I'll have more to tell you soon about some recordings of great musical performances I've come across from the acoustic (1877-1925) and electrical eras (1925-1945) of recording, but in this post I have a couple of fun things to share with you about the surging interest in the great musical performances found on 78 records.

After reading through my 'sneak peek' of the superb new First Watt F8 stereo amplifier (HERE), where I mention my interest in exploring the great musical performances recorded during the acoustic and electrical eras of recording, Nelson Pass sent me a couple of photos of his 'new' record player.

It turns out Nelson is also interested in exploring the great performances found only on 78 records, and attached these two photos of his "latest acquisition" on the record player front. I love it! 

I must confess I find it very tempting to look for a vintage 78 record player so I can explore those vintage 78 records, as the 'siren song' is strong, and I actually have a box of 78 records here from my grandfather that would be a lot of fun to hear.

In case you think I'm a loon for my interest in 78 records and transfers as well as high-fidelity audio systems ... well ... you're probably right about that loon bit, but nonetheless, many of the great musical performances ever recorded are found only on 78 records, and there is a reason that Nelson Pass (Pass Labs, First Watt), Peter Qvortrup (Audio Note (UK)), and myself are drawn to 78 records and/or their transfers - its about the music. 

Thanks to Dr. David Robinson for sharing with me an article link from another 78 record enthusiast, Positive Feedback's own late Clark Johnson (Godspeed Clark), who wrote a very nice article about his enthusiasm for 78 records back in 2006, which I encourage you to read.

You can read Clark's article HERE. 

While 78 records are deservedly a Holy Grail in and of themselves, you'll be happy to know there's also been a lot of progress in the world of 78 record transfers to CD since 2006, when Clark wrote his article.

In my The 78 Experience - Feeling the Music: 78 Record Label Survey! article HERE I provide an introductory overview of my explorations of excellent 78 record transfers to CD from Naxos, Marston Records, Nimbus Records, and more, as those will be the most accessible format for more of you to experience why there's so much fuss about the great performances of music from the acoustic and electric eras of recording.

I am particularly interested in Peter Qvortrup's upcoming 78 record transfers to CD using the AML+ technology, which offers an elevated level of 78 record transfer performance.

As many of you are aware, the 'observer effect' of physics implies that recordings of musical performances from all of the recording eras will fall short of the actual musical event that was recorded (i.e. "the disturbance of an observed system by the act of observation", as Wikipedia describes it HERE).

The reality is the act of recording necessarily alters the sound waves of the original musical performance, and at best a recording of a musical performance can only asymptotically approach capturing what a live performance offers. 

That same 'observer effect' is also in play when transferring 78 records to analog tape or digital media, or transferring analog tape masters from the magnetic era of recording to commercial reel-to-reel or LP record releases today. 

While there are necessarily some differences between the original musical event that was recorded and what was captured on the original recording media, or transfers from that media to more accessible commercial formats, it doesn't mean that a music enthusiast should despair.

The reality is that those recorded performances of music (and their transfers to accessible commercial formats) from all the eras of recording are important documents of recordings of the musical performances that make up our recorded music canon. 

One of my favorite quotes on the topic was made by Bruce Burroughs, Music Critic & Editor of The Opera Quarterly, in the Winter 1991/1992 issue (Oxford University Press, more HERE):

“It is increasingly the case, and very sadly so, that new recordings of the landmark masterpieces of the standard operatic repertory can be satisfying on any deep level only to those with the least experience and the shortest memories … We don't go to the recordings of Caruso or Melchior, Ponselle or Flagstad for the sonics. We go because we want the real thing - the vocal capacity and dramatic ardor that cannot be dimmed by mere matters of sound reproduction. The voices fairly jump out at us from whatever dim and unsatisfactory technology enshrines them.”

Great music is great music, regardless of the media it is recorded on, and if you limit yourself only to the very best quality recordings from the magnetic and digital recording eras the reality is you are going to miss a lot of great recordings of music that our historic recorded music canon has to offer. 

There's a reason that individuals like Nelson Pass, Peter Qvortrup, Clark Johnson, and myself, have enjoyed listening to recordings of great music from the acoustic and electrical eras of recording. These are recordings of great musical performances, and the recordings themselves can be quite remarkable.

Personally, I think it is great fun exploring recorded musical performances from all of the recording eras on a high-fidelity audio system, and at least for me, it represents a step towards being a more well-rounded music lover and audio enthusiast. 

I've also enjoyed listening to the evolution of the recording arts over the different eras. I have found it to be fascinating, and I am thankful that these recordings are available for us to hear. 

It feels good to me to keep growing in my interests related to music and the recording arts, and I think you too will enjoy joining Nelson, Peter, Clark, myself - and many others - in this listening adventure as well.

Let the time travel begin!

As always, thanks for stopping by, and may the tone be with you!