1948 Part One – Something Big Out Of Something Little Centuries of Sound

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1948 Part One – Something Big Out Of Something Little
It started with Bing Crosby wanting to improve his golf. Bing was a big golfer (in fact he would die on a golf course three decades later) but it was difficult to find the time for it when he was spending four days a week recording radio shows – and because of the time differences he’d often have to perform the whole show twice. Pre-recording had been suggested, but the quality of a half-hour disc side was not up to scratch. (LPs would also be introduced in 1948, but we’re not in 1948 yet) and the radio stations just would not accept it. So for 18 months, there was an impasse. But luckily there was a way out.
At the end of the second world war, Jack Mullin, a member of the US Signal Corps, had been tasked with finding out about German electronics. One day at the headquarters of Radio Frankfurt, he made a discovery. Magnetic recording had been around for nearly half a century at this point, but it always gave a distorted, inadequate sound. Not here. The AEG ‘Magnetophon’ was capable of recording and reproducing sounds to a fidelity completely unheard of before. You could even speed up or slow down tapes without any significant loss. Mullin took two of these machines back to the USA and spent the next couple of years trying to convince anyone that they were of use, until finally Murdo MacKenzie, an assistant to Crosby, was impressed enough to try them out. Within a few months, he was able to record shows in bulk, edit them at his leisure, and spend more of his time playing golf.
A studio musician often used by Crosby was one Les Paul, these days of course better known for his development of the electric guitar, but in the mid 40s more of a jobbing session guitarist. Paul had played a major role in Crosby’s 1945 number one “It’s Been a Long, Long Time,” for example. Crosby showed the new tape-recording devices to Paul and encouraged him to build a studio, where he experimented with the first multitrack tape recordings. Until this point, of course, every record you hear is in essence a live recording. A minor quirk here perhaps is that the two apparently multitracked selections (“Lover” and “What Is This Thing Called Love?”) actually date from before he successfully constructed his multitrack studio, instead they were constructed by recording and altering the speed of acetate discs – on “Lover” for example, that’s eight different Les Pauls playing along at different speeds.
Les Paul wasn’t the only person experimenting with tape recording, of course. In France we also have Pierre Schaeffer, the father of Musique Concrète. Cutting up, rearranging and juxtaposing sounds was not a new idea (is there ever really a new idea?) as you will perhaps remember from the Dziga Vertov sound collages used in the 1925 mix. But Schaeffer’s experiments do mark the start of a movement, and one which will be important to these mixes from now on, starting from this one.
Listening to this mix, you will likely find it noticeably different from those before, and there’s a reason. In this half, inspired by Les Paul, Pierre Schaeffer and even Bing Crosby, as well as the new popular, advertising-supported media, we have a quick-moving cut-up style. This includes all of the year’s news. Next time we’ll be taking a break from all of that in any case.
 
Tracklist
0:00:00 Pierre Schaeffer – Etude Violette
(Clip from