------------------------------
The Old-Time Radio Digest!
Volume 01 : Issue 139
A Part of the [removed]!
ISSN: 1533-9289
Today's Topics:
radio guide ["Donald P. Tuttle" <dobbsi5@[removed]]
Re: tape delays [Michael Biel <mbiel@[removed]; ]
A "Vast Wasteland"? ["Stephen A Kallis, Jr." <skallisjr@]
Ampex 671 tape [Neal Ellis <bstenor@[removed]; ]
Daring Free License Proposal ["jstokes" <jstokes@[removed]; ]
Paul Harvey correction ["Richard Pratz" <[removed]@home]
my new book is out! [Donna Halper <dlh@[removed]; ]
Page Gilman's On Leave OMF Shows [Conrad Binyon <conradab@[removed]]
OTR COMPARISON; UK VS. [removed] ["Bob Scherago" <rscherago@[removed]]
the last word on [removed] maybe [Donna Halper <dlh@[removed]; ]
Fw: Page Gilman ["Robert Paine" <macandrew@[removed]]
Tony Randall [Ken Dahl <kdahl@[removed]; ]
Tape delay ["@" <josephpostove@[removed]; ]
Free OTR book (Part Two) ["Martin Grams, Jr." <mmargrajr@hotm]
Old Time Radio by Sandy Berger [Elmer Standish <elmer_standish@telu]
------------------------------
Date: Mon, 7 May 2001 17:52:59 -0400
From: "Donald P. Tuttle" <dobbsi5@[removed];
To: [removed]@[removed]
Subject: radio guide
trying to find anything about the magazine The Radio Guide for the
years 1939-43 (approx.). i recall it suspended during wwii and never
resumed. i am looking for the midwestern edition (nat assn of
broadcasting has the east coast archives, and i believe the library of
congress archives are also east coast.
------------------------------
Date: Mon, 7 May 2001 17:52:57 -0400
From: Michael Biel <mbiel@[removed];
To: [removed]@[removed]
Subject: Re: tape delays
From: "Art Shifrin" <goldens2@[removed];
Hi Mike,
One recorder can indeed yield a mutli-second delay. This is
how it's done: the heads are configured (from left to right)
PLAY ERASE RECORD. Various guides are added to the tape path
so that a closed loop of tape runs the desired time of the delay
([removed] 75 inches for ten seconds at [removed] ips)
You will note that I mentioned exactly this head configuration as used
in special continuous loop tape cartridge machines. But there was a
very good reason why I did not mention this head configuration for
reel-to-reel machines: the message I was responding to specifically
mentioned that 7-inch reels of tape were being used, NOT a tape loop as
you describe. Your single-machine system only works with a tape loop.
In normal circumstances, if full reels of tape are used, then a second
machine will be required.
Actually there IS a way to devise a single machine delay system that can
utilize full reels but not require your re-arrangement of the standard
Erase-Record-Play head order. Extra guides would be set up to take the
tape off of the normal path after the record head and send it around
multiple guides for a few feet before returning it to the normal path
and allow it to pass the play head. The problem with this system is
that it is very prone to wow and flutter due to irregularities in the
extended tape path unless there is a second capstan/pinch roller set-up
near the record head. But it is similar to the tape machines used in
disc-mastering studios where there is a preview play head monitoring the
tape a second or two before the cutting head in order to set the
variable groove spacing wider or narrower depending on the bass level to
be cut.
From: "Frank Phillips" <frankphi@[removed];
I worked for several stations (in the '70s) and used delays for
call-in shows. The most prominent way to delay a show in small
market stations was to use a continuous loop cartridge tape.
The cartridges were loaded with standard reel-to-reel tape
You can't load "standard reel-to-reel tape" in continuous-loop tape
cartridges. The tape would wear out within ten or 15 passes, which
might get you two minutes into the program. The special tape used in
cartridges has a graphite lubricated back-coating on the opposite
surface to make it very slippery. That is why one surface--the oxide
surface--is usually a shade of brown, while the other surface is silvery
black.
and a secondary tone on one-half of the tape told the machine
to stop when the tape was cued up. The "sec" tone was recorded
when the recording began.
