Interview with Bill Stoddard, March 11, 1999

Partial Transcript: Bill--

Segment Synopsis: Stoddard discusses his childhood which was primarily spent in the Midwest and New York. He then talks about the start of his career at Universal Recording as an employee of Bill Putnam. He also discusses his early interest in electronics and recording lathes.

Keywords: Chicago (Ill.); Cincinnati (Ohio); Crystal pick-ups; Cutter head arms; Edison, Thomas; Electronics; General Industries; Hudson River; Livingstone (N.Y.); Madison (Wis.); Magnetic cutter heads; Manhattan (New York, N.Y.); Putnam, Bill; Radios; Recorders, General Industries; Recorders, Wilcox-Gay; Recorders, disc; Recording lathes; St. Joseph (Mo.); St. Louis (Mo.); Stoddard, Bill; Turntables; Universal Recording; Victrolas; Wilmette (Ill.); Women

Subjects: Chicago (Ill.); Cincinnati (Ohio); Edison, Thomas A. (Thomas Alva), 1847-1931.; History of science and technology; Madison (Wis.); Manhattan (New York, N.Y.).; Manhattan, (New York, N.Y.); Music; Putnam, Bill; Radio; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Wilmette (Ill.)

Partial Transcript: Um, you mention the adjustable scratch filters on transcription, uh, a transcription turntable.

Segment Synopsis: Stoddard discusses adjustable scratch filters on transcription turntables, which were low-pass filters with sharp cut-offs.

Keywords: Adjustment scratch filters; Bass; Cycles; Dual tone control; Equalization; Inductors; Kilohertz; Low pass filters; Radio sets; Radios; Records; Resistor capacitor networks; Stoddard, Bill; Televisions, Capehart-Farnsworth; Tone control; Transcription; Transcription turntables; Treble

Subjects: Audio equipment industry; History of science and technology; Music; Radio; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: See, the earliest--the, the only records that were available, uh, to people back in those days, and I'm talkin', you know, the forties--

Segment Synopsis: Stoddard discusses ten inch and twelve inch 78 records, which were used to record symphonies. He also talks about the advent of high fidelity recording in the music industry.

Keywords: Acoustics; Beethoven, Ludwig van; Brunswick Records; Cartridges; Cartridges, playback; Choirs; Classical music; Columbia Masterworks; Columbia Records, Inc.; Compounds; Cycles; Decca Records; Deutsche Grammophon; Diaphragms; Discs; Distortion; Frequencies; Frequencies, high; Frequencies, presence; Frequency responses; Hearing; Hertz; High fidelity; Instruments; Mastering; Microphones; Mono; Overtones; Phonographs; Pick-ups, crystal; Pick-ups, dynamic; Pick-ups, magnetic; Quality; RCA Records; Recorders, disc; Recorders, tape; Recording tape, magnetic; Recording, digital; Records, kinds of: long-playing (LP) microgroove; Records, kinds of: rpm twelve-inch; Records, kinds of: vinyl; Red seal; Speech; Stereo; Stoddard, Bill; Stylus; Stylus, cutting; Super tweeters, Jensen; Symphonies; Telephones; Tracking; True fidelity; Wave form; Waves

Subjects: Audio equipment industry; Beethoven, Ludwig van, 1770-1827.; Columbia Records, Inc.; Decca Records (Firm); Deutsche Grammophon (Firm); High-fidelity sound systems.; History of science and technology; Microphone; Music; Phonograph.; RCA Records; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.; Stylus; Symphony

Partial Transcript: Um, you mentioned, in that same, uh, paragraph, about the Goodell dynamic noise suppressor circuit.

Segment Synopsis: Stoddard discusses the Godell dynamic noise suppressor circuit and shares his personal feelings regarding some of his fellow audio engineers, who he feels complain too much and are disrespectful.

Keywords: 3M Company; Amplifiers, Goodell; Audio Engineering Society (AES); Circuits; Dolby Laboratories; Drugs; Dynamic; Gigax, Bruce; Goodell, John; Minnesota Electronics; Minnesota Mining and Manufacturing Company.; New York (N.Y.); Noise suppressors; Olson, Harry; RCA Records; Science; Scientists; Stoddard, Bill

Subjects: 3M Company; Audio Engineering Society; Audio equipment industry; Dolby Laboratories Inc.; History of science and technology; Music; New York (N.Y.); Olson, Harry; RCA Records; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: Yeah, that was one thing I wanted to ask you.

Segment Synopsis: Stoddard discusses his time at Universal Recording with Bill Putnam. He talks about the firing of Belinda Putnam, which caused Bill Putnam to leave Universal Recording.

