Professional Documents
Culture Documents
BEETHOVEN
1. ! Sonata No. 26, E Flat ("Les Adieux"). Op.
81a. Two 12" records (4 sides) in Set VM-858
2. ! Trio No. 7, B Flat, Op. 97 ("Archduke").
With Jascha Heifetz (violin) and Emanuel
Feuermann ('cello). Five 12" records (10 sides)
in Set VM-949
BRAHMS
1. ! Intermezzo No. 4, A Minor, Op. 76, No. 7.
One side of 12" record No. V-11-8140 in Set
VM-893
2. ! Intermezzo No. 9, E Flat, Op. 117, No. 1.
One side of 12" record No. V-11-8138 in Set
VM-893
3. ! Intermezzo No. 10, B Flat, Op. 117, No. 2.
One side of 12" record No. V-11-8138 in Set
VM-893
4. ! Intermezzo No. 15, E Flat Minor, Op. 118,
No. 6. One side of 12" record No. V-11-8139
in Set VM-893
5. ! Intermezzo No. 18, C Major, Op. 119, No.
3. One side of 12" record No. V-11-8140 in
Set VM-893
6. ! Rhapsody No. 1, B Minor, Op. 79, No. 1.
One side of 12" record No. V-11-8141 in Set
VM-893
7. ! Rhapsody No. 2, G Minor, Op. 70, No. 3.
One side of 12" record No. V-14946 (with
Schumann: Romance, Op. 28, No. 2)
8. ! Rhapsody No. 3, E Flat, Op. 119, No. 4.
One side of 12" record No. V-11-8140 in Set
VM-893
9. ! Trio No. 1, B Major, Op. 8. With Jascha
Heifetz (violin) and Emanuel Feuermann
( cello). Four 12" records (8 sides) in Set
VM-883
CHOPIN
1. ! Concerto No. 1, E Minor, Op. 11. With
London Symphony Orchestra, conducted by
The 78rpm Collectors Community Newsletter - August 2013 35
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John Barbirolli. Four 12" records (8 sides) in
Set VM-418
MAZURKAS
1. ! Vol. 1. Five 12" records (10 sides) in Set
VM-626
No. 1, F Sharp Minor, Op. 6, No. 1
No. 2, C Sharp Minor, Op. 6, No. 2
No. 3, E Major, Op. 6, No. 3
No. 4, E Flat Minor, Op. 6, No. 4
No. 5, B Flat, Op. 7, No. 1
No. 6, A Minor, Op. 7, No. 2
No. 7, F Minor. Op. 7, No. 3
No. 8. A Flat, Op. 7, No. 4
No. 9, C Major, Op. 7, No. 5
No. 10, B Flat, Op. 17, No. 1
No. 11. E. Minor. Op. 17. No. 2
No. 12, A Flat, Op. 17, No. 3
No. 13, A Minor, Op. 17, No. 4
No. 14, G Minor, Op. 24, No. 1
No. 15, C Major, Op. 24, No. 2
No. 16, A Flat, Op. 24, No. 3
No. 18, C Minor. Op. 30. No. 1
No. 20, D Flat, Op. 30, No. 3
No. 27, E Minor, Op. 41, No. 2
No. 29, A Flat, Op. 41, No. 4
2. ! Vol. II. Five 12" records (10 sides) in Set
VM-656
No. 17, B Flat Minor, Op. 24, No. 4
No. 21, C Sharp Minor, Op. 30, No. 4
No. 23, D Major, Op. 33, No. 2
No. 24, C Major, Op. 33, No. 3
No. 25, B Minor, Op. 33, No. 4
No. 26, C Sharp Minor, Op. 41, No. 1
No. 28, B Major, Op. 41, No. 3
No. 30, G Major, Op. 50, No. 1
No. 31, A Flat, Op. 50, No. 2
No. 32, C Sharp Minor, Op. 50, No. 3
No. 33, B Major, Op. 56, No. 1
No. 39, B Major, Op. 63, No. 1
No. 40, F Minor, Op. 63, No. 2
No. 41, C Sharp Minor, Op. 63, No. 3
No. 49, F Minor, Op. 68, No. 4
3. ! Vol. III. Four 12" records (8 sides) in Set
VM-691
No. 19, B Minor, Op. 30, No. 2
No. 22, G Sharp Minor, Op. 33, No. 1
No. 34, C Major, Op. 56, No. 2
No. 35, C Minor, Op. 56, No. 3
No. 36, A Minor, Op. 59. No. 1
No. 37, A Flat Major, Op. 59, No. 2
No. 38, F Sharp Minor, Op. 59, No. 3
No. 42, G Major, Op. 67, No. 1
No. 43, G Minor, Op. 67, No. 2
No. 44, C Major, Op. 67, No. 3
No. 45, A Minor, Op. 67, No. 4
No. 46, C Major, Op. 68, No. 1
No. 47, A Minor, Op. 68, No. 2
No. 48, F Major, Op. 68, No. 3
No. 50, A Minor, "Notre Temps"
No. 51, A Minor, (Posth.)
