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Phase 4 Stereo was a recording process created by the U.K. Decca Records label in 1961. [1] The process was used on U.K. Decca recordings and also those of its American subsidiary London Records during the 1960s.
Phase 4 Stereo recordings were created with an innovative 10-channel, and later 20-channel, "recording console" [2] (actually a mixing console.
Those 10-channel and 20-channel console outputs for Phase 4 recordings were originally made on then-novel 4-track tape, but the innovation was in the special scoring used to maximize the technology. Normally in recording techniques of the early-to-mid-60s, to get the kind of layered sound realized in Phase 4 recordings, required multiple overdubs over multiple reels of tape, bouncing down and bouncing across to different recorders. This increased the level of tape hiss on the final master, something which Phase 4 engineers could not tolerate. So they achieved in their scoring techniques what could be recorded in one pass what everybody else was achieving with multiple overdubs.
The concept of Phase 4 Stereo has no connection with Quadraphonic sound or "four channel stereo." But because there often are sounds in the extreme right or extreme left channels, the records may also give pleasing results when played on Hafler circuit systems or other simulated four channel systems.
Approximately two hundred albums were released with the process, including popular music, "gimmick" records engineered to make the sound travel from speaker to speaker, records featuring percussion effects, and historical sound effect records. In 1964, a light classical Phase 4 "Concert Series" was produced.
In 1996 a CD, The Phase 4 Experience, was released with classical and soundtrack recordings from 1966 to 1979 (London 444 788-2 LPX/PY 871). In 2014, a 41-CD boxed set of Stereo Concert Series classical albums was released, and in 2017 another 40-CD box set of soundtrack and Easy listening/popular recordings, called Spectacular: Nice 'n' Easy.
A space themed version, An Astromusical Odyssey, was arranged by Johnny Keating which included songs from the late 1960s to the early 1970s. A selection can be heard on YouTube. [3]
By the end of the 1940s Decca had consolidated a remarkable prestige among music lovers in the field of high-fidelity music recording through its ffrr (full frequency range recording) series. These recordings took advantage of the technological advances developed by the firm during World War II at the request of the Royal Navy.
In the hands of innovative sound engineers like Kenneth Wilkinson, the recordings of the Decca-London stood out for their wide frequency response and good resolution.
The ffrr series was continued at the end of the following decade by another in stereo sound called ffss (full frequency stereo sound), equally appreciated for its quality. The sound shots were obtained by three omnidirectional microphones suspended at nearly 5 ', (1.5 meters) over the orchestral group (Decca tree).
Although devotees enthusiastically welcomed stereophonic recordings for their ability to reproduce the music in an analogous way as it would be heard in a concert hall, the system in principle did not have a good response at popular level. This was mainly due to the high cost of reproduction equipment that did not correspond to appreciable advantages by potential buyers.
In the early 1960s, strong competition began among the various record companies in an attempt to introduce the system to the non-specialized client.
The emphasis was then placed not on achieving a realistic reproduction of the sound, but rather on dazzling the listener with effects and sound acrobatics that the stereo allowed to achieve artificially at the mixing tables (gimmick).
Phase 4 Stereo was the label of Decca-London to compete in this segment. The title referred to the series of stages or phases that the stereo would have previously gone through. The recording stages, which benefited from the previous technological advances of the firm, were processed in a ten-channel console, (although later one of twenty was used). Then, the mixture was recorded on 4-track tape, mastered to two channels; and lastly, turned into stereophonic vinyl records.
The sound engineer, in close collaboration with orchestra directors and arrangers, controlled the volume of certain musical instruments or orchestral groups to enhance their presence in the recording, or caused them to move between the left and right channels. It was also processed with effects including electronic reverberation and microphone offset, all of which had to be done live to get the desired effect.
Huge amounts of session outtakes exist which appear to be perfectly fine to the casual stereo listener, but, when the master take is confirmed against the outtake it's obvious if a pan cue was missed, or a processing element was omitted. Many of the sound engineer development people had worked in a similar capacity with Leopold Stokowski on Fantasia over twenty years earlier, and many of the younger assistant engineers would go on to perform similar scoring and engineering duties for what would later become Dolby Surround.
