Interview with Clair Krepps, March 23, 1999

Partial Transcript: Okay, so, um, let's see, today is March 23rd, 1999.

Segment Synopsis: Krepps talks about growing up in a small coal mining town during the Great Depression. He then talks about how his interest in radio propelled him to a career in the Navy after the bombing of Pearl Harbor in 1941. Krepps then talks about his brother’s work on the development of radar and front-end tuners for color television sets. He also talks about developing the Link trainer to teach pilots how to fly. Krepps then talks about how his commanding officer in the Navy knew Johnny Mercer and offered him a job working at Capitol Records.

Keywords: Battleships, Iowa class; Birkenhead, Warren; Blue Box; Brothers; California; Capitol Records, Inc.; Court martials; Front-end tuners; Iowa class; Krepps, Edgar; Krepps, Leigh; Laico, Frank; Link trainers; Mercer, Johnny (Artist); Naval Research Laboratory; Navy; New York (N.Y.); Pearl Harbor (Hawaii), Attack on, 1941; Pearl Harbor bombing, 1941; Pilot Trainers; Radar; Radio; Radio, aircraft; Radio, shipboard; Recording studios; Sarkes Tarzian; South Carolina; Sumerland; Sunbury (Pa.); Television; Transcriptions; Uniontown (Pa.); United States Navy; Washington (D.C.).; World War II

Subjects: Armed Forces; Battleships.; Brothers; California; Capitol Records, Inc; History of science and technology; Iowa Class (Battleships); Link trainers; Mercer, Johnny, 1909-1976.; Music; Naval Research Laboratory (John C. Stennis Space Center); New York (N.Y.); Pearl Harbor (Hawaii), Attack on, 1941.; Radar.; Radio; Record labels.; Sarkes Tarzian, Inc.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; South Carolina; Sunbury (Pa.); Television; Uniontown (Northumberland County, Pa.); Washington (D.C.); World War, 1939-1945

Partial Transcript: Now, were they--did Capitol start in '42, was it?

Segment Synopsis: Krepps talks about the founding of Capitol Records in the mid-1940s. He then talks about the recording studios that Capitol Records utilized before building its own recording studio. Schmidt Horning and Krepps also talk about people she should speak to for her dissertation. Clair then talks about the origin of his name.

Keywords: A&R (artist and repertoire); A&R department; Addey, Malcolm; American Revolutionary War; Bell Sound Studios; Bryant, Harry; California; Capitol Records; Hearing loss; Magnetic Recorders; Miller, Bill; Ohio territory; Radio Recorders; Ranilucci, Jay; Smith, Eddie; St. Clair, Arthur; Washington, George

Subjects: Addey, Malcolm; Bell (Sound recording label); Bryant, Harry; California; Capitol Records, Inc; Hearing impaired.; History of science and technology; Miller, Bill; Music; Record labels.; Smith, Ed; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; St. Clair, Arthur; St. Clair, Arthur, 1734-1818.; Washington, George, 1732-1799.

Partial Transcript: Okay--

Segment Synopsis: Krepps talks about designing the mastering room for Capitol Records, which later became its recording studio. He also talks about recording Nat King Cole’s classic, 'The Christmas Song,' which he felt was not approved of by the public because it was written by a Jewish man and sung by an African American man. The two then talk about the difference between recording lathes and record cutters, which are technically two different machines comprised in one unit. Krepps also talks about how Capitol Records utilized a radio line to communicate between the mastering room and the recording studio. Krepps tells the story of how record executive Johnny Mercer discovered Nat King Cole. Krepps then talks about the lack of African American audio engineers.

