Subject: [removed] Digest V01 #41
From: <[removed]@[removed]>
Date: 2/4/2001 9:46 PM
To: <[removed]@[removed];

------------------------------


                      The Old-Time Radio Digest!
                         Volume 01 : Issue 41
                    A Part of the [removed]!


                           Today's Topics:

 Benny Goodman - In Person!           [Bill Harris <billhar@[removed];    ]
 Mark 56 Records                      ["Stephen A Kallis, Jr." <skallisjr@]
 Introductions                        [Ian Preston <idp@[removed];   ]
 Re: The Blue Beetle                  [Cnorth6311@[removed]                 ]
 "Benny Gooman Live"                  [wa5pdk@[removed] ([removed] L.)         ]
 Re: How the Bills Were Paid          [Elizabeth McLeod <lizmcl@[removed]]
 SUSTAINING SHOWS                     [TIZZ EYE! <cien@[removed];        ]
 Harpo Marx                           [William L Murtough <k2mfi@[removed];]
 Holy Bible by Marvin [removed] slo ["Ted Kneebone" <tkneebone1@[removed]]
 benny goodman and owens pomeroy      [leonardfass@[removed] (Leonard Fass]
 Re: Orson on the Yankee              ["Michael Ogden" <michaelo67@hotmail]
 WAXWORKS & Ward Bond                 ["randy story" <BYGEORGE@[removed];  ]
 mikes in the men's room              ["J. Randolph Cox" <cox@[removed]]
 Music! Music! Music!: Your Hit Parad ["Owens Pomeroy" <opomeroy@[removed]; ]
 Stan Kenton/Tex Beneke               [John Cunningham <jaybird@[removed]; ]
 Old baseball broadcasts request      [Jean-Henri Duteau <jeand@telusplane]
 Mis-Adventures of [removed]        [Henry Howard <hhoward@[removed]]
 mp3 and OTR                          [Tilyou1@[removed]                    ]
 16 2/3 RPM                           ["H. K. Hinkley" <hkhinkley@[removed]]

------------------------------

Date: Sun, 4 Feb 2001 10:55:21 -0500
From: Bill Harris <billhar@[removed];
To: [removed]@[removed]
Subject:  Benny Goodman - In Person!

Owens Pomeroy asked:

(Do any of you have memories of seeing a big band you care to share?)

I envy those who were old enough and were able to see in person, all the big
bands
of that era. I can only imagine how exciting it must have been to see and
hear the
likes of Glenn Miller, the Dorsey's, Goodman, and others. The closest I can
come
is from 1940 to about 1945 my father was the managing Park Ranger for the
Abilene
Texas State Park. Located not far from the park was Army Camp Barkley.
Occasionally a band from the camp would come to the park on weekend nights and
play, and of course they played in the big band style and all of the popular
tunes
of the time. I was only about 3 years old but I would stand right next to the
band
and listen from start until they finished which would often be way after
midnight.
I had a musical toy, sorta like a flute which I think was called an 'Ocarena'
(sp?). On night as I stood next to the band I whipped out my instrument and
began
to play along. It wasn't long until Mom came and took it away. I don't think
the
clarinet player could keep up with me. Both my parents had to be there until
the
park closed so that meant I got to stay up late. Guess that is why I am such
night
owl today. Music was normally furnished by a Wurlitzer juke box. 'In The
Mood' was
so popular that on weekends the kids would play it so much that they would wear
out the record in one night. My father had to keep several platters on hand for
replacements. I know this is why my favorite music is and has always been big
band. I would loved to have been a teenager in the swing era.

Bill Harris

------------------------------

Date: Sun, 4 Feb 2001 10:55:23 -0500
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject:  Mark 56 Records

Randy Cox asks, anent George Garabedian's Mark 56 Records,

Does anyone know approximately how many of these records were produced?
I get the impression there may have been far more than I saw in the
[removed];<

Well, the catalog I got lists some 63.  Not all of these are OTR: for
instance, it lists a few movie soundtracks.  I counted 44 "for sure" OTR
LPs in the listing.

FWIW, in the catalog, on the first page, it states, "NOTE: All MARK56
Productions and the artists appearing on MARK56 Records are licensed by
the copyright owners with special arrangements with the artists."
Apparently, all business arrangements went to whomever held the
copyrights at the time.  There's a little ambiguity in "with special
arrangements with the artists," which could mean any of several different
things.

Stephen A. Kallis, Jr.

