BACKGROUND Much of the material presented on this MP3 LP CD is from the former archives of Robert Oakes Jordan and Associates. This group of sound engineers created the first stereo sound effects library. They produced most of the stereo demonstration recordings that were used to promote the introduction of stereo sound in the 1950's. Robert Oakes Jordan and James C. Cunningham related the story to the producer of this record of how RCA's staff utilized their suggestions for proper microphone placement in Chicago's Orchestra Hall for their first stereo recordings. These records are now recognized as some of the most sought-after audiophile recordings of the Chicago Symphony. HOW TO LISTEN TO MP3 CDS You will need a modern audio/video computer. These are the most commonly form available at this time. To take complete advantage of the superior audio quality available on this recording we suggest you do the following: a) Obtain a suitable adapter to connect your sound card to your stereo system. Usually, this is a 1/8 inch stereo plug with integral RCA connectors. b) Connect the audio output from your sound card to an unused audio input on your stereo system with a suitable stereo cable. c) Obtain a suitable MP3 player, usually free off the internet from WEB sites, such as www.MP3.com. WINAMP works very well. d) Select sound files from this disc and place them in the playlist of the MP3 player. Try to maintain the track (file) order so that you can more easily play them in order. e) Sit back and listen to a new audio experience. TRACK 1 (5:16) These are excerpts from the funeral coverage on WGN radio of assassinated, Mayor Cermak's funeral. Another source of the same funeral coverage from another radio station was located. The perspective of the sound was noticed as different, thus indicating separate microphones. This recording melds the two together. TRACK 2 (8:40) This if from a custom 12 inch, 78 rpm record made to demonstrate the improved performance and sound of the GE reproducer and associated phonograph. TRACK 3 (15:21) Jim Ameche hosts a mono hifi tape to promote High Fidelity sound. TRACK 4 (28:18) New Era of Sound was a sustaining radio program broadcast on NBC to promote High Fidelity sound. The copy we have here was heavily damaged. Restoration was possible using alternate sources for the various musical samples. CEDAR processing and digital editing was also necessary. Although the sound is below par, it is included in order to illustrate the various methods employed to promote high fidelity. TRACK 5 (4:17) Bell & Howell Demo. This is the master tape by Robert Oakes Jordan and Associates of a demonstration tape made to promote Bell & Howell tape recorders. It is not know if this was ever implemented. TRACK 6 (31:49) Adventures In Cacophony was an audiophile record of the hifi era demonstrating via well recorded and unusual sounds, the potential of High Fidelity. The Following are the album notes: ADVENTURES IN CACOPHONY - Audiophile Records AP-37 "A" side 1.BURGLAR'S NEMESIS 2.INFANT LAMENT 3.SALUTE TO SUNRISE 4.CACKLE-BERRY COLLECTION 5.'THIS LITTLE PIG WENT TO MARKET 6.BOVINE BLUES 7.FELINE KINDERGARTEN 8.TOMCAT SERENADE TO A WILLING WIDOW 9.RURAL EVENING "B" side 1.MILWAUKEE RIVER TRAFFIC 2.TEMPUS FIDGETS 3.THE BIG RR CROSSING EPISODE 4.SYNCOPATED STENO 5.SAUKVILLE WATER PUMP - VINTAGE CIRCA 1905 Ever since the "production" of ECHOES OF THE STORM (Audiophile record AP-20), we have received many letters* referring to it, always containing the question: "when are you going to make another one?" Well, "another one" is a good deal more difficult than one might suppose. Although there are many sounds to be recorded, consider how few there are that have interesting recording qualities; interesting sequences, etc. But we have conjured up "another one" that appeals to us - we hope it appeals to others also. And so we submit AP-37 for our more hardy friends. Probably the most outstanding sequence on this record is one of the shortest - the Big Railroad Crossing Scene. The events of this recording will live long in our memory. It was difficult. It had to be redone four times before we were satisfied - and we are still not satisfied. But finally we had to give up, for good reason. Now, just consider yourself being the engineer of a locomotive what would you think if, for four consecutive days, you saw the same darn green sedan tearing down the road toward your locomotive at 60 miles per hour, deliberately