Keywords: Chicago (Ill.); Consultants; Consulting; Firing; Mexico City (Mexico); Probation; Putnam, Belinda; Putnam, Bill; Stoddard, Bill; Universal Recording; Wife

Subjects: Chicago (Ill.); History of science and technology; Mexico City (Mexico); Music; Putnam, Bill; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: Um, well, what--uh, well, I hate to jump around here but, you know, things come to mind and, and I remember them now.

Segment Synopsis: Stoddard discusses the Williamson circuit, an amplifier circuit. He talks about his desire to be a physicist and how that led him to become interested in high fidelity recordings. Stoddard then talks about his fellow audio engineer Eddie Smith.

Keywords: Amplifier circuits, Williamson; Amplifiers; Amplifiers, power; Circuits, Williamson; Computers; Doctor of Philosophy; Electrical engineering; Hamann, Peter; High fidelity; Mechanical engineering; Physicists; Physics; Play back systems; Play-back equipment; Play-back systems; Pre-amplifiers; Recording business; Relationships; Science; Smith, Annie; Smith, Eddie; Speakers; Stoddard, Bill

Subjects: Doctor of philosophy degree.; Electrical engineering.; Engineering.; High-fidelity sound systems.; History of science and technology; Mechanical engineering.; Music; Physics.Audio equipment industry; Science.; Smith, Ed; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: So I was interested in, in the hi-fi thing and, and, uh, it was a very intense thing, and a couple of the guys had tape recorders and, and uh, I then, uh--

Segment Synopsis: Stoddard discusses his interest in high fidelity recording and how some of his fellow audiophiles owned tape recorders. The two then talk about personal tape recorders, which originated in Germany during World War II.

Keywords: American Broadcasting Company (ABC); Ampex Electric Company; Armour Institute; Audio Engineering Society (AES); Audio Magazine; Bell Sound Studios; Chicago (Ill.); Crosby, Bing (Artist); Erhorn, Phil; Ferrous oxide; Film recording; Frankfurt (Germany); Fujii, Mort; Hamann, Peter; Headphones; Henderson, Lyle "Skitch"; High Fidelity Magazine; High fidelity; Hitler, Adolf; Illinois Institute of Technology; Magnecord; Magnetophon; Mullin, Jack; National Broadcasting Company (NBC); National Broadcasting Company Symphony; Nuremberg trials; Patents; Paul, Les; Poniatoff, Alexander; Ranger, Richard; Recorders, tape; Recorders, tape (models): Ampex 300 monophonic; Recorders, tape (models): Ampex 350 full-track model; Recorders, tape (models): Ampex 8-track; Recorders, tape (models): Ampex full-track model 400; Recorders, tape (models): Brush BK-401 "Soundmirror"; Recorders, tape (models): Magnecord PT6AH; Recorders, tape (models): Pentron Home Recorder; Recorders, tape: Presto; Recording lathes; Recording lathes (models): Presto 6N; Recording studios; Recording tape, film; Recording tape, magnetic; Recording tape, paper; Recording tape, plastic; Recording, disc; Recording, live; San Francisco (Calif.); Sarser, David; Signal Corps; Snyder, Ross; Stoddard, Bill; Symphonies; Toscanini, Arturo (Artist); World War II

Subjects: American Broadcasting Company.; Ampex corporation; Audio Engineering Society; Audio equipment industry; Bell (Sound recording label); Chicago (Ill.); Crosby, Bing, 1903-1977; Ferrous oxide; Headphones; Henderson, Skitch, 1918-2005; High-fidelity sound systems.World war II.; History of science and technology; Hitler, Adolf, 1889-1945.; Illinois Institute of Technology.; Lathes; Magnétophone; Music; National Broadcasting Company; Nuremberg War Crime Trials, Nuremberg, Germany, 1946-1949.; Record labels.; San Francisco (Calif.); Signal Corps Engineering Laboratories (U.S.); Snyder, Ross; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Symphony; Toscanini, Arturo, 1867-1957.; World War, 1939-1945

Partial Transcript: Have you talked to Mort?

Segment Synopsis: Stoddard discusses his friend and Ampex Electric Corporation engineer Mort Fujii. He also talks about the controversy surrounding the invention of selective synchronization (Sel-Sync).

Keywords: Ampex Electric Corporation; Bell Sound Studios; Cetec Gauss; Cronin, Dan; Death; Electrosound; Electrosound plant; Fujii, Mort; Gauss; Japan; Japanese Americans; Multi-tracking; Recorders, tape; Sel-Sync (selective synchronization); Stoddard, Bill; Sunnyvale (Calif.); Weintraub, Al

Subjects: Ampex Corporation; Audio equipment industry; Bell (Sound recording label); Cronin, Dan; History of science and technology; Japan; Japanese Americans; Music; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Sunnyvale (Calif.); Weintraub, Al

Partial Transcript: I think we left off where you met Eddie and he changed your life.