------------------------------

Date: Sun, 4 Feb 2001 10:55:25 -0500
From: Ian Preston <idp@[removed];
To: [removed]@[removed]
Subject:  Introductions

Hi,

Ok, I haven't properly introduced myself yet - My name is Ian Preston, i'm
14 (15 in August), and I got into OTR a month or so ago after I found a
couple of Episodes of "Superman" in Mp3. I don't know if this constitutes
as "playing radio", but I do have my own show on our school radio station,
Westwave FM.

I'm madly into wrestling, and have read with interest a couple of pages to
do with pro-wrestling's links with OTR. If the author of that page is
reading this, I've seen one wrestling event (NWA Georgia, I believe)
broadcasted over Internet Radio, with 2 guys doing play by play
commmentary, albeit not very good Play By Play. You can find this broadcast
at [removed]

My current favourite OTR shows are Superman & Suspense. Funnily enough, I
had a dream about The Shadow last night - I was at school and a song came
on the radio which sampled the Shadow's introduction, and much to my
friends amusement I knew all the words. That's all I remember, though.

Anyway, I'm rambling now.

Later,
Ian

--
Ian Preston
"Jeez Joey, Kayfabe" - Cyrus

------------------------------

Date: Sun, 4 Feb 2001 10:55:27 -0500
From: Cnorth6311@[removed]
To: [removed]@[removed]
Subject:  Re: The Blue Beetle

Hi fellow OTR lovers. I hope someone can help me with this one. In 1940 there
was a show entitled "THE BLUE BEETLE." It was not on very long, and Dunning
does not list it in his book. I think it a story about a cop, but, that is
all I know about it.

OTR has so many memories for me I hardly know where to begin. When I first
remember listening to radio, America was still in the throes of the Great
Depression. Me being so young I did not know that my Grand Parents living
with us was not the way every one else lived. Little did I realize they lived
with us to pool resources so we could all live and eat and have a roof over
our heads. I was very young when my father left for the service, and my
grandparents actually raised me, and I'm sure for a while I thought my Grand
Father was my Father, and this leads into my memories of OTR. My Grand Father
was my listening buddy of OTR. I can remember he and I sitting by our old
Montgomery Ward Airline console listening to the Lone Ranger, Straight Arrow,
Tom Mix, Lum and Abner, Fibber and Molly, Amos N' Andy, and his favorite, the
Grand Ol Opry on Saturday nights. In the summer time, he and I used to sit on
the front porch on the porch swing, and listen to the Grand Ol Opry through
the open window of our living room, or as we called it then, the front room.
What a grand old man he was. He used to get me involved in the on going
serials of Tom Mix, Straight Arrow, Bobby Benson, The Lone Ranger and the
rest, by speculating on what would happen in the next episode. He certainly
held my interest in the series and kept them exciting for me. He also helped
me in getting the premiums that you sent the box tops and a dime in for, and
then would tease me by saying, "Well, I'll bet your Tom Mix Arrow Head, or
your Lone Ranger Ring comes today, and he would have me on pins and needles
until the postman would come around, and when he did not leave my package, he
would always say, "Dont worry, it will be here tomorrow." I also learned the
old saying "A watched pot never boils" from my Grandmother at this time.
Those were great times. Kids today could never know the excitement of opening
that package and find that gleaming new glow in the dark prize.

Well, I've rambled on enough. By the way, I still listen to the old Airline
radio my Grand Parents owned, yes, the same one my Grand Father and I used to
listen to. It was given to me by my parents, and I would not take a million
dollars for it today. Money could never replace the memories of the good
times around that old set.

Charlie Northway

------------------------------

Date: Sun, 4 Feb 2001 11:41:04 -0500
From: wa5pdk@[removed] ([removed] L.)
To: [removed]@[removed]
Subject:  "Benny Gooman Live"

I enjoyed the Hippodrome experience of Owen Pomeroy.  He captured the
youthful enthuiasm pretty [removed], Ralph

------------------------------

Date: Sun, 4 Feb 2001 18:31:09 -0500
From: Elizabeth McLeod <lizmcl@[removed];
To: <[removed]@[removed];
Subject:  Re: How the Bills Were Paid

Jim Lewis wonders,

I wonder if any of the digests historians could elaborate on how the
sustained shows payed their [removed] can understand how a show like FMcGee
[removed] Wax presumibly payed all actors salarys and production
expenses(or were they paid by NBC,who in turn billed the sponsor for the
airtime)

Until 1949, "Fibber McGee and Molly" was produced by the radio department
of the advertising agency of Needham, Louis and Borby. Johnson's Wax paid
the agency, which bought the airtime and hired the production facilities
from NBC, and paid the salaries. The show itself was owned by the
partnership of Don Quinn and the Jordans -- so you had many fingers in
the proverbial pie. In 1949, the rights were sold to NBC, which cut one
layer out of the process -- the show was directly produced by the NBC
Program Department instead of thru the agency, but the agency still
handled the time purchase.


