Depending on the length of each piece of music, the number of tracks per side usually ranged from 4 to 6, but could be more as the length of a track was not limited to the conventional 78 rpm record maximum of 3 ¼ minutes. Again, unlike the LP, the selections on the disc were not connected. They, too, revolved at 33.1/3 rpm, but because of the wider 1-mil groove, could accommodate only 15-minutes of playing time. Physically, their electrical transcriptions looked like the yet-to-be-invented 12-inch microgroove long-playing (LP) records, except they were 16-inches in diameter. MacGregor (a pioneer in transcribed dramatic programs), and in the forties, a division of Capitol Records. Hollywood was home to the Standard Program Library and C. New York was headquarters for four companies - World Broadcasting System Inc, Associated Broadcasting Company (affiliated with Muzak), Lang-Worth (owned by Sy Langlois) and Thesaurus (produced by the Radio-Recording Division of NBC). In the mid-30s, with the advent of the electrical transcription, there emerged a number of American producers of pre-recorded music whose output became known as “library services”. The problem was, where could they get enough of it? Canadian stations found that they could simulate programs of this type using pre-recorded music. Network house orchestras were the mainstay of hour-long daily variety programs such as ABC’s Breakfast Club and Club Matinee. Further, to attract listeners and advertisers to radio, the stations had to come up with various types of programming that could simulate and compete with the live shows available in Canada over the air via the American radio networks, and which could be sold to local advertisers.įor example, the NBC and CBS networks offered such sponsored musical programs as The American Album of Familiar Music, Manhattan Merry-Go-Round, The Carnation Contented Hour, Waltz Time, The Firestone Hour, and programs featuring (among others) popular American orchestras such as Wayne King, Guy Lombardo, Ben Bernie, Fred Waring, Benny Goodman, Glen Gray, and Andre Kostelanetz. Phonographs records were a help, but the output of the few pioneer record companies was insufficient to fill the needs of Canadian broadcasters.
In the 1930s and 40s, as Canadian radio stations increased their time on the air from a few hours a week to 18 hours a day (and in the forties would go to 24 hours a day), finding programming to fill those hours became a challenge.
0 kommentar(er)