Segment Synopsis: Stoddard discusses his introduction to the music business through the Audio Engineering Society (AES) and audio engineer Ed Smith.

Keywords: 3M Company; Audio Engineering Society (AES); Bradley's Film & Recording Studios; Bradley, Owen; Chicago (Ill.); Cincinnati (Ohio); Cincinnati Milling Machine Company; Control rooms; Cook, Emory; Country music; Deutsche Grammophon; Ernst, Hans; Hamilton, Charles; Haverback, Carl; Herzog Studios; Herzog, E.T. "Bucky"; Kessel, Howard; King Records; Klipsch, Paul; Kofad, Kurt; Mastering; Minnesota Mining and Manufacturing; Nashville (Tenn.); Nathan, Syd.; Ohio; Putnam, Bill; Radio stations; Radios; Record plating; Record plating plants; Record pressing; Record pressing plants; Recorders, tape; Recorders, tape: Pentron; Recording studios; Recording, binaural; Recording, remote; Recording, tape; Records, kinds of: binaural; Schuster Martin School; Smith, Eddie; Speakers; Stampers; Stereo; Stoddard, Bill

Subjects: Audio Engineering Society; Audio equipment industry; Chicago (Ill.); Cincinnati (Ohio); Cincinnati Milling Machine Company; Cook, Emory, 1913-2002; Deutsche Grammophon (Firm); History of science and technology; Minnesota Mining and Manufacturing Company.; Music; Nashville (Tenn.); Ohio; Putnam, Bill; Radio; Record labels.; Smith, Ed; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.

Partial Transcript: Let me ask you a question about Herzog. Um, how long had they been around, do you know?

Segment Synopsis: Stoddard discusses Herzog Studios in Cincinnati (Ohio) and recounts the story of WLW, an extremely powerful radio station that forced the Federal Communications Commission (FCC) to put a limit on the power of radio station signals.

Keywords: Bostic, Earl (Artist); Cincinnati (Ohio); Cleveland (Ohio); Cleveland Recording; Console (recording); Crosley Automobile; Crosley, Powel, Jr.; Eddie and the Chief (Artist); Federal Communications Commission (FCC); Flamingo (Song); Grand Funk Railroad (Artist); Ham radios; Herzog Studios; Herzog, E.T. "Bucky"; Honky Tonk music; Hotel Alms; King Records; Mason (Ohio); Mt. Adams (Cincinnati, Ohio); Nathan, Syd; Physics; Putnam, Bill; Recording lathes, Presto; Recording lathes, Scully; Rookwood Pottery; Smith, Eddie; Stoddard, Bill; Transmitters; Transmitters, radio; WGAR (Radio station); WKRC (Television station); WLW; WLW (Radio station); WLWT (Television station); Weiss, Harry; Yankovic, Frankie (Artist)

Subjects: Bostic, Earl, 1913-1965; Cincinnati (Ohio); Cleveland (Ohio); Crosley, Powel; Grand Funk Railroad (Musical group); History of science and technology; Honky-tonk music.; Lathes; Mason (Ohio); Music; Physics.; Rookwood pottery.; Smith, Ed; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; WGAR (Radio station : Cleveland, Ohio); WKRC (Radio station : Cincinnati, Ohio); WLW (Radio Station : Cincinnati, Ohio); WLWT (Television station : Cincinnati, Ohio)

Partial Transcript: Um, yeah, that's a whole other thing that, that I wanted you to comment on.

Segment Synopsis: Stoddard discusses his musical interests as a child, which included training in classical violin, piano, trumpet, and the accordion. He also recalls the music he listened to during his youth.

Keywords: (Song); Accordions; Buttermilk Sky (Song); Casablanca (Motion picture); Classical music; Ebony Rhapsody; High fidelity; Jim Never Brings Me Any Pretty Flowers (Song); Little Brown Jug (Song); Pianos; Popular music; Rachmaninoff, Sergei Vasilievich; Stoddard, Bill; Stravinsky, Igor; The Firebird (Song); Trumpets; Violins; Why Don’t We Do It In the Road? (Song); You Wanna Wish on a Star (Song)

Subjects: Accordion; Audio equipment industry; Casablanca (Motion picture); High-fidelity sound systems.; History of science and technology; Music; Piano; Rachmaninoff, Sergei, 1873-1943; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stravinsky, Igor, 1882-1971.; Trumpet; Violin

Partial Transcript: Um, okay, so where were we?

Segment Synopsis: Stoddard recounts a story from his time as a radio transcriptionist, which involved forcing radio stations to use a microgroove playing arm by recording records at a certain speed.