   I would think that a syndicated show(ie Bold Venture) would be would be
bankrolled by some production company that would pay salarys and expenses
and hope to make their money by selling show to individual stations who in
turn would each try to sell local commercials to make their profit.

That's one way it could be done. There were also individual sponsors who
would arrange for a program thru their advertising agencies, but instead
of using a wire network they would use a company like the World
Broadcasting System to distribute their show and handle the time
purchases. Chevrolet used this system thruout the 1930s to considerable
success with its various Chevrolet Chronicles/Musical Chronicles/Musical
Moments programs.

After WW2, it became fashionable for Hollywood stars to form their own
radio production companies -- which turned out syndicated programming as
a more profitable alternative to network radio. These companies would go
into partnership with an established distributor like F. W. Ziv Company,
which would finance the show and handle the distribution in exchange for
a share of the profits. The distributor would sell the show to local
stations for rates which varied according to market size -- and the
station would make its profit by selling local sponsorships.

   How about a show like Escape(beleive it was sustained by CBS).Would the
network try to sell commercial time on its [removed] it offer the show to
non-owned affiliates for a fee or some sort of barter for playing
time.

Sustaining shows were produced by the network's program department, and
paid for out of that department's budget -- and that budget usually
wasn't very high. Performers on sustaining shows usually received union
scale, and big-name talent rarely appeared on such programs. For most of
the OTR era, sustaining shows were provided free to affiliated stations
to carry or not carry as they saw fit -- this was one of the benefits of
network affiliation in that you could fill your unsold time without the
expense of producing local programming. They were a carrot used to lure
stations into signing long-term affiliation contracts (which basically
ceded control of most of the station's prime time to the network.)

Also(I know i'm pushing the envelope now)shows like Fibber McGee that
had sponsors consummed the full 1/2 hour with commercials so how could local
stations sell any comercials during its [removed] am guessing they must
have been paid by network? to broadcast the show.

Stations receieved compensation from the networks for carrying sponsored
programming, with the fees worked out according to a complicated formula
specified in the contract. (It was wholesale cuts in these fees in the
early 1950s which dealt the death blow to Network Radio As It Was Known.)

Local time was sold on a spot basis between network programs, during the
station-break availabilities. Cheesier stations were oten guilty of
cutting off the tail ends and openings of network programs in order to
squeeze in more local spots.

Elizabeth

------------------------------

Date: Sun, 4 Feb 2001 18:31:10 -0500
From: TIZZ EYE! <cien@[removed];
To: [removed]@[removed]
Subject:  SUSTAINING SHOWS

a friend of mine from the "golden age" spoke of radio shows that were
SUSTAINING ....what exactly does that mean?  elizabeth???
thanx, cien

--
 cien1@[removed]
 [removed]

------------------------------

Date: Sun, 4 Feb 2001 18:31:12 -0500
From: William L Murtough <k2mfi@[removed];
To: [removed]@[removed]
Subject:  Harpo Marx

I can assure you that Harpo was capable of speaking. His muteness was a
"shtick". On Christmas of 1945, being alone, I was invited by actress
Vivi Janis to an early Xmas dinner at her mother's home. It was early
because I had to go to work (I was an engineer at KNX). My assignment
that afternoon was go to the Beverly Hills hotel where the Marx Brothers
(Harpo and Chico) were entertaining a large number of military enlisted
men to Christmas dinner. I can remember the both of them sitting on the
steps of the stage chatting with the room full of guys. In fact I was
very impressed by their kindness and personality. They answered all their
questions. The affair was not broadcast. I fed it to Radio Recorders to
be recorded on disc. Don't ask me why I was there as I never did figure
it out nor did I know who requested the recording. Possibly the Marx
Brothers. However I do know that Harpo talked for a long time.

Speaking of Vivi. When I knew her she had been divorced from Robert
Cummings who did a lot of flying. Due to that Vivi had a commercial
pilot's license. Roy Rowan and I accompanied her to the airport one day
for her to get a currency check ride. Roy and I both took a ride with an
instructor. I stayed with it and got my license. Roy didn't.

