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	  	         === Last Update 1/17/95  ====





	    [removed]   Volume 96 : Issue 125


Articles in this issue of [removed]:

	 The Lodger
	 DJ Trivia
	 Mr. Corwin
	 More Ovaltine
	 Vertical recording
	 Why anything?
	 ETs and Blenders 
	 The Lodger
	 Book
	 Re: NIGHTWATCH
	 re: Norman Corwin
	 RE: THE LODGER
	 RE: THEATRE 5
	 A Fibber McGee's Closet Full of Ovaltine

----------------------------------------------------------------------

Date: 04 Apr 96 11:20:49 EST
From: Alan Chapman <[removed]@[removed]>
To: OTR Digest <[removed]@[removed]>
Subject: The Lodger
Message-ID: <[removed]@[removed]>

>Norm Stringer asked: 
> Does anyone know if there is a radio version of Marie Lowndes story "The
Lodger" >(based  on Jack the Ripper)? And if so where can I get a copy?

To my knowledge, both Suspense and Mystery In The Air did radio adaptations of
the story. On Suspense, it was broadcast 12/14/44 with Robert Montgomery and
John Brown and again 2/14/48 also featuring Robert Montgomery with Peggy Weber
and Jeanette Nolan.

The Mystery In The Air broadcast was 8/14/47 and featured Peter Lorre, Agnes
Moorehead and Henry (Harry) Morgan.

It seems the 14th of the month was a 'ripper' of a day on radio.   

All 3 versions are available from several of the OTR dealers.  I have two of
them; if you would like to trade, email me directly.

Alan Chapman
[removed]@ [removed]

------------------------------

Date: Thu, 4 Apr 1996 10:08:15 -0800 (PST)
From: roy547@[removed] (Roy Trumbull)
To: [removed]@[removed]
Subject: DJ Trivia
Message-Id: <[removed]@[removed]>

Thanks to Ted McKay for a good discussion of vertical recording.
Some years ago recordings used to permit a quick run down the hall
were El Paso and Bridge Over Troubled Waters (an apt title). 

A local joke which describes a small town DJ was "trained in
Truckee". A good friend of mine actually was. He was sitting
out on a lawn chair taking the sun and letting a record track
through when the FCC came by for an inspection. 

------------------------------

Date: Thu, 04 Apr 1996 13:04:42 -0500 (EST)
From: SAH@[removed]
To: otr@[removed]
Subject: Mr. Corwin
Message-id: <01I357U9XBYA8X3ZGS@[removed]>

    A while ago someone said that Mr. Norman Corwin would be available
    for interviews in conjunction with NPR replaying his 13 by Corwin
    shows.  Could you please e-mail the phone number that can be used
    for this.  Our otr broadcaster is ready to start the series and would
    like to launch with the master himself.


    Thanks,   Steven Hiss

------------------------------

Date: Thu, 4 Apr 96 11:12:12 PST
From: <rdruian@[removed]>
To: <otr@[removed]>
Subject: More Ovaltine
Message-ID: <[removed]+Aw,NlA@[removed]>

I commented, or almost did (I'm not sure whether I sent or trashed the 
message I was writing), about the two folks who admitted to actually 
*liking* the stuff. Since then, an amazing number of you preverts have come 
out from under the woodpile. The thread about Ovaltine's history and the 
list of ingredients may have clarified the reasons for my dislike of the 
stuff. While I've always remembered the residue of 
ground dirty glass that would never dissolve, I hadn't realized that 
Ovaltine contained malt. Typical of my anti-American proclivities (HUAC and 
John Wayne
came after me in the fifties for this), I dislike malt. Nearly vomited 
when the soda jerk accidentally, and almost automatically, squirted some of 
the stuff into my milk shakes when I was a kid. To make matters worse, they 
would actually charge extra for poisining me with it. As I recall, shakes 
cost 24 cents, while malts cost either 27 or 28 cents, depending, of course,
 on whether one were shopping at a low or high class establishment. I would 
rarely waste the extra penny, myself, since it represented a strip of 
chocolate buttons.