Keywords: Bong Opera; Colgate; Commercials; Electrical transcription; Fifth Third Trust Company; Radio engineering; Radio transcription; Recording lathes; Recording lathes, Scully; Records, kinds of: long-playing (LP) microgroove; Slide film show; Speed; Station logs; Stoddard, Bill; Stylus

Subjects: Audio equipment industry; Colgate & Company.; History of science and technology; Lathes; Music; Radio; Radio engineers; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stylus

Partial Transcript: Okay, well, shall we go to Chicago?

Segment Synopsis: Stoddard discusses approaching Bill Putnam for a job at Universal Recording in Chicago (Ill.). He describes moving to Chicago and working in the mastering room with Bob Weber. Stoddard also talks about the requirements necessary for becoming a sound engineer.

Keywords: Apprenticeships; Chicago (Ill.); Cincinnati (Ohio); Doggett, Bill; Hard Head (Song); Honky tonk music; Klapper, Bernie; Mastering; Mercury Records; Putnam, Bill; Resumes; Sponsors; Stoddard, Bill; Talmedge, Art; Thomas, John; Torch Records; Weber, Bob

Subjects: Chicago (Ill.); Cincinnati (Ohio); History of science and technology; Honky-tonk music.; Music; Putnam, Bill; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: As a, you know, as a recording engineer, or as somebody that was in the business, you could tell in less than five minutes whether a kid knew anything.

Segment Synopsis: Stoddard discusses the equipment present in a recording studio in the 1950s and early 1960s. He talks at length about Larry Scully and the Scully recording lathe. He compares the Scully recording lathe and Neumann recording lathes and talks about audio device salesman Steve Timmer.

Keywords: Amplifiers, tube; Audio devices; BMG Music Company; Cleveland Recording; Consoles (broadcast); Consoles (mixing); Consoles, custom; Decca Records; Fader, slide wire; Faders, Denton; Faders, linear; Faders, rotary; Film scoring; Gates Radio; Germany; Gotham Audio; Hamann, Kenneth; Langevin; Microphones; Microphones, omnidirectional; Neumann, Georg; RCA Records; Radio transmitters; Record plating; Recorders, direct to disc; Recorders, tape; Recording electrical; Recording lathes, Grampian; Recording lathes, Neumann; Recording lathes, Scully; Recording lathes, magnetic; Recording, wax; Records, kinds of: acoustical; Records, kinds of: wax; Scully, Larry; Silver process; Stoddard, Bill; Telefunken; Timmer, Steve; Wolf, Fred

Subjects: Audio equipment industry; BMG Music; Decca Records (Firm); Germany.; History of science and technology; Lathes; Microphone; Music; Neumann; RCA Records; Radio; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Telefunken G.m.b.H.; Wolf, Fred

Partial Transcript: The engineers needed more control, and we're still talking monaural.

Segment Synopsis: Stoddard discusses the advent of stereo recording and the changes to audio recording technology that were required to accommodate stereo recording, such as bi-directional microphones.

Keywords: Bell Sounds Studios; Channels; Echo; Fine, Bob Rhythm; Instruments; Microphones, cross-over; Mono; Multi-channel sound systems; Multi-track sound system; Multi-tracking; Music; Nathan, Syd; Pan pots; Phase shifts; Ping-pong stereo; Putnam, Bill; Recording, quadrant; Sound systems; Speakers; Stereo; Stereo systems; Stereo, three channel; Stoddard, Bill; Strings

Subjects: Audio equipment industry; Bell (Sound recording label); Fine, Bob.; History of science and technology; Microphone; Music; Putnam, Bill; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.

Partial Transcript: Yeah. Are we, are we running out of steam, here?

Segment Synopsis: Stoddard discusses Bill Putnam leaving Universal Recording to create a studio in Hollywood (Calif.). Horning talks about the scope of her project and why she didn't pursue interviews in Chicago (Ill.). Stoddard talks about working with Bob Fine and Mercury Records.

