting.
Twin-Trax Magnemuse"
Model tlOB
(7'/2"/sec.)
$285.00
50-9,000
cycles (±3 db)
at 7'/j"/sec.
Model S10C
(15"/io«.)
$345.00
30-13,000
cycles (±2 db)
at 15"/sec.
Portable, dual-track recorder, with automa-
tic reversal — giving up to 1 hour continuous
play on 7" reel. Dynamic range, 45 db. In-
put channels for microphone and radio-
phono. Total distortion, less than 3%.
Shuttle speed in both directions. Weight —
42 1b.
AMPLIFIER
CORPORATION
OF AMERICA
396-398
Broadway,
New York 13,
N. Y.
"Twin-Trax
Magnerama"
$495.00
50-9,000
cycles (±3 db)
at 7' '2" see.
Portable, dual-track recorder, with 7'/2"tape
speed and automatic reversal — giving 4
hours continuous play on X'iVi" reel. Micro-
phone included. Weight — 55 lb. Other data
same as for "Twin-Trax Magnemuse" above.
Wound
with
OXIDE
OUT
Red or
Black
Oxide,
Plastic or
Paper Base
"Magnemite"
Model 610-B
(Dual Track)
$225.00
100-3,000
cycles, at
1 7''8"/sec.
Model 610-C
(Dual Track)
$255.00
50-5,000
cycles at
3%"/'sec.
Model 610-TD
(Dual Track)
$275.00
50-7,500
cycles, at
Battery Operated,
Spring Motor
Drive
Model 610-SD
(Single Track)
$295.00
50-7,500
cycles, at
7' 2" sec.
Completely self-contained, battery-operated
tape recorders with spring motor drive, es
pccially designed for a wide range ot remote
recording work. Include provision for play-
back thru headphones or external amplifier
Dynamic range, 45 — 50 db. Winding inter
val, 15 mm. for Model 610-B; IVi mm. foi
all others. Can be rewound while operating
Weight, 10 — 15 lb. Overall dimensions,
1 1 X 8 X 5 in. for Model 610-B; 11x10x7
in. for all others. Complete accessory equip
ment available.
Wound
with
OXIDE
IN
Red
Oxide,
Plastic
or Paper
Base
AUDIO RECORD
AMPRO
CORPORATION
2835 North
Western Ave.,
Chicago 18,
III.
Model and Price
"Ampro-Tape
Recorder"
Model 731-R
$119.75
Frequency
Response
100-7,000
cycles, at
3V4"/see.
Data
Portable, dual-track recorder with 3^i" tape
speed — giving 2 hours of continuous playing
on one 7" reel. Instant stop switch for accu-
rate spotting. Microphone and direct radio,
T.V. or phone connection. Rewind time,
4 min. for 7" reel. Includes microphone,
5" X 7" elliptical AInico 5 PM speaker and
jack for external speaker for 3 ohm voice
coil or earphones. Weight — 17 Ihs.
Tope
Wound
with
OXIDE IN
Red or Block
Oxide,
Plastic or
Paper Base
BELL
SOUND
SYSTEMS, INC.
555 Marion Rd.,
Columbus 7,
Ohio
'RE-CORD-O-fone
Model RT-65-B
70-8,000
cycles (±3 db)
at 7 '/j "/sec.
Portable, dual-track recorder with tape speeds
of 1^", 3%" and lYl" P^f second. Rewind
ratio 6 tol. Includes crystal microphone, 6"
PM speaker, inputs for microphone and
radio-phono, and headphone monitoring
jack. Weight— 3 3 lb.
BROADCAST
EQUIPMENT
SPECIALTIES
CORP.
135-01 Liberty Ave.
Richmond Hill 19
Travis
"Tapak"
$289.50
plus mike
and headphone
100-3,000
cycles
7'/2"/sec.
Completely self-contained, battery-operated,
spring motor driven unit for single-track
recording at 7|/2" per sec. Records, erases,
monitors and plays back through headset.
Power rewind, 44" per sec. Winding inter-
val, 5 — 6 min. Can be rewound while operat-
ing. Max. speed variation, 1%. Signal-to-
noise, 40 — 45 db. Includes editing and splic-
ing fixture. Operates with cover dosed.
Weight, 17 lb. Dimensions, 14 x 10 x 'iYz in-
BERLANT
ASSOCIATES
4917 West
Jefferson Blvd.,
Los Angeles 6,
Cal.
"Concertone"
Model 1401
Chassis
$345.00
50-15,000
cycles (±2db)
at 15"/see.
50-9,000
cycles (±2 db)
at 7 '/j "/see.
Professional type single or dual track re-
corder mechanism and electrical chassis for
console installation. Tape speeds, 1 5" and
75/2" per sec. Signai-to-noise ratio, over 50
db. Fast forward and rewind time, I min.
for 101/2" ■'^^'- Separate record, erase, and
playback heads. Monitors while recording.
Carrying case and console available. Weight
— 50 lb., in case, with 8" speaker.
"Concertone"
Network
Recorder
NWD-1
)rive Mechanism
$478.00
NWA-1
Amplifier
$317.00
40-15,000
cycles (±2 db)
at 15"/sec.
50-9,000
cycles (±2 db)
at 7'/2"/sec.
Professional single or dual-track recorder
with tape speeds of 15 and 7!/2" per second.
Signal-to-noise ratio, 55 db. Fast forward
and rewind, less than 1 min. for 2500 ft.
reel. Starting time 1/10 sec. Separate erase,
record and playback heads with facilities for
5 heads. Monitors while recording. Includes
manual editing facilities. Amplifier unit in-
cludes push-button interlock controls for
all mechanical functions. Automatic instant
stopping in case of power failure or tape
breakage at end of reel. May be mounted in
rack, portable cases (as shown), or console.
Wound
with
OXIDE IN
Red Oxide,
Plastic or
Paper Base
Wound
with
OXIDE IN
Red Oxide,
Plastic
Base
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
THE BRUSH
DEVELOPMENT
CO.
3405 Perkins Ave.,
Cleveland 4,
Ohio
"Soundmirror"
Model BK-443P
$279.50
To 7,000
cycles, at
7'/2"/see.
Model BK-443PS
$289.50
To 4,000
cycles, at
3V4"/$ec.
Portable, single-track unit, available with
71/2 or 3J-4" tape speed.'; — providing 30 tn
60 minutes recording time. Signal-to-noise,
over 40 db. Wow and flutter, less than 0.3%
RMS. Fast forward and rewind, 7 '•"/sec.
Inputs for microphone, radio-nhnno. Output.
5 ohms, 33 dbm. Includes 6" PM speaker and
crystal microphone. Weight — 32 lb.
"Soundmirror"
Model BK-442
$259.50 (mahogany)
$269.50 (blond)
To 7,000
cycles, at
7'/2"/»ec.
Table model, single-track units with 7'/2"
tape speed — providing 30 minutes recording
time on 7" reel. Signal-to-noise, over 40 db.
Wow and flutter, less than 0.3% RMS. Fast
forward and rewind, 75"/sec. Inputs for
microphone, radio-phono. Output, 5 ohms,
33 dbm. Includes 8" PM speaker and crystal
microphone. Weight — 3 3 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
August-Sept., 1952
Manufacturer
Model and Price
Frequency
Response
Tape
CALIFONE
CORPORATION
1041 North
Sycamore Ave.,
Hollywood 38,
Cal.
"Dynocord"
Model C3-C3A
Rack Panel
$799.00
Portable
$849.00
50-15,000
cycles <±2db)
at 15"/set.
50-9,000
cycles (±2db)
at 7'/i"/sec.
Portable, single-track, dual-speed recorder
designed to NAB Standards. Unique features
include direct capstan drive from special
slow-speed synchronous motor which elimi-
nates flutter, and clutch-free dynamic brak-
ing of tape reels. Signal-to-noise ratio, over
50 db. Fast forward and rewind, 48 sec. for
101/2" reel. Three separate heads permit
monitoring from tape while recording. In-
cludes VU meter, 2-speed equalization, and
separate record and monitor gain controls.
Weight — 44 lb. for C3 transport mecha-
nism; 33 lb. for C3A amplifier.
OXIDE
OUT
Red Oxide,
Plastic Base
CRESTWOOD
RECORDER
CORP.
5990 Northwest
Highway,
Chicago 31,
III.
Crestwood
Model CP301
(7*2" speed)
Model CP302
(3^4 and 7W
speeds)
$199.50
50-10,000
cycles (±2 db)
at 7' 2"/ sec.
Portable, single or dual speed, dual-track
recorder. Signal-to-noise ratio, 48 db. Flutter
and wow, 0.5% max. Rewind time, 1 min.,
25 sec. for 1200 ft. reel. Input for high im-
pedance mike, radio or phono. Output for
external speaker, phone jack for monitoring.
Built-in speaker. Weight, 30 lb.
40-12,000
cycles
at 7' 2" sec.
Crestwood
Model 400
$299.50 Complete
Portable, dual-track recorder with TYz" ^^P^
speed. Signal-to-noise ratio, 50 db. Flutter
and wow, 0.25% max. Rewind and fast for-
ward speed same as above. Records from
microphone, phono or radio. Tone control
equalized for maximum performance. Auto-
matic interlock prevents accidental erasure.
Power output 10 watts. Built-in 8" speaker.
Weight: 22 lb. for recorder and pre-ampli-
fier, 21 lb. for speaker and power amplifier.
Wound
with
OXIDE
OUT
Red Oxide,
Plastic Base
DuKANE
CORPORATION
ECTRO
INC.
Delaware 1,
Ohio
"DuKane"
Portable
Model 11B-55
$229.50
50-8,000
cycles, at
7'/2"/sec.
Portable, dual-track recorder with 7I/2" t^P^
speed. Power output, 7 watts. Input channels
for microphone and radio-phono. Output
lacks for headphones and external speaker.
Fast forward speed, 150"/sec. Rewind time,
80 seconds for 7" reel. Microphone and built-
in 6"x9" speaker included. Weight — 26 lb.
Wound
with
OXIDE
OUT
Red Oxide,
Plastic or
Paper Base
"DuKone"
Portable
Model 11A-75
$279.50
50-10,000
cycles, at
7' 2" sec.
50-7,500
cycles, at
Portable, dual-track recorder with tape speeds
of 3^4 and 7J/2" per sec. Signal-to-noise
ratio, 50 db on playback. Rewind time, 80
sec. for 7" reel. Fast forward, 2% min. for
7" reel. Keyboard controls for selection of
recording facilities — microphone, radio or
phono, tape copying, playback and PA sys-
tem. Output. 71/2 watts. Includes 6 x 9 in.
speaker. Weight — 35 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic
Base
"Cub Corder
Battery
Operated
Portable
$295.00
200-600
cycles, at
Completely self-contained battery-operated,
dual-track recorder with tape speeds of 3%"
and 7l/'2" per sec. Also available with I'/g"
and 3|-4" speeds. Fast forward and rewind,
37" per second. Power supply, rechargeable
wet cells and dry batteries. Instantaneous
playback through microphone. Simphfied cir-
cuit with constant-speed motor. Size, 12'/4
X 13!-4 X ''-"S '1- Weight, 12?/8 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic
Base
AUDIO RECORD
Manufacturer
Model and Price
Frequency
Responte
Tape
EDUCATIONAL
LABORA-
TORIES,
INC.
1625 Conn. Ave.
N. W.
Washington 9,
D. C.
EICOR,
INC.
1501 West
Congress St.,
Chicago 7,
III.
"Educorder Dual"
$450.00
5,000
cycles.
Portable tape recorder with two separate
channels, each having its own amplifier and
record-playback and erase heads. Can record
and play back two channels simultaneously
for binaural effect or record on one channel
while listening on the other. Tape speed,
3J4 " P^r second C^Yl" optional). Wow and
flutter, less than 1.3% RMS. Fast forward
and rewind, 20:1 ratio. Radio and mike
input for each channel. Three output con-
nections: Channel 1, Channel 2 and "Dual"
for binaural headphones. Weight, 26 lb.
1
Portable
Model
230
70-8,000
cycles at
7' 3" sec.
70-4,000
$160.00
cycles, at
(Approx.)
3 3 4"/sec.
Portable, dual or single track recorder with
dual-speed capstan for 71/^" and 3 3 4" tape
speeds. Provides up to 2 hrs. recording time
on 7" reel. Amplifier equalized for both
speeds. "Finger-Flip" controls for mechanical
and amplifying systems. Volume peak indi-
cator window. Safety lock prevents acci-
dental erase. Crystal microphone and 5" x
7" speaker included. Weight — 28 lb.
Wound
with
OXIDE IN
Red or
Blacic
Oxide,
Plastic or
Paper Base
Wound
with
OXIDE IN
Red Oxide,
Plastic or
Paper Base
FAIRCHILD
RECORDING
EQUIPMENT
CORP.
1S4th St. and
7th Ave.,
Whitestone,
N. V.
Console
Model
Unit 126
$2,750.00
50-15,000
cycles (±1 db)
ot 15"/see.
Professional type, single-track recorder with
15" tape speed (7J/2" and 30" models avail-
able). Total noise and distortion -64 db
(ref. 21/2% dist.). Adjustable bias. Speed
tolerance. 0.1%. Built-in VU meter and cir-
cuit checking. Unit-type, plug-in chassis.
Automatic .stop — instant braking and re-
versal. Full protection against accidental
erase.
Console
Model
"PIC-SYNC"
$4,000.00
50-15,000
cycles (±1 db)
at l5"/se<.
Same as model 126 with the addition of lip
synchronous operation. Used with motion
picture camera and film projector, synchron-
ous sound tracks are made and played back
on Y4" tape, with no interconnecting equip-
ment. Automatic Framing, which assures
correct cueing of tape and film, available at
additional cost. Other applications include
Facsimile recording, multi-track, and tele-
metering, with frequency response to 100 KC
» ^
Control
Track
Generator
Model 141
$200.00
Portable light weight unit for "On Loca-
tion" picture synchronous sound track re-
cording on '/i" tape. Used with any portable
tape recorder with 1 5"/sec. tape speed and
frequency response good to 14 KC, a control
track is simultaneously applied which later
becomes the tape speed control when played
back on Pic-Sync recorder.
