AllenLowe

anybody have his current phone number? Might be fun to scare him again -

I just want to take credit for forcing Ran Blake into hiding - about 10-12 years years ago I found his phone number somewhere (probably some university listing) and called him (I wanted him to play on some recording project). He was polite, but talking to him was sort of like seeing the proverbial deer-in-the-headlights. The next day his phone didn't work and he's been unlisted ever since - just doing my bit for history -

eureka - here's more: from: http://www.madonnacatalog.com/guides/acetate.htm WHAT IS AN "ACETATE"?? An acetate disc is cut prior to the cutting of the master disc which is used for mass production of records. Even though referred to as an "acetate", it is essentially an aluminium disc coated with a fine film of nitro-celluolose lacquer with no acetate in it at all! I can tell you right off the bat that they're nothing special to look at. They do not come in a frame. There is NO picture sleeve, and no special artwork on the record labels. Most acetates are 10" round, but the actual music record grooves are usually 7" in diameter. A 7" single is usually cut on a 10" disc, a 12" single or LP is cut onto a 12" disc. They're almost always single-sided (the other side is totally blank and shiny, with no grooves and no label). This is used as a reference disc allowing the producer, engineer, artist and other interested parties to see how well the recording transfers to disc. Trying to tranfser some recordings to disc is like trying to fit a square peg into a round hole, and so the cutting engineer must make some adjustments to the sound so that song on the tape fits within the confines of a record groove. This may include adjusting the overall level (volume), adjusting bass/treble, compressing the overall signal, etc so that the record sounds as good as possible when played on a variety of hi-fi systems. For example, if a song is excessively long, the cutting engineer will have to reduce the overall level of the disc. When such changes are necessary, the reference disc (or "acetate") allows the producer to check and approve these changes before the master disc is cut and sent off to the pressing plant where thousands of copies are pressed. Once everyone is happy with the reference cut, the engineer will cut the MASTER LACQUER disc with the same changes and send it off to the pressing plant for mass production. The lacquer coating on the disc is very soft and so the sound quality will deteriorate the more you play it. At first, the high frequencies will diminish and an increase of surface noise will be evident. If you thought records scratch and wear out easily, a lacquer disc is worse! Reference cuts will usually appear as 10" discs with a 7"single cut onto them, or a 12" disc with either a 7" or a 12" cut. Reference discs will often have a second hole near the centre hole. This is to identify them as reference cuts and not master lacquers for production use. So if you have an "acetate", you have a disc that was theoretically cut for the producer, engineer and artist to listen to. On the other hand, anyone with a disc cutting lathe can cut such a disc and pass it off as a real one". To make sure that the disc-masterer will make a disc-transfer acceptable to you and you engineer and/or producer, you should request that reference lacquers, or "acetates", be cut before your master lacquers are cut, which would be used for pressing your records. Listen to your reference lacquers with your recording engineer or producer, who can best judge how they compare with your master tape. The lacquers should not be overplayed as they are very fragile and are only good for five or six listenings before noticeable sound deterioration. You will need to save a few plays for the pressing stage, in order to verify the quality of your test pressings. Lacquers should be checked for the following problems before you go to the trouble of making the final cut: 1. Low overall volume compared to other records 2. variations in volume levels within the songs or from cut to cut 3. variations of tempo within each song 4. breaking up or distortion in the treble or high registers at peak loudness levels or towards the end of a side 5. excessive boominess or airiness in the bass or low registers 6. dullness or lack of presence in the mid-range 7. skips, buzzes, crackling noises, or dull thuds at the beginnings of notes. Your engineer and/or producer will probably listen to the reference lacquers on both large and small speakers (like those used in car stereos) to be sure that there is adequate treble and bass response. Once you've approved the reference lacquers (you don't send them back), the disc-masterer will then cut the master lacquers using settings identical to those used when cutting the reference lacquers. If the engineer has only minor changes to request, he or she probably won't ask for additional reference lacquers." On many acetates, such as the one in this photo, You'll usually notice yellow (or red) "cue marks" on the record, which basically just look like a crayon line (or arrow) hand-drawn on the acetate, to indicate the beginning and end of the music. There are sometimes two holes in the center of the record (one is perfectly centered, and the other is off-center); the second hole is to let you know that these discs are not designed for use as master lacquers for record manufacturing. When you physically handle an acetate, you'll notice that it's extremely stiff. Depending on whether the acetate is a "metal" plate or made from some other material, you'll notice that it is not nearly as "flexible" as a standard record. Acetates are not made from a variety of material. They are only made of: aluminum disc with a thin coating of nitro-cellulose lacquer. Most times, you'll even notice that the acetate smells kinda funny, almost like that "moldey, library kinda smell" - this is because they've usually been sitting around for years in storage, or in the record company's archives. The origial mustard-colored paper sleeves are usually what gives the acetates their funny smell. I guess the best way to explain it would be like this: having an acetate for a song is almost like having the "negatives" for a photo. You can actually play an acetate if you really want to, but they weren't designed to be played on a standard record player, so sometimes they may not sound that great. The reason you cut an acetate refence disc is so that you CAN play it on a standard record player! That's why they were used for reference purposes. If it doesn't sound great it's because it has been played to death and the soft lacquer wears very fast. They sound GREAT when you are the first person to play it. Acetates are extremely rare, and in some cases, are one-of-a-kind.

