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November 03, 2009

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Doug Zielke

Marc,

As an an audiophile as well as a lover of jazz (especially in the vinyl LP format), your interview with Mr. Meyer was most interesting. Thanks to both of you!

Rab Hines

Thank you very much for this great article. This is by far one of the best music articles I've read this year.

Michael Biel

Several corrections to Andres Meyer. When he likens the matrix number of a recording to the Dewey Decimal number of a book he has misunderstood what the Dewey number is. It only identifies the category of the book, not the book. Thousands and thousands of books can have the same number. This would mean that nearly every jazz record could have the same number because most every jazz book has the same DDN with slight modifications to whether it is a history, biography, discography, etc.

He is also wrong when he describes the electroplating process as "submerge the wax disc and a metal disc in a chemical bath." The metal is part of the liquid chemical bath, not in disc form. The metal molecules are formed into a disc only when they adhere to the surface of the wax disc. They do not start with a metal disc.

There is a photo error at the description of recording on wax which is softened. The photo shows the creation of a "Flow Coat" which is melting a layer of wax onto a heated metal plate. That is a different process than what he describes, which is recording on a thick solid wex platter. Victor was using BOTH of those different systems at that time, as well as also using lacquer coated discs.

Andreas

Thank you Michael for that correction. Yes the metal particles in the bath solution electrostatically adhere to the disc - thus creating a metal part. THis process is still used today at "modern" pressing facilities.

Cheers,