THE
GENERAL
INDUSTRIES
COMPANY
Elyria,
Ohio
Tape-Disc Recorder Assembly
Model 250 $79.50
(depends on
amplifier
used)
Combined disc and tape recorder assembly
for installation in console or portable case.
Tape speed, Sfi'Vsec, dual track. Fast for-
ward and reverse. PM erase. Takes 5" reels
Disc recorder cuts and plays back up to 10"
discs, at 78 rpm. Records from tape to disc
and vice versa — and from microphone or
radio to disc or tape.
OXIDE
IN
Red Oxide,
Plastic Base
Wound
with
OXIDE IN
Red or
Black Oxide
Plastic or
Paper Base
MAGNETIC
RECORDING
INDUSTRIES
LTD.
30 Broad St.,
New York 4,
N. Y.
(Continued on
next page)
"Voice-Master
Magnetic Disc
Dictating Machine
$175.00
Voice
Frequency
Only
Portable magnetic-disc dictating and tran-
scribing machine using mailable and re-usable
paper discs with magnetic oxide coating.
"Correct-O-Matic" feature erases previous
dictation while recording changes or correc-
tions. Visual record-listen indicator. "Split-
A-Word" in.stant start and stop control.
"Codit" scrambler available for confidential
dictation, making recording unintelligible
unless transcribed on machine with identical
coding unit. Complete line of dictation and
transcription accessories available. Price
listed does not include microphone. Weight
-11 lb.
Uses
Special
Paper
Base
Magnetic
Discs
August-Sept., 1952
MAGNETIC
RECORDING
INDUSTRIES
LTD.
30 Broad St.,
New York A,
N. r.
Model and Price
Frequency
Response
Portable
Model VM-S7
$395.00
"Synchrotone" Dual Magnetic Recorder
to 10,000
cycles (±2db)
at 7' 2" sec.
to 7,000
cycles.
Portable, single-track recorder with tape
speed of 7'/2" P^r second. (Also available
with speeds of 2", 3^", or 15" per sec.)
Separate record, playback and monitor am-
plifiers. Separate bass and treble controls.
Radio and microphone inputs may be used
simultaneously. Plug for foot controlled
stop and start. Fast forward and rewind.
Dual-track units can be supplied at same
price. Weight 24I/2 lb. Complete line of
dictating and transcribing accessories avail-
able.
Portable tape recorder with two separate re-
cording and reproducing channels. Permits
synchronous recording or playback of two
different events, synchronous playback of
one event and simultaneous recording of
another, or simultaneous two-channel record-
ing or playback of same event for binaural
effect. Independent control of record, erase
and playback on each channel. Two inputs
per channel. Fast forward and rewind, 75"
per sec. Wow and flutter, less than 0.3%
RMS. Weight— 26 lb.
Tape
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
Wound
with
OXIDE IN
Red or
Black Oxide,
Plastic or
Paper Base
Model PT6-J
Amplifier
$248.00
Model PT6-AH
Recorder
$316.00
50-15,000
cycles (±2db)
at 15" sec.
Portable single-track, professional type re-
corder with interchangeable capstans for 1 5
and 71/2" tape speeds. Also available with
dual-track heads and with dual speed motors
for three speed operation. Fast forward and
rewind speeds. Two separate heads. Combi-
nation record/playback amplifier. Flutter,
0.3% max. Low impedance mike input,
bridging input, monitor speaker, O-level out-
put terminal, VU meter, terminal for ex-
ternal speaker.
Mode! PT63-J
Amplifier
$387.00
Model PT63-AH
Recorder
$350.00
MAGNECORD
INC.
360 North
Michigan Ave.,
Chicago 1,
III.
50-15,000
cycles (±2db)
at 15" sec.
Same as above, except with three separate
heads for erase, record, and playback for
monitoring from tape while recording.
PT63-J amplifier has separate record and
playback amplifiers, and switch for equaliza-
tion at 71/2 and 15" tape speed.
inaural Amplifie
Model PT6-BN
$515.00
Binaural Recorder
Model PT6-BAH
$364.50
Magne Cordette"
$385.00
Complete
PREMIER
ELECTRONIC
LABORATORIES
382 Lafayette St.,
New York 3,
N. Y.
50-15,000
cycles (it2db)
at 15" sec.
50-15,000
cycles (±3db)
at 15" sec.
40-15,000
cycles, at
IS" sec.
40-12,000
cycles, at
7' 2" sec.
40-7,000
cycles, at
3^" sec.
Portable dual channel recorder designed for
binaural recording and reproduction (using
simultaneous inputs from two microphones
and outputs to two speakers or binaural
headphones). Separate record/playback head
for each channel — also separate gain con-
trols and VU meters. Signal-to-noise ratio,
47 db per channel. Flutter, 0.3% max. Fast
forward and rewind speeds. Includes speaker
for monitoring either channel. Binaural con-
version equipment available for use with
existing Magnecord machines.
PT6-.AH Magnecorder and "custom" am-
plifier mounted in attractive blonde or
mahogany cabinet, .^mplier unit serves as
recording amplifier and playback pre-ampli-
fier for use with separate high fidelity or
radio amphfier. Can be supplied with single
or dual track heads. Tape speeds of 15" or
7J/2" per second with interchangeable cap-
stan. Three-speed units also available. Fast
forward and rewind speeds. Flutter, 0.3%
max. Hi-impedance inputs for microphone
and radio-phono.
Portable, professional-type, dual track re-
corder with tape speeds of 15", 71/2" and
3^4" per second. Fast forward and rewind,
less than 1 mm. for 2500 ft. reel. Flutter and
wow, 0.1% at 15" per second. Mixing chan-
nels for mike, radio and phone inputs.
Monitoring speaker attenuator. Three heavy-
duty dynamic balanced motors. Includes 8"
speaker. 12 watts audio output. Weight —
54 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Wound
with
OXIDE
IN
Red Oxide,
Plastic
Base
AUDIO RECORD
Manufacturer
MARK
SIMPSON
MFG. CO.
INC.
33-28 49»h St.,
Long Island City 3.
N. Y.
THE
PENTRON
CORP.
221 E. Cullerton St.
Chicago 16,
III.
"MASCO"
Model 52L
$160.00
Model 52LR
(with radio)
$196.00
"MASCO"
Model 52C
$179.50
Model 52CR
(with radio)
$215.50
"MASCO"
Model 52
$179.50
Model S2R
(with radio)
$215.50
Portable Model 9T3-C $179.50
Pentron Tape Player
[^ Model PB-1
^^ $99.50
Model PB-A2
$119.50
Frequency
Response
80-8,500
cycles (±3 db)
at 7'/i"/»oe.
80-5,000
cycles (±3 db)
at 3 '74 "/see.
50-8,000
cycles, at
7'/i"/sec.
50-5,000
cycles, at
3'/4"/sec.
50-8,000
cycles, at
7'/j"/sec.
50-5,000
cycles, at
3% "/sec.
Portable, dual-track, dual speed recorders,
arranged for instant change from 7J/2 to
3J^" per sec. Up to 2 hours recording time
available on 7" reel. Signal-to-noise ratio,
45 db at lYl"- Automatic equalization. Neon
recording level indicator, volume and tone
control, monitor switch, 6" PM speaker,
and microphone. AC erase and bias. Micro-
phone and radio-phono inputs. External
speaker and amplifier outputs. Available with
or without built-in AM tuner. Weight of
mechanism (less case), 30 lb.
Models 52L and 52LR, without carrying
case.
Models 52 and 52R, with two-tone tweed
carrying case.
Models 52C and 52CR have metal cover
with carrying handle. Cover operates inter-
lock switch and can be locked with key.
Portable, dual-track, dual-speed unit (T/z"
and 354") — providing 2 hours recording on
7" reel. Signal-to-noise ratio, 50 db. Flutter
less than 0.5%. Fast forward and rewind
ratio, 20 to I. Inputs for microphone and
radio-phono. Outputs for headphones, ex-
ternal speaker, and PA system. Includes 6"
PM speaker and crystal microphone. Weight
—27 lb.
Portable magnetic tape reproducer, for play-
back only of any standard 14 " tape recorded
with dual track at TYz" or 3^4" Pc second
(single track heads available at slightly
higher cost.) Flutter less than 0.5%. Fast
forward and rewind speed, 20 to 1.
Model PB-1 consists of player and pre-amp
only. Weight — 19 lb. Model PB-A2 is com-
plete with amplifier and speaker. Weight —
22 lb.
Tape
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
Wound
with
OXIDE IN
Red or Black
Oxide,
Plastic or
Paper Base
PRESTO
RECORDING
CORP.
p. O. Box 500,
Hackensack,
N. J.
(Continued on
next page)
To 15,000
cycles, at
1S"/sec.
RC-7 Transport Mechanism A-920 Amplifier
$425.00 $324.00
Professional type equipment for portable or
stationary use. Tape transport mechanism
has true three-motor drive and separate re-
cording and reproducing heads. Instantan-
eous monitoring from tape is provided. Input
for single microphone or high impedance
bridging. Output, 10 watts. Also zero level
line. Two speakers arc mounted in amplifier
for playback. Monitoring output for 'phones.
O'.
Model RC-10-14
$684.00
Model RC-10-24
$761.00
To 15,000
cycles, at
1S"/sec.
Professional, single-channel, dual-speed re-
corders (15" and 7J/2"/sec.) for rack
mounting. Three separate heads, permitting
monitoring from tape while recording. Three-
motor drive mechanism. Fast forward and
reverse. RC-IO-14 controlled by rotary type
selector switch, RC-10-24 completely push-
button controlled. Can be arranged for re-
mote operation.
Wound
with
OXIDE
IN
Red Oxide.
Plastic or
Paper Base
August-Sepi„ 1952
Frequency
Response
Tape
PRESTO
RECORDING
CORP.
p. O. Box 500,
Hackensack,
N. 1.
Console
Model
SR-9S0
$2,785.00
50-15,000
cycles (±1 db)
at 15" /sec.
Professional, single-channel recorder, with
H and 71/2" tape speeds (15" and 30" op-
tional). Signal-to-noise ratio, over 58 db
below max. signal. Fast forward and reverse,
240 ft. /sec. Three separate heads. VU meter.
Amplifier and power supply units on hinged
panel.
Tape Drive
Model
TL-10
for7'2"or 15"
tape speed
$132.50
for 7' 2" and 15'
tape speeds
$140.00
50-15,000
cycles, at
15" sec.
— subject to
limitations
of amplifier
used
Compact tape transport mechanism and re-
producer, arranged to be mounted on and
driven from any standard 16-inch turntable.
Does not include provision for erase or re-
cording. Equalized output of playback head
may he fed directly into standard speech in-
put equipment. Accommodates standard
7-inch reels. Tape speeds indicated are based
on turntable speed of 78 rpm.
Wound
with
OXIDE IN
Red
Oxide,
Plastic or
Paper Base
Wound
with
OXIDE IN
Red or
Black Oxide,
Plastic or
Paper Base
RANGERTONE
INC.
73 Winthrop St.,
Newark 4,
N.J.
"Rangerette"
Portable Model A-2
$1,500.00
complete
45-15,000
cycles (±2 db)
at 15" sec.
50-8,000
cycles (±:3 db)
at 7 V2"/ sec.
Console
Model
R-SC
(with synchronizer)
$4,477.00
45-15,000
cycles (±2 db)
at 15"/ sec.
50-8,000
cycles (+2 db]
at 7 Vi "/sec.
Professional-type, single-track, dual-speed
recorders, with choice of 354"' '^'/2 "> " " of
30" per second tape speeds. Up to 2 hours
recording at 7J/2" per sec. on 14" reel. Dis-
tortion, less than 2% total harmonic. Maxi-
mum signal-to-tape noise, 55 db. Double-
puck, tight-loop tape drive. Peak-to-peak
flutter, less than 0.1% at 15"/sec. Rewind
speed controllable continuously from 0 to
250"/8ec. in both forward and rewind. Meets
all N.A.B. adopted standards. Complete
monitoring and mixing facilities. VU meter,
signal indicator and footage counter cali-
brated in minutes and seconds. Complete tape
editing facilities. Also available with positive
"sprocketless" synchronization for motion
picture and TV applications. Weight of
Rangerette — 30 lb.
Wound
with
OXIDE
IN
Red or
Black Oxide,
Plastic Base
RCA
BROADCAST
EQUIPMENT
SECTION
Camden, N. J.
■'
•B.
1
< ^».'r
■
» »
Cabinet
Rack Model
RT-llA
$1,975
50-15,000
cycles (±2 db)
at 15"/see.
50-5,000
cycles (±2 db)
at 7'/2"/sec.
Console
Model
RT-12A
$2,270
Single-track, dual-speed professional type
recorder, available in cabinet rack or console
mounting. Separate erase, record and play-
back heads permit simultaneous recording
and monitoring. Distortion, less than 1% at
10 db below maximum level. Signal-to-noise,
60 db below maximum level. Wow and flut-
ter, 0.1% at 15" per sec. Fast forward and
rewind time, 60 sec. for 2400 ft. reel. Timing
accuracy, ±2Y2 sec. for 30 minute run. In-
stant stop and start (within 1/10 sec). All
control functions push-button controlled.
Remote push-button control also available.
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
AUDIO RECORD
Model and Price
Frequency
Response
Tope
REVERE
CAMERA
CO.
320 East
21st St.,
Chicago 16,
III.
Model T-700
2 hour ploy
$225.00
Model TR-800
2 hour play
(with radio)
$250.00
80-8,000
cycles (±3db)
at 3'/4"/sec.
Model T-10
1 hour play
$235.00
Model TR-20
1 hour play
(with radio)
$260.00
60-15,000
cycles (±3db)
Portable dual-track recorder available in
either 3%" or 7'/2" P^r second tape speed.
Signal-to-noise ratio, over 50 db at either
speed. Distortion less than 1%. Rewind and
fast forward speed, 170" per second. Flutter
less than 0.3%. Solenoid operated. Two neon
lamps for more accurate level setting. Can
be operated as a P. A. 6" x 9" Alnico V
speaker. Weight — 30 lbs.