------------------------------

Date: Thu, 04 Apr 1996 14:38:16 -0500
From: Robert Kirk <kirk@[removed]>
To: [removed]@[removed]
Subject: Vertical recording
Message-Id: <[removed]@[removed]>

>> Vertical recording had a small but fiercely loyal following, especially
>> in the acoustic era.  And for very good reasons.  
>
>If vertical recording was so much better, why did lateral recording catch 
>on?  Did it have advantages of its own?
>
>======================================================================
>A. Joseph Ross, [removed]                                      617/367-0468
>15 Court Square                                   lawyer@[removed]
>Boston, MA 02108-2573                    [removed]~lawyer/
>======================================================================
>

Less room on the delivery truck, more room on the store shelf,
easier for customers to carry [removed] Kirk

------------------------------

Date: Fri, 02 Feb 1996 04:17:57 +0500
From: cbholm@[removed] (chris holm)
To: otr@[removed]
Subject: Why anything?
Message-Id: <[removed]@[removed]>

A. Joseph Ross>>

>>
If vertical recording was so much better, why did lateral recording catch 
on?  Did it have advantages of its own?
>>

Why did Beta VCR's die when they were the better format?  Poor marketing.
Poor marketing killed the Edison cylinder system with the vertical system.
I assume that other vertical recording systems ie disks just didn't become
as popular and got shoved out of the market.

------------------------------

Date: Thu, 4 Apr 1996 18:17:51 -0500
From: KENPILETIC@[removed]
To: otr@[removed]
Subject: ETs and Blenders 
Message-ID: <960404181750_369176101@[removed]>

Hi Gang -                     April 4 - 1996 -- Thursday - 5:15 PM cst 

Some items from recent issues of the otrdigest struck a chord with me and 
I feel that I should make a few comments. 

Vertical, Lateral, Inside-out, Outside-in :
These are the various methods of recording on an Electrical Transcription 
disc (ET).  In 1994 I wrote a rather lengthy article about this, so rather 
than cover that same ground again, I'll just touch on some of the more 
obscure highlights for "newcomers" to the digest. 

Inside-out means that the tone arm is placed toward the center of the disc 
and it works its way out to the outer edge.  Outside in is just the 
opposite.  Most discs you find are recorded Outside-in, ie, you put the 
tone arm on the outer edge of the disc and it works its way in.  

Now, when a transcribed program runs longer than 15 minutes, two discs are 
used.  Each side runs 15 minutes.  In order to make a smooth transition 
the program is recorded on one side of two different discs, and the 
engineer playing the program seques from disc to the other at the 
appropriate time.  There is no break in the program - However there can be 
a noticeable change in the sound quality unless the Outside-in, Inside-out 
technique is used.  Here's what happens:   

The outside grooves of the ET are moving much faster than the inside 
grooves.  This means that the high frequencies are recorded more 
faithfully on the outside grooves than on the inside grooves.  As the tone 
arm moves inward, the sound quality decreases, but the listener doesn't 
notice because the change is gradual.  If suddenly a new disc starts 
playing on the outer tracks, the listener will definitely notice the 
change between discs.   

So - the first side is recorded outside-in, the second is inside-out, the 
third is outside-in and the fourth is inside-out --- This will provide a 
one-hour program on two discs.  Side one is on disc-1, side two is on disc-
2.  Then disc-1 is turned over to record side-3 and disc-2 is turned over 
to record side 4.   

Now - listen CAREFULLY to your copy of "War of the Worlds".  You will hear 
that it was NOT recorded as described above.  It sounds like all sides 
were recorded Outside-In, because you will suddenly notice a difference in 
sound quality three times during the broadcast.  This is a "change for the 
better", ie, more high frequency's at the beginning of the new disc. 