You are also confusing your tone terminology. The sec or secondary tone
is an end-of-message tone. The PRIMARY tone is the one that tells the
machine it has reached the beginning of the recording and stops it. The
primary tone is automatically recorded, if a machine is equipped with
secondary tone capability there will be a manual button for it.
Some station engineers disabled the sec tone with a switch, so a
10 second continuous loop tape would record, play through the
catridge and then hit the playback head some 7-10 seconds later.
It is more complicated than that. Just disabling the (primary) tone
would not turn a normal cart machine into a delay machine. Normal cart
machines did not have an erase head, and if all the switch did was
deactivate the cue tone you would continue to hear layer upon layer of
previous recordings! You are undoubtedly remembering a special machine
that for an extra $50 had a delay option. It added an erase head that
would only be activated in the delay mode. This erase head was placed
between the two normal heads, and the delay mode switch would also
change the normal head configuration from record/blank/play to
play/erase/record. When you put the machine's switch back to normal,
you would use bulk-erased cartridges to make your recordings. Since the
normal head configuration was again in use, you could monitor the
recording with the play head an instant after the recording was made
while the tape was being recorded.
The cartridges played at 3 3/4 inches per second.
Broadcast cartridge machines always ran at 7 1/2 IPS. This was the
standard used at all stations. Later on when the Fidelipac cartridge
was used for Muntz automobile 4-track carts, and when the Lear-Jet
8-track cart was introduced, these carts ran at 3 3/4. But broadcast
carts always ran at 7 1/2.
They were developed in Bloomington, Ill., at a company that owned
a radio station there. I attended school down the road (down [removed]
66, actually) in Lincoln, Ill. and I was able to tour the station
and see the latest cartridge equipment. Frank Phillips
Automatic Tape Control, Inc. I hadn't realized that they owned a
station, but I see in the 1965 Broadcasting Yearbook that Fred Bailey is
the engineer for both ATC and WJBC!
Michael Biel mbiel@[removed]
------------------------------
Date: Mon, 7 May 2001 17:52:55 -0400
From: "Stephen A Kallis, Jr." <skallisjr@[removed];
To: [removed]@[removed]
Subject: A "Vast Wasteland"?
Owens Pomeroy asks,
Why is it that the countries like UK, Australia, South Africa, and
Canada, have far superior (OTR) programming than we do or did. Where did
we go wrong, that it simply disappeared from the airwaves? <<
Well, I think it's less that we "went wrong" than that the networks gave
up too easily. It might help to put this into a cultural and historic
perspective. The United States' culture tends to be interested in
technological gadgets. Coupled with that, the nation had but recently
emerged from World War II, which had seen the development of all kinds of
new gadgets. One byproduct of this was the larger cathode-ray tubes
(CRTs) that could be used as picture tubes in television. Now, in this
context, the idea of a TV set in "Everyman's" home was an immediate
fallout. There had been TV before the war, to be sure, but the pre-World
War II technology made it a toy for the wealthy rather than something for
the masses.
I am sure the listeners in these countries approve of this type of
programming, or it would have "died" when ours did. They must be doing
something right to still have quality radio over there. <<
Well, as mentioned in other threads, there are still remnants of OTR in
the United States, including sportscasts, Paul Harvey, etc. And it is
still my contention that old-style radio (OSR) has a place in the 21st
Century, if slotted into the proper time: the morning and afternoon rush
hours, when literally millions of drivers and any passengers are stuck in
traffic. That nobody's tried it is lack of imagination on the part of
media types.
Stephen A. Kallis, Jr.
------------------------------
Date: Mon, 7 May 2001 17:52:54 -0400
From: Neal Ellis <bstenor@[removed];
To: [removed]@[removed]
Subject: Ampex 671 tape
I have several hundred reels of used Ampex 641 (great for otr
collecting) available. If you are interested in any or all please let
me know.
I want to thank Elizabeth for the wonderful infomation on the Amos &
Andy vocal groups. Do you know of a group called "The Four Knights"?
They are used as filler on some AFRS transcriptions of A&A.