Keywords: African Americans; Amplifiers; Broadcasting studios; California; Capitol Records; Capitol Records, Inc.; Christmas Song (Song); Cole, Nat “King”; Cole, Nat “King” (Artist); Columbia Records, Inc.; Hall, Ray; King Cole Trio, the; Mastering rooms; Mercer, Johnny; Microphones; Miller, Johnny (Artist); Monaural; Mono; Moore, Oscar (Artist); New York (N.Y.); RCA Records; Racism; Radio lines; Radio studios; Record cutters; Recording lathes; Recording lathes, Scully; Recording studios; Records, kinds of: lacquer masters; Research and development; Route 66 (Song); Savory, Bill; Savory, William; Speakers; Stereo; Stereophonic; Summerlin, Ollie; Torme, Mel; WMCA (Radio station)

Subjects: African Americans; California; Capitol Records, Inc.; Cole, Nat; Cole, Nat King, 1919-1965; Columbia Records, Inc.; Hall, Ray; History of science and technology; King Cole Trio; Loudspeakers; Mercer, Johnny, 1909-1976.; Microphone; Miller, Johnny; Moore, Oscar; Music; New York (N.Y.); RCA Records; Racism; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stereophonic sound systems.; Tormé, Mel, 1925-1999; WMCA (Radio station : New York, N.Y.)

Partial Transcript: Um, so, but, but you felt valued at, at where you were, at Capitol.

Segment Synopsis: Krepps recalls how his military experience helped train him for a career in the recording business. He then talks about how Al Pulley and Bill Bachman helped train him in audio engineering.

Keywords: Bachman, William; Capitol Records; Columbia Records, Inc.; Experience; Hall, Ray; Miller, Bill; Pulley, Al; RCA Records; RCA Victor Records; Recording; Responsibilities; Savory, William; Training

Subjects: Capitol Records, Inc.; Columbia Records, Inc.; Hall, Ray; History of science and technology; Miller, Bill; Music; RCA Records; RCA-Victor Company, inc.; Record labels.; Responsibility.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Training.

Partial Transcript: Susan, let me tell you, we formed an organization in New York called the New York Sapphire Club.

Segment Synopsis: Krepps talks about the formation of the Sapphire Club, a group of audio engineers that met to discuss ideas and trade materials during World War II. He then talks about how the group transformed into the Audio Engineering Society (AES), which was primarily formed as an answer to the Institute of Electrical and Electronics Engineers (IEEE). Krepps also talks about how he was the second governor of the Audio Engineering Society in 1948. Krepps talks about the Frank L. Capps Company, makers of recording styli.

Keywords: Audio Engineering Society (AES); Bachman, William; Capps; Capps, Frank L.; Capps, Isabelle; Entertainment business; Frank L. Capps Company; Institute of Electrical and Electronics Engineers (IEEE); Japanese; LeBel, C.J.; Marcucci, Dick; Massachusetts Institute of Technology; New York Athletic Club; Pulley, Al; Pultec; RCA Records; Rose, Wally; Ruby; Sapphire; Sapphire Club; Sapphire Group; Styli; Stylus; Wives

Subjects: Bachman, William S.; History of science and technology; Institute of Electrical and Electronics Engineers; Japanese.; Massachusetts Institute of Technology.; Music; New York Athletic Club; RCA Records; Record labels.; Rose, Wally; Ruby; Sapphire; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stylus; Wives

Partial Transcript: Was it still, uh, a kind of an informal--

Segment Synopsis: Krepps talks about secrecy in the recording business, using an example from his career of Joni James’ song, ‘Why Don’t You Believe Me?’ He then talks about how certain recording studios were better for recording different genres of music.

Keywords: Competition; Dowd, Tom; James, Joni (Artist); Popular music; Recording business; Recording studios; Secrecy; Why Don’t You Believe Me (Song)

Subjects: Competition.; Dowd, Tom; Dowd, Tom, 1925-2002; History of science and technology; James, Joni.; Music; Popular music; Record labels.; Secrecy.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: Um, but let's, yeah let's go, let's go back to--that's kind of a side issue and we'll pick it up later, 'cause I want to hear about, your--you know, we'll get to when you work at MGM as well.

Segment Synopsis: Krepps talks about how he made the master discs for record pressing for Capitol Records. He then talks about the development of long-playing records.