Wound
with
OXIDE
IN
Red or
Block Oxide,
Plastic or
Paper Base
SCRIBE
CORPORATIOISE
2835 N. Kedzie
Ave.,
Chicago IS,
III.
Permoflux
Scribe
Dictating
Unit
$354.50
Ample for
all
voice
recording
Compact magnetic tape recorder designed for
varied busine.ss purposes. Same recorder, with
different accessories, serves as either a dictat-
ing or transcribing unit. Dictating unit in-
cludes microphone with control switch. Trans-
cribing unit includes single earphone and
dual foot control. Simple ""cartridge"" load-
ing eliminates threading. Tape speed, 354"
per sec. Recording time, Yi hour per maga-
zine. Includes provision for card indexing of
corrections, extra carbons, length, rush, etc.
Available accessories include; carrying case,
telephone pick-up, magazine packet, tape mail-
ing envelopes, dual foot control, single or
double earphones, paddle-type or conference
"mike," microphone adapter, external speaker
and extra tape magazines.
Wound
with
OXIDE
IN
Red Oxide,
Paper or
Plastic Base
SPEAK-O-
PHONE
RECORDING
AND
EQUIPMENT
CO.
23 West 60th St.,
New York 23,
Speok-O-Phone
"Superior"
Tape-Disc
Recorder
Model TD52
$299.50
Amplifier
Response,
60-8,000
cycles
per sec.
Portable combination tape and disc recorder,
with 3J<t" tape speed (dual tract) and 78
rpm turntable (12" capacity). Records from
microphone or radio to tape or disc, from
disc to tape or from tape to disc. Plays back
from tape or disc. Accommodates 5" tape
reels. Fast forward and reverse tape speeds.
Includes crystal microphone and 5" x 7"
speaker. Weight — 30 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic
Base
THE
STANCIL-
HOFFMAN
CORP.
1016 North
Highland Ave.,
Hollywood 38,
Cal.
(Continued on
next page)
"Minitape"
Model MSA
$249.00
100-5,500
cycles (+2db)
at7'/j"or 15"
100-4,000
cycles (±2 db)
at 3V4"/jec.
Portable, single-track recorder with tape
speeds of 3^4. 71/2 and 15" per sec. Signal-
to-noise ratio, at least 3 5 db. Completely
self-contained battery operated unit (record-
ing only) Weight — 13 lb.
50-15,000
cycles (±1 db)
at 15"/««c.
Portable, professional-type, single-track re-
corder with tape speeds of TVi and 15" (or
15 and 30") per sec. Signal-to-noise ratio,
over 60 db. Separate record and playback
heads and amplifiers with independent moni-
tor amplifier and speaker.
Wound
with
OXIDE
IN
Red Oxide,
Plastic Base
AngustSept., 1952
THE
STANCH-
HOFFMAN
CORP.
1016 North
Highland Ave.,
Hollywood 38,
Col.
Model and Pr
Model S5
Synchronous Magnetic
Film Recorder and
Reproducer
$2,142.00
Model CRM-1S
Multi-Channel
Communications
Recorder
(Prices on Request)
equency
esponse
45-7,500
cycles (:t:2 db)
Ifrmm
45-15,000
cycles (±2 db)
17'/] mm
200-7,500
cycles (±3db)
ot 7'/j"/5ee.
200-3,500
cycles (±3 db)
at 3V4"/sec.
Synchronous magnetic film equipment for
motion picture and TV sound recording. In-
cludes proper speed and equalization for
both 16mm and 17.5mm film width. Full
synchronous sprocket drive arranged for
forward or reverse recording or playback.
Also fast forward and reverse for editing.
Gearless drive. Signal-to-noise, at least 50 db.
Ma.x. harmonic distortion, 1.5% from full
level. Playing time; up to 1 hr. for 16mm,
up to 24 min. for 17.5mm. 2,000-ft. reel
capacity.
Provides up to 15 simultaneous recording
channels on 0.7" wide tape. Recording time,
up to 4'/2 hours for 1,000 foot reel. Two
units, with automatic sequence control per-
mit continuous, 24-hour recording. Signal-
tonoise, at least 40 db. Distortion, not more
than 5% total harmonic at "0" input level.
Negligible crosstalk between channels. Push-
button control. Fast forward and rewind.
Automatic stop.
Tope
Uses
Magnetically
Coated 16mm
and 17.5mm
Film
Uses
Special 0.7"
Plastic or
Paper Base
Tape
TELECTRO
INDUSTRIES
CORP.
35-16 37th St.,
Long Island City 1,
N. Y.
Telectro
50-9,000
cycles, at
Portable
7'j" sec.
Model TR-175
50-5,000
$750.00
cycles, at
Portable, dual track, dual speed unit operat-
ing at 7|/'2 and 3^-4 in. per second. Signal-to-
noise ratio, better than 45 db. Flutter less
than 0.5"^. Separate mike and telephone line
inputs. Provision for control by microphone
pushbutton, foot pedal forward and back
space, and automatic voice operation. Pre
cise counter index for accurate spacing
Built-in PA amplifier with separate control
and 6" PM speaker with external speake
connection. Ruggcdized for military service
Weight— 43 lb.
OXIDE IN
Red Oxide,
Plastic or
Paper Base
WEBSTER
CHICAGO
CORPORATION
5610
BleomingdaleAve.,
Chicago 39, III.
Wcb-Cor
Portable
Model 210
$187.50
70-7,500
cycles
at 7'2"/sec.
70-4,000
cycles
at S^i'Vsec.
Portable, dual-track recorder with tape
speeds of i%" and lYz" per sec. Gives up
2 hours recording on 7" reel. Records or plays
in both directions without reel turnover. Fast
forward and rewind. Two recording heads
and two motors. Signal-to-noise, 3 5 db.
Amplifier automatically equalised for both
speeds. Includes electronic eye volume level
indicator, 6" PM speaker and microphone.
Input for microphone or radio. Phono output
for external speaker, amplifier or PA system.
Weicht— 38 lb.
Wound
with
OXIDE
IN
Red or
Block Oxide,
Plastic Base
WEBSTER
ELECTRIC
CO.
Racine,
'Ekotape" Model 114
$179.50
50-4,500
cycles, at
3^4" sec.
*% Model 116
50-7,500
cycles at
7' 2" sec.
"Ekotape" Portable
Mode! 101-8
$385.50
Model
101-9
$412.50
40-10,000
cycles, at
7' 2" sec.
Portable, dual-track recorders with 3^" or
7I/2" tape speed — giving 2 or 1 hour record-
ing time respectively on 7" reel. Fast forward
and rewind, 75" per sec. Neon recording
level indicator. Input jacks for microphone
and radio-phono. Output jack for external
speaker. Includes 5"x7" PM speaker and
crystal microphone. Foot switch available as
an accessory. Weight — 34 lb
Portable, single-track recorder with IV7"
tape speed. Fast forward and rewind, 75"
per sec. Electronic eye recording level indi-
cator. Inputs for microphone and radio-
phono. Output for external speaker. Includes
8" PM speaker. Weight — 50 lb.
Model 101-8 includes crystal microphone.
Model 101-9 includes receptacle for connect-
ing a remote control foot switch.
Wound
with
OXIDE
IN
Red or
Block Oxide,
Plastic or
Paper Base
AUDIO RECORD
Model and Price
Frequency
Response
Tape
"Tape Recordio"
Model 3A10
(7' 3" and 3^4" sec.)
Model 3A11
(3^4" and I's" sec.)
75-10,000
cycles (±3 db)
at 7 ' 2 "/sec.
80-6,000
cycles (±3db)
at 3*4" sec.
100-5,000
cycles (±3 db)
at 1 ^e"/sec.
Portable, dual-track tape recorders with tape
speeds of 7|/2 and 3J-4 in. per second or
3^4 and l^g in. per second. Signal-to-noise;
55 dh for 3A10. 45 db for 3An. Neon
normal and overload record level indicators.
Inputs for microphone and radio-phono-TV.
Jack for external speaker. Fast forward and
rewind. Keyboard control of all recording
functions. Includes microphone and built-in
speaker. Weight — 23 lb.
WILCOX-GAY
CORP.
385 4th Ave.
New York 10,
N. Y.
"Tape Recordio"
Model 3F10
$179.95
55-10,500
cycles (±3db)
at 7' 2" sec.
75-7,500
cycles (±3db)
at 3^4" sec.
Portable, dual-track, dual-speed tape re-
corder, operating at 7I/2" and 3^4" per sec-
ond. Signal-to-noise, 57 db. Balanced push-
pull circuit. Other features, controls and
facilities similar to 3A10 described above.
Also includes compartment in case for stor-
ing extra tape reels and connecting cord.
Weight — 2 5 lb.
"Tape-Disc
Recordio"
Model 3C10
$199.95
80-6,000
cycles (±3db)
ot 3^4" see.
Portable combination tape and disc record-
ing and reproducing unit, with tape speed
of 354" P^'' second (dual track) and 78 rpm
disc speed. Signal-to-noise, 45 db. Transfers
recordings from tape to disc or vice-versa.
Jack for external speaker. Neon normal and
overload recording level indicators. Fast for-
ward and rewind speeds. Includes microphone
and built-in speaker. Weight — 30 lb.
Wound
with
OXIDE
IN
Red Oxide,
Plastic or
Paper Base
RECORDING TIME
For Various Tape Speeds and Reel Sizes
REEL SIZE
3"
4"
5"
7"
10'/2"
14"
LENGTH IN FEET
Audiotape
Other Types
150
150
300
300
600
600
1200
1200
2500
2400
5000
4800
RECORDING SPEED
TOTAL RECORDING TIME (Based on Audiotape footage)
, - . „ f Single Track
1 % per sec. | p^^, ^.^.k
1 6 min
32 min
32 min
1 hr. 4 m
n.
1 hr. 4 min.
2 hr. 8 min.
2 hr. 8 min.
4 hr. 16 min.
4 hr. 26 min.
8 hr. 52 min.
8 hr. 52 min.
17 hr. 44 min.
_,, „ / Single Track
2V, per sec. | DuoI Track
8 min
1 6 min
1 6 min
32 min
32 min.
1 hr. 4 min.
1 hr. 6 min.
2 hr. 1 2 min.
2 hr. 1 3 min.
4 hr. 26 min.
4 hr. 26 min.
8 hr. 52 min.
.,,, „ f Single Trdck
7"/2 per sec. ^ [joal Track
4 min
8 min
8 min
1 6 min
1 6 min.
32 min.
32 min.
1 hr. 6 min.
1 hr. 6Vi min.
2 hr. 13 min.
2 hr. 13 min.
4 hr. 26 min.
, c" f Single Track
'^ P«^^"- 1 Dual Track
2 min
4 min
4 min
8 min
8 min.
1 6 min.
16 min.
32 min.
33 '/3 min.
1 hr. 6/2 min.
1 hr. 6'/2 min.
2 hr. 13 min.
_- „ / Single Track
30 "per sec. | Oua, Track
1 min
2 min
2 min
4 min
4 min.
8 min.
8 min.
1 6 min.
16'/2 min.
33'/3 min.
33'/3 min.
1 hr. 6'/2 min.
August-Sept.. 19^2
13
THE COMPLETE
AUDIOTAPE'
LINE
Length
Reel
Coating
PLASTIC BASE
PAPER BASE
Type No.
List
Type No.
List
Std.
Pkg.
Oxide Out
Oxide In
Price
Oxide Out
Oxide In
Price
i
10
jtm^
150
3"
Red
150
151
$0.85
120
121
$0.70
^
Plastic
Oxide
30
jt'^
10
M^
300
4"
Red
350
351
1.60
320
321
1.25
■
30
W^
Plastic
Oxide
^
Black
640
641
3.50
600
601
2.25
5
^iim
600
5"
Plastic
Oxide
no
S^aKk- '
Red
650
651
3.50
620
621
2.25
IWF^
Oxide
(30
SSA
r
Black
1240
1241
5.50
1200
1201
3.50
f 5
^gg^^
1200
7"
Oxide
|io
^^f;
Plastic
Red
1250
1251
5^0
1220
1221
3.50
Oxide
30
Std. NAB
^'
Aluminum
Red
255 1 H
10.00
2521H
6.50
5
^
2500
Hub
Oxide
4L
Complete
^^^^3
^
10!/2"
Red
255 1 R
12.85
2521R
9.35
5
^
Aluminum
Oxide
Reel
V
Std. NAB
/^
f
Aluminum
Red
505 IH
20.00
5
?^
Hub
Oxide
«f^
5000
""^^^"1
^
Complete
^
14"
Red
5051 R
26.00
5
^^^^hmhi
"
Aluminum
Oxide
"^"
Reel
AUDIO SELF-TIMING LEADER TAPE
on white plasfic base
A Y^" wide leader tape of durable white plastic material.
It can easily be marked with pencil or ink to identify
selections and will outlast paper tapes many times over.
Spaced markings permit accurate timing at all standard
speeds. Individually boxed in 150-ft. rolls.
Box of 1 50 ft.
List Price
$0.60
14
New Tape Recording Language Lab
for SHAPE Headquarters
Educational Laboratories, Inc. of Wash-
ington, D. C, whose activities have been
reported by Audio Record in the past, has
installed another language laboratory, this
time at SHAPE headquarters in Paris,
France. Starting with the first truly custom
engineered laboratory for language teach-
ing at Georgetown University, Educational
Laboratories, Inc. has been responsible for
similar installations at various places in the
United States, and in Yugoslavia, France,
Puerto Rico and the Philippines, thus ex-
tending its influence nearly around the
world.
The new laboratory in Paris has been
installed in General Eisenhower's old head-
quarters. Supreme Headquarters Allied
Powers Europe. The laboratory consists of
twelve semi-soundproof student booths (the
booths that are becoming the familiar fea-
ture of Educational Laboratories" installa-
tions) and is the first such laboratory built
around the new Educorder Dual two chan-
nel tape recorder which is described in the
"Quick Facts" directory in this issue. The
Educorder Dual provides ideal facilities
for individualized instruction and a close
teacher student relationship, thus meeting
the needs of the eighty-eight generals and
admirals who wish to study languages at
SHAPE but find it impossible to attend
regular classes.