timed for a collision at the crossing? Who but a lunatic would be playing "footsie" with a diesel engine? We have reflected upon this many times, each time with increasing embarrassment, but we would speculate that our embarrassment is nothing compared to the engineer's feeling of consternation. But the "scene" was reasonably successful; in fact, if it is played back at rather high volume, it will accomplish the desired result, we assure you. And then, there are the big Farm Scenes. We were pleased with the musical sounds emanating from the hog pen - if you are a true audio fan, you will enjoy this "scene" no end. The squealing pig, we hasten to assure everyone, was not tortured - he was encouraged to squeal merely by holding his ears. And the chickens, and ~he cows, and the roosters all played their parts - we certainly cannot complain about the high cost of talent for this record. The big Tempus Fidgets routine will interest some of our mechanical friends - we never before realized how interesting a watch could sound - nor how steep the initial "click" gradient could be. The Tugboats were recorded on the Milwaukee River, and portray the passing of a large iron ore boat sailing the Great Lakes. The jangle of the various bells indicates the raising and lowering of bridges along the river. We like the answering whistles of the small tugs - all of which comprise a rather complicated system of signals which must be exchanged between tugs, fore and aft, towing the larger vessel. A mistake in execution could mean extensive damage either to the ship or to the bridge. But a big disappointment to us was the behavior of the Saukville water pump. This old pump had been coughing and wheezing around our community for many years - pumping rocks and water with about equal efficiency - it was a relic loved by every- one in the community. The gentleman who claimed he could start it for us, positively guaranteed that it would backfire in a very satisfactory manner . .. with a series of loud raucous bangs but, alas, poor Yorick, we thought we knew him well, but the monster behaved beautifully." So our recording session was almost too genteel. And so we offer this record with the same doubts and fears as when ECHOES OF THE STORM was first offered - and we leave its fate to the tender mercies of our more understanding friends, who may now hear such exotic sounds as hogs squealing in high fidelity, yet. *mostly from doctors, solicitous of our mental health. TRACK 7 (6:19) One of the first ways that the average listener got to hear stereo was via broadcasts using separate station, TV-FM, TV-AM,-FM, etc. This is an actual recording of two NBC stations made off of two radio separate tuners, one obviously AM. This was part of an "NBC Demo" the purpose of which is unknown. TRACK 8 (29:06) New Dimensions in Sound. An experimental NBC-TV show promoting stereo sound using separate TV and AM radio receivers. TRACK 9 (29:12) New Dimensions in Sound. An experimental NBC-TV show promoting stereo sound using separate TV and AM radio receivers. TRACK 10 (24:51) Bruch Violin Concerto. An experimental stereo recording of a 1954 rehearsal by the NBC Symphony Chicago. Concertmaster was Hermann Clebanoff. Notice the orchestra's reaction to the performance at the end. TRACK 11 (16:45) Tape was labeled as"NBC Demo" by Robert Oakes Jordan and Associates We are not sure of its intended purpose, but it includes early experimental stereo recordings of symphonic music, big band music, and jazz. The symphonic is part of an NBC AM -TV/FM stereo broadcast ca 1954. TRACK 12 (9:13) Bell Sound Demo (Version #1). This master tape by Robert Oakes Jordan and Associates may or may not have been implemented. TRACK 13 (9:04) "Demo Master" for stereo tapes. This master tape by Robert Oakes Jordan and Associates may or may not have been implemented. TRACK 14 (11:10) "Demo Version 1" for stereo tapes. This master tape by Robert Oakes Jordan and Associates may or may not have been implemented. TRACK 15 (28:20) Binaural records were a misnomer applied to dual-groove stereo records. The arm had two separate phono cartridge heads. Included on this track is a stereo demo by "Titus Moody" of Fred Allen fame. TRACK 16 (19:21) EMC Stereo Tape Associates Presents "Your Introduction To Stereo," STA-1. A 7.5 IPS stereo demo. TRACK 17 (9:19) "Voice Final." Voice tracks only for early 45/45 Westrex stereo LP demo. Ken Nordine as recorded by Robert Oakes Jordan and