Keywords: California; Capitol Records, Inc.; Cole, Nat “King” (Artist); Columbia Records; Engstrom, Norma Deloris “Peggy Lee” (Artist); MGM Records; Mastering; Mercer, Johnny (Artist); RCA Records; Radio stations; Record Pressing; Recording tape; Records, kinds of: Lacquer masters; Records, kinds of: long-playing (LP); Scranton (Pa.); Stafford, Jo (Artist); War of the Speeds; Whiting, Margaret (Artist)

Subjects: California; Capitol Records, Inc; Cole, Nat King, 1919-1965; History of science and technology; MGM Records.; Mercer, Johnny, 1909-1976.; Music; Radio stations.; Record labels.; Scranton (Pa.).; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stafford, Jo; Whiting, Margaret

Partial Transcript: W--I mean, that's something that's interesting, though, because I know that the people at Columbia that were involved in that process...

Segment Synopsis: Krepps talks about the war of the speeds, in which Columbia Records tried to set the 33-1/3 RPM record as the standard versus the 45 RPM record that was endorsed by RCA Victor Records. Krepps played a defining part in settling the matter, after extensive courting from both sides. He also talks about how colors were used to denote the musical genres recorded on records. Finally, Krepps talks about record changers.

Keywords: Bachman, William; California; Capitol Records; Classical music; Cole, Nat “King” (Artist); Colors; Columbia Records, Inc.; Engstrom, Norma Deloris “Peggy Lee” (Artist); Kenton, Stan (Artist); Labels; Mercer, Johnny (Artist); Musical genres; New York (N.Y.); Pick-ups, crystal; Pick-ups, magnetic; Pulley, Al; RCA Records; RCA Victor Records; Record changers; Records, kinds of: 33.3 rpm seven-inch; Records, kinds of: 45 rpm seven-inch; Records, kinds of: 78 rpm ten-inch; Records, kinds of: 78 rpm twelve-inch; Records, kinds of: ten-inch long-playing (LP); Records, kinds of: twelve-inch long-playing (LP); Stafford, Jo (Artist); War of the speeds; Whiting, Margaret (Artist)

Subjects: Bachman, William S.; California; Capitol Records, Inc.; Cole, Nat King, 1919-1965; Colors; Columbia Records, Inc.; History of science and technology; Kenton, Stan; Mercer, Johnny, 1909-1976.; Music; New York (N.Y.); RCA Records; RCA-Victor Company, inc.; Record labels; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stafford, Jo; Whiting, Margaret

Partial Transcript: Now, a little history on the LP record.

Segment Synopsis: Krepps talks about the development of radio transcription discs in the 1920s, which started as a way to do air checks. Radio transcription discs were refined into what eventually became long-playing records. Krepps then talks about heated recording styluses and a type of pick-up that was developed to make long-playing records. Schmidt Horning then talks about how Dr. Peter Goldmark is credited with inventing the long-playing record, when it was actually developed by William Bachman.

Keywords: Bachman, William; Call letters; Columbia Records, Inc.; Discs, transcription; Goldmark, Peter; Microgrooves; Radio; Radio transcriptions; Recording, acoustic; Recording, electric; Records, kinds of: 33.3 rpm sixteen-inch; Records, kinds of: 78 rpm twelve-inch; Records, kinds of: long-playing (LP); Records, kinds of: long-playing (LP) microgroove; Savory, William; Stylus; Stylus, cutting; Transcription discs; Wallerstein, Ted

Subjects: Bachman, William S.; Columbia Records, Inc.; Goldmark, Peter, 1906-1977; History of science and technology; Music; Radio; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stylus

Partial Transcript: See, in those days, every recording lathe--(coughs)--this is, every recording lathe had two speeds.

Segment Synopsis: Krepps explains the meaning of the term ‘pitch’ in the context of record speeds. He also discusses the use of various record speeds. He then talks about 'Hark! The Years!,' an album of celebrities recorded on wax cylinder recordings from the 1890s.