While the laboratory is designed pri-
marily for individual work, each booth is
equipped with four incoming audio lines
which can be patched into the student's
Educorder. Signals emanate from the back
of the room and are channeled through a
custom control console. Signals may origi'
nate from a public address microphone, a
microgroove disc player, a Soundmirror,
or from either of two Educorder Dual
"master" machines.
Facilities are also provided through a
AUDIO RECORD
"black box" custom designed by ELI, and
to be offered soon for public sale, for syn-
chronizing a tape recorded lecture with film
strip or slide material by having a special
signal on the tape actuate an automatic
projector.
The new laboratory makes it possible for
one of the Generals to sit down at his booth
and have a private audio-visual language
lesson in French while his neighbor is work-
ing on an entirely different language. Patch-
ing in and recording a signal from one of
the master machines at the back of the room
permits the student to record the original
lesson on channel 1 of his Educorder while
recording his individual responses on chan-
nel 2 of his machine. Later, he can use the
same tape for review, erasing and rerccord-
ing on channel 2 without destroying the
teacher's recording on channel 1 and with-
out tying up the master equipment for a
second time. Plastic Audiotape is used ex-
clusively.
The new laboratory in one of the most
famous headquarters on earth is causing a
great deal of interest among educators in
Europe who will no doubt prove to be quite
vocal about this newest Yankee technique
designed to eliminate our language barriers.
MUSICAL ENGINEERING
By Harry F. Olson,
McSraw Hill Book Co.,
347 Pages — $6.50
... as reviewed by C. J. LeBel
A new book by Dr. Olson has always
been an event, and this one is no exception
to the rule. It is a survey of the musical
acoustics field from that most unusual view-
point, the engineer's, and should be of in-
terest to almost everyone in recording. If
you have a complete file of all the literature
for the last twenty-five years, only portions
of Musical Engineering will be new to you,
but if your library is typical then it is well
worth a full reading from cover to cover.
It should be required reading in acoustics
courses, as a staircase down from the
physicist's moss-grown ivory tower.
Dr. Olson starts with the production of
sound waves, then takes up musical nota-
tion, scales, and jargon. After touching on
dynamic analogies, he studies resonators,
radiators, and the full gamut of musical in-
struments. The writer found his data on the
tonal and directional properties of musical
instruments very interesting. Dr. Olson
then takes up the characteristics of the ear,
followed by a study of theater, studio, and
room acoustics. He concludes with sound
recording systems in block diagram form.
Since he has been in very intimate touch
with the development of sound recording
and reproduction systems for many years,
the discussion is on the whole both accurate
and up to date. We would expect this, for
it was one of his works which, first among
engineering books, recognized that lacquer
had virtually completely replaced wax as a
disc recording medium. There are still books
being published which ignore lacquer and
treat wax in detail.
It takes time to write a book, so there are
a very few places where "Musical Engi-
neering" has picked old data to lead to an
obsolete conclusion. For example, in talking
about home reproducing systems he says:
"Attempts have been made to increase the
frequency range, but without public accept-
ance". The phenomenal growth of the high
fidelity home market in the last year has
fairly well disproved this. Also, Olson says:
"Tests made upon representative cross-sec-
tions of the people in this country show a
very large percentage to be hard of hear-
ing". This is undoubtedly based on some of
the very first published tests of hearing.
Subsequent work has shown that, with
more accurately calibrated audiometers and
truer samples of the population, the per-
centage of "hard of hearing" has shrunk to
a small fraction of what it orginally was
thought to be. It would have been better to
say "defective hearing" instead, for a sub-
stantial percentage do not have perfect
hearing — just as most new automobiles
have at least one scratch — somewhere —
before they are delivered. They are "defec-
tive", but not to a degree which the cus-
tomer notices! The distinction between
"hard of hearing" and "defective hearing"
has been too often neglected. We had to
read the entire book to find these examples,
so they are definitely not typical of the
book as a whole.
MUSICAL ENGINEERING is written
with unusual clarity, so engineer, musician,
and layman will find it useful. The musician
and layman will find the book quite read-
able by skipping the mathematics, while the
engineer will find the quantitative data he
relies on. The jacket note says, "An engi-
neering treatment of the interrelated sub-
jects of music, musical instruments, speech,
acoustics, sound reproduction, and hear-
ing". An accurate description of a book we
recommend.
AugunSept., 1952
by C. J. LcBel, Vice President
Audio Devices, Inc.
A NEW SEVEN INCH
REEL DESIGN
It is a sad fate
that meets stand-
ards in a changing
world. There is al-
ways pressure from
the user for the
quick standardiza-
tion of something
— anything — for
the sake of uni-
formity. Thus we
take the chance of
adopting a design
even though a few still voices point out the
dangers, because a poor standard is still bet-
ter than triple distilled chaos. Then we
repent at leisure. The tape industry is be-
ginning a period of very mild repentance,
and out of it is coming a new reel.
Friction Clutches
A very large proportion of the lower cost
magnetic recorders presently manufactured
use friction clutches to drive the takeup reel
and hold back the supply reel. This avoids
the high cost of torque motors.
The most obvious design of clutch will
maintain a constant torque (or inch-
pounds) as the tape unwinds and its diam-
eter on the reel decreases. That is,
torque ^ tape tension x radius = constant
If we transpose, this becomes
constant
tension ^ -r. — •
radius
In other words, tape tension becomes in-
versely proportional to the radius of wind.
The nature of this relation becomes ap-
parent if we look at the "uncompensated"
curve of figure No. 1.
In actual practice a certain degree of
compensation can be introduced, by chang-
ing the clutch torque with slip speed —
using the changing coefficient of friction
with speed, or the changing weight of the
reel as more tape is added. This tends to
produce a curve more like the "compen-
sated" curve. However, the compensation
usually ceases to be very effective at small
diameters.
iV-OLD HUB DIAMETER
aVV'-NEW HUB DIAMETER
O
iS 5
\
— r
1
\
1
V
\ 1
\
'%
\
1
1
\
\r.
\
1
V !
\
H
L_\
3
-
1
COMPENSATE
1
1
0 12345678
EFFECTIVE REEL DIAMETER IN INCHES
The Problem
It may be seen that, in any case, there
is a steep rise in tape tension as we approach
the minimum diameter — that of the hub.
This condition is most serious during high
speed rewind, but it should not be disre-
garded even at normal recording speed. We
can shift the whole curve up or down, with-
out change of shape, by changing the clutch
tension. This is not too helpful, because the
limit of change is set by inadequate tension
with a full reel — leading to impaired high
frequency response.
Getting down to fundamentals, we find
the basic source of trouble to be the exces-
sive ratio of diameters over which we have
to work — Xy^," to 7" or IQi^"- The obvi-
ous answer is to decrease the ratio by in-
creasing the minimum diameter — the hub
— as much as feasible without making it
impossible to put enough tape on the reel.
The Solution
For this change of the 7" RTMA reel
we have chosen to use the time-tested NAB
hub diameter of V'/^" . With an uncom-
pensated friction clutch drive this reduces
the tension at the minimum winding diam-
eter by about 35%, perhaps far more if the
clutches are not in proper adjustment. The
change in hub diameter also reduces the
space available for tape so much that we
have had to decrease the footage from 12?0
ft. down to 1200 ft. minimum.
The Result
Needless to say, the change to the new
hub diameter would not have been made
without good and sufficient reason as far as
advantages to the u&er are concerned.
So far, we have discussed only the matter
of torque and tension. Now let's consider
the effect of these factors on machine per-
formance. The high tape tensions encoun-
tered when operating at small effective
diameters, on both the take up and supply
reels, have been found guilty of introducing
undesirable speed changes in the operation
of many machines. These speed changes,
even though very slight, can be a source of
annoyance to the professional recordist,
particularly as regards the timing errors
which they may introduce. The new reel,
by eliminating these areas of excessive tape
tension, will help the engineer who is striv-
ing for split-second timing of taped program
material.
Also, by reducing tape tension, the new
reel will lessen the pressure of the tape on
the heads, minimizing head wear and conse-
quently contributing somewhat to increased
stability of the recording and reproducing
characteristics of the machine.
The musician, be he of the professional
or domestic variety, will especially appre-
ciate the improved constancy of speed and
timing, as this means more constant pitch —
a factor to which his trained ear is particu-
larly sensitive.
Audio Devices Offers
New Adhesive
Reel Labels
The convenient, press-on adhesive labels,
shown above in a handy 30-label package,
permit easy and positive identification of
recorded tape reels — even when they have
been removed from their respective boxes.
Each label provides space for title, date and
reel number. All you have to do is peel the
label off of the paper backing sheet and
press it onto the side of the reel. It will
adhere firmly as long as desired without
curling up at the edges or peeling off.
When you want to remove the old label,
you simply lift up one edge and pull it off
the reel, leaving the surface clean and en-
tirely free of sticky residue.
These new reel labels are available
through your regular Audiotape supplier.
EXTRA VALUE
at no extra cost !
NEW 7 REELS OF
aiidlotapfiT give you
GUARANTEED SPLICE-FREE
SPLIT-SECOND TIMING
with New 2%" Hub
Timing errors are virtually eliminated by this
improved reel design which minimizes tension
and speed changes throughout the winding
cycle. Ratio of O.D. to hub diameter is the
same as on the standard NAB aluminum reel.
PERFECTED ANTI- FRICTION
r ROCESS* Reduces head wear— eliminates
annoying tape "squeal" — prevents "tackiness"
even under extreme temperature and humidity
conditions.
MAXIMUM UNIFORMITY OF
OUTPUT. All 7" and 10" reels of plastic-
base Audiotape are guaranteed to have an out-
put uniformity within ± '/4db — and reel-to-
reel-variation of less than ± '/sdb. What's more,
there's an actual output curve in every 5-reel
package to prove it.
Willi Audiotape, all of these extra-value features are standard.
There's no extra cost — no problem of separate inventories or
variations in tape quality.
For there's only one Audiotape — the finest obtainable anywhere.
Test it — compare it — let Audiotape speak for itself.
The new 7-inch plastic reel with large diameter hub for greater
timing accuracy is now being supplied on all orders unless other-
wise specified. Because of increased hub diameter, maximum reel
capacity is slightly over 1200 feet. Older style Audiotape reels
with 1%" hub and 1250 feet of tape will continue to be furnished
on request at the same price. ._ , ,, ,
Iraae Mark
AUDIO DEVICES, Inc.
444 Madison Ave., New York 22, N. Y.
Export Department, 13 East 40th St., New York 16. N. Y, Cables "ARLAB"
[
audlorcUxcs • aiiHiotapc • ouuUoftlm • audiopotirU
reccrrcl
Published by
AUDIO DEVICES, INC.
444 MADISON AVENUE, N. Y. 22, N. Y.
niiniflFrliyd
cuuUofilaicr ^HV e D
^^NOV 6 1952
L. A. RUDDELL
Ten rack-mounted Magnecord tape recorders arranged for full range duplication of pre-
recorded "Magnecordings by Vox", now being offered commercially by MaVoTape, Inc.
All recordings are made on plastic base Audiotape. Story on Page 3.
4
♦ • * ^>=. -. I
In this issue
DIRECTORY OF DISC RECORDERS
. . . also
• Magnetic Sound, Inc.
• Magnecordings by Vox
• Fall Maintenance Drive
AUDIO RECORD
MAGNETIC SOUND Perfects Taped Program Service
During the second week of September,
the voices of Hollywood star performers
on the world-famous "Hour of St. Francis"
were broadcast from magnetic sound tape
in the studios of some 500 radio stations.
It was a historic week for the tape re-
cording and duplication industries. It was
a dream come true for a young Des Moines
company which pioneered the mass dupli-
cation and distribution of quality tape
transcriptions at competitive low prices.
For six years, ever since the program was
started, the "Hour of St. Francis" had been
recorded and duplicated by older methods.
Now, converting to tape, the 15 -minute
weekly religious drama on 500 stations be-
came America's largest customer for sound
tape duplication.
Magnetic Sound, Inc., Des Moines,
founded two years ago by three men who
had an idea and the experience to back it
up, was given the duplication business.
They got it because their system met the
requirements of low cost, high quality and
efficient distribution. The problem of tape
cost has been solved by repeated usage,
made possible by an easy, low-cost system
for stations to return the tapes. The prob-
lem of duplicating cost has been solved by
a 40-unit machine, said to have the largest
capacity in the industry. The problem of
distribution has been solved by a stream-
lined system of shipping reels to stations and
having them returned.
By reducing duplication cost on 15-
minute shows to as low as 23 cents a copy
on orders of sufficient volume. Magnetic
Sound has made it possible for the "Hour of
St. Francis" and other large users to reduce
their transcription budgets, escape the bur-
densome details of distribution, and gain
the much-sought advantages of tape quality.
Magnetic Sound, Inc. was founded by
Don Wrigley, whose background included
24 years in sales and business management
and precision manufacturing; John T.
Beeston, Jr., with 25 years' experience in
radio and electronic engineering; and
Stuart Steelman, with 1 5 years in the
radio and entertainment fields, specializing
in musical production and direction.
Steelman was elected president. Beeston
became vice-president and technical direc-
tor. Wrigley was named executive vice-
president, placed in charge of active man-
agement, and assigned to explore the mar-
ket for mass-duplicated tapes.
For two months, Wrigley traveled over
the nation — talking to radio stations, pro-
gram producers, and such prospective cus-
tomers as insurance companies, manufac-
turers, sales organizations, religious and
Technical Director John T. Beeston, Jr., of M
40-unil Dupli-Recorder.
educational institutions, and government
information departments. The more people
he talked to, the more he became aware of
the great need for low-cost bulk duphcation
of magnetic tape. But he learned, too, why
sponsors and program producers had been
reluctant to make a change.
"At that time," Wrigley recalls, "every-
one felt that the cost of tape duplication
was almost prohibitive. Duplication cost
almost half as much per copy as the price
of the actual tape. Of course, tape could
be re-used hundreds of times, but duplicat-
ing costs offset the saving on tape."