Bill Murtough

------------------------------

Date: Sun, 4 Feb 2001 18:31:14 -0500
From: "Ted Kneebone" <tkneebone1@[removed];
To: <[removed]@[removed];
Subject:  Holy Bible by Marvin [removed] slow speed.

I have completed dubbing my borrowed set of 16 2/3 rpm discs to reels of
Marvin Miller reading the New Testament of the Holy Bible.  Even tho I have
a 4-speed phonograph, I used a Pioneer turntable and played the discs at 33
1/3 rpm and dubbed them at 7 1/2 ips.  The audio quality is better.  If
anyone is interested in getting dubs of this excellent reading by Miller, I
can supply them on reels in a trade.
    Also, eventually I plan to dub his fine reading of an abridged version
of the Old Testament.

Ted Kneebone / 1528 S. Grant St. / Aberdeen, SD 57401 / 605-226-3344
tkneebone1@[removed] | OTR:  [removed]
[removed]  |
[removed]

------------------------------

Date: Sun, 4 Feb 2001 18:31:17 -0500
From: leonardfass@[removed] (Leonard Fass)
To: [removed]@[removed]
Subject:  benny goodman and owens pomeroy

nothing exists unconnected. and so for some of us our radio memories
live because they are connected to comic books and to movie palaces.

like the hippodrome in baltimore, which i miss -- betting that it is
long gone. now i have never been to that hippodrome (or any other) and i
have never been to baltimore.

but recently on these pages owens pomeroy took us there, and i am taking
this moment to thank him. (it's not his fault but the best seat i could
find was in the smoky balcony) but from the first beat, even before the
band came into view, every note and chord came clearly through our
memory theater. clear. not a cough in a carload as somebody's sponsor
used to say.

thanks, owens.

[removed]

------------------------------

Date: Sun, 4 Feb 2001 18:31:19 -0500
From: "Michael Ogden" <michaelo67@[removed];
To: [removed]@[removed]
Subject:  Re: Orson on the Yankee

Chris asked for more information about the Orson Welles SHADOW being
broadcast over the Yankee network as well as Mutual. Others on this list may
be able to speak more authoritatively about the details of this arrangement,
but my understanding is that during this time (the late 30s) Mutual and
Yankee were sharing some of their programs (a "mutual" agreement?) and
running them on both networks.

THE SHADOW was broadcast on Sunday at 4:00 to 9 stations of the Yankee
network, including WNAC in Boston, WEAN in Providence, and WCSH in Portland.
At 5:30 the cast returned for a repeat performance which was broadcast to 7
Mutual stations (well, 6 actually, since WOR was one of the seven). Another
one of the 7 was WGN in Chicago, where listeners, of course, would have
heard it at 4:30. Each week's episode (recordings, presumably) was also
heard on Wednesday evenings at 9:00 on CFRB in Toronto, and on Saturday
mornings at 10:30 on WATR in Waterbury, Connecticut. Starting with the
January 9, 1938 broadcast, the show was sent out as well to the Don Lee
stations on the West Coast--23 total (12 in California, 3 in Oregon, and 8
in Washington state). Somewhere around the same time KWK in St. Louis
started running it also.

The essential point here is that, combining the Blue Coal shows and the
Goodrich shows (which were sold to approximately 105 stations), the Orson
Welles SHADOW had A LOT of exposure all across the country. Which is a fact
we might lose sight of if we think of it just as a Mutual program reaching
only a handful of cities. And this blanket exposure surely paved the way for
the great success which the series enjoyed all throughout the Forties with
its network and various regional coverages.
Heck, the Welles Goodrich shows were even broadcast in northern Mexico,
which may have been the forerunner to the extensive placement of THE SHADOW
in Latin American markets in the 1940s (Mexico, Brazil, Argentina).