Keywords: Books, talking for the blind; Capitol Records; Charge of the Light Brigade; Classical music; Columbia Records; Columbia Records, Inc.; Edison, Thomas; Ford, Henry; Grooves; Hark! The Years! (Album); Hoover, Herbert; I Can Hear It Now (Album); March, Frederic; McKinley, William; Nat Shilkrit Orchestra; Nightingale, Florence; Popular music; RCA Records; Record pitches; Record speeds; Recording lathes, Scully; Recording tape; Recording, digital; Records; Records, kinds of: 16 2/3 rpm; Records, kinds of: 16 rpm; Records, kinds of: 33.3 rpm long-playing (LP) microgroove; Records, kinds of: 33.3 rpm sixteen-inch; Records, kinds of: 33.3 rpm twelve-inch; Records, kinds of: 78 rpm ten-inch; Records, kinds of: long-playing (LP) microgroove; Records, kinds of: wax cylinders; Rereleases; Rereleasing; Roosevelt, Theodore; Scott, Howard; Talking books; Talking books for the blind; Variable pitch; Websites

Subjects: Capitol Records; Columbia Records; Columbia Records, Inc.; Edison, Thomas A. (Thomas Alva), 1847-1931.; Ford, Henry; History of science and technology; Hoover, Herbert, 1874-1964.; March, Frederic; McKinley, William; McKinley, William, 1834-1918; McKinley, William, 1843-1901.; Music; Nightingale, Florence, 1820-1910.; Popular music; RCA Records; Record labels.; Roosevelt, Theodore; Roosevelt, Theodore, 1831-1878; Roosevelt, Theodore, 1858-1919.; Scott, Howard; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Talking books.

Partial Transcript: Uh-huh, okay. Wow, that sounds great.

Segment Synopsis: Krepps talks about the rivalry that existed between New York (N.Y.) and California. He then talks about how the city of Wheeling (W.Va.) missed out on being the capital of country music in the United States. Krepps also talks about his experience at the Grand Ole Opry in Nashville (Tenn.), where he attempted to gain access to recordings done by Hank Williams, Sr.

Keywords: Broadcasting studios; California; Capitol Records; Country music; Film industry; Grand Ole Opry; Jazz; Jazz music; MGM Records; Motion picture industry; Motion pictures; Movie industry; Nashville (Tenn.); New York (N.Y.); Radio; Radio Recorders; Recording studios; Rock music; Rock ’n’ roll; Smith, Bessie (Artist); WWVA (Radio station); Walker, Frank; Western swing music; Wheeling (W.Va.); Wheeling Jamboree (Radio program); Williams, Hank, Sr. (Artist)

Subjects: California; Capitol Records, Inc.; Country music.; Grand ole opry (Radio program); History of science and technology; Jazz.; MGM Records; Motion pictures; Music; New York (N.Y.); Radio; Record labels.; Rock music; Smith, Bessie; Smith, Bessie, 1894-1937.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; WWVA (Radio station : Wheeling, W. Va.); Walker, Frank; Western swing (Music); Wheeling (W. Va.); Williams, Hank, 1923-1953.

Partial Transcript: So when you worked, um--well maybe we should--maybe, in order to, uh, get to this and do it properly, we should just take you from Columbia to MGM.

Segment Synopsis: Krepps talks about leaving Capitol Records for MGM Records at the behest of Frank Walker. He also talks about how Walker played an instrumental part in American politics.