From radio engineers, Wrigley learned
another thing. "They told me the quality
of transcriptions on tape was still not as
close to perfection as it could and should
be."
Back home in Des Moines, Wrigley re-
ported his findings to his associates, Beeston
and Steelman. On the solid concrete floor
of his basement, Beeston already was de-
signing and building an electronic dupli-
cating machine with 12 -reel capacity. To
meet the need for a truly low-cost duplicat-
ing system, he started over again and built
a machine with 40-reel capacity. This, he
found, was the maximum for efficient re-
recording. Through days and nights of
painstaking designing and redesigning, he
refined the mechanical operation of the
Dupli-Recorder.
Now, almost every day's mail brings
letters of praise. Radio station executives
write that the quality of sound reproduc-
tion is "the best we've ever heard". Engi-
neers report "excellent quality" and send
penciled notes back to Magnetic Sound
with the used tapes.
A streamlined system for packaging, dis-
tribution and return of tapes has played
an equally important part in the growth
of Magnetic Sound, Inc., and its service to
sponsors and stations.
Recently, the company produced a 13-
week series of 15 -minute quiz shows for 23
West Virginia stations. Each week, the
sponsor's master tape was received airmail
by Magnetic Sound between 6 and 10 p.m.
Friday. By 1 a.m. Saturday, the 23 dupli-
cate tapes were on their way back to West
Virginia. Stations received them Monday
(Continued on Page 8, Col. 2)
CLudla^ recGrrd
VOL. 8, NO. 7
OCTOBER, 1952
Published monthly by Audio Devices, Inc., 444 Madison
Avenue, New York City, in the interests of better sound
recording. Mailed without cost to radio stations, record-
ing studios, motion picture studios, colieges. vocational
schools and recording enthusiasts throughout the United
States and Canada.
October, 1952
"Magnecordings by Vox"
By C. J. LeBel, Vice President,
Audio Devices, Inc.
FALL MAINTENANCE DRIVE
C. J. LeBel
A cool wind blows across the writer's
desk as he reflects on the summer just past.
In many parts of the country it was the
hottest on record; the growing vigor of the
political campaign presages an even "hot-
ter" fall in the recording room.
The fact that many recording rooms are
not air-conditioned allowed the weather to
work its will, and the idiosyncrasies of day-
light saving introduced an additional load
factor. Finally, and worst of all, the exten-
sive use of tape has transferred most of the
worry from operating personnel to the un-
fortunate maintenance supervisor. So now
looks like a very opportune time for a fall
maintenance drive.
Head Wear & Tape Tension
Magnetic heads do wear with use, but
this produces no harmful effect up to the
point where the air gap begins to increase
(disregarding the grooving effect discussed
in the Audio Record of February 1952).
After the gap begins to increase in width
the frequency response deteriorates rapidly.
While the gap could be checked with a
microscope, we are really interested in per-
formance and so a direct measurement of
frequency response is the best answer. On
second thought, it might be wise to examine
the head and guide surfaces for grooving
too.
If you have had to apply excessive tape
tension to maintain output stability and
high-frequency response, reduce the tension
to the value recommended by the machine
manufacturer, and check for head or guide
misalignment. Increasing tape tension in
an attempt to compensate for machine
(Contirmed on Page 8, Col. 1)
MaVoTape, Inc. Introduces
New Line of Full-Range
Musical Recordings
Magnecorded on Audiotape
With more and more tape recorders
finding their way into America's home
every day, the demand for a commercial
source of high quality tape recorded music
has grown to a point which appears to
justify a production and distribution setup
devoted specifically and solely to this pur-
pose.
After carefully weighing the potentiali-
ties of this market, a separate corporation,
MaVoTape, Incorporated, has been formed
to produce full-range, pre-recorded tapes
which will be available at reasonable cost
to tape recorder owners throughout the
country. Mr. A. Lionel Whyte has been
named sales manager of MaVoTape, Inc.,
225 West Ohio Street, Chicago, owned
jointly by Magnecord and Vox Produc-
tions. The tape recordings, under the trade
name "Magnecordings by Vox," are being
introduced to the public for the first time
at the Audio Fair, held in New York City
on October 29 - November 1. A limited
test distribution of the recordings will be
made immediately following their New
York introduction.
With the wide range of standard tape
recording speeds available, on single or dual
track, the pre-recorded tape business faces
a situation somewhat similar to that of the
phonograph record industry. In order to
produce recordings which can be played
back on the majority of tape machines now
in home use, MaVoTape, Inc. is currently
planning to offer all recordings on both
single and dual track at 7% inches per
second tape speed.
The "Magnecordings" will be made by
Magnecord, for MaVoTape, Inc., from the
"master" tapes of the Vox Productions,
Inc. and will be distributed initially through
Magnecord distributors. All recordings are
duplicated with professional Magnecord
machines on plastic base Audiotape, assur-
ing the utmost fidelity of the recorded ma-
terial, with full frequency reproduction
from 50 to 15,000 cycles per second.
Plans call for six releases per month.
Initial releases will include the following:
Shostakovich — 5 th Symphony
Jascha Horenstein — Vienna Symphony
^appcorJ^Jncj \
Dvorak — 5 th Symphony
Jascha Horenstein — Vienna Symphony
Mahler — 2nd Symphony
Otto Klemperer — Vienna Symphony
Berlioz — Harold in Italy
Rudolf Moralt — Vienna Symphony
Tchaikovsky — Piano Concerto No. 1 in
BFlat
Monique de la BruchoUerie — Piano
Rudolf Moralt — Conductor
Chabrier — Espana, Bouree Fantasque,
Habanera, Overture to Gwendolyn
Orchestra de la Concerto du Cologne
Mussorgsky — Night on Bald Mountain
Paris Conservatory Orchestra
A. Cluytens
J. S. Bach — Tocata and Fuge in D minor
Prelude and Fuge in D
Anton Heiler — Organ
(First of a series in the complete organ
works of Bach)
W. A. Mozart — Jupiter Symphony No.
41 — Vienna Philharmonic
Vivaldi — Concerto Grossi 1 and 2
Pre-Musica String Orchestra
(First of the series in the complete
"L'estro harmonicum")
The high-fidelity enthusiast and music
collector will welcome this opportunity of
building up an ever increasing tape library
of truly fine recorded music performed by
Europe's leading artists.
AVDIO RECORD
QUICK FACTS ON DISC RECORDERS
(Additional Information can be obtained by writing to the manufacturer)
Model and Price
BELL
SOUND
SYSTEMS, INC.
S5S Marion Rd.,
Columbus 7,
Ohio
$175.00
Model RC-47A Portable
Portable, dual-speed disc recording and playback unit for general
home recording service. Records and plays back discs up to 10" in
diameter, at 78 and 331/3 rpm, or 78 and 45 rpm. Conversion spring
supplied for obtaining 45 rpm on 33'/:^ rpm position. Cuts 160 lines
per inch. Magnetic cutting head and twin tilt crystal phono pickup
with dual styli. Inputs for microphone, radio-phone and direct
external recording. Sound effects or vocal selections can be dubbed
in while recording from radio or re-recording from another disc.
Includes visual recording-level indicator, 6" PM speaker and Hi-Z
crystal microphone, headphone monitoring jack and output for
external speaker. Weight — approximately 40 lbs.
$985.00
Model 539-G Portable
Portable, professional-type disc recorder and reproducer with turn-
table speeds of 78 and 331/3 rpm. 16" turntable accommodates discs
up to I7I/4" diameter. Direct synchronous motor drive thru gear
and worm for 331/3 rpm. Ball race step-up for 78 rpm. Speed accu-
racy, 0.15%. Model 541 Magnetic Cutterhead and Model 542
Lateral Dynamic Pickup provide overall response essentially flat
from 30 to 10,000 cycles. Noise level, 44 db below standard record-
ing level of 2.5 in. per second stylus velocity at 1000 cps. Stationary'
overhead lathe type feed mechanism with adjustable pitch of 96,
112, 120 and 136 lines per inch, cutting in-out and out-in. Full
weight of recorder mechanism supported independently of trunk
by integrally cast legs of top panel casting. Weight SO lbs.
FAIRCHILO
RECORDING
EQUIPMENT
CORP.
154th St. and
7th Ave.,
Whitestone,
N. Y.
$1,395.00
Model S39K Console
Professional, console-type disc recorder and reproducer with turn-
table speeds of 78 and 331/3 rpm. 16" turntable accommodates discs
up to 1714" diameter. Direct synchronous motor drive thru gear
and worm for 331/3 rpm. Ball race step-up for 78 rpm. Speed accu'
racy, 0.15%. Model 541 Magnetic Cutterhead and Model 542
Lateral Dynamic Pickup provide overall response essentially flat
from 30 to 10,000 cycles. Noise level, 44 db below standard re-
cording level at 2.5 in. per second stylus velocity at 1000 cps.
Stationary overhead lathe type feed mechanism with adjustable
pitch of 96, 112, 120 and 136 lines per inch, cutting in-out and
out-in. Microscope and light mounted on lathe mechanism for close
observation of depth of cut and condition of groove. Manually
operated spiralling device is standard equipment.
(Continued on
next page)
$2,985.00
Professional console-type disc recorder with provision tor micro-
groove and lip synchronous recording. Planetary driven lead screw
provides instant, infinite variation of pitch from 80 to 160 lines
per inch, in-out or out-in feed. 16" turntable accommodates discs
up to 18" in diameter. Synchronous motor drive direct through
worm and gear for 3 3 1/3 rpm. 78 rpm step-up through precision
ball race. Driver unit mounted at bottom of cabinet. Absolute
timing at 33/3 speed within limits of power line frequency. Noise
level better than 55 db below reference. Model 541 Magnetic
Cutterhead holds flat tolerance close to 1 db to 9,000 cycles. Depth
and angle of cut adjustable while recording. Feed mechanism
includes time scales for all standard NAB pitches. Includes swivel
mounted microscope with light, manually operated spiralling de-
vice, and attachment for suction device. Weight — approx. 275 lbs.
Model 523 Studio Recorder
subject to change
local dealer fo
list and othe
October, 1952
Manufacturer
FAIRCHILD
RECORDING
EQUIPMENT
■CORP.
154th St. and
7th Ave.,
Whitestone,
N. y.
Model and Price
Model 541 Magnetic
Cutterhead
THERMO-STYLUS KITS
Model 300 (for Fairchild 541 head) $100.00
Model 301 (forRCA M1-11850-C) 115.00
Model 302 (for Presto 1-C and 1-D) 115.00
Standard equipment on current Fairchild disc recorders. Also
adaptable for installation on earlier Fairchild models, or on other
makes of professional machines. Frequency response, -)- 2 db, 30 to
10,000 cycles. Distortion, less than I'^/c at 400 cycles. Impedence,
500 ohms. Audio power required, 0.6 watt (-|- 20 db).
Adapts Fairchild, RCA or Presto cutterheads for hot stylus record-
ing. Kit includes an adapter receptable. two special styli with built-
in miniature heating elements (one fine pitch and one std. pitch)
and a thermo control box containing all necessary current and
temperature indicating and control facilities.
THE
GENERAL
INDUSTRIES
COMPANY
Elyria,
Ohio
Home Disc Recording Chassis
Model G1-R58L-LP $53.50
Model G1-R90L-Std. 49.50
Home disc recording and reproducing chassis with dual speed turn-
table for cutting discs up to 10" diameter and playing records up
to 12" diameter. Rim drive, 4-poie motor. Compensating switch
operated by speed change dial. Model G1-R90L operates at 78 and
.33^3 rpm — cuts 120 lines per inch. Model G1-R85L operates at
78 and iiVi rpm, with conversion spring for changing 33l/i speed
to 4.1 rpm. It cuts 160 lines per inch and includes dual purpose
pickup for playing either standard or microgroove records. Weight
appro-x. l.i lbs.
Tape-Disc Recording Chassis
Model 250 $79.50
Combined disc and tape recording and reproducing chassis with
7S rpm rim-drive turntable for recording and playback of discs up
to 10" diameter. Dual track tape recorder operates at 3% inches
per second. Records from disc to tape or vice versa — and from
microphone or radio to disc or tape. Cutting stylus and playback
needle easy to interchange. Weight — lO^i lbs.
PRESTO
RECORDING
CORPORATION
P.O. Box 500,
Hackensack,
4^
Model K Portable Recorde
$348.00
Portable, semi-professional disc recorder and reproducer, including
amplifier and loudspeaker. Provides dual speed operation at 33V3
and 78 rpm (45 rpm optional at extra cost). Takes discs up to
1 3 y^ " diameter — records both standard and microgroove. Feed
mechanism cuts 1 12 and 224 lines per inch, inside-out or outside-in.
Overall response within 2 db from 50 to 8000 cycles. Total noise
level, 25-30 db below maximum useful reproduced sound level.
Speed accuracy within 0.5%. Includes magnetic cutting head, two
pickups, and five-stage recording amplifier. Controls include volume
indicator meter, combined equalizer and tone control, dual volume
control and selector switch for recording, playback and PA opera-
tion. Weight — 46 lbs.
Model Y Portable Recorder
$771.00
(Continued on
next page)
Portable, professional type 16" disc recording and reproducing
equipment, with 10 watt amplifier and detachable 10" speaker.
Records all sizes of discs by either standard or microgroove method.
Turntable speeds, 33V3 and 78 rpm (45 rpm optional at extra cost).
Cutting pitch, 1 12 and 224 lines per inch, inside-out and outside-in.
Presto 1-D cutting head supplied. Overall response flat within 2 db
from 50 to 10,000 cycles. Can be modified with equalizer control.
Total noise level, over 35 db below maximum useful reproduced
sound level. Speed accuracy, within 0.5% at 33V3, 45 and 78 rpm.
Amplifier panel includes VU meter, 2 mike input gain controls,
playback gain control, treble and bass equalizer controls, and selec-
tor switch for recording, playback and PA operation. Weight —
57 lbs.