You might also notice that the the speed is fast.  Apparently the lathes 
were running slow, or whoever re-recorded the orginal discs had a 
turntable that was running fast.  I suspect the latter -- in order to make 
the one-hour program fit into a shorter time-frame.

This should answer Max Schmid's question as to how to make Norman Corwin's 
new programs fit into a half hour, along with new introductions. 

Now - about Vertical and Lateral recording:
It appears that Vertical recording would be better, as long as there are 
no scratches or cracks in the disc.  Vertical can theoretically take a 
much wider dynamic range than Lateral.  This is because the PITCH of the 
grooves can remain constant, ie, the distance between grooves never 
changes.   

Two problems can arise from using the vertical (hill-and dale) method.  
The first is from NOISE that could result from flaws or damage on the 
surface of the disc.  Since the playback stylus is sensitive to vertical 
movement any blemish will produce a click, pop, or some other noise.  The 
other problem arises from the dynamic range.  A sudden loud passage could 
cause the stylus to "bounce" or "bottom out", because the movement is up 
and down. 

In Lateral recordings, the dynamic range is controlled by varying the 
pitch of the grooves.  When a loud sequence is about to happen, the 
engineer makes more space between grooves so that the lateral movement of 
the stylus doesn't interfere with adjacent grooves.  Similarly, when a 
quiet passage is happening, the grooves can be closer together, thus 
providing longer recording time.   Of course the engineer must know ahead 
of time what's going to happen so that he can adjust the pitch before the 
loud or soft recording begins.   

I won't mention other advantages/disadvantages such as "thread".  I don't 
know that much about it.  Someone else can elaborate. 

---------  New Topic ---- Briefly, My Ovaltine Adventures ------

I begged my parents to buy my first jar of Ovaltine in the early 1940's so 
that I could send for my Captain Midnight decoder.  I'm too young to 
remember Little Orphan Annie decoders or Ovaltine in the can.  I tore the
from the jar, wrote my name and address on the back and sent it to Captain 
Midnight.   Then, I tried to dissolve it in cold milk.   When it wouldn't 
dissolve, I tried to drink it anyway.  Yik ! 

I nursed that jar for a whole year, because I knew that I'd have to beg 
for another jar to get next year's decoder.  This procedure continued for 
several years - until Captain Midnight went off the air. 

Fast forward to 1952:  Now I'm a teenager and I'm visiting a friend.  
My friend's mother asked us if we'd like a "nice glass of Ovaltine". 
My friend said "yes".  I thought to myself "yik!".  Shortly thereafter I 
heard a strange sound from the kitchen.  My friend lived in a "modern" 
house and his mother had a BLENDER.   This electric marvel pulverized the 
Ovaltine crystals and stirred them into the milk so that they appeared to 
dissolve.  If you drank the resulting colloidal suspension quickly, it 
actually tasted "pretty good".

Either the formula had changed somewhere between 1944 and 1952, or the 
electric blender did something no spoon or shake-up mug could accomplish.

--- See You In Cincinnati ---  Ken Piletic, Streamwood, Illinois 
kenpiletic@[removed]

------------------------------

Date: Thu, 04 Apr 1996 18:32:13 -0500
From: Jim Widner <jwidner@[removed]>
To: [removed]@[removed]
Subject: The Lodger
Message-Id: <[removed]@[removed]>

Norm Stringer wrote:
>
>> Does anyone know if there is a radio version of Marie Lowndes story "The   
>> Lodger" (based on Jack the Ripper)? And if so where can I get a copy? I 
>> know that it has been made into a couple of excellent movies (Hitchcock's 
>> 26 silent version, and the 40's edition starring Laird Creiger), you would 
>> think a radio version exists.
>

I came up with 4 from my own database:

Forecast                7/22/40
Hollywood Star Time     5/19/46
Mystery in the Air      8/14/47
Suspense                2/14/48

I believe there are others.