Keywords: Capitol Records; Columbia Records, Inc.; Columbia University; Democrats; Eisenhower, Dwight David; Farley, Jim; Governors; Hoover, Herbert; Kennedy, John F.; Lomax, Alan; MGM Records; Mastering rooms; New York; RCA Records; RCA Victor Records; Recording, on location; Recording, remote; Republicans; Roosevelt, Franklin; Salaries; Smith, Al; Smith, Bessie; Walker, Frank

Subjects: Capitol Records, Inc.; Columbia Records, Inc.; Columbia University; Democratic Party (U.S.); Eisenhower, Dwight D. (Dwight David), 1890-1969.; Farley, James A.; Governors; History of science and technology; Hoover, Herbert, 1874-1964.; Kennedy, John F.; Kennedy, John F. (John Fitzgerald), 1917-1963.; Lomax, Alan, 1915-2002.; MGM Records; Music; New York; RCA Records; RCA-Victor Company, inc.; Record labels.; Republican Party (U.S.); Roosevelt, Franklin D. (Franklin Delano), 1882-1945.; Salaries; Smith, Alfred Emanuel, 1873-1944.; Smith, Bessie; Smith, Bessie, 1894-1937.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Walker, Frank

Partial Transcript: I had the same experience. When I was with Capitol Records, I toured the south with the hillbilly Tex Ritter.

Segment Synopsis: Krepps talks about looking for talent in the American south with Tex Ritter. He then talks about audio engineers not receiving credit on the albums they record; however, he allowed his name to be credited on Duke Ellington’s album ‘70th Birthday Concert.’

Keywords: 70th Birthday Concert (Album); African Americans; Alabama; Bowling Green State University; Butler, George; California; Capitol Records; Columbia University; Ellington, Edward Kennedy "Duke" (Artist); Georgia; Hark! The Years! (Album); I Believe (Song); Laine, Frankie (Artist); March, Frederic; New Orleans (La.); Nuclear warfare; Phillips, Sam; Presley, Elvis (Artist); Recording, on location; Recording, remote; Ritter, Woodward “Tex” (Artist); Shilkrit, Nathaniel; Talent scouts; United Artists Corporation

Subjects: African Americans; Alabama; Bowling Green State University; Butler, George; California; Capitol Records, Inc.; Columbia University; Ellington, Duke, 1899-1974.; Georgia; History of science and technology; Laine, Frankie, 1913-2007; March, Frederic; Music; New Orleans (La.); Nuclear warfare.; Phillips, Sam.; Presley, Elvis, 1935-1977.; Record labels.; Ritter, Tex; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Talent scouts; United Artists Corporation.

Partial Transcript: Alright, so tell me about, uh, working for MGM.

Segment Synopsis: Krepps discusses his salary at Capitol Records. He also talks about his move to MGM Records. He talks about the location of the recording studio and mastering room. Krepps also talks about his refusal to join a union. Krepps talks about his busy schedule as the chief engineer at MGM Records.

Keywords: Benefits; Bergenfield (N.J.); Capitol Records; Chief engineers; Columbia Records, Inc.; Commutes; Commuting; Joel, Irv; MGM Records; Mastering; New Jersey; Overtime; RCA Records; Records, kind of: Vinyl masters; Salary; Tin Pan Alley songs; Unions; WMGM (Radio station); Walker, Frank

Subjects: Bergenfield (N.J.); Capitol Records, Inc.; Columbia Records, Inc.; Commuting; History of science and technology; MGM Records; Music; New Jersey; Overtime; RCA Records; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; WMGM (Radio station : New York, N.Y.); Walker, Frank

Partial Transcript: Um, hmm, okay, let me just think here, uh.

Segment Synopsis: Krepps talks about his work in advertising, as well as editing sound for NBC Nightly News. He then talks about violinist and audio engineer Enoch Light, who made cheap covers of popular songs. Krepps talks about the locations of MGM Records recording studios. He also lists the artists who were signed by MGM Records, such as Connie Francis and Joni James.