AUDIO RECORD
Manufacturer
Chassis
$690.00
In Case
(as shown)
$735.00
Model 6-N Portable Recorder
Portable, professional type disc recorder and reproducer with 78
and iiVi rpm turntable and standard cutting pitch of 112 lines per
inch inside out. Feedscrews for 96, 104, 120 or 136 lines per inch,
inside-out or outside-in can be substituted if desired. Can also be
supplied equipped for microgroove recording (244, 256 or 288
lines per inch) at additional cost. 116-N overhead cutting mech-
anism includes 1-D cutting head, 15-B spiraling feedscrew, 170- A
vertical damper and 20-A time scale. Frequency response, 50-
10,000 cycles. Noise level, 40 db below ma.ximum useful repro
duced sound level. Speed accuracy, within 0.5% at 78 and jS'/S
rpm. Available as chassis, in carrying case (as illustrated) or in a
cabinet. Weight of portable unit — 82 lbs. Amplifiers not included.
PRESTO
RECORDING
CORPORATION
P.O. Box 500,
Hackensack,
N.J.
Model 8-D Studio Recorder
$1,992.00 (less cabinet)
Professional type disc recorder with 33'/3 and 78.26 rpm rim drive.
Available for table mounting (as illustrated) or with console type
cabinet shown below at extra cost. Accommodates all instantaneous
and master disc sizes. Equipped with 1-D cutter, 160-A or 161-A
automatic equalizer and 125-A microscope. Frequency response,
50-10,000 cycles. Noise level, better than 40 db below program
level. Speed accuracy, within 0.5% at both 33V3 and 78.26 rpm.
Pitch adjustable for 88, 96, 104, 112, 120, 128 and 136 hnes per
inch, inside-out or outside-in. Microgroove optional at extra cost.
Cantilever type overhead feed mechanism docs not contact disc or
turntable. Motor and driving idlers mounted in cast iron base with
built in leveling screws.
Professional type disc recorder with 33Vi and 78.26 rpm direct
gear drive. Includes console type cabinet containing twin motor
drive equipment. Accommodates all instantaneous and master di,?c
sizes. Equipped with 1-D cutter, 160-A or 161-A automatic equal
izer and 125-A microscope. Frequency response, 50-10,000 cycles.
Noise level, better than 50 db below program level. Speed accuracy,
no deviation from 331/3 and 78.26 rpm. Pitch adjustable for 88,
96, 104, 112, 120, 128 and 136 Hnes per inch, inside-out or outside-
in. Microgroove optional at extra cost. Cantilever type overhead
feed mechanism does not contact disc or turntable. Recorder unit
mounted on top of cabinet with built-in leveling screws.
Model 8-DG Studio Recorder
$2,644.00 (with cabinet)
REK-O-KUT
COMPANY
38-01 Queens
Boulevard,
Long Island City 1,
N. Y.
(Continued on
next page)
Portable, semi-professional disc recording and reproducing equip-
ment with built-in amplifier and speaker. Synchronous motor rim
drive. Finger-tip speed control for selection of 78 or 331/3 rpm.
Idler and adapter for 45 rpm interchangeable with 3 3 1/3 rpm idler.
Overhead recording mechanism with "Liftomatic" safety cam and
provision for manual spiralling. Records from 6" to 13^" masters.
Dual stylus pickup plays up to 16" transcriptions, standard or
microgroove. Frequency response, 40-7,000 cycles. Leadscrews
available for 108, 120, 144 or 192 lines per inch, inside-out or
outside-in. R-8A 13.5 watt amplifier includes VU meter, bass and
treble equalizers, four input channels, output selector and three
position monitor switch. Weight — 65 lbs.
Challenger Deluxe
I3V4" Disc Recorder
$439.95
Model and Price
REK-O-KUT
COMPANY
38-01 Queens
Boulevard,
Long Island City 1/
N. Y.
12" Recording
Chassis
Turntable $129.95
itting Mechanism 99.95
16" Recording
Chassis
V-Deluxe Turntable $215.00
M-5S Cutting Mechanism 215.00
TR-12H dual-speed 12" recording turntable provides instant speed
shift for 78 or 33V3 rpm. 45 rpm idler available for interchange
with 33'/'3 rpm. Synchronous motor rim drive. Weight, 17 lbs.
Ml 2 overhead recording mechanism records up to I3I/4" master
discs, at 108 lines per inch. Extra leadscrews available for 120,
144 or 192 lines per inch, inside-out or outside-in. Includes manual
spiralling control and "Liftomatic" safety cam which automatically
lifts cutter at end of leadscrew. Magnetic cutter, response flat from
40 to 7,000 cycles.
V-Deluxe 16" recording turntable provides instant self-locking
speed shift for 78 or 331/3 rpm. 45 rpm idler available for inter-
change with 33 'A rpm. Synchronous motor rim drive. Weight —
28 lbs.
M-55 Master- Pro 16" overhead recording mechanism includes tilt
and level adjustment, dual clutch spiralling control, micrometer
depth and angle adjustments, and leadscrew for 120 lines per inch
outside-in. Extra leadscrews available for 105, 135 or 210 lines per
inch, inside-out or outside-in. Weight — 11 lbs.
SCULLY
MACHINE
COMPANY
62 Walter St.,
Bridgeport 8,
Conn.
Scully Standard Disc Recorder
$4,620.00
Professional disc lathe designed to meet the most exacting require-
ments for cutting broadcast transcriptions and phonograph record
masters. Accommodates all standard disc sizes. Three speeds avail-
able— 78, 45 and 33'/; rpm. Fourteen changes of feed — 88 to
350 lines per inch. Machine driven coarse lead-in, spacing and
tail-out grooves. Signal to noise ratio, 50 db below mean program
level. Includes microscope, overhead illuminating lamp, provision
for pneumatic chip removal and flat top cabinet containing pre-
cision, constant-speed drive equipment. Lathe provided with mi-
crometer adjustments for depth and angle of cut and leveling of
tabic. Cutterhead not supplied.
Scully Automatic Disc Recorder
$5,895.00
Fully automatic, push-button operated professional disc lathe de-
signed to meet the most exacting requirements for cutting broadcast
transcriptions and phonograph record masters. Accommodates all
standard disc sizes. Three speeds available — 78, 45 and 33V3 rpm.
Pitch continuously variable from 70 to 350 lines per inch. Auto-
matic lead-in spacing and tail-cut grooves. Completely automatic
ending line for 45 rpm records. Signal to noise ratio, 50 db below
mean program level. Includes microscope, overhead illuminating
lamp, timing clock with sweep second hand, provision for pneu-
matic chip removal and flat top cabinet containing precision,
constant-speed drive and automatic control equipment. Lathe pro-
vided with micrometer adjustments for depth and angle of cut
and leveling of table. Cutterhead not supplied.
WILCOX-GAY
CORP.
385 4th Ave.,
New York 10,
"Tape-Disc
Recordio"
Model 3C10
$199.95
Portable home-type combination disc and tape recording and re-
producing unit with built-in amplifier and speaker. 78 rpm rim-
drive turntable records and plays back discs up to 10" diameter.
Cutting stylus and reproducing needle easily interchanged. Dual-
track tape recorder operates at 3% inches per second. Fast forward
and rewind speeds. Frequency response, 80-6,000 cycles ± 3 db.
Records from tape to disc or vice versa and from microphone or
radio to disc or tape. Two neon recording level indicators. External
speaker jack. Includes microphone and 6" x 9" PM speaker.
Weight— 30 lbs.
AVDIO RECORD
FALL MAINTENANCE DRIVE
(Continued from Page 3, Col. 1)
faults is a very unwise thing. Modern tapes
are rugged and can stand abuse, but it is
possible to misadjust a machine so that the
strength of even the best tape is exceeded.
At the same time the tape is abused, head
and guide wear become excessively rapid.
It is much better to find out what is really
wrong and to cure it.
Adjustable friction clutches may change
their adjustment with use, so that machine
tensions may be greater or lesser than the
proper value. The latter condition will lead
to fluctuating output, particularly at the
higher frequencies. Usually, the manufac-
turer's recommendation should be followed
when readjusting tension.
Electrical Components
By now the equipment has probably been
in use for at least a year or two, and design
errors have begun to show up. Are any of
the resistors too heavily loaded? How about
the "V2 watt" resistor that is actually dissi-
pating .500 watts? In the confined spaces
of a typical amplifier this is really an over-
load, and noise and breakdown are likely
to follow eventually. How about the "2
watt" resistor that is equivalently loaded —
perhaps replacing it by a wire-wound
power-resistor would be desirable. Any of
the low-level resistors may have become
noisy, and replacing them by dcposited-film
or wire-wound units might be appropriate.
Commercial condensers do not always
last forever. Coupling condensers may
have become leaky, raising the noise level.
When machines are rack-mounted close
together, condensers may run at high tem-
perature. Low capacity or high leakage will
result, causing an increase in amplifier noise
level.
Some recorders have used switches that
would not stand up under the steady use
of a radio station. At times a change in
contact material is sufficient; in other cases,
a completely new switch assembly will be
needed tcs effect a permanent cure. If you
have suffered from erratic operation, now
is the time to do something about it.
Finally, some machines were shipped
with electromagnets which were loaded too
heavily, or which had barely adequate
force for the application. By this time, the
manufacturer has developed a more con-
servatively designed replacement.
Preventive maintenance has always been
necessary in the recording room, so we are
on very sound ground when we suggest
anticipating problems before they cause the
loss of a program.
MAGNETIC SOUND, Inc. S^Tc^'T
or early Tuesday. Within the same week,
used tapes were coming back to Magnetic
Sound for erasing and re-recording.
This kind of service, now being per-
formed for the "Hour of St. Francis" on
a 500-reel scale and other sponsors on a
lesser scale, is made possible by a system
that speeds up mailing to stations and saves
the stations time and money in returning
tapes.
The sponsor simply sends Magnetic
Sound a master tape, mailing list and brief
program notes. Magnetic Sound makes the
necessary number of duplications — up to
40 at a time. Tape reels have a special
identification so the stations can easily
recognize them and keep them apart from
their own tapes.
On Magnetic Sound's production line,
each tape is marked with code numbers
and placed in a reel box along with pro-
gram notes. Then it is packed in a strong
but lightweight shipping container, ad-
dressed to the station, stamped and mailed.
But the shipping container is no ordinary
cardboard box. It's a self-addressed reversi-
ble carton. On the outside, a sticker ad-
dressed to the station is attached. On the
inside, the name and address of Magnetic
Sound, Inc., are printed. Enclosed inside
are strips of sealing tape.
To return the sound tape, the radio sta-
tion merely folds the carton "inside out" so
the Magnetic Sound address is on the out-
side. Because of the light weight, the post-
age is only 8 cents. And because Des
\
Moines is centrally located, transit time is
reduced to the minimum.
The "Hour of St. Francis", produced
by the Third Order of St. Francis under
the direction of Father Kenneth Henriques,
O.F.M., and starring motion picture talent
in religious dramas, is the largest and latest
of a steadily growing number of clients
served by Magnetic Sound, Inc.
Besides duplicating radio shows for or-
ganizations, colleges, government depart-
ments and commercial sponsors, the com-
pany handles sales and service training
programs for industrial firms and record-
ings of organization conferences.
In the early months, the physical plant ^
of Magnetic Sound was a basement space
in Beeston's home. A year ago, the com-
pany opened a downtown office. Volume !
continued to increase, and three months
ago the offices, production and shipping
facilities were combined at a new location
with 2,400 square feet of floor space- — •
occupying the entire second floor of a busi-
ness building at 4805 Grand Avenue, Des
Moines.
Although the company's 40-reel Dupli-
Rccorder can turn out as many as 5,000
duplications of 15-minute programs in a
40-hour week, Wrigley reports that in-
creasing commitments and requests will
require more machines. Plans for two more
units are already on the drawing board.
"And," he adds, "as production in-
creases, we plan to make a further reduc-
tion in charges for our services."
record
Published by
AUDIO DEVICES, INC.
444 AAADISON AVENUE, N. Y. 22, N Y
audtacUscs
#«iifjiq4^pf ?*s.^^j
aucUofUm
audiophoints ■^'^r^'^
^^^■^^^^1
fl In this issue
^^^^^^^^^^^B^^^^^^^^^^^^^^^^l
flj * Fine Sound, Inc.
i^^^^^^^^^^^HH^^^^^^^^^^H^^Hp
^^^■^^H • Audiotape Display Package
'^^^^^^^^^^^^^^^^^^^^^^^^^^H^H^HKj
^BH^^H Porpoise Palaver Put on Tape
Fine sound in the making, by Fine Sound, Inc. George Piros (left) tends the Margin Contro
while cutting a long playing master, as Bob Fine (right) adjusts the recording leyel. Equip
ment shown includes a Fairchild tape recorder and Fairchild Model 523 Disc Recorder with
Miller cutterhead specially made to Fine Sound specifications. Story on Page 2.
• Binaural Broadcast on FM-AM
* Streamlined Stylus Sharpening
O New 7" Audiodiscs for 45 rpm
• New Tape and Disc Recorders
• Audio Head Demagnetizer
AUDIO RECORD
The Inside Story of FINE SOUND, Inc.
by Leon A. Wortman
Literature and history may have their
"Horatio Alger" to boast about, but the
recording industry and Tomkins Cove have
their "Fine Sound, Inc." Tomkins Cove is
a historic small town (pop. 1500) 40 miles
up the west bank of the Hudson River from
Manhattan, and that's where Fine Sound,
Inc. is located. "Fine" isn't a play on words
or a bad pun. It's the name of the com-
pany's president, C. Robert Fine, one of
the best known and most ingenious engi-
neers in this field of recording.
Skipping a few periods of chronology and
the details of the years spent as a lad shav-
ing wax masters, inspecting styli, learning
how to service and adjust equipment and
make masters for a living, "Bob" Fine's
career has carried him through positions as
Chief Engineer of Majestic Records, and
Chief Engineer of the Disc and Tape
Recording Divisions of Reeves Sound Stu-
dios. In March of this year he fulfilled a
normal American ambition for independ-
ence by establishing Fine Sound, Inc.