you got me - but they are records made of acetate. Maybe they pressed them if they were wrinkled - which would explain why they play so badly -

I used to see him all the time at the West End Cafe in the late 1970s - I think he played regularly with George Kelly's band, though I'm not altogether sure - good pianist, somewhat unsatisfying style. Don't know that record -

well, I'm not completely crazy - here's from Wikipedia: "Before the advent of formats other than vinyl records, a type of promo surfaced known as an "acetate". These records were made of a cheaper and lower quality acetate vinyl. They were generally made in very low quantity and often had hand-written labels. Frequently they were only a test pressing, and thus were called "promo acetate test pressings""

JACK TOWERS mein fuhrer, I can walk...

unless it was that acetate pregnancy test -

"I never heard of a "test" acetate. What were they testing?" well, maybe I'm confusing things - but I seem to recall that some labels would make one-offs for musicians to listen to or to be circulated for airplay - and that they would be made on acetate material which tended to deteriorated as soon as it was played - as a matter of fact, I do know that the acetate-transferring expert is what's-his-name (can't remember names anymore, damn) who lives in Maryland but is pretty much retired now but did a lot of great jazz transfer work - what the hell's his name? well, whatever it is, he does (did) all this complicated prep to play and transfer the things - I'll try to remember his name, but it's really a household name among jazz people - I think he did the Duke/Fargo things - YIKES! somebody help me -

this is exhausting - no wonder Clementine left -

mongrel manishevitz drinkin' marty ingles englewood cliff hates my guts -

ahhh yerall agin' me motherpluckin' appalachin mayberry bornagains -

yer nightolights fm'n pri'n nprn' pledge weekening jockey o' discs 'n airwavern alley rat -

six of one...

actually, I think Cliff was thinking of the old test acetates, which had a tendency to deteriorate -

HOW DOES IT FEEL? (to be on yer own)

phlegmatic fellatin' farcical fetishists -

achhhh yeah leftwing'd monkey shines schopenhauer shostokovich-lovin klepto macintosh bellyakers- but ya know, Clem did this very well - I miss his artful abuse -

beware, kids - at 50,000 posts we'll hit one of those worms, and the whole site'll explode -

yeh albertsonlowenessakart yr too dmned oldta tellis anytheeng wedontknowallredy -

blessyrhrt ye mutherblubbin' thieven necrophilial old friggn englewoodsucks 'n every town - (google translation: unavailable)

well yrwaitin' t'seemuggy lovin' dwerfenheimer makes ma ill'nknowwhatyrtalkin'bout laffabley - (google translation: nice day if it don't rain)

Joseph Cotton Laren Hutton Hottentot King Ahashueras King Cotton Cotton Mather Eli Whitney (is that too many?)

Alfredson's gonna be insulted by that one - what did he ever do to you? whatsamatter, you hate kids?

trying to do a clementine but it's not as easy as it looks - shtheds -