Keywords: Advertisements; Advertising; Ampex Electric Corporation; Animals, the (Artist); Barnett, Johnnie(Artist); Barnum and Bailey Circus Band (Artist); Brinkley, David; California; Charmaine (Song); Eckstine, Billy (Artist); Eisenhower, Dwight David; Feldman, Saul “Shep Fields”; Franconero, Concetta “Connie Francis” (Artist); Friedman, Harry “Blue Baron” (Artist); Garber, Jan (Artist); Gillespie, John Birks “Dizzy” (Artist); Gillette; Gillette Marching Band (Artist); Gleason, John “Jackie”; Hampton, Lionel (Artist); Herman, Woodrow “Woody” (Artist); Holmes, LeRoy; Huntley, Chester “Chet”; India; James, Joni (Artist); Japan; Jerome, Henry (Artist); Light, Enoch (Artist); Lipstick on Your Collar (Song); MGM Records; Mantovani Orchestra; NBC Nightly News (Television program); Pathé; Smith, Kate (Artist); Vallée, Hubert “Rudy” (Artist); WMGM (Radio station)

Subjects: Advertising; Ampex Electric Corporation; Animals (Musical group); Barnett, Jonnie, 1945-2002.; Brinkley, David.; California; Eckstine, Billy.; Eisenhower, Dwight D. (Dwight David), 1890-1969.; Fields, Shep; Francis, Connie; Friedman, Harry; Garber, Jan; Gillespie, Dizzy, 1917-1993; Gillette Company.; Gleason, Jackie, 1916-1987; Hampton, Lionel; Herman, Woody, 1913-1987; History of science and technology; Holmes, Leroy, 1913-1986; Huntley, Chet, 1911-1974.; India; James, Joni.; Japan; Jerome, Henry; Light, Enoch, 1905-1978; MGM Records; Mantovani Orchestra; Music; NBC nightly news (Television program); Pathé Entertainment (Firm); Record labels.; Smith, Kate, 1907-1986.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Vallee, Rudy; Vallée, Rudy, 1901-1986; WMGM (Radio station : New York, N.Y.)

Partial Transcript: Was there room in this studio for you to get the whole band in, I mean, did you, did you always--

Segment Synopsis: Krepps describes a recording session at MGM Records. He then describes the cooperative nature of recording sessions and goes into detail regarding the audio recording equipment available at the time, such as RCA mixing consoles and Pultec compressors. Krepps then talks about how MGM Records used a bathroom as an echo chamber. The two then talk about acoustics in recording studios. Krepps then talks about how an EMT plate works.

Keywords: Balance; Band leaders; Columbia Records, Inc.; Compressors, Pultec; Concert halls; Consoles (mixing); Consoles (mixing), RCA; Consoles (recording); Consoles, RCA; EMT plates; EMT reverb chambers; Echo (reverberation) chambers; Echoes; Eddy, Duane (Artist); Egstrom, Norma Deloris “Peggy Lee” (Artist); Electromesstechnik (EMT); Elektromesstechnik; It’s a Good Day (Song); Kenton, Stan; MGM Records; Mastering; Mercer, Johnny (Artist); Microphones; Miller, Nick; Music producers; Phoenix (Ariz.); Pultec; Radio; Radio programs; Recording studios; Recording studios, dead; Rehearsals; Reverberation; Song of the South (Motion picture); Speakers; Stairwells; Storage tanks; Tanks

Subjects: Columbia Records, Inc.; Eddy, Duane; History of science and technology; Kenton, Stan; MGM Records; Mercer, Johnny, 1909-1976.; Microphone; Miller, Nick; Music; Phoenix (Ariz.); Radio; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: I mean, she's been--I, I, I have a friend who used to do, um, he was a copyist out in L.A., before, I guess they no longer have copyists, but he worked with Pete Rugolo and I--

Segment Synopsis: Krepps tells the story of recording singer Peggy Lee with the Stan Kenton Orchestra. He also talks about buying a Neumann microphone from a German man. He then talks about teaching himself music by listening to records.

