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Post by snarfdude on Dec 10, 2012 22:17:18 GMT -5
funny enough, the station I worked for got a demo set of discs for the 12/13/80 show....it was missing a 4th disc....so I have the box and 3 of the discs....fortunately enough, one of them was the pre-rerecording of john lennon's tribute. I managed to piece together a CD as a "emergency replacement disc" and the missing sides to fill in the blanks.
I didn't realize the significance of the show until I read the book.
any idea where I can get a copy of the memo?
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Post by snarfdude on Dec 9, 2012 17:15:57 GMT -5
Yes, but what did they use for turntables back then? russcos? gates, collins? the new Technics SP 10? and with what tone arms? Are there pics of the studio used?
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Post by snarfdude on Dec 8, 2012 20:56:21 GMT -5
Initially one turntable to copy from record to cart. After that I don't think they'd keep spinning the records. But we know they used at least one turntable because there are instances where the record skipped or had surface noise. Nowadays everything is digital, but wasn't almost everything on carts in radio? The turntable (or later CD player) was just for a one off or infrequently played track. As one who worked in the industry for many years, it really depended on the station, format and year. Carts were used for everything but music in a lot of stations in the golden age of top 40, mainly because of cost of the carts. upwards of $10 each when I worked in the industry in the 80s. Into the 70s and 80s you saw a lot of the major markets putting everything on cart that went to air. Some smaller stations still spun vinyl to air still, but that was taken over eventually by CD players...often Denon CD cart players. You would put the CD in a plastic cartridge and put it in the machine that way. it keeps DJ hands off the CD and less chance of skipping that way. This started to go the way of the dinosaur in the early and mid 90s with the start of the DOS based radio automation systems and it's been computer based ever since. As one who collects broadcast technology and still have cart machines and CD cart players and reel machines and turntables, and 16 inch radio transcriptions, technology has changed quite a but in the last 25-35 years. Some of the watermark produced old soundtracks of the 60s shows have noticeable cue burns on some of the oldies used...polystyrene 45s are bad for that.....it's hard to avoid it with those things.
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Post by snarfdude on Dec 8, 2012 11:53:54 GMT -5
correct.....anything jingle oriented would be on broadcast cartridges or "carts" which could be considered the father of the 8 track. Some background is there: www.jimprice.com/prosound/carts.htmThey revolutionized the industry in the early 60s. The shows were delivered on reel tapes until Oct 71 (according to the book) when they finally pressed vinyl which was common for syndicated shows dating back to the late 1930s-1940s on 16 inch radio transcriptions (the grandfather of the LP) As for show production, one can speculate the jingles on carts, 2 tables for music a reel machine for the edited voice track (once he started doing voice tracks) and another reel machine for final mixdown of all elements. The reels I would think would be running at 15ips, for 2 reels/hr. for the best quality on 1/4 inch tape. The limitations of vinyl can certainly hide tape hiss, which can help quality. I can actually see carting the music from vinyl that is used every week and playing the carts to avoid wear and tear of the vinyl and "cue burn" so associated from backcueing the vinyl. A lot of stations did this on a regular basis for that reason. I have a few carts I bought off ebay from NBC in NYC with oldies on them.
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Post by snarfdude on Nov 25, 2012 10:55:34 GMT -5
Smells like a bit of a wild goose chase to get some fan's attention to me.
There's no way you couldn't monitor your bandwidth on a website and webspace, not to mention IP addresses of visitors.
Regardless, the site stays up and that's all that matters. It's a great resource. I filled a couple blanks in my original show LPs that didn't have cues that way.
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Post by snarfdude on Sept 1, 2012 6:55:27 GMT -5
It really doesn't matter if Casey knew about the music. Any radio personality is part actor. You read the script and your style of delivery and how you present it is what matters. I'm sorry that people have that perspection. I'm not surprised at all.
Casey voice tracking the show is also not surprising. It's a standard technique for any recorded syndicated show. It's also a now standard technique for local radio stations and automation software. According to rob durkee's book, Dick Clark introduced Kasem to the technique. It saved the marathon recording sessions that initially happened.
the advantage of doing radio production for years is knowing how something is put together. You can track a show and not hear the music you are playing very easily, but it makes sense for kasem to hear the intro and outros of the songs to match his tone accordingly.
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Post by snarfdude on Aug 25, 2012 15:04:43 GMT -5
I got my hands on the vinyl for the 1981 version....minus hour 33 and cues....anyone might have those missing pieces?