Bob's ingenuity is responsible for so
many of the modern recording techniques
that equipment manufacturers, inventors
and recording engineers often seek his
advice and opinions on new products and
ideas. He developed and made practicable
such techniques of recording as varying the
pitch and depth of cut while actually mak-
ing a lacquer master. This technique, called
Margin Control, enables a fantastic and
true dynamic range of audio to be actually
put on the disc. In effect. Margin Control
physically spreads the music grooves on
forte passages to avoid over cutting and
making a reduction in loudness unneces-
sary. Years of practice and developmental
efforts with this technique enabled Bob to
overcome the electro-mechanical difliculties
of such an "apparently simple" answer to
the problems of recording full dynamic
ranges and to teach this trick-of-the-trade
to his engineers George Piros and Steve
Robb. In gratitude and tribute, his clients
voluntarily imprint the legend "FINE
MARGIN CONTROL" on their record
labels and sleeves.
Fine Sound's staff is also credited by
many to have made the extended 45 rpm
discs long before the industry talked about
making them generally available. For a
number of years they've been making long-
playing 78"s for a client who, based on the
volume of repeat orders he gives to Fine
Sound, must be finding that they have a
profitable market.
Years ago Bob produced a 7" diameter
78 rpm disc that gave the equivalent of
Engineer George Piros, of Fine Sound Inc., keeps one eye on the stop
to check recording quality. Equipment shown includes two Fairchild di
ing a 78 rpm playback
Ampex tape recorder.
a 10" disc's playing time. The record in-
dustry has only now realized its commer-
cial values and several of Fine Sound's
clients find themselves in the fortunate
position of being able to swing-over to
what may be a new standard any time they
give the instruction.
Bob and his crew are a resourceful group.
They believe that man has harnessed the
electron and the machine and they proceed
to put both efficiently to work for them
when the heavy pressure is on. For ex-
ample, when the 7" 45 -rpm disc was first
introduced and the race was on among the
record companies to re-release their cata-
logs of popular selections in the new size
and speed, Bob's clients were able to con-
vert and get into the new competition so
quickly that the whole industry did a
"double-take" and buzzed with admiration.
What they'd done, with the cooperation
of the Fairchild Recording Equipment
Corporation's engineering department, was
to develop a device which, attached to a
group of Fairchild Disc Recorders, made
them operate completely automatically —
lowering the cutter to the disc, spiralling
in, cutting the music grooves, spiralling out
to the start of the eccentric, lifting the
cutter and stopping the turntable — all
automatically; only one man to load and
unload the disc recorders.
We could go on and on about the thing,-^
the Fine Sound gang has done, but they
find the future and the things yet undone
more exciting to talk about. They are all
excited, for instance, about their latest
project (which should be receiving public
notices about the time of this article's ap-
pearance) with the New York opening
of the new Broadway drama "See The
Jaguar". Fine did the extraordinary music
and sound effects which are used intermit-
tently throughout the play. The "sound",
for want of a more precise description of
what comes out of the multiple loudspeak-
ers, travels around the walls, ceiling and
curtain of the Cort Theatre where the play
is scheduled. It actually seems to whirl
around, faster and faster, stop suddenly,
reverse its direction, disappears into the
side wall and suddenly reappears from the
rot)f. Those that have heard it claim it's
incredible! It's all done electronically and
automatically. Originally planned for re-
lease with another special project due in
late 1953, they couldn't resist the tempta-
tion of introducing it in 1952, when the
producers of "See The Jaguar" called on
them to do what they thought would be
conventional sound effects recording. You'll
{Continued on Page 3, CoJ. 1)
CLudla ^ reccrrd
VOL. 8. NO.
NOV.-DEC. 1952
iihly by Audio Devices, Inc.. 444 Madison
York City, in the Interests of better sound
lied without cost to radio stations, record-
otion picture studios, colleges, vocational
cording enthusiasts throughout the United
Fine Sound
(Continued from Page 2. Col. 3)
have fun trying to figure out how they
achieved the effects after you hear them.
The Company's own specially built
mobile-location truck, fitted with synchro-
nous magnetic tape recorders, complete
mixing equipment, 16-mm motion picture
cameras and its own 10-kw power genera-
tor IS kept busy to a degree which is about
200% more than the anticipated load.
Each year the truck and a crew headed by
Bob Fine spend about 10 weeks travelling
Europe doing documentary film work and
original sound recording on assignment for
a humanitarian foundation and a major
recording company. The rest of the year
the truck travels the circuit of New York,
Rochester, Chicago, Minneapolis, Detroit
and other major cities. There Fine Sound
does original recordings of soloists, cham-
ber groups, and symphony orchestras for
the famous Olympian Classics series of the
Mercury Record Corporation. The Olym-
pian series is recorderd under the adminis-
trative direction of David Hall, Director
of Mercury Classics. Incidentally, Audio-
discs are used exclusively for the lacquer
master recording of the Olympian series.
After less than a year of operation, the
Company is probably one of the healthiest
in the industry, doing a far larger volume
of business than was anticipated and ex-
panding into new fields at least a full year
ahead of schedule.
Porpoise Palaver Put on Tape
The NEW LOOK in
Audiotape Packaging
Here's what the well dressed Audiotape
will wear when on display in wholesale
and retail stores. This five-reel package is
designed for easy conversion to an attrac-
tive counter display, simply by folding the
top cover on a scored center line and tuck-
ing the front flap behind the tape boxes in
the package. One of these new counter
display packages is now included at no
extra cost in every carton of 10 or 30 reels
of plastic base Audiotape in the popular
7-inch and 5 -inch reel sizes.
More Than 20 Distinct Under-water
Porpoise Sounds Have Been
Recorded at Florida's Famed
Marine Studios
"There are more things in heaven and
earth, Horatio, than are dreamt of in your
philosophy." In this famous quotation,
Shakespeare might well have included
"under the sea". For here, in the mysteri-
ous realm of marine life, are wonders con-
cerning which the knowledge of man is
very limited. But even now, the veil is
being lifted — through patient and pains-
taking scientific research.
In the study of under-water sounds, for
example, very interesting progress is being
made at the Marine Studios in Marineland,
Florida. This huge oceanarium — a mecca
for tourists from all over the world — is
ideally suited to such examinations. Its two
great tanks are populated with an im-
pressive variety of deep sea denizens, under
conditions closely approaching their nat-
ural environment. And the 200 glass port-
holes, located at various levels, give an
excellent view of every portion of the
interior.
One of the biggest attractions at the
Marine Studios is "Flippy" the porpoise,
whose playful antics and seeming intelli-
gence are a continual source of amazement
to visitors. The porpoise, of course, is not
really a fish at all — but a mammal. It
has no vocal cords. Yet experiments have
proved beyond a doubt that the porpoise
actually can emit audible sounds. Tape
recordings of these sounds, picked up by
,1 hydrophone, or under-water microphone,
provide valuable material for study by ex-
perts in undersea life.
Mr. F. G. Wood, Jr., Marine Studios
curator, explains this recording work as
follows,
follows:
Equipment used for the under-water
recording includes a U. S. Navy Projector
Type CFF-78I87 (which is capable of both
Wood, Jr.. curator of Marine Sludios, makes
-water tape recording from one of tKe lower
The fiydrophone, suspended
en through the window.
pickup and transmission under water), an
amplifier, speaker or headphones, and an
Eicor tape recorder.
The investigations are primarily con-
cerned with sounds audible to the human
ear and their significance with regard to
the activity or behavior of the porpoises.
The two species so far recorded include the
bottle-nosed porpoise or dolphin and the
spotted or long-snouted porpoise.
The sounds which they have thus far
produced include whistles, barks, yelps,
chirps, snorts and mewing and rasping
noises. Twenty distinct varieties of these
sounds have been recorded. Their exact
significance is not yet understood, although
some of the sounds appear to be correlated
with emotional states such as fear or excite-
ment. A baby porpoise separated from
its mother, emits constant high-pitched
whistles. The mother reacts to these whis-
tles and may. locate her offspring by means
of them.
Some of the sounds — such as whistles
— can be clearly heard above the surface
of the water. Others are audible only
through Hydrophone. Previous studies
made by visiting scientists at Marine Stu-
dios have revealed that porpoises can hear
sounds well above the range of human
hearing, and it appears likely that they
may be capable of producing such sounds,
although there is as yet no reliable data
to substantiate this.
This sound recording technique opens
up an entirely new field of marine re-
search — one which may eventually give
us a much better understanding of life
under the sea.
AUDIO RECORD
Binaural Tape Recordings
Aired on Separate
FM and AM Channels
Station WQXR Conducts Historic
Three-Dimensional Broadcast
One of the many important conelusions
reached by those who attended the Audio
Fair held at the Hotel New Yorker on
Oct. 28 - Nov. 1, was that binaural sound
is here to stay.
In theory, binaural sound is not new.
But it is only recently that standard equip-
ment has been made commercially avail-
able for binaural recording and reproduc-
tion.
The effect of binaural sound on the ears
has been compared to that received by the
eye viewing stereoptican photographs.
Ordinary broadcasting and recording
methods are like ordinary photographs —
the scene is captured, but the space rela-
tionship, the feeling of presence, the "third
dimension" is lacking.
With binaural hearing, the music or
speech is received as it originates. The per-
son on the left is heard on the left. Those
in the rear are heard in the rear. The
progress of a person moving across the
stage can be followed. It is possible to focus
on a single instrument or voice.
Binaural sound in all its startling real-
ism was much in evidence at the Audio
Fair. In the Magnecord exhibit room, for
example, the new Binaural Magnecorder
was convincingly demonstrated with prop-
erly spaced loudspeakers as well as with
binaural headphones.
When either of the two channels was
switched off, the music suddenly fell "flat"
by comparison — then miraculously came
alive again when both channels were
switched on.
rowds that jammed the main ballroom of the Hotel New Yorker for
during the Audio Fair in New York.
In tape recorded binaural sound, one
"track" of the tape is used for each chan-
nel. Thus program material picked up from
the left hand microphone is separately
reproduced through the left hand speaker,
and the right hand speaker plays back
exactly what was "heard" by the right
hand microphone.
Of special interest to both recording
and radio engineers, however, were the
binaural broadcasts aired over Radio Sta-
tion WQXR and WQXR-FM in conjunc-
tion with Magnecord and the Audio Fair.
This marked the first binaural radio broad-
cast utilizing FM and AM for the separate
"right hand" and "left hand" channels.
In ordinary broadcasting, when both FM
and AM stations are airing the same pro-
gram, the sound is picked up in the studio
from a number of microphones and blended
in the control room. The same blended
sound IS then sent to the AM and FM
transmitters for airing. The radio wave is
picked up in the home on either AM or
FM and heard through a single amplifier
and speaker, like hearing with one ear.
In this binaural transmission, the sound
was picked up by two microphones placed
a short space apart. The signal from one
microphone was fed through the control
Magnecord Model PT6.BAH binaural recorder
and Model PT6.BN binaural amplifier, used
during the Audio Fair demonstrations and for
the historic WQXR binaural broadcast. Equip-
ment includes separate input and output chan-
nels for each of the two sound "tracks".
room to the AM transmitter, the other to
the FM transmitter. There was no blending
and the signals were kept separate. To re-
ceive the binaural effect in the home, the
listener required only an AM radio and an
FM radio — both tuned to station
WQXR, and placed at oposite sides of
the room. Fred Grunefeld, producer of
WQXR"s "Music Magazine" instructed
the radio audience in the proper adjust-
ment of its AM and FM receivers to ob-
tain the binaural "two-ear" listening
effect.
Arrangements for the exclusive WQXR
demonstration were made by James E.
Kovach, WQXR Station Manager, with
the Audio Engineering Society's Executive
Vice President F. Sumner Hall, Harold T.
Sherman of the Society, and Richard S.
McQueen, advertising manager of Magne-
cord. Inc.
Two binaural broadcasts were trans-
mitted — one on Oct. 29 and the other on
Oct. 30, at 9:05 P.M. The first broadcast
featured binaural music Magnccorded on
Audiotape; the second featured a live or-
chestra under the direction of Jascha Zayde
and the WQXR String Quartet. A press
preview was held at .'i:30 P.M. preceding
the first broadcast on Oct. 29, in the Grand
Ballroom of the Hotel New Yorker. Later
the Ballroom was opened to the public to
hear the binaural broadcast. Mcintosh Am-
plifier and Electro-Voice Speaker manu-
facturers shared with Magnecord in the
Ballroom presentations.
(Contmued on Page 5, Col. 1)
ISov.-Dec, 1952
Binaural Broadcast
(Continued from Page 4, Co!. J)
After the completion of these historic
binaural broadcasts, comments from lis-
teners started pouring in to Station
WQXR's booth at the Fair. Generally
speaking, everyone was thoroughly de-
lighted, pleased, surprised and excited over
the whole thing. There were a few excep-
tions of course. Trouble, where encoun-
tered, was due mostly to fading or inter-
ference on the AM channel or poor quality
of the AM receiver used. Here are a few
typical listener comments:
ROCKVILLE CENTRE, N. Y.: "Bi-
naural sound is the greatest thing since
FM came on the scene — it's just too bad
we can't get the fidelity of two FM sets.
Please keep up the experiments — we
would like it to become a permanent thing."
BROOKLYN, N. Y.: "I sincerely hope
you continue these programs and in time
convert entirely to Binaural Sound. It has
created more excitement among us music -
lovers at Pratt Institute than 'Cinerama'."
BRONX, N. Y.: "I hstened to your ex-
periment in Binaural Broadcasting with
both amazement and satisfaction. While I
presume its commercial possibilities are off
in the distant future, it certainly was a
notable experiment."
TEANECK, N. J.: "As a regular lis-
tener to WQXR, I want to extend my con-
gratulations and applause to your binaural
sound experiment last week. I found it a
musical experiment that I can only describe
as thrilling and exciting."
BROOKLYN, N. Y.: "We found it
most interesting and pleasant to close our
eyes and envision violinists and cellists
clinging to our curtains and playing, fine
singers perched on our bureau, and Mr.
Zaydc himself holding forth upon our bed.
Notwithstanding an AM set which is not
too selective in the number of stations it
plays at one time, this was one of our most
enjoyable listening experiences."
BRONX, N. Y. : "I want to express my
appreciation of your binaural broadcasts.