Keywords: 1812 Overture (Song); Bally Records; Bands; Blossom Music Center; Charles, Ray (Artist); Chess Records; Chicago (Ill.); Chords, the (Song); Cleveland (Ohio); Cleveland Orchestra; Columbia Records, Inc.; Columbia Retailer; Come Go With Me (Song); Conkling, Jim; Decca Records; Del-Vikings, the (Artist); Dot Records; Fine, Bob; Fine, Wilma Cozart; Fox, Ted; Hammond, John; Hawkins, Doug; Hillard, Jimmy; Hollywood (Calif.); In the Groove (Book); I’ve Got a Sweetie (Song); I’ve Got a Woman (Song); King, Wayne; Klapper, Bernie; Lieberson, Goddard; Los Angeles (Calif.); Mercury Records; Miller, Mitch; Nashville (Tenn.); New York (N.Y.); Phillips, Anne; Putnam, Bill; Recording business; Recording lathes; Records, kinds of: vinyl masters; Reprise Records; Rhythm and blues (R&B); Rogers, Niles; Sha-Boom (Song); Signal Corps; Stafford, Joe; Stoddard, Bill; Symphonies; Taylor, Deems; United Recording; Universal Recording; V.J. Records; Vocalists (singers); WOR (Radio station); Walton plant; Warners; Weber, Bob; Weiner, Jack; Wexler, Jerry; Wood, Randy

Subjects: Blossom Music Center; Charles, Ray, 1918-2015; Chicago (Ill.); Chords (Musical group); Cleveland (Ohio); Cleveland Orchestra.; Columbia Records, Inc.; Decca Records (Firm); Fine, Bob; Hawkins, Doug; History of science and technology; Los Angeles (Calif.); Miller, Mitch.; Music; Nashville (Tenn.); New York (N.Y.); Phillips, Anne; Record labels.; Rhythm and blues music.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Symphony

Partial Transcript: --don't know where they actually got the the bank uh to give them money to build the Walton plant, which was the studio where I worked, uh, on the corner of Walton and Rush.

Segment Synopsis: Stoddard discusses the recording studios at Universal Recording, including the consoles available and the atmosphere.

Keywords: Aesthetics; Basie, William James "Count"; Capitol Records; Carroll, David; Chicago (Ill.); Cole, Nat "King"; Consoles (mixing); Consoles (recording); Control rooms; Creativity; Echo (reverberation) chamber; Ellington, Edward Kennedy "Duke" (Artist); Fedeen, Bruce; Fine Recording; Fine, Bob; Harmonicats, the (Artist); Jazz; King, Wayne; Klapper, Bernie; Mercury Records; Microphones, cross-over; Minneapolis (Minn.); Mixing rooms; New York (N.Y.); Peterson, Oscar (Artist); Popular music; Putnam, Bill; Record Plant, the; Recorders, stereo; Recorders, tape (models): Ampex 2-channel recorder; Recording studios; Recording, stereo; Stereo; Stoddard, Bill; Stone, Chris; UREI; Universal Audio Company; Universal Recording; Walton Avenue

Subjects: Audio equipment industry; Basie, Count, 1904-1984; Capitol Records, Inc.; Carroll, David, 1913-2008; Chicago (Ill.); Cole, Nat King, 1919-1965; Ellington, Duke, 1899-1974.; Fine, Bob; Harmonicats (Musical group); History of science and technology; King, Wayne, 1901-1985; Microphones; Minneapolis (Minn.).; Music; New York (N.Y.); Peterson, Oscar, 1925-2007; Putnam, Bill; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound studios; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.; Stone, Chris, 1935-

Partial Transcript: Yeah, now, the echo chamber, this is something I want to understand because I've heard this story about Bill being the first one to use echo on records.

Segment Synopsis: Stoddard discusses Bill Putnam's use of echo (reverberation) chambers in audio recording, which were rooms that were specifically built as echo chambers. He describes how the echo chambers worked and their use in songs such as 'Cry Me a River' and 'It's a Good Day.'

Keywords: Capitol Records; Capitol Records Tower; Cry Me a River (Song); Echo (reverberation) chambers; Echo return; Echo send; Faders; It's a Good Day (Song); Lee, Peggy (Artist); London, London (Artist); Microphones; New York (N.Y.); Putnam, Bill; Radio Recorders; Recording; Reverberation; Speakers; Stoddard, Bill; Universal Recording

Subjects: Audio equipment industry; Capitol Records, Inc.; History of science and technology; Lee, Peggy; Lee, Peggy, 1920-2002.; London, Julie; London, Julie, 1926-2000; Microphone; Music; New York (N.Y.); Putnam, Bill; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: Um, where do we want to go from here?

Segment Synopsis: Stoddard discusses Bill Putnam leaving Universal Recording to found a new recording studio and the reasons why he was not taken along.

Keywords: Evanston (Ill.); Ferree, Jerry; Hollywood (Calif.); Klapper, Bernie; Maryland Hotel; Perry, Tony; Putnam, Belinda; Putnam, Bill; Robine, Bunny; Stoddard, Bill; Universal Recording

Subjects: Evanston (Ill.); History of science and technology; Hollywood (Calif.); Music; Putnam, Bill; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: We, we bought the, uh, the stereo cutter system, uh, that came in in the fall of, uh, '58 and, uh, we installed it.