Keywords: 20th Century Limited; Bergenfield (N.J.); Broadway show tunes; Capitol Records; Cunow; Egstrom, Norma Deloris “Peggy Lee” (Artist); Joel, Irv; MGM Records; Microphones (models): Neumann U47; Microphones (models): Telefunken; Microphones, omnidirectional; Mister Wonderful (Song); Music producers; Neumann; New York (N.Y.); Rivers, Walter; Rugolo, Pietro “Pete” (Artist); Sinatra, Frank (Artist); Stan Kenton Orchestra (Artist); Telefunken; Timmer, Steve

Subjects: Bergenfield (N.J.); Capitol Records, Inc.; History of science and technology; Lee, Peggy; Lee, Peggy, 1920-2002.; MGM Records; Microphone; Music; Neumann; New York (N.Y.); Record labels.; Rivers, Walter Guy, 1934-; Rugolo, Pete, 1915-2011; Sinatra, Frank, 1907-; Sinatra, Frank, 1915-1998.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Stan Kenton Orchestra

Partial Transcript: When you--so you worked up through '57 at MGM? Where did you go after that?

Segment Synopsis: Krepps discusses a joint venture with audio engineer Emory Cook to start a record pressing plant in Puerto Rico. He talks about fellow audio engineer John O’Sullivan,with whom he started the business, who started out as an engineer for Paper Mate. Ultimately, the business failed.

Keywords: British Army; Burma; Cook, Emory; Eversharp; Frawley, Patrick; Heart attacks; Los Angeles (Calif.); O’Sullivan, John; Paper Mate; Ponce (P.R.); Pressing plants; Puerto Rico; Record pressing; Record pressing plants; Scully, Larry; Tax exemptions

Subjects: Burma; Cook, Emory, 1913-2002; History of science and technology; Los Angeles (Calif.); Music; Puerto Rico; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History

Partial Transcript: So what--did you, did you continue to work with them at all after that? What did you do next?

Segment Synopsis: Krepps talks about founding Knickerbocker Sound Studios and Mayfair Recording. He also talks about hiring audio engineer Eddie Smith. He then lists the other recording studios in New York (N.Y.). Krepps also talks about his clients at Mayfair Recording and his plan to pay audio engineers a percentage of the profits of the songs that they recorded.

Keywords: Advertising; Advertising agencies; American Hotel; Bell Sound Studios; Fine Recording; Fine, Bob; Kellgren, Gary; Knickerbocker Sound Studios; MGM Records; Mastering; Mayfair Recording; Mira Sound; New York (N.Y.); Record Factory, the; Smith, Eddie; United Artists

Subjects: Advertising; Advertising agencies; American Hotel; Bell (Sound recording label); Fine, Bob; History of science and technology; MGM Records; Music; New York (N.Y.); Record labels.; Smith, Ed; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; United Artists Corporation

Partial Transcript: It was the first eight track studio in New York.

Segment Synopsis: Krepps claims that he had the first 8-track tape recorder in New York (N.Y.). He then talks about his friend, Les Paul. He then talks about ordering Ampex 200 tape recorders for Capitol Records in 1949. Krepps also talks about mastering Paul’s classic song, 'Lover.'

Keywords: Ampex Electric Corporation; Atlantic Records; Bechet, Sidney (Artist); Blue Network; Brazil (Song); Capitol Records; Crosby Enterprises; Dowd, Tom; Fairchild, Sherman; Ford, Mary; Indiana; Krepps, Edgar; Lover (Song); Magnetophon; Magnétophone; Multi-tracking; Narma, Rein; Paul, Gene; Paul, Les; RCA Records; Recorders, tape (models): Ampex 200; Recorders, tape (models): Ampex 8-track; Recording lathes, Fairchild; Recordings, multiple disc; Tape recorders, 8-track; World War II

Subjects: Ampex Electric Corporation; Bechet, Sidney, 1897-1959.; Capitol Records; Dowd, Tom; Dowd, Tom, 1925-2002; Fairchild, Sherman M., 1896-1971; Ford, Mary; History of science and technology; Indiana; Magnétophone; Music; Paul, Gene; Paul, Les; RCA Records; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; World War, 1939-1945

Partial Transcript: Susan, when we were doing this, this is hard for people, young people to understand, the people we worked for, producers, musicians, they thought we were a bunch of nuts to improve the sound of a phonograph record.