=====
Neal Ellis
Sound Engineer (National Public Radio)
Librarian (First Generation Radio Archives)
------------------------------
Date: Mon, 7 May 2001 17:52:52 -0400
From: "jstokes" <jstokes@[removed];
To: <[removed]@[removed];
Subject: Daring Free License Proposal
As I tune the shortwave band, most of it is just plain dead territory.
Great place to pick up Martians or other outer-space aliens anxious to
communicate with earth -- but God knows why!?
So, with all this empty space from the tippy tippy top end of the standard
AM broadcast band to the Citizen Bands free-for-all band, why not give a
hunk of shortwave to anyone who wants to broadcast.
Oh yeah, "we just can't do that." Aside from that old bunch of bull (fill
in the blank here), there is NO reason why that space couldn't be used for
low power AM broadcasting. With the huge bandwidth in the megcycles, the
restriction on high fidelity would also go out the door.
And furthermore, I propose getting rid of the entired taxpayer burden of
special interest lawyers who own a zillion stations "in escrow" who sit on
their butts -- known as the Federal Communications Commission. It is one
of the last sacred cows that should be put out to pasture.
Jim Stokes
------------------------------
Date: Mon, 7 May 2001 17:53:14 -0400
From: "Richard Pratz" <[removed]@[removed];
To: "OTR (Plain Text Only)" <[removed]@[removed];
Subject: Paul Harvey correction
I'm sorry if I misled David Kindred (and possibly others) with my remarks
about recording Paul Harvey. I stated in an earlier posting "I remember
recording Paul Harvey on that wire recorder to play back at [removed]
40-years later I was still recording Mr. Harvey but digitally via computer
for playback at the final station for which I worked. And he's still going
strong!"
David asks "What was Paul Harvey like doing his recordings? What was he like
personally?" David (and any others I unintentionally misled)...I was merely
a news employee at a small midwestern station back then and when Harvey sent
his newscast down the ABC line, I just recorded it to play it back at noon
local time on my [removed] same procedure that many others of my ilk
did around the country. They were newscasts just as they were aired, with no
asides. I never meant to imply I knew him personally. Wish I did. Sorry for
the misunderstanding.
Rich
------------------------------
Date: Mon, 7 May 2001 17:53:35 -0400
From: Donna Halper <dlh@[removed];
To: [removed]@[removed]
Subject: my new book is out!
I have mentioned this on several of the other lists that some members
subscribe to, so forgive me if this seems redundent. The book I have been
working on for over 4 years, "Invisible Stars: A Social History of Women
in American Broadcasting" has just come out. The publisher is [removed] Sharpe,
and it looks really nice. Some of you helped me with ideas, some with
photographs, some with general inspiration. I have thanked a few of those
nice folks in the introduction, but to the rest of you, my deepest
appreciation. Being on lists like this has given me not only some
wonderful cyber-friendships, but also some incredibly important
information. The pioneers of broadcasting, be they male or female, do NOT
deserve to be forgotten, since they inspired so many of us. And to other
writers on this list, don't get discouraged if you can't find a publisher
right away-- it took me over 6 years to persuade one that the subject of
women in broadcasting was worth writing [removed]
------------------------------
Date: Mon, 7 May 2001 17:53:53 -0400
From: Conrad Binyon <conradab@[removed];
To: [removed]@[removed]
Subject: Page Gilman's On Leave OMF Shows
Elizabeth McLeod commented about Steve Lewis's question re Page
Gilman:
...Also, I'm assuming the gap you gave in his years was while
he (and his character) was serving in the armed forces, but
didn't he occassionally make appearances on the show during
those years when he/Jack was home on leave?
The discontinuity does reflect Gilman's absence for military
service -- I believe he was in the Navy, but I'm not sure about
the furlough situation. Perhaps Conrad Binyon can add some
clarification? If so, Gilman's run in the part would jump up to
the 27-year mark along with that of Smythe -- making them the
only two members of the original OMF cast to span the entire
run of the series.