The sound engineers Arthur Lilley and Arthur Bannister made most of the series' recordings, but was Bannister who used sound manipulation with more exaggeration. During the initial stage, some artists of the Decca's easy listening catalogs participated in the series, like Eric Rogers, Ted Heath, Werner Müller, Ronnie Aldrich, Edmundo Ros or Stanley Black. The series was successful in sales and a total of about 300 [4] long play albums were published.
In 1964 Decca-London decided to include within the label a series with works of classical music known and accepted by the general public (Concert Series). The task initially fell to the easy listening director, Stanley Black. These recordings were not well received by the specialized critic who described them as having an unnatural sound and the director's approach being superficial.
However, the famous Leopold Stokowski, always aligned with the popularization of the great classics, had no objection in making several recordings for Phase 4 Stereo Concert Series, a way followed by other directors of established fame such as Antal Dorati, Erich Leinsdorf, Anatole Fistoulari, Charles Munch, Lorin Maazel or Bernard Herrmann. It is fair to recognize, however, that in these cases, the sound, although not exempt from exaggerated brightness, was not so artificial.
In the series of classical composers almost 200 [5] albums were released. At the same time Decca continued recording classical music and popular music with traditional criteria.
The series was phased out in 1979, and almost all Phase 4 Stereo LPs were reissued on compact discs, including the classical music series.
Decca Records is a British record label established in 1929 by Edward Lewis. Its US label was established in late 1934 by Lewis, Jack Kapp and Milton Rackmil, who later became American Decca's president too. In 1937, anticipating Nazi aggression leading to World War II, Lewis sold American Decca, and the link between the UK and US Decca label was broken for several decades. The British label was renowned for its development of recording methods, while the American company developed the concept of cast albums in the musical genre.
Leopold Anthony Stokowski was a British-born American conductor. One of the leading conductors of the early and mid-20th century, he is best known for his long association with the Philadelphia Orchestra. He was especially noted for his free-hand conducting style that spurned the traditional baton and for obtaining a characteristically sumptuous sound from the orchestras he directed.
RCA Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America.
Quadraphonic sound – equivalent to what is now called 4.0 surround sound – uses four audio channels in which speakers are positioned at the four corners of a listening space. The system allows for the reproduction of sound signals that are independent of one another.
London Recordings is a British record label that marketed records in the United States, Canada, and Latin America for Decca Records from 1947 to 1980 before becoming semi-independent. The London name – as London American Recordings, often shortened to London American – was also used by British Decca in the UK market, for releases taken from American labels, which British Decca licensed.
MGM Records was a record label founded by the Metro-Goldwyn-Mayer film studio in 1946 for the purpose of releasing soundtrack recordings of their musical films. It transitioned into a pop music label that continued into the 1970s. The company also released soundtrack albums of the music for some of their non-musical films as well, and on rare occasions, cast albums of off-Broadway musicals such as The Fantasticks and the 1954 revival of The Threepenny Opera. In one instance, MGM Records released the highly successful soundtrack album of a film made by another studio, Columbia Pictures's Born Free (1966).
Monaural sound or monophonic sound is sound intended to be heard as if it were emanating from one position. This contrasts with stereophonic sound or stereo, which uses two separate audio channels to reproduce sound from two microphones on the right and left side, which is reproduced with two separate loudspeakers to give a sense of the direction of sound sources. In mono, only one loudspeaker is necessary, but, when played through multiple loudspeakers or headphones, identical audio signals are fed to each speaker, resulting in the perception of one-channel sound "imaging" in one sonic space between the speakers. Monaural recordings, like stereo ones, typically use multiple microphones fed into multiple channels on a recording console, but each channel is "panned" to the center. In the final stage, the various center-panned signal paths are usually mixed down to two identical tracks, which, because they are identical, are perceived upon playback as representing a single unified signal at a single place in the soundstage. In some cases, multitrack sources are mixed to a one-track tape, thus becoming one signal. In the mastering stage, particularly in the days of mono records, the one- or two-track mono master tape was then transferred to a one-track lathe used to produce a master disc intended to be used in the pressing of a monophonic record. Today, however, monaural recordings are usually mastered to be played on stereo and multi-track formats, yet retain their center-panned mono soundstage characteristics.