-----------------------------------------------------------------------
Jim Widner                      INTERNET: jwidner@[removed]
Dayton, OH                      WWW: [removed]
COMPUSERVE: 74566,3041          
AOL: JimWidner                            

                                                 

------------------------------

Date: Thu, 4 Apr 1996 18:40:09 -0500
From: JayHick@[removed]
To: otr@[removed]
Subject: Book
Message-ID: <960404184007_369190920@mail04>

Although this book doesn't fall in the realm of OTR, many of you might be
interested.  Bob Lissauer, one of the speakers at our next Friends of OTR
Convention, has just updated his book "Encyclopedia of Popular Music."  If
you want all the details on over 20,000 popular songs such as the composers,
their popularity, movies and broadway musicals they were in and more, you
must buy this book.  It also lists every year and the popular songs of that
year and all the writers and all their songs.  Publisher is Facts on File
(1-800-322-8755) and you can get the 3-volume book from them or your local
book store.  Cost is $185 but worth it.  

------------------------------

Date: Fri, 5 Apr 1996 00:26:59 -0500
From: HERITAGE4@[removed]
To: [removed]@[removed]
Subject: Re: NIGHTWATCH
Message-ID: <960405002659_462836910@[removed]>

Yes, send info on NIGHTWATCH. SPERDVAC has some I know if.
Did you ever hear of the syndicated THE NIGHTWATCH shows. Little horror
vignettes. The same company also put out a similar SCI-FI show, (??) UFO
UNLIMITED
or some such.
<<TOM HEATHWOOD - HERITAGE RADIO/YETERDAY-USA) 4/5/96 12:29am

------------------------------

Date: Fri, 5 Apr 1996 00:33:15 -0500
From: HERITAGE4@[removed]
To: [removed]@[removed]
Subject: re: Norman Corwin
Message-ID: <960405003314_462840273@[removed]>

Some of Corwin's stuff is pretty heavy-going, and I agree, I personally
enjoyed the
lighter stuff. He was perhaps in some of his work, beyond the mean age of the
listener, and so, like FRED ALLEN, who really had to gear his comedy DOWN to
the
masses, Corwin was not always fully understood/appreciated/enjoyed.
<<TOM HEATHWOOD- YESTERDAY-USA NETWORK>>

------------------------------

Date: Fri, 5 Apr 1996 00:34:58 -0500
From: HERITAGE4@[removed]
To: [removed]@[removed]
Subject: RE: THE LODGER
Message-ID: <960405003456_462841139@[removed]>

Send for our list. HERITAGE RADIO PO BOX 16 / BOSTON, MA / 02167

------------------------------

Date: Fri, 5 Apr 1996 00:39:21 -0500
From: HERITAGE4@[removed]
To: [removed]@[removed]
Subject: RE: THEATRE 5
Message-ID: <960405003920_462843489@mail06>

Send a note to FRED FOY c/o HERITAGE RADIO THEATRE/ PO BOX 16/BOSTON,
MA 02167, and I'll ask Fred tell me. Personally, I thought it was a BBC
production,
and I've never heard Fred speak of it.
<<TOM HEATHWOOD>>

------------------------------

Date: Fri, 05 Apr 1996 04:49:57 -0500 (EST)
From: JACKBENNY@[removed]
To: otr@[removed]
Subject: A Fibber McGee's Closet Full of Ovaltine
Message-id: <01I364V6ZG7M99L5PZ@[removed]>

I find it incredibly ironic that a number of threads have simultaneously
discussed Ovaltine and Captain Midnight, because there's a Statler Brother's
song entitled "Do You Remember These?" for which one of the lines is
"Captain Midnight, Ovaltine, and the Whip at the county fair"

A number of folks on this list would probably enjoy this song if you haven't
heard it.

Laura Lee
International Jack Benny Fan Club

------------------------------

    


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---- 
End of [removed] Digest V96 Issue #125