Carlton E. Morse in his book "The One Man's Family Album" (Seven
Stones Press, Woodside California, ISBN 0-940249-05-7, includes
the beginning page of the May 29, 1945 One Man's Family broadcast
where he has the announcer narrate that throughout the years the
character of Jack Barbour was played by Page Gilman, who was now
Lieut. Page Gilman of the United State Army and that why the
character of Jack had been in the show so infrequently the last
two years was because Lieut. Gilman had been stationed at Fort
Sill OKLAHOMA. Additional info announced was Page, (Jack, as
well) was scheduled to be shipped out to the Pacific.
Page Gilman appearing in the One Man's Family show during his
time in service was indeed the case. He'd notify Carlton when
he'd be on leave and his character, Jack, then would be written
into the show. Prior to his entrance into the service, I have a
memory of Page letting us know at one rehearsal that for sure he
was being called to go into the Army on a date after that show.
At the broadcast, I presented him with a good-bye card and small
going away gift of a pocket sewing kit. I think I wrote in the
card something about him being able to use the needle and thread
found in the kit to sew on his newly earned stripes. *Grin* Page
sent me the nicest return thank you letter acknowledging to me
about how handy such an item would be to the busy soldier in
training. I thought my offering was a bit lame in that I didn't
know really was a fellow would need going into the army. I'd
seen films where all these guys in their underwear stood in
lines being issued uniforms and gear, so I just tried to think of
something that perhaps the government WOULDN'T provide Page. His
letter sure put me a ease thinking I'd made a good choice of a
good-bye gift. Whenever Jack was on the show he'd show up in his
uniform and I thought he looked pretty spiffy, especially the
times later when he was in his officer pinks and greens. We'd
have conversations at the rehearsal table about how the gunners
in the Field Artillery had to compensate for coriolis force and
wind in laying down a barrage. I'm sure glad Page made it
through his time in service okay.
CAB
--
conradab@[removed] (Conrad A. Binyon)
From the Home of the Stars who loved Ranches and Farms
Encino, California.
------------------------------
Date: Mon, 7 May 2001 17:55:21 -0400
From: "Bob Scherago" <rscherago@[removed];
To: <[removed]@[removed];
Subject: OTR COMPARISON; UK VS. [removed]
Phil Watson" philwats@[removed] wrote an interesting history
of the "beeb" entitled "OTR COMPARISON; UK VS. [removed]"
Having worked in commercial radio and TV from 1960 until
1978, and this side of the pond's international counterpart, the
Voice of America since then, I felt compelled to comment.
(Yes I know the BBC has both domestic broadcasting and a
World service)
I've only experienced the BBC domestic broadcasting service
once in the UK, but have enjoyed many of the imported
radio and TV programs that we're fortunate enough to have
here courtesy of NPR and PBS. My most memorable experience,
however, was in Edinborough, during the Edinborough Festival
in 1989; my wife and I attended the Royal Tatoo at the castle
grounds. Afterward, we returned to our hotel room which had a
view of the castle. As part of the festival there were fireworks over
the castle, which is atop a hill, and the Birmingham Symphony
playing appropriate music (Handel's Royal Fireworks, etc.)
below. We tuned the radio to the BBC, sat at the window, and
watched the fireworks with the live music playing. In addition,
there was commentary from the BBC announcers, such as "...oh
there's a splendid one. Oh, there's [removed]" Only in the UK!
------------------------------
Date: Mon, 7 May 2001 17:55:26 -0400
From: Donna Halper <dlh@[removed];
To: [removed]@[removed]
Subject: the last word on [removed] maybe
Bill Harris wrote--
I will throw my $.02 in here and that is probably an overvaluation at
that. We have been down this path before. Donna is correct, there were
many radio stations "broadcasting" long before KDKA came upon the scene.
Fast forward to 1920. Dr. Frank Conrad has been "broadcasting" from his
experimental station 8XK in his garage. He first broadcast music on
October 17, 1919 when he held his microphone up to his phonograph. He
was heard by amateurs (hams) for miles around and began getting letters
requesting more musical broadcast.