Segment Synopsis: Krepps talks about the creation of the Audio Engineering Society (AES), which sought to improve the quality of phonograph records. He then talks about how the Japanese economic recovery after World War II influenced the production of audio devices.

Keywords: Amplifiers; Amplifiers, Alter Lansing; Audio Engineering Society (AES); Edison, Thomas; General Electric; Germany; High-fidelity sound systems; Japan; Music producers; Musicians; Phonographs; Playback curve; RCA Corporation; RIAA curve; Radio; Radios, transistor; Record Industry Association of America (RIAA); Recording curve; Sapphire Club; Sapphire Group; Speakers; Speakers, Alter Lansing; Time Warner; Time Warner Entertainment Company; Transistor radios; Westinghouse; Westinghouse Electric & Manufacturing Company

Subjects: Audio Engineering Society; Edison, Thomas A. (Thomas Alva), 1847-1931.; General Electric Company.; Germany; History of science and technology; Japan; Music; Musicians; Phonograph turntables; Radio; Record Industry Association of America; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Time Warner Entertainment Company; Westinghouse Electric & Manufacturing Company.

Partial Transcript: When was the curve developed? Established?

Segment Synopsis: Krepps then discusses the RIAA recording curve, which helped playback volume. He then tells a story about how he made the loudest record ever made, Manfred Mann’s 'Do Wah Diddy Diddy.'

Keywords: Compression; Do Wah Diddy Diddy (Song); Equalizers; Exciters, the (Artist); Manfred Mann (Artist); Mastering; Playback curve; RIAA curve; Record Industry Association of America (RIAA); Recording curve; Records, kinds of:45 rpm seven-inch; Tell Him (Song); United Artists; Volume

Subjects: History of science and technology; Manfred Mann (Musical group); Music; Record Industry Association of America; Record labels.; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; United Artists Corporation; Volume

Partial Transcript: Um, so, really a mastering was a really crucial step--

Segment Synopsis: Krepps talks about the importance of mastering records. He then talks about training Frank Abbey, who became the head engineer at Capitol Records. He then talks about his businesses, Knickerbocker Sound Studios and Mayfair Recording. Krepps also talks about building a custom console for his recording studios.

Keywords: Abbey, Frank; Amplifiers; Capitol Records; Consoles (mixing); Knickerbocker Sound Studios; Krepps, Edgar; Mastering; Mayfair Recording; New York (N.Y.); Recorders, tape (models): Ampex 300 monophonic; Recording; Training

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

Partial Transcript: Um, do you know, uh, an engineer in Cleveland, by any chance, named Ken Hamann?

Segment Synopsis: Krepps talks about recording polka musician Frank Yankovic at Cleveland Recording in Cleveland (Ohio). He talks about working with Bill Putnam at Universal Recording. He then talks about the aims of the Audio Engineering Society (AES).

Keywords: Audio Engineering Society (AES); Bell Sound Studios; Bryant, Harry; Capitol Records; Cincinnati (Ohio); Cleveland (Ohio); Cleveland Recording; Columbia Records, Inc.; Education; Frank L. Capps Company; Hamann, Kenneth Richard; High fidelity; Miller, Bill; Polka music; Putnam, Bill; Radio Recorders; Sapphire Club; Schmitt, Al; Smith, Eddie; Stoddard, Bill; Universal Recording; Yankovic, Frank (Artist)

Subjects: Audio Engineering Society; Bryant, Harry; Capitol Records, Inc.; Cincinnati (Ohio); Cleveland (Ohio); Columbia Records, Inc.; High-fidelity sound systems.; History of science and technology; Miller, Bill; Music; Polka music; Putnam, Bill; Record labels.; Schmitt, Al; Smith, Ed; Sound recording industry; Sound recording industry--History; Sound recordings; Sound--Recording and reproducing; Sound--Recording and reproducing--History; Yankovic, Frank