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Post by snarfdude on May 12, 2012 11:42:27 GMT -5
I used to listen to American Gold some years ago and i finaly realized that he was playing the same songs again and again. Same situation with his Top 20 on CBS Fm , he plays the same shows of a year gone by one or two years later. he rarely plays new oldies songs on his shows just the classic hits again and again , it's not what i expect from a good dj. I would have to agree with that...to a point. It's not a matter that's he a "good dj" is that he's a smart radio network programmer. You have to bow down to your local stations PD's who don't want to run anything syndicated that's severely off their format. You play it safe and play tried and true over and over again to keep the PDs happy and your show on the air. Corporate radio is like that. Remember, music is the carrot that gets the audience for the advertisers. Corporate commerical radio isn't for the music fan. It's for the casual music/radio listener that uses the radio as more background noise then anything. Satellite radio and internet/LPFM's will take far more risks then commerical ever will. I can't knock Bartley for that, but he can be rather repetitive. I have a few months of american gold CDs from a few years back. I just look at the cue sheets and notice that.
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Post by snarfdude on May 6, 2012 18:26:29 GMT -5
Given the almost 30 years that Bartley has been syndicated, you might as well say Rick Dees is a Casey wannabe.
It's foolish to compare anyone to Casey Kasem. It's his style, and personality that is his trademark on AT 40 plain and simple.
Bartley's has cut a niche in the oldies market for himself. I remember board oping "Solid Gold Saturday Night" for united stations in the 80s...he does very well with his live request oldies show. went to Westwood One, then ABC where he renamed it "Rock n Roll's Greatest Hits" and with the demise of the ABC Radio brand to citadel media, goes back to United Stations where it is today.
I prefer him doing the live show versus the recorded "American Gold" or as it's called now "The Classic Countdown" to me, his strength is the live show, but to each his own.
No matter what, he's a very solid syndicated oldies host who packages a great product.
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Post by snarfdude on May 5, 2012 15:21:45 GMT -5
I was flipping through my cassettes recently and found an episode of this rather limited run syndicated countdown produced in Canada and hosted by national promo voice talent Dan Williamson. This was back when I used to work at a radio station and tape a lot of syndicated programming off the satellite downlink.
Dated April 1st, 1989, and using charts from the trade publication in Canada "The record" it's 2 hours....though a bit hissy.
I'm looking at transferring it for my internet radio stream as a special.
Any interest?
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Post by snarfdude on Apr 29, 2012 20:26:20 GMT -5
I have discovered the error made by the station KMCQ , airing twice the 1st hour. The station has the 1st hour from the international version and also from the national version. The 1st intro of the 1st hour presentation belongs to the international edit, without the sponsoring, and then the second time part 1st hour sounded, the intro of the show had the sponsor sounding, and that is the national edit. So they download the whole show from the national and 1st hour from international. I can see that happening very easily. The mp3 files are abbreviated "INT" for international and if you're looking just for H1S1 (hour 1 seg 1) to put into the automation system and the air date and nothing else, well..... I don't necessarily agree with making mistakes, especially with these shows, but it's not hard to screw up loading segments properly into the computer if you're trying to rush through it. The way premiere labels the files, you really have to pay attention.
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Post by snarfdude on Apr 29, 2012 11:37:20 GMT -5
Dick Clark knew very early on that he can be the best Dick Clark he can be and no one else. That especially shows in the fill in duties on this weeks AT 40 1972 guest host show. I think that's the best advise he could ever give to Ryan Seacrest and probably did. Just like Casey did with Casey. If you try to be somebody you're not in the media, people will pick up on it and notice it. Call it the more subtle version of a plastic used car salesman stereo type. Anyone on the air should understand it and build on your uniqueness and/or what kind of personality you want to be. It has to be real and believable.
I've got a couple of NMS and countdown america shows and worked for a station that Ran Rock, Roll and Remember in the 80s and have about 2 years worth of those shows. If you jump between all those shows, you realize his style was timeless. He could go from oldies and current music (1980s) of the time with little effort. That was his strength.
I'm not a fan of any one countdown nor do I hate any. I like them all, as they all have their strengths, uniqueness and weaknesses. I lean towards AT 40 because it's the father of the rest, and I grew up with it, with casey's style, but it's fun to listen to the rest....if you can find em.
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Post by snarfdude on Apr 28, 2012 7:51:53 GMT -5
I personally don't closely follow the charts outside the show, so differences don't matter to me.
I would expect certain "mistakes" to potentially happen anyway with the tight timeline for the any weekly countdown show production. One mistake can throw the whole thing off track and its not always practical to fix it and make the air date. Most listeners won't necessarily pay attention too closely, especially industry trade publication charts. It may not necessarily be the purist right thing to do, but being in radio production for years at the radio station level, I can surmise a reasonable explanation.
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Post by snarfdude on Apr 28, 2012 7:43:10 GMT -5
As far as I've listened over the last 10 months, CKWS (Kingston, ON) has always ran the Premiere extras. go figure.....they must me offsetting their cancon elsewhere.
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Post by snarfdude on Apr 28, 2012 7:41:54 GMT -5
anyone know if any station is posting the Premiere cue sheets for the Dick Clark AT 40?
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