Umm, no offence, but little 1XE did a broadcast in late February of 1919
when the President came to town, and the Boston Herald confirmed it. But
that was a news broadcast. You want music? Harold Power, founder of 1XE
had been doing musical concerts for the ships at sea and whoever else,
since January of 1916 and I have the newspaper clippings from the Boston
Globe that document these *weekly* (every Saturday night, I believe)
concerts of phonograph records. I don't want to get into a war of words
over "who's on first" but my point is the Westinghouse publicity machine
had a tendency to obliterate everybody else's achievements and spotlight
only Mr Conrad. While I do not dispute his genius and innovation, even the
scholars in his own city of Pittsburgh questioned the KDKA mythology and
whether Conrad was as unique as his press agents claimed he was. (See for
example the April 1978 issue of the Western Pennsylvania Historical
Magazine, wherein historian Dr. George Swetnam, a former Pittsburgh
journalist himself, discredits some of the claims made about Mr
Conrad. The article is called "History's Unweeded Garden-- Common Errors
in Western Pennsylvania History.")
Bill also wrote--
Westinghouse wanted to develop a market for radio receiving sets and
speculated that a radio broadcast station would generate a demand, so it
was decided that Westinghouse would build it's own radio station. This
was not to be an experiment, but a service, it had a purpose, it was
business.
Umm, sounds like exactly the reason Harold J. Power created AMRAD and
1XE. AMRAD sold receiving equipment, and 1XE was used to spread the word
about the AMRAD product line. Every announcer who worked there was also an
engineer at the factory. They made the radios during the day and then went
on the air to demonstrate 'em! How is this different from what
Westinghouse did? Oh I forgot-- Westinghouse was a big famous company,
whilst little 1XE, the AMRAD station, in Medford Hillside MA, lacked the
huge publicity budget to let the entire world know about their
achievements. It was an ongoing battle, and many AMRAD staffers years
later expressed great frustration that even when they documented to the
press that they had done what KDKA did and had even done it three months
earlier than KDKA, very few minds were changed. For whatever reason, the
myth of KDKA lived on, spread by journalists (and perhaps by all the
advertising dollars Westinghouse pumped into newspapers all over the
country) and also spread by Westinghouse speakers, who were sent to schools
and colleges all over the country to talk about "advancements in radio",
when in fact they were shilling for Westinghouse and for their own
stations. Newspaper editors were frequently invited to these events, and
treated to a highly professional presentation. That is why I have found
clippings from cities as small as Centralia Illinois, talking about how
amazing Westinghouse was. This is not to diminish Westinghouse in any
way-- they were amazing indeed. But I wonder how the story might have been
remembered if the Detroit News (owner of WWJ) and little AMRAD (owner of
1XE, later called WGI) had the money to go to almost every city and give
fancy presentations about THEIR accomplishments.
------------------------------
Date: Mon, 7 May 2001 17:55:29 -0400
From: "Robert Paine" <macandrew@[removed];
To: "OTR Digest" <[removed]@[removed];
Subject: Fw: Page Gilman
A book about the show - The One Man's Family Album or similar title,
possibly - says Page Gilman was in the Army during WW2, an artillery
lieutenant when he did his last performance before going to the Pacific.
(We're in the midst of moving so naturally it's one of the books I can't
find - until after this gets sent.)
As to the story line, LT Jack Barbour was also at the same camp as LT
Gilman and likewise was being sent to the Pacific as an artillery officer.
(During the war, the rank would have been written as "Lieut.". I use the
modern designation - 1LT or 2LT for First or Second Lieutenant. I don't
recall if the script said which rank he had so here I'm going with LT.)
That script, by the way, was very poignant. The storyline has Jack
returning home on 48 or 72-hour leave before shipping out. He says his
farewells to each of the family, ending of course with Betty, who is
naturally close to tears. I haven't heard the show, if it is extant, but I
imagine it was difficult for everyone involved.
As a side note, the announcer more or less steps out of character to
explain Gilman's appearance. The script seems to follow real life, and LT
Gilman may as well have had but a very short time to divide between two
families - his own and the OMF family. He was the son of NBC West Coast
executive Don Gilman. Perhaps Conrad Binyon can shed more light on the
story.
I sometimes wonder what would have happened in the Barbour family since
1959. Probably into the seventh or eighth generation now, maybe farther.
Would there be a survivor or survivors of the original characters?