NOCTURNES
1. ! Vol. I. Six 12" records (12 sides) in Set
VM-461
No. 1, B Flat Minor, Op. 9, No. 1
No. 2, E Flat Major, Op. 9, No. 2
No. 3, B Major, Op. 9, No. 3
No. 4, F Major, Op. 15, No. 1
No. 5, F Sharp, Op. 15, No. 2
No. 6, G Minor, Op. 15, No. 3
No. 7, C Sharp Minor, Op. 27, No. 1
No. 8, D Flat, Op. 27, No. 2
No. 11, G Minor, Op. 37, No. 1
No. 12, G Major, Op. 37, No. 2
2. ! Vol. II. Five 12" records (10 sides) in Set
VM-462
No. 9, B Major, Op. 32, No. 1
No. 10, A Flat, Op. 32, No. 2
No. 13, C Minor, Op. 48, No. 1
No. 14, F Sharp Minor, Op. 48, No. 2
No. 15, F Minor, Op. 55, No. 1
No. 16, E Flat, Op. 55, No. 2
No. 17, B Major, Op. 62, No. 1
No. 18, E Major, Op. 62. No. 2
No. 19, E Minor, Op. 72, No. 1
POLONAISES
1. ! Eight 12" records (16 sides) in Set VM-353
No. 1, C Sharp Minor, Op. 26, No. 1
No. 2, E Flat Minor, Op. 26, No. 2
No. 3, A Major, Op. 40, No. 1
No. 4, C Minor, Op. 40, No. 2
No. 5, F Sharp Minor, Op. 44
No. 6, A Flat, Op. 53
No. 7, A Flat, Op. 61
2. ! Andante Spianato, Op. 22
3. ! Grande Polonaise, E Flat, Op. 22
SCHERZI
1. ! Four 12" records (8 sides) in Set VM-189
No. 1, B Minor, Op. 20
No. 2, B Flat Minor, Op. 31
No. 3, C Sharp Minor, Op. 39
No. 4, E Major, Op. 54
DE FALLA-RUBINSTEIN
1. ! L'Amour Sorcier- Danse de la Frayeur,
Danse Ritaelle de Feu. 10" record (2 sides) No.
V-1596
FRANCK
1. ! Sonata, A Major. With Jascha Heifeiz
(violin). Three 12" records (6 sides) in Set
VM-449
GRIEG
1. ! Concerto, A Minor, Op. 16. With the
Philadelphia Orchestra, conducted by Eugene
Ormandy. Three 12" records (6 sides) in Set
VM-900
LISZT
1. ! Liebestraum, No. 3. One side of 12" record
No.V-36337 (with Rubinstein: Valse Caprice)
MOZART
1. ! Concerto No. 23, A Major, K. 488. With
London Symphony Orchestra, conducted by
John Barbirolli. Three 12" records (6 sides) in
Set VM-147
RACHMANINOFF
1. ! Prelude in C Sharp Minor, Op. 3, No. 2.
One side of 12" record No. V-14276 (with
Schubert: Fantasia Sonata, G Major -Minuet
and Trio - See below)
RUBINSTEIN
1. ! Valse Caprice. One side of 12" record No.
V-36337 (with Liszt: Liebestraum, No. 3)
SCHUBERT
1. ! Fantasia Sonata, G Major, Op. 78 -Minnet
and Trio. One side of 12" record No. V-14276
(with Rachmaninoff: Prelude, C Sharp Minor,
Op. 3, No. 2 - See above)
2. ! Trio No. 1, B Flat Major, Op. 99. With
Jascha Heifetz (violin) and Emanuel
Feuermann ('cello). Four 12" records (8 sides)
in Set VM-923
SCHUMANN
1. ! Romance, F Sharp, Op. 28, No. 2. One side
of 12" record No. V-14946 (with Brahms:
Rhapsody, G Minor. Op. 79. No. 2)
TCHAIKOVSKY
1. ! Concerto No. 1, B Flat Minor, Op. 23. With
the London Symphony Orchestra, conducted
by John Barbirolli. Four 12" records (8 sides) in
Set VM-180
2. ! Concerto No. 1, B Flat Minor, Op. 23 -First
Movement (incomplete). With the London
Symphony Orchestra, conducted by John
Barbirolli. 12" record (2 sides) No. V-7802
Compiled and Produced by the 78rpm
Collectors' Community
www.78rpmcommunity.com
Version 1a
If you nd omissions, incorrect details or weve
got our facts wrong, please drop us a line at
admin@78rpmcommunity.com
The 78rpm Collectors Community Newsletter - August 2013 36
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78RPM ALBUM COVERS
A selection of recently added 78rpm album cover
scans to the 78rpm Collectors Community
featuring highly illustrative Victor and Columbia
album covers (mostly classical), from the 1930s
and 1940s.