Associates. TRACK 18 (9:55) Sounds In Space LP demo by Robert Oakes Jordan and Associates may not have been implemented. TRACK 19 (10:06) Final version of above. TRACK 20 (10:03) Out takes from Sounds In Space by Robert Oakes Jordan and Associates. TRACK 21 (12:29) Ampex Demonstration Tape AT-17. A 7.5 IPS, 2 track tape to demonstrate their tape decks. TRACK 22 (7:31) Ampex Audio Demonstration Tape AT-20. "Here Is The Ampex Home Music Center And This Is What It Can Do." Two-Track Stereophonic for in-line "Stacked" heads, 7.5 ips. Not for sale. TRACK 23 (14:14) Sound In The Round, Vol 1. This was the standard audiophile stereo demo of the late 1950's (master produced on 12/56). For this disc, we used original working parts that were formerly used to make the master tape. This version has far better definition and dynamic range. TRACK 24 (15:29) Sound In The Round, Vol 2. 7.5 IPS, 2 track master dub was used. TRACK 25 (12:02) A stereophonic tour of the city of Los Angeles. TRACK 26 (24:16) EMC BINAURAL Demo. Very early demo tape from Minnesota. The following are the included notes: A Demonstration in Stereophonic Sound Tape Speed 7.5 ips -- for in-line heads only. Part One: Merrill Leighton and His Orchestra. Seven piece orchestra plays special Leighton arrangements of favorite melodies. Piano is on left of center, bass in center, drums and snares to the right and behind. In Jeepers Creepers number, notice shift of voice from track to track as voices change Off. These are selections from the EMC series titled 'The Blue Note Club:, to be released monaurally in September. Part Two: Finale from Romeo and Juliet by Hector Berlioz. 90 piece BMC Symphony Orchestra under the direction of Dr. James Aliferis, noted conductor and director of the University of Minnesota Chorus. Orchestra composed of members of various Minnespolis groups, predominantly from the Minneapolis Symphony. Chorus is 120 voices, mixed. Soloist Robert Long. Berlioz Romeo and Juliet is one of his lesser heard works. In this selection, the finale, the Friar has discovered the bodies of the lovers and warns the people of the consequences of love and life. This finale, combining full orchestra, chorus, organ, and two rows of tympany, is one of the greatest in any music repertoire, and has been chosen here to show the expansivity of the binaural system and the great dynamic range possible on tape recordings. TRACK 27 (14:59) The 1956 Chicago/New York Audio Show Stereophonic Demonstration Tape #DEM-1. 7.5 IPS, 2 track. TRACK 28 (13:15) The 1957 Chicago/New York Audio Show Stereophonic Demonstration Tape. 7.5 IPS, 2 track. TRACK 29 (46:04) Ampex Around The World In Stereophonic Sound. A 7.5 IPS, 2 track tape made 10 years after the first Ampex tape recorder was introduced. It is narrated by Ross H. Snyder. Part One,"Out of the Dark Ages," was produced by Robert Oakes Jordan and Associates. TRACK 30 (16:04) The OmegaTape ST66 Stereophonic Demonstration tape in 7.5 IPS, 2 track format was produced by James C. Cunningham and Robert Oakes Jordan (Robert Oakes Jordan and Associates). For this disc, the 15 ips master was used. TRACK 31 (7:03) Audition recording promoting "Mirage" to radio stations. Mirage was a program devoted to demonstrating the visions that tailored sound could produce. Host, Robert Oakes Jordan mentions that stereo is coming to FM. In reality, Mirage was never broadcast in stereo. These master tapes, however, are in stereo, and that is what is presented here. TRACK 32 (13:29) Mirage #1, If It's On Magnetic Tape, It Aint Necessarily So. TRACK 33 (13:09) Mirage #2, From Tinfoil To Stereo. TRACK 34 (11:49) Mirage #3, History. TRACK 35 (14:44) Mirage #4, The Spoken Word. TRACK 36 (12:53) Mirage #5, The Lying World Of Magnetic Recording. TRACK 37 (13:07) Mirage #6, The Elicited Word. TRACK 38 (12:53) Mirage #7, The Bettor Tenor. Enrico Caruso or Mario Lanza. TRACK 39 (13:49) Mirage #8, Sound Resoration. Takes old Swing classics and soups them up! TRACK 40 (13:15) Mirage #9, The World Of Al Jolson. TRACK 41 (12:55) Mirage #10, The Time Machine. Time compression and sampling rates. TRACK 42 (12:51) Mirage #11, The Children's Hour. TRACK 43 (13:28) Mirage #12, They're Too Good To Forget. Them old Swing classics, that is. TRACK 44 (12:22) Mirage #13, You Asked For It. TRACK 45 (12:50) Mirage #14, Phil Harris. The absord songs of. TRACK 46 (12:54) Mirage #15, Award Show. For worst recordings. TRACK 47 (13:49) Mirage #16, Enrico Caruso Remembered.