Interesting to speculate as the show went off when I was eight - and I was
wasting time watching the tube.
Macandrew
------------------------------
Date: Mon, 7 May 2001 17:56:03 -0400
From: Ken Dahl <kdahl@[removed];
To: [removed]@[removed]
Subject: Tony Randall
Can anyone out there verify that Tony Randall played the character Doc on the
radio series I Love A Mystery. Thanks, Ken Dahl
------------------------------
Date: Mon, 7 May 2001 17:56:05 -0400
From: "@" <josephpostove@[removed];
To: <[removed]@[removed];
Subject: Tape delay
Subject: Tape delay
I worked in talk radio for about 5 years in the 1980's and we of course had
a delay system. Actually, ours us a new/talk operation, and the delay was
never activated other than for talk shows.
Talk show hosts had to remember to flip the switch to activate the delay.
I'd say I used it less than half the time. The one time I needed it it WAS
activated, and it was not to bleep a profanity, but rather to avoid what I
thought was a potential slander of a private citizen.
On more than a few occasions it was broken, and I like most of the talent at
the station, had no idea how to fix it, or even how it really worked.
------------------------------
Date: Mon, 7 May 2001 18:09:14 -0400
From: "Martin Grams, Jr." <mmargrajr@[removed];
To: [removed]@[removed]
Subject: Free OTR book (Part Two)
Almost a month ago, I posted a query about a possible book project that
would contain a collection of un-published interviews with radio stars.
Very surprisingly, a HUGE number of radio fans contacted me urging me to
type and set the book to print. For historical integrity, I do feel these
interviews should go to print so everyone can enjoy an "in their own words"
session. I also mentioned that one of the catches to putting the book to
print is that I have to acquire permission from either the radio actor
themselves, or a family relative. So I posted a large list of radio stars
who still evaded me and thanks to a large response and a heart-warming
crowd, almost half of the list was taken care of! Still, there are some
names on the list that I still have no contacts for. I know - for example -
that Eve Arden passed away in 1990, but I figure there must be a son or
daughter around who can give me an okay to reprint the interview.
If I don't aquire a permission, the interviews cannot go in the book.
So the same deal still goes through. If ANYONE out there can supply a name,
address, e-mail, and/or phone number of any next-of-kin or the actual
surviving actor, I'll personally mail a complimentary copy of the book if
and when it gets published. Same terms: first come, first serve on a name.
(Over a dozen people sent me contact info to Vic Perrin's widow within 24
hours.) I will give multiple copies for multiple addresses. I am not
interested in finding any copyright owner of any particular radio program,
only the actor themselves or their next-of-kin.
Howard Duff William N. Robson
Elliott Lewis Sheldon Leonard
Eve Arden Nelson Olmstead
Berne Surrey Lurene Tuttle
Olan Soule George Fenneman
Clarence Hartzell Morton Fine
Roland Kibbee Jack Johnstone
Mary Jane Croft Getrude Warner
Kenny Delmar Gale Gordon
John Houseman Irene Tedrow
Larry Lesueur Paul Frees
Leads I'm looking for:
Dennis Day had a widow named Peggy, and one reliable source told me that she
might have moved to Hawaii, but when I tried looking her up, I got nothing.
Perhaps her last name changed?
Veola Vonn and Frank Nelson were married, so any info for one of them would
help with both names.
You can e-mail me privately, and again, as stated before, I won't trade or
give addresses away to anyone. If you know someone who isn't on this digest
and might be able to help, please forward them a copy of this e-mail. I
won't be posting a future update, so hopefully we'll be able to get some
more leads.
Thanks everyone!
Martin
------------------------------
Date: Mon, 7 May 2001 18:09:16 -0400
From: Elmer Standish <elmer_standish@[removed];
To: Old Time Radio Digest <[removed]@[removed];
Subject: Old Time Radio by Sandy Berger
[removed]
An Article about OTR and some Links to OTR Sites
I hope you find something useful and interesting here! ===> ELMER
--------------------------------
End of [removed] Digest V01 Issue #139
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