Mike Ogden

------------------------------

Date: Sun, 4 Feb 2001 18:31:21 -0500
From: "randy story" <BYGEORGE@[removed];
To: <[removed]@[removed];
Subject:  WAXWORKS & Ward Bond

greetings gate! let's communicate!
i just listened to WAXWORKS, the episode of "Suspense" wherein William(The
Outstanding One) Conrad played several characters. the work was very good,
although i remain a bit confused. my understanding from messages on our news
board here that Conrad played 10 different parts, not 4. was i wrong in my
observations? someone let me know, please, as i may be confusing this show
with another. by the way, a very special thanks to the gracious individual
that took the time to copy and send me this show. bless you.

now on to my favorite character actor of all time: WARD BOND. i have heard
mr. ward bond in only three or four radio programs over the years, but i
have seen him in numerous films including a list of movies that made it to
the AFI TOP 100: THE SEARCHERS, GONE WITH THE WIND, THE MALTESE FALCON, IT'S
A WONDERFUL LIFE,and so [removed]

bond appeared in several live tv productions directed by his old freind and
drinking buddy, john ford. he rose to great acclaim and popularity late in
his life with his work in the tv western, WAGON TRAIN. a lifelong
conservative(even the top headhunter of communists during the mccarthy era
in hollywood), bond died of a heart attack brought on by excessive drinking
while he was campaigning for richard nixon in the election of 1960.

finally.
i recently stumbled upon a magazine called RADIO IN DEPTH, which focused on
classic radio. it was apparently published through the auspices of the texas
historical society. does anyone know where i can  find more of these for
sale or trade? or where i can find ANY magazines related to radio history?
let me know via email. OK?

thanks everyone.

may the good lord take a liking to you,
randy story
BYGEORGE@[removed]

------------------------------

Date: Sun, 4 Feb 2001 18:31:24 -0500
From: "J. Randolph Cox" <cox@[removed];
To: <[removed]@[removed];
Subject:  mikes in the men's room

Thanks to Anthony Tollin for the long posting about Orson Welles and The
Shadow ... and his discussion of a radio myth ...

Wasn't there an episode of "Remember WENN" which used the microphone in the
men's room device?

Randy Cox

------------------------------

Date: Sun, 4 Feb 2001 18:31:26 -0500
From: "Owens Pomeroy" <opomeroy@[removed];
To: [removed]@[removed]
Subject:  Music! Music! Music!: Your Hit Parade

      Way back in the  forties, there was a time when a Saturday night meant
that family and friends would sit around the radio anticipating the song
that was voted "numero uno" on the Hit Parade the week before.

      This show was a song plugger's dream.  It started playing the tunes as
far back as 1935, and held an audience of millions of listeners until its
demise on radio in 1959.  Disc Jockeys took over after that, being neither
musicians, writers, creators, or true performers (with the exception of
Martin Block), but merely - and I use this term loosely - "personalities".
Live music, as we knew it, was getting expensive by that time, and LP
records were king.

      Now comes the "64 dollar question>"  Just how did they determine which
tunes were on top?  Quite simply, there was an agency in charge to determine
this.  And I quote direct from a Hit Parade OTR tape: . . . ., "Your Hit
Parade survey checks the best sellers in sheet music and phonograph records,
the songs most heard on the air and played in the automatic coin machines -
an accurate tabulation of America's taste in popular music."

      To me, the one feature that stands out on this show was the rapid-fire
delivery of the Lucky Strike auctioneer (there were actually two during the
entire run of the radio and TV [removed] "Speed" Riggs and [removed] Boone.),
always ending with . . . "sold ---American!"  The male vocalists over the
years included; Buddy Clark *  Lanny Ross * Frank Sinatra * Dick Haymes *
Opera Singer Lawrence Tibbitt, trying his hand at pop music, and "Snooky"
Lanson.  The first four went on to greater achievements. Lanson stayed with
the show until it left the TV airwaves.

     Their female counter-parts: Kay Thompson * Bea Wain * Dinah shore *
Martha Tilton *   Eileen Wilson *Dorothy Collins * and Doris Day.   THe
Orchestra leaders sounds like a who's who of musical greats:
Al Goodman * Peter Van Steeden * Ray Sinatra (no relation to Frank) * Abe
Lyman * Raymond Scott * Richard Himber * Harry Soznik * Orrin Tucker and
last, but by no means least, Johnny Green.

     THere were 4 announcers with the show: Del Sharbett * Martin Block *
Kenny Delmar and Andre' Baruch.  There was aback-up group called (what
else?) "The Hit Paraders."  And the show ended with "So long for awhile. . .
. "

      Yes it truly was one of the best musical programs during the "Golden
Era."  Like I said , it provided us with the music of Saturday night dance
parties and it was "live", and it didn't cost us a dime to have them come
into our living room and entertain us.  And we were humming the hit tunes
all week long, until the next show rolled around.  and you know what?  I am
STILL humming those tunes  - they never left me - because they are forever
implanted in . . . my "theatre of the mind!"