Deram Records was a subsidiary record label of Decca Records established in the United Kingdom in 1966. At the time, U.K. Decca was a different company from the Decca label in the United States, which was owned by MCA Inc. Deram recordings were distributed in the U.S. through UK Decca's American branch known as London Records. Deram was active until 1979, then continued as a reissue label.
Stereophonic sound, or more commonly stereo, is a method of sound reproduction that recreates a multi-directional, 3-dimensional audible perspective. This is usually achieved by using two independent audio channels through a configuration of two loudspeakers in such a way as to create the impression of sound heard from various directions, as in natural hearing.
FFRR Records is a dance music label founded as a subsidiary of London Records in 1986, with A&R run by the British DJ Pete Tong. Originally a part of London Records' label roster, FFRR is currently a sublabel of Parlophone, a division of Warner Music Group. Its activities were mostly halted in the early 2000s, until the label was revived in 2011. Its catalog was sold off in 2017, but the label was revived a second time in 2021, this time with a new identity.
Sound recording and reproduction is the electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording.
The Haeco-CSG or Holzer Audio Engineering-Compatible Stereo Generator system was an electronic analog audio signal processing device developed by Howard Holzer, Chief Engineer at A&M Records in Hollywood, California.
Cook Records was a record label founded by Emory Cook (1913–2002), an audio engineer and inventor. From 1952 to 1966, Cook used his Sounds of our Times and Cook Laboratories record labels to demonstrate his philosophy about sound, recording equipment, and manufacturing techniques.
Decca Broadway is an American record label specializing in musical theater recordings founded in 1999 by Decca Records and is a unit of Universal Music Group. Decca Broadway issued both new original cast albums as well as reissues of classic musical theater performances from the catalogues of record labels Universal Music and predecessor companies acquired over the years including Decca which pioneered the release of original cast albums. Decca Broadway was absorbed into UMG's Verve Records in 2013. Verve Label Group relaunched the Decca Broadway label in 2019.
Everest Records was a record label based in Bayside, Long Island, started by Harry D. Belock and Bert Whyte in May 1958. It was devoted mainly to classical music.
Quintessence Records started in 1976. Quintessence was formed by Pickwick International Inc. as a budget label. Pickwick’s trademark for Quintessence was filed on December 10, 1976 with the initial Q made to look like a clef symbol. The label was devoted to the licensed reissue of historic classical recordings. The idea was printed on the record jackets: "Critically acclaimed recordings of the basic repertoire which belong in every library of great music" and also promised these were "Carefully remastered from the original master tapes, recut on the latest Neumann lathes and pressed on virgin vinyl." R. Peter Munves was the executive responsible for the label. Munves had earlier worked for Columbia Records and RCA Records classical music divisions. He said to Time magazine in 1971 “You can call me the P.T. Barnum of the classics”.
Audio Fidelity Records, was a record company based in New York City, most active during the 1950s and 1960s. They are best known for having produced the first mass-produced American stereophonic long-playing record in November 1957. The Audio Fidelity label was acquired by 43 North Broadway, LLC, a global rights management company focused on acquiring iconic heritage entertainment-based intellectual property assets including master recordings, music copyrights and songwriter royalties.
Kenneth Ernest Wilkinson was an audio engineer for Decca Records, known for engineering classical recordings with superb sound quality.
Victor Olof was an English musician, known first as a violinist and conductor and later as a record producer for Decca Records and subsequently for HMV Records.
The United Kingdom patent 394325 'Improvements in and relating to Sound-transmission, Sound-recording and Sound-reproducing Systems' is a fundamental work on stereophonic sound, written by Alan Blumlein in 1931 and published in 1933. The work exists only in the form of a patent and two accompanying memos addressed to Isaac Shoenberg. The text is exceptionally long for a patent of the period, having 70 numbered claims. It contains a brief summary of sound localization theory, a roadmap for introduction of surround sound in sound film and recording industry, and a description of Blumlein's inventions related to stereophony, notably the matrix processing of stereo signals, the Blumlein stereo microphone and the 45/45 mechanical recording system.