Segment Synopsis: Stoddard discusses his move to Fine Sound in New York (N.Y.) during the early 1960s. He also talks about the extent to which artists controlled the music recording process.

Keywords: 21 Club; Acoustics; Astaire, Fred (Artist); Bridgeport (Conn.); CAPP Records; Capp, David; Capp, Jack; Capp, Mickey; Carroll, David; Chicago (Ill.); Control rooms; Decca Records; Distortion; Equalizers; Fine Recording; Fine, Bob; Fine, Wilma Cozart; Grand Award Records; Great Northern Hotel; Green, Irving; Judaism; Light, Enoch; Mastering; Mercury Records; Microphones; Music producers; Musicians; New York (N.Y.); Paige, Patti (Artist); Putnam, Belinda; Putnam, Bill; Rael, Jack; Ram, Samuel "Buck"; Recording lathes; Recording studios; Records, kinds of: lacquer; Records, kinds of: long-playing (LP); Scully, Larry; Sound pressure; Stereo; Stoddard, Bill; Talmedge, Art; Tracey, Jack; Weiner, Jack; Williams, Roger

Subjects: Astaire, Fred.; Bridgeport (Conn.); Carroll, David; Carroll, David, 1913-2008; Chicago (Ill.); Decca Records (Firm); Fine, Bob.; Great Northern Hotel (New York, N.Y.); History of science and technology; Judaism--20th century.; Judaism.; Light, Enoch, 1905-1978; Microphone; Music; New York (N.Y.); Page, Patti; Putnam, Bill; Rael, Jack; Ram, Buck; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.

Partial Transcript: I, uh, I had heard from Eddie Smith at that point that the, uh, there was this studio, Bell Sound, and they were making--they had transistor consoles and a lot--

Segment Synopsis: Stoddard discusses his transition to Bell Sound Studios and talks about the importance of equipment maintenance engineers in the recording business.

Keywords: Apprenticeships; Bell Sound Studios; Brainard, Tory; Button pushers; Consoles (recording); Consoles (transistor); Echo (reverberation) chambers; Editing; Electrical engineering; Evans, Bob; Feel, Bob; Fine Recording; Fine, Fine; Fine, Wilma Cozart; Glover, Henry; Guerico, Joe; Headphones; Klapper, Bernie; Lorber, Alan; Macy, Phil; Maintenance engineering; Mastering; McMeekin, Bill; Microphone, tube; Nathan, Syd; Oppenheim, Murray; Piros, George; Planer, Susan; Preamplifiers; Recorders, disc; Recorders, tape; Recording business; Recording studios; Remixing; Smith, Eddie; Speakers, monitor; Steve and Eydie (Artist); Stoddard, Bill; Talk back switches; Talmedge, Art; Training; Transistors; Tubes, vacuum; Universal Recording; Weintraub, Al

Subjects: Audio equipment industry; Bell (Sound recording label); Evans, Bob; Fine, Bob; Guercio, Joe; Headphones; History of science and technology; Lorber, Alan; Macy, Phil; Microphone; Music; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound studios.; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Segment Synopsis: [Technical difficulties occur in the interview. Please skip this segment.]

Partial Transcript: --number three now, we're going on, Bill.

Segment Synopsis: Stoddard discusses his console manufacturing business, DataMix, which eventually fell foul of the Internal Revenue Service.

Keywords: Bell Sound Studios; Clark, Gordon; Consoles (mixing); Consoles, Datamix; Datamix; Drugs; Electric Lady Studios; Elliott, Don; Equalizers; Film scoring; Fujii, Mort; Generators, click tack; Green, Irving; Hawkins, Doug; Hayes, Jack; Hendrix, Jimi (Artist); Internal Revenue Service (IRS); JBC Automation Systems; Kramer, Eddie; London (England); Mercury Records; Multi-tracking; Musical recording directors; Nathan, Syd; Outputs; Projectors; RKO Sound Studios; Record Plant, the; Recording lathes, Scully; Riverside Chapel; Stoddard, Bill; Tracks, optical; Viewlux, Inc.; Weintraub, Al

Subjects: Audio equipment industry; Bell (Sound recording label); Clark, Gordon, 1946-; Green, Irving; Hawkins, Doug.; Hendrix, Jimi.; History of science and technology; Lathes; London (England); Music; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound studios; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Weintraub, Al

Partial Transcript: But see, I was, uh, I was not, I was not, uh, a hoodie type guy.

Segment Synopsis: Stoddard discusses the hedonistic lifestyle led by many audio engineers. He describes his avoidance of drugs and his focus on audio engineering.

Keywords: Drugs; Hedonism; Musicians; Recording business; Recording studios; Sex; Stoddard, Bill

Subjects: Drugs.; History of science and technology; Music; Record labels.; Sex.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: I, uh, I just wanted to touch for second on something that, uh, that, you know, may come as a surprise to you.