                              -  30  -

------------------------------

Date: Sun, 4 Feb 2001 18:43:49 -0500
From: John Cunningham <jaybird@[removed];
To: [removed]@[removed]
Subject:  Stan Kenton/Tex Beneke

Subj: Stan Kenton & Tex Beneke

I enjoyed Owens Pomeroy's reminiscence  of seeing the great Benny Goodman live in
Baltimore. He asked if others had similar memories. My biggest kick was seeing
Stan Kenton in person at the old Memorial Auditorium in Louisville. Kenton had a
very laid-back conducting style, interrupted by occasional solos on the piano,
and (sometimes) even walking off the stage and into the wings while his band
played on. This would have been in the early to mid-1950s. What a showman and
what a musician! Biggest disappointment was not seeing Tex Beneke. He was to play
for a University of Louisville dance in the late-50s. He showed up on time (since
he arrived by plane) but his band bus was lost. I'll never forget seeing Beneke
make those frantic telephone calls trying to locate the band. When he finally
did, it was too late!

John Cunningham

------------------------------

Date: Sun, 4 Feb 2001 21:36:13 -0500
From: Jean-Henri Duteau <jeand@[removed];
To: [removed]@[removed]
Subject:  Old baseball broadcasts request

There used to be a website that talked about OTR and baseball stuff.  But
it's gone off the air.  And I've searched a few catalogs and no one seems
to offer any baseball shows.  I know that there were a couple MP3s of some
baseball broadcasts floating around, but I can't find them anywhere.

Does anyone know of some old baseball broadcasts?  I've got the one that's
on the WJSV complete broadcast day, but I'm sure there were some World
Series games available.

Jean

------------------------------

Date: Sun, 4 Feb 2001 22:10:51 -0500
From: Henry Howard <hhoward@[removed];
To: [removed]@[removed]
Subject:  Mis-Adventures of [removed]

The Mis-Adventures of Sherlock Holmes is produced by Joe Bevilacqua.  You
can find additional information at [removed] .
The series is in ten parts parodying the characters of Sir Arthur Conan Doyle.

I will be running episodes during the up coming months on the
Audio Theater ( [removed] ) on
WREK in Atlanta.  The station does live streaming in mp3.

[removed]   Note that this is a "student run"
station, and is not always as accurate in starting times and
which program number this week as some of us would like to find.
  Henry Howard - moderator of  radiodrama@[removed]
770 923 7955                   [removed]

------------------------------

Date: Sun, 4 Feb 2001 23:11:23 -0500
From: Tilyou1@[removed]
To: [removed]@[removed]
Subject:  mp3 and OTR

Just some info and opinions on mp3 cd players and OTR:
Granted, few, if any of the mp3 cd players will read the low bitrates

I use an MP3 player from i2go and it is GREAT!

It's not as tiny or shiny as models from many other companies.  It uses
compactflash memory (the same kind many digital cameras use) and also accepts
the IBM microdrive (170megs or 340megs or 1gig!!! but it eats battery time).
It plays all mp3s fine -- of any bitrate, including the low bit rates of OTR.
 I would expect that all mp3 players also play all bitrates.

The kit includes as standard what looks like a music cassette -- using
connects the mp3 player to a car audio system.  This last point is a plus if
you have a car, and an unnecessary geegaw (that you have to pay for) if you
don't.

The i2go sounds so good when plugged into a regular audio system, my plan is
to make it my OTR player of choice.  I've ordered an AC/DC adapter (so as not
to have to depend on batteries).

 - Charles (tilyou1@[removed])

------------------------------

Date: Sun, 4 Feb 2001 23:25:00 -0500
From: "H. K. Hinkley" <hkhinkley@[removed];
To: [removed]@[removed]
Subject:  16 2/3 RPM

Back in the days of 4-speed record changers I bought a 4-disc set of Mark
Twain stories in dramatic readings by Marvin Miller, just so I would have
discs of the 16 2/3 rpm variety.  Those discs, which I still have, were
7-inch diameter with the 1 1/2 in dia. center hole and required the 45
rpm spindle adapter to play.  By the time I got around to dubbing them to
tape I no longer had a changer with 16 2/3 rpm capability so taped them
at 33 1/2 rpm and 7 1/2 ips for playback at 3 3/4 ips.  I seem to
remember there was nearly 5 hours of Twain on the 8 sides of the set.

Stay tuned,  HK

--------------------------------
End of [removed] Digest V01 Issue #41
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To contact the listmaster, mail to listmaster@[removed]

To Send Mail to the list, simply send to [removed]@[removed]