78 rpm record dating
Showing of 3 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. This is the third and final edition of this essential guide to finding the general release date of almost any 78 RPM record issued in the U. It was a labor of love, assisted by many of us noted collectors who provided additions and corrections to the first two editions. It is not perfect, but is a good first place to look to get a general date of a record to facilitate any further research you might need.
It certainly is a worthy addition to your research library, but at a more reasonable price. What an incredible book. My copy almost resembles a fanzine: Aside from that, the book is packed with very obscure labels to the well-known ones. Every effort has been made to list as many dates available per label catalogue number. If you want to date a record, you note the catalogue number, find the label in the book and find the number. The date is next to the number. Of course, the date listed is when the song was recorded on the record.
The green capitals represent the numbers 1 to 10, thus: Here is a fairly early disc from that time. What we can certainly see, is how busy the Gramophone Co. So we know that this disc was pressed from the first stamper to be made from the mother. By the way, you can listen to this record by clicking here. The American Ragtime Octette the feminine form quartette, quintette was the normal usage at that time was a visiting American male vocal group which enjoyed great popularity on their arrival here. They also recorded for Edison Bell, and more that one of them never returned to the U. The number of records that could be pressed from any one stamper varied very widely indeed.
It depended mostly on the complexity of the groove. You can find records where one side has the third stamper, but the other side has e. As to actual pressing figures, I have no idea. It might have been as little as 20 pressings, or possibly several hundred, even a thousand or more? Also, company policy and economic conditions would operate in this area.
High-class operatic vocals and classical records would probably have greater attention paid to their quality, as opposed to more popular fare. This is a complex question, so we can leave it for the time being. The first of these Gramophone stamper letters were relatively large. The one shown above is nearly 5mm tall. There are three numbers in the wax of this record, shown below. Note that the master number does not appear on the label. Nor is it in the same series as our old HMV. It used a two-letter prefix. The second letter was the master series itself. HMV used 19 different letters here, but the only one that concerns us here is B, as this was selected for studio recordings in this country — but see next paragraph.
The actual master numbers began, reassuringly, at 1. They had reached Bb by 7th October , when this side was recorded. The little Roman III is the take number. But this type of master series ran from to , so that covers a lot of ground. Now that good electrical recording was possible, you could have a microphone placed some distance from where the master was cut.
The disc cutter might be in a mobile van outside the venue, perhaps many yards away from the performer — the amplified signal could even be sent down a telephone line back to a more-or-less permanent recording studio.
HMV did this increasingly from the mids onward. Their obvious use was for recording Church organs, performances in theatres and so on. But they seem to have forgotten about the Aa prefix, probably provided for such a size, and that as recently as They just gave them the next prefix in line: We can now move on to the second number in the wax, Note that this does appear on the label, so it is obviously very important to HMV. Essentially, every company had to have a system to ensure that the correct two sides were brought together on a record, both on the initial pressing run, and on any subsequent ones.
The masters, mothers and stampers must have been stored in numerical sequence. But discs were pressed from two different sides, which may not even have the same master series — e. The Gramophone Company evolved a system in which they pretended that a double sided disc was made up of two single sided discs.
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Which is extremely logical when you think about it! Indeed, many of the early HMV double sided discs of were arrived at by coupling together two earlier single sided ones.
78 rpm Record Dating Guides | 78 RECORDS, CYLINDER RECORDS & VINTAGE PHONOGRAPHS
If you want to study this system, I wish you well! It persisted until about By these letters were only about 2mm tall. What happened if they made more than 10 stampers?
Well, they began again, with two letters. Here is a table covering up to the th HMV stamper.
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There was another British company that used a letter code for its stampers. Decca issued its first records in From the beginning they carried a stamper letter code derived from the place name Buckingham. Why this word or name was chosen, is not known. It is even possible that this code was devised by Brunswick or Duophone or even by the factory itself, so that the code was simply inherited by Decca. The master number appears on the label as GB. We know that Decca used numbers for their takes, so this is take 1. If you do, please let us know and we will update, giving you full credit!
This side was recorded 17th November Click here to listen to this record. Edgar Jackson was such an important figure on the British Hot Dance, Jazz and general musical scene for decades — e. It stands to reason that the first few stampers would be derived, all being well, from the first mother. Here is a table of Decca stamper letter combinations up to …. Imitation is the sincerest form of flattery, we suppose? There may well be three letters. If all you are interested in is just a copy in the best possible condition to listen to, it usually doesn't matter one way or another.
But my understanding is that, in most cases, the label design that was current when the record was initially issued is usually considered to be the more collectible. Those very early Columbia recordings can also be confusing in that, when Columbia came out with its double disc records in , a great many of those early recordings were paired up and issued under a new catalog number. Their old catalog number, however, appears on the label as the matrix number. The pre single sided Columbias did not have matrix numbers - the catalog number was the matrix number.
Also, it was also very common for those early Columbia records to also be issued, sometimes with pseudonymous artist credits, on various client labels that Columbia pressed - for example Harvard and Oxford which were in-house labels for Sears, Roebuck and Company as well as the Standard, Harmony and United labels, all of which had over sized spindle holes designed to fit phonographs made by specific manufacturers.