Segment Synopsis: Stoddard discusses the important job of sound mixer, who he felt set the stage for creativity. He talks about his belief that audio engineers had little to do with creating hit records, but were instead there to fulfill technical requirements.

Keywords: Balance; Chantilly Lace (Song); Consoles (mixing); Day, Doris (Artist); Echoes; Faders; Francis, David "Panama"; Great Balls of Fire (Song); Hilliard, Tommy; James, Joni (Artist); Korea; Lewis, Jerry Lee (Artist); Mercury Records; Microphone; Mixing; Phillips, Sam; Racism; Recorders, tape; Recording studios; Richardson, Jiles Perry, Jr. "Big Bopper" (Artist); Shirelles, the (Artist); Smith, Eddie; Vietnam War; Washington, Dinah (Artist); What a Difference a Day Makes (Song); Whole Lotta Shakin' Goin' On (Song)

Subjects: Big Bopper, 1930-1959; Day, Doris, 1924-; Francis, Panama; History of science and technology; James, Joni.; Korea; Lewis, Jerry Lee.; Microphone; Music; Record labels.; Shirelles (Musical group); Smith, Ed.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Vietnam War, 1961-1975.; Washington, Dinah, 1924-1963

Partial Transcript: Do you know who she is?

Segment Synopsis: Stoddard discusses the impact of unions on audio recording, such as the International Brotherhood of Electrical Workers (IBEW), the National Association of Broadcast Employees and Technicians–Communications Workers of America (NABET-CWA), and the American Federation of Musicians (AFM).

Keywords: American Federation of Musicians (AFM); Bell Sound Studios; Case Western Reserve Historical Society; Case Western Reserve University; Cleveland (Ohio); Hochfelder, David; Institute of Electrical and Electronics Engineers (IEEE); International Brotherhood of Electrical Workers (IBEW); Mirror Sound Studios; National Association of Broadcast Employees and Technicians–Communications Workers of America (NABET-CWA); Overdubbing; Recorders, magnetic; Recording, magnetic; Stoddard, Bill; Unions

Subjects: Bell (Sound recording label); Case Western Reserve University; Cleveland (Ohio); History of science and technology; Institute of Electrical and Electronics Engineers; International Brotherhood of Electrical Workers; Music; National Association of Broadcast Employees and Technicians; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: And I, and I did happen to have a conversation with Eddie and I said, you know, I said, "Is she for real?"

Segment Synopsis: Stoddard discusses fellow audio engineers he knew during his career, such as Ed Smith, Emory Cook, and Rudy Van Gelder. He also talks about his personal life, including his ex-wives and family members.

Keywords: Carlisle, Bobby; Children; Cleveland (Ohio); Cook, Emory; Families; Great Northern Hotel; Jazz; Meridian Hotel; New York (N.Y.); RKO Records; Russian Tea Room; Smith, Eddie; Stoddard, Bill; Trans World Airlines; Van Gelder, Rudy; Wives

Subjects: Cleveland (Ohio); Cook, Emory, 1913-2002; Great Northern Hotel (New York, N.Y.); History of science and technology; Music; New York (N.Y.); Record labels.; Russian Tea Room.; Smith, Ed.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Trans World Airlines

Partial Transcript: Well, so, what happen to you and the recording business?

Segment Synopsis: Stoddard discusses his life after the Internal Revenue Service (IRS) closed DataMix. He talks about starting another console business and then building animation equipment and cameras.

Keywords: American Broadcasting Company (ABC); Animation; Audio Associates; Bell Sound Studios; Cameras; Cameras, animation; Cassettes; Computer Aided Design; Computers; Consoles (mixing); Consoles (recording); Consoles, Datamix; Cook, Emory; Dairy farms; Datamix; Decca Records; Drafting; Duplication, tape; Entertainment; Erhorn, Phil; Floppy discs; Hawkins, Doug; Instruments; International Revenue Service (IRS); Labeler; Labeling head; Machine shops; Mixing; Mixing, quadrant; National Recording; New York (N.Y.); Oxberry, John; Pianos; Scully, Larry; Smith, Eddie; Stoddard, Bill; Weintraub, Al

Subjects: American Broadcasting Company.; Animation (Cinematography); Audio equipment industry; Bell (Sound recording label); Computer-aided design.; Cook, Emory, 1913-2002; Decca Records (Firm); Hawkins, Doug; History of science and technology; Music; New York (N.Y.); Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound studios.; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: Do you--

Segment Synopsis: Stoddard discusses his love for the Scully recording lathe and talks about why it was beautifully designed. He then gives a technical, highly-detailed description of how records work.