The 78rpm Collectors Community Newsletter - August 2013 37
QUESTIONS & ANSWERS
New crop of questions submitted by our
members can be accessed on the 78rpm
Collectors Community website...
http://www.78rpmcommunity.com/question
The Discographer Newsletter
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Getting Better Transfers
from your 78s
Here are a few tips to help you get better
transfers from your 78s.
This post covers some of the basic processes of
transferring 78rpms. It covers aspects of cleaning
to the nal process of backing up your results.
Now, rst of all, please remember that there are
many ways to do each of the steps below...
There is no set method or approach.
Many collectors swear by one method while
other collectors' swear by another method. It's
important to use the method that's best for you
and which gives you the best results...
First of all, consider the following suggestions
before starting any 78rpm transfer job:
Ideally use a turntable with 78rpm and
adjustable speed - though you can use lower
speed dubbing if you only have a turntable
capable of speeds of 33 and 45
Use a proper 78 stylus - you may want a
separate headshell/cartridge. See the
following website for stylus types, sizes and
prices as a rst step or try Ebay
http://www.esotericsound.com/CartStyli.htm
Clean your records thoroughly before
transferring them digitally. The overall result
will be much better
Use appropriate software and adjust
equalization and remove noise - and review
results. These simple steps will result in a
better, overall transfer
Export your nal 'product' to WAV/MP3
Styli
As mentioned above - always use a special stylus
or cartridge. Your overall results will be
signicantly better by using a stylus designed for
the type of recording. With 78rpm records, many
different speeds, groove sides and recording
processes were used - so try to match your record
type and make to a stylus that will give the best
playback results.
As mentioned above - the following website is a
great place to start - although there are others
around. Google "78rpm stylus". You can also try
the following pages:
http://www.soundring.com.au/styli.cfm
https://www.storedj.com.au/products/STN-D5127
https://www.storedj.com.au/products/ORT-OSO78
You should only use a stylus (needle) designed to
play 78's. The grooves on a 78 are signicantly
wider and deeper than the grooves on an LP.
Using an incorrect stylus will result in:
noisier, more hissy transfers
far less accurate reproduction of the music
Ideally you should consider more than one stylus
width if you are playing really old shellac
records, because there was no standardization of
groove dimensions until late in the 78 rpm era.
Search our website for advice.
Cleaning the records
Clean the 78s as thoroughly as possible before
recording. This will save you time later as
cleaning clicks/pops is hard work if you do it
manually through the use of software.
Do not use alcohol-based solvents on the shellac,
use only water or water-based cleaners. You can
use a bit of washing up liquid on a piece of
velvet and warm water. Give them a wash, in
cool not hot water, and place them in the dish
rack - then change the water and rinse
thoroughly - nally rinse off with distilled (de-
ionized) water, then drain and dry off with a dry
piece of velvet.
Avoid wiping with kitchen paper or similar, as
these are both abrasive, and can leave bers stuck
in the grooves.
Equalization
Often overlooked - but very important.
When transferring 78 rpm's, pre-amplication
built into any 'modern' consumer-level pre-
amplier or USB turntable will be designed for
vinyl records made from the 1950s onwards. The
problem is that most 78 rpm records were not cut
with such a strong high frequency bias. They
therefore sound dull if played through modern
equipment that applies RIAA playback
equalization. To overcome this, see the ltering section
below...
Noise Removal
Over the years your 78s will undoubtedly have
received scratches and wear, which will result in
clicks, pops and crackle. Use free or paid 'noise
removal software' such as Audacity, Goldwave or
ClickRepair.
Filtering
For recordings from the 1940s or later set the
cutoff frequency at 9 kHz or 10 kHz; for
electrical recordings (1926 to 1939) about 8 kHz,
and acoustic recordings (before 1926) about 7
kHz. Use a rolloff of at least 12 dB per octave;
24 dB per octave could probably be better. Listen
to the results to make sure the sudden cut-off of
high-frequency noise does not sound too
articial. Don't forget the low frequency noise as
well - try a rolloff of 12 dB per octave at a cutoff
frequency of 1000 Hz.
Normalization and Compression
As a nal step you may wish to adjust the
loudness of you recording. Most software (such as
Audacity) allows you to adjust the overall
loudness of your transfer.
Review and Export
Review the track to decide if any further
treatment is required, or if you need to restart
from scratch. If you are happy with your work
than your project is ready for export - export or
save the le as WAV and/or MP3 etc.
Backup
Don't forget to backup your nished audio les as
you will not want to lose all that hard work;
ideally at least two separate copies on separate
media. You may wish to consider also backing up
your original capture masters as WAV les, then
you can always come back to the raw recording
later and re-process it if you need or want to.
The 78rpm Collectors Community Newsletter - August 2013 38
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78RPM LABEL SCANS
A selection of unusual 78rpm labels mostly from
small record companies of the 30s, 40s and
early 50s.
Of particular interest is the Octacros and
Cardinal labels...
The 78rpm Collectors Community Newsletter - August 2013 39
QUESTIONS & ANSWERS
New crop of questions submitted by our
members can be accessed on the 78rpm
Collectors Community website...
http://www.78rpmcommunity.com/question
The Discographer Newsletter
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The Edison Disc, also known as a Diamond Disc record, was a type of audio disc record marketed by Edison Records from 1912 to 1929. They were known as Diamond Discs because the
reproducer tted to the matching Edison disc player was tted with a diamond stylus.
Edison had previously concentrated on producing phonograph cylinders but decided to get into the disc market due to the increasing market share of disc sound recordings, especially the
discs of companies such as Victor Talking Machine Company (the format of which would evolve into "78 records"). Victor and most other disc record companies used side to side or lateral
motion of the stylus in the record groove, whereas in the Edison system the movement was up and down or vertical (also known as "hill-and-dale" motion), as in a cylinder record. An Edison
Disc Phonograph is distinguished by the diaphragm of the reproducer being located parallel to the disc surface. The Victor (or similar) diaphragm is located at a right angles to the surface of
the disc such that the diaphragm is more or less parallel to the groove.
The grooves on an Edison Disc are smooth on the sides and have a variable depth. Standard lateral discs will have a more constant depth, but the sides of the groove are scalloped. As the
Edison groove pitch (or "TPI", i.e. "threads per inch") was 150, a much ner grooving than that on lateral discs, Edison's 10-inch discs played considerably longer than Victor's or Columbia's
-- up to nearly ve minutes per side. The Edison Disc is also #-inch thick (supposedly to prevent warping), and was lled with wood our, and later, china clay.
Victor's system could not play Edison Discs as the needles used would cut through the recorded sound, and the Edison system could not play Victor or other lateral discs unless one used
special equipment, like the Kent adapter. There is an example of a device to play Edison discs on a Victor machine. The Brunswick Ultona and the Sonora Phonograph were the only
machines besides the Diamond Disc player that could play Diamond Discs, but Edison made an attempt at curbing this (a phonograph/gramophone that could play Edison, Victor/lateral
78s, and Path discs) by stating "This Re-Creation should not be played on any instrument except the Edison Diamond Disc Phonograph and with the Edison Diamond Disc Reproducer,
and we decline responsibility for any damage that may occur to it if this warning is ignored."
The Edison records had their greatest commercial success in the mid 1910s to early 1920s, with sales peaking in 1920. Diamond Discs arguably had better audio delity, but were more
expensive than and incompatible with other brands of records, and ultimately lost out in the marketplace. In 1926, an attempt at reviving interest in the Edison Disc was with a 450-TPI long-
playing disc, still spinning at 80 rpm, with times of 24 minutes per 10-inch disc and 40 for a 12-inch disc, but problems occurred (notably with broken groove walls and overall low volume,
often only 40% of that of the regular discs), and the disc failed. In August 1927, discs began to be electrically recorded, making Edison the last major label to adopt electrical recording (over
two years after Victor, Columbia, and Brunswick had converted from acoustical recording). Sales continued to drop, however, and although Edison Discs were available from dealers until the
company left the record business in late October 1929, the last vertically-cut direct masters were recorded in the early summer of that year. The U.S. phonograph and record industry itself
reached a historic nadir during that year, as the onset of the Great Depression and the rise of radio depressed sales and sent numerous companies out of business.