I have never experienced such depth and
direction of sound as during these pro-
grams. The music and voice actually seemed
to originate in my living room."
These binaural broadcasts, in addition
to marking another milestone in radio
transmission, went a long way toward sell-
ing the music-loving public (at least in the
listening area) on the advantage of binaural
"two-eared" sound. Wc believe that it is
here to stay.
STREAMLINED STYLUS
SHARPENING SERVICE
Worn-out Recording and Playback
Styli Now Resharpened and Returned
in 5 Days
Here's good news for economy-minded
disc recordists.
Audio Devices' resharpenmg service —
which has been available ever since the
Audiopoint line was introduced about 15
years ago — has now been streamlined and
simplified so that points can be processed
and returned more quickly than ever be-
fore. And improved packaging facilities
give extra convenience and saftey in han-
dling and mailing the points to be re-
sharpened.
This accelerated service will make the
economies of stylus resharpening particu-
larly attractive to all users of disc record-
ing equipment. A resharpened stylus is.
in every respect, the equal of a brand new
one. It is ground and polished on the same
precision machines, by the same skilled
craftsmen, and to the same precise stand-
ards of dimensional perfection. Yet the re-
sharpening cost is less than half the original
stylus cost.
Here, for example, are the current list
prices for Sapphire and Stellite Audio
points, together with the resharpening
costs.
TYPE LIST PRICE
Recording Audiopoints New Point Per Resharpening
Sapphire No. 14 (87°) $7.25 $3. IS
Sapphire No. 14 (70°) 7.2'; 3.7'!
Sapphire No. 202 5.25 2.60
StelhteNo. J4 1.75 .85
Playback Audiopoints
Sapphire No. 113 6.50 2.25
Sapphire No. 103 2.00 1.00
Sapphire No. 303 2.00 1.00
If a Sapphire No. 14 (87°) is resharp-
ened five times, total cost of original stylus
plus five resharpenings amounts to
$24.7.S List. In comparison, six new points
which would be required for doing the
same amount of recording work would
amount to $4J..S0 List. In this case, re-
sharpening saves a total of $20.00. reducing
the average cost per stylus from $7.2.^ to
$3.92 List.
To help you get the most out of this cost-
saving service, here are some helpful
pointers on stylus resharpening.
Why Resharpen
The condition of the stylus is one of the
most important factors in achieving perfect
disc recording and reproduction. A worn
or damaged recording stylus will produce
an unsatisfactory cut. And a worn or
handy mailing cards and envelopes simplify the
return o£ recording and playback styli for fast resharpen-
ing. Cards hold 4. 8 or 16 points.
chipped reproducing point will impair
playback quality and can cause irreparable
damage to the recorded disc.
When to Resharpen
Visual inspection through a good magni-
fier will reveal a chipped or damaged stylus,
which, of course, should be replaced imme-
diately. But a worn or dulled stylus can
only be detected by its performance. Sur-
face noise or scratch is a pretty sure sign
that the cutting stylus should be replaced
or resharpened. The shininess or light-
reflecting ability of the groove walls is a
direct index of the quietness of cut. The
desired degree of shininess can be gauged
by comparison with a new and unplayed
commercial phonograph record. A playback
point which does not track properly, gives
poor tone quality, or causes rapid wear of
the disc is very likely to need replacement
or resharpening. Also, excessive wear in a
playback point can usually be observed
under magnification, in the form of flatten-
ing or deformation of the extreme tip.
Number of Resharpenings
If properly handled and subject only to
normal wear, first quality dural-shank
Audiopoints can be resharpened as many
as ten times. If, however, the sapphire is
chipped or broken, considerably more of
the point must be ground away in the re-
sharpening process and the maximum num-
ber of resharpenings will be reduced
.iccordingly.
End of Resharpening Life
To determine when a point can no longer
be resharpened, examine it under a 20
power glass. If it is found that a consider-
able portion of the metal shank on the back
(opposite the cutting face) has been ground
away at the last resharpening, the point
should not be returned again for further
resharpening.
(Continued on Pdgc 6, Col. ?)
AUDIO RECORD
NEW 7" Audiodiscs for 45 rpm
These new 7-inch Red Label Audiodises
have been specially designed for recordists
who wish to make instantaneous record-
ings that can be played back on any stand-
ard 45 -rpm record player. Dimensionally,
they conform to the same standards as
commercial 45r|im phonograph records
and have the standard 1 Yj-inch diameter
center hole.
For maximum case in recording and re-
production, a separate brass center-hole
adapter is supplied. This permits these
discs to be cut on any disc recorder with
the standard center pin and drive pin.
After recording, the disc is ready for im-
mediate playback on a 45-rpm phonograph,
without any additional punching-out opera-
tion. This gives a smooth, clean center hole
of precise dimensions, assuring trouble-free
operation on automatic changers.
To record on one of these 7" Audiodiscs,
the brass center-hole adapter is simply
placed over the center pin on the recorder
turntable. The large center hole of the disc
fits snugly over the adapter and the drive
pin engages the drive-pin hole of the disc
in the usual manner.
Paper labels on both sides of the disc
are of sufficient thickness to give ample
clearance between adjacent surfaces at the
center oi stacked recordings, assuring prop-
er operation with the automatic changer
mechanism.
Tlie 7-inch, 4,vrpm Red Label Audio-
discs are priced at $L50 list each. Two
brass center-hole adapters are included in
each package of 25 discs. The adapters, of
course, can be re-used indefinitely for any
number of recordings.
Resharpening Service
(Continued from Page ?, Col. 3)
What Points Can Be Resharpened
All Sapphire and Stellite recording
Audiopoints and all Sapphire playback
Audiopoints can be resharpened under the
Audiopoint Resharpening Service. This
service can also be utilized for any sapphire
or stellite points of domestic manufacture.
Steel points can not be resharpened.
How to Return Points for Resharpening
Just give the used points to your Audio-
point Distributor and tell him that you
want them resharpened. He has a supply
of special mailing cards and return enve-
lopes which assure prompt and safe delivery
to the resharpening plant. The points will
be resharpened and returned to the Dis-
tributor w^ithin five days from the time they
are received at the plant!
If you are a large user of Audiopoints
and would like to save a little additional
time by returning the points direct to the
resharpening plant, your distributor can
probably arrange for this and supply ytiu
with a quantity of the convenient mailing
cards and self addressed return envelopes.
Cards are available for holding four, eight
or sixteen points. When points are returned
direct from the user, the name of the Dis-
tributor through whom the billing is to be
handled should be filled in on the space
provided in the cover of the card.
Distributors who take active advantage
of these Audiopoint Resharpening facilities
are rendering a real and valued service for
their clients — helping them to make sub-
stantial savings in the cost of recording and
playback points.
NEW PRODUCTS
'CROWN" Portable Tape
Recorder
The "CROWN" recorder, manufac-
tured by International Radio and Elec-
tronics Corp., Elkhart, Ind., is a dual-
speed, dual-track machine with 40 watts
power output. Listed features include:
frequency response of 3% and 71/2 inches
per second; fast forward, 160 in. /sec;
rewind, 192 in. /sec.; flutter and wow,
0.4%; output to total noise level, 52 db.
Two microphone inputs and four output
channels. Simultaneous recording with
public address faciHty. Separate volume
control for monitor and PA outputs.
Includes 6" by 9" 10-watt speaker. Also
available in DeLux model with single-track
head. Weight, 36 lb. complete. Price,
$293.00 net for standard model; or $325.00
for DeLux model.
MASCO Portable Disc
Recorders
Mark Simpson Manufacturing Co., Inc.,
32-38 46th St., Long Island Cky, N. Y.,
offers two portable disc recorder-reproducer
units with PA facility — Model RK-5SLR
with built-in AM tuner, and Model RK-
5SL without tuner. Include provision for
recording and playback at both 78 and
33 1/3 rpm. Three separate inputs for
recording from microphone, direct from
phonograph, and direct from radio. Re-
cording from microphone or radio indc
pendent or simultaneous. Built-in 5 -watt
amplifier, 6" PM speaker, separate volume
and tone controls, and recording level in-
dicator. List price, $197.50 less radio;
$237.70 with radio.
ISov.-Dec, 1952
by C. J. LeBel, Vice President
Audio Devices, Inc.
THE AUDIO HEAD
DEMAGNETIZER
Occasionally
Audio overreaches
itself — we write
about a new idea,
and after a while
the demand has
grown to the point
where we have to
make the product.
The Audio Head
Demagnetizer falls
in this class. The
virtues of demag-
netizing magnetic recording heads v^-ere
expressed in the AUDIO RECORD sev-
eral years ago, after watching the effective-
ness of the idea in a demonstration hy
Wentworth Fling. We soon found that
it improved the reliability of laboratory
measurements, and that the most critical
studios were also finding demagnetization
desirable. A sketch of a suitable device
was shown in our booklet, FUNDAMEN-
TALS of MAGNETIC RECORDING,
but this increased the flow of requests
rather than decreased it — for studios are
seldom equipped to do machine work. It
was finally decided to put the demagnetizer
into production.
What It Is
The Audio Head Demagnetizer, shown in
Fig. 1 , is an AC magnet assembly provided
with extended pole pieces shaped to fit the
countour of the recording head. Properly
used, this head demagnetizer will remove
any permanent magnetism which may have
accumulated in the recording head —
thereby reducing noise level which is at-
tributable to this cause.
How It Works
The Audio Head Demagnetizer enables
the magnetic condition of a recording head
to be carried through a series of hysteresis
loops of ever-diminishing size, leaving the
head substantially free of permanent mag-
netism, as shown in figure No. 2. This
operation is the same as the action of an
AC erase head on tape.
How to Use It
1. Put a single layer of self-adhesive
cellophane tape on the tips of the demag-
netizer poles, as shown in figure No. .i.
This prevents scratching the surface of the
head.
2. Plug the cord into a 110-115 volt,
60 cycle outlet.
3. Place the demagnetizer pole tips
against the recording head of the machine.
Move the tips over the entire pole surface
of the head for about one second. Then
move the demagnetizer slowly away from
the head and disconnect it from the power
circuit. Slow removal of the demagnetizer
from the head is particularly important,
since it is the gradual separation of head
and magnet which causes the hysteresis
loops induced in the head to diminish
slowly in size, finally ending at the zero
point.
4. Be careful not to overheat the de-
magnetizer. It should not be left connected
to the povv'er source for more than five
minutes at a time. If it gets too hot to hold
comfortably, disconnect it.
Why Demagnetize
Since the minimum noise level occurs
with the tape in unmagnetized condition,
it is important that the recording head
CELLOPHANE TAPE TRIMMED
TO FIT POLE TIPS
DEMAGNETIZER POLES
Figure 3. Sketch showing detnagni
cellophane fape in place.
impart no steady (dc) magnetism to it.
This can only be true if the head is itself
free from permanent magnetism.
When a recording machine leaves its
factory, the heads are unmagnetized. How-
ever, music and speech consist of a series
of transients, often not symmetrical in peak
value. Other asymmetrical transients may
occur in line noise, in starting and stop-
ping the machine, and particularly during
tests. The effect is cumulative, and after a
week of steady use the recording head may
have picked up enough magnetism to raise
the noise level by several db and to increase
second harmonic distortion slightly.
What the Demagnetizer Cannot Do
There are no universal panaceas in engi-
neering and so the demagnetizer will not
necessarily make your machine quieter.
The following common causes for high
noise level may exist:
1. Magnetized recording head.
2. Noisy input tube in reproducing pre-
amplifier of machine.
3. Noisy resistor or condenser in repro-
ducing preamplifier of machine.
4. Hum pickup in machine circuits.
.i. Bias leakage masquerading as noise.
6. Faulty bias waveform during record-
ing.
Head demagnetization, of course, can
only remedy fault No. 1. If any of the
other difficulties exist, they must be cured
before demagnetization is worth while. For
example, a number of machines have suffi-
ciently poor bias waveform and enough
hum so that these form the major causes
of noise.
Different heads and different machines
differ unpredictably in their tendency to
magnetization, so that the easiest way to
judge the effectiveness of a demagnetizer is
to try it. If the unit fails to help your
particular machine, it may be returned to
your jobber for full credit — provided, of
course, that it has not been damaged. The
price of this Audio Head Demagnetizer is
$12.00 List.
tu. RIGHT COMBINATION for
maximum performance at minimum cost
NO SPLICES. As always, plastic-base Audiotape
in 1200 and 2500 ft reels is guaranteed splice-free.
NO FRICTION SQUEAL. Perfected anti-fric
tion process eliminates annoying tape squeal— prevents
"tackiness" even under extreme temperature and
humidity conditions.
MINIMUM DISTORTION. Audiotape's oxide
coating is especially formulated to give maximum
undistorted output. Comparative tests show its marked
superiority in this respect.
MAXIMUM UNIFORMITY. All 7" and 10"
reels of plastic-base Audiotape are guaranteed to have
an output uniformity within rtVi db — and a reel-to-
reel variation of less than ztM; db. And there's an
actual output curve in every 5-reel package to prove it !
PRECISION TIMING. Improved reel design
with IVi" hub reduces timing errors by eliminating
the tension and speed changes formerly encountered
at the beginning and end of the winding cycle. Ratio
of OD to hub diameter is the same as the standard
NAB 2500 ft reel.
CONSTANT PITCH is another advantage of
the new reel design resulting from the more uniform
tape speed throughout the winding cycle.
SLOWER ROTATIONAL SPEED, due to
larger hub diameter, minimizes vibration and avoids
possible damage to tape on fast forward and rewind.
REDUCED HEAD WEAR can also be ex-
pected, because the maximum tape tension is ma-
terially decreased.
audiotape gives you all these advantages at no extra cost!
This new 1200 ft plastic reel with 2^A" diameter hub
is now being supplied on all orders for 7 " reels un-
less otherwise specified ... at no increase in price.
Remember — with Audiotape, there's only one qual-
ity—the finest obtainable! Audiotape is available in
all standard size reels from 150 to 5,000 feet.
AUDIO DEVICES, Inc.
444 Madison Ave., New York 22, N.Y.
Export Dept. 13 East 40lh St., New York 16, N.Y., Cables "ARIAB"
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