Keywords: Alternating current; Berliner, Emile; Bridgeport (Conn.); Bullard Machine Tool Company; Capps, Frank L.; Casting; Coils; Cutters, feedback; Dictaphone; Electrical engineering; Frequencies; Geometry; Grooves; High frequency; High notes; LJS Manufacturing Company; Low notes; Mechanical engineering; Physics; Record manufacturing; Recording lathes, Scully; Recording lathes, mono; Recording lathes, stereo; Recording, acoustic; Recording, mono; Records, kinds of: acoustic; Records, kinds of: aluminum; Records, kinds of: lacquer; Records, kinds of: long-playing (LP) microgroove; Scully, Larry; Stereo; Stoddard, Bill; Stylus; Stylus, heated; Vectors

Subjects: Aluminum.; Audio equipment industry; Berliner, Emile, 1851-1929.; Bridgeport (Conn.).; Bullard Stereophonic sound systems.; Dictating machines.; Electrical engineering.; Geometry.; History of science and technology; Lathes; Machine Tool Company; Mechanical engineering.; Music; Physics.; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.; Stylus

Partial Transcript: You know, I mean, uh, I know that someone, this David Sarser that I interviewed and, uh, he's been I guess, doing beta testing of some kind of CD, discs, you know, writing program.

Segment Synopsis: Stoddard discusses the importance of quality in the manufacturing of recording equipment. The two then talk about their mutual fondness for comedian Stan Freberg.

Keywords: Ampex Electrical Corporation; Audio devices; Computers; Consoles (recording); Freburg, Stan (Artist); Labeling machines; Lead screws; Machine tool business; Milling machines, Bridgeport; Pitch units, variable; Recorders, tape: Ampex; Recording lathes, Scully; Sarser, David; Scully, Larry; Stan Freberg Presents the United States of America, Volume 1 (Album); Stoddard, Bill; The Purfuit of Happineff (song); Timmer, Steve

Subjects: Ampex Corporation; Audio equipment industry; Computers.; Freberg, Stan; History of science and technology; Lathes; Music; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: You know, this reminds me, did you ever work with Malcolm Addey?

Segment Synopsis: Stoddard discusses the various individuals he knew in his time as an audio engineer, such as Malcolm Addey, Bill McMeekin, and Phil Macy.

Keywords: Absolute Sound Magazine; Addey, Malcolm; Ampex Electric Corporation; Audio Engineering Society (AES); Bell Sound Studios; Brainard,Tory; Computers; Doherty, Bob; Evans, Bob; Fairchild, Sherman; Ferree, Jerry; Fine, Bob; Fine, Wilma Cozart; Gray, Michael; Gregory, Mark; Johnson, Johnny; Library of Congress; MGM Records; Macy, Phil; McMeekin, Bill; Mercury Records; Mercury Records and the Birth of High Fidelity (Book); Nola Records; Pick Sync; Piros, George; Plunkett, Donald; Putnam, Bill; Smith, Eddie; Smolian, Steve; United Recording Electronics Industries; Universal Audio; Universal Recording; Valentin, Val

Subjects: Ampex Corporation; Audio Engineering Society; Bell (Sound recording label); Computers.; Evans, Bob; Fine, Bob; History of science and technology; Library of Congress.; Macy, Phil; Metro-Goldwyn-Mayer.; Music; Putnam, Bill; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: Uh, Sherman Fairchild, of course owned, among other things, the Fairchild Recording and Instrument Company.

Segment Synopsis: Stoddard discusses the career of Sherman Fairchild, owner of the Fairchild Recording and Instrument Company, a company that made recording equipment.

Keywords: Amplifiers; Amplifiers, power; Cincinnati Milling Machine Company; Clark, Gordon; Fairchild Aerial Mapping Camera; Fairchild Recording and Instrument Company; Fine, Bob; International Business Machines (IBM); Limiters; Los Angeles (Calif.); Manhattan (New York, N.Y.); Merchant, M. Eugene; Narma, Rein; Paul, Les; Plunkett, Donald; Power supplies; Radioactive tool wear evaluation; Recorders, disc; Recorders, stereo; Recording lathes; Recording lathes, Fairchild; Recording lathes, Scully; Recording lathes, Westrex; Reed, Oliver Reed; Shockley, William; Stereo; Stoddard, Bill; Watson, Tom; Westrex

Subjects: Audio equipment industry; Cincinnati Milling Machine Company; Clark, Gordon, 1946-; History of science and technology; International Business Machines Corporation.; Los Angeles (Calif.); Manhattan (New York, N.Y.); Music; New York (N.Y.); Paul, Les.; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Watson, Tom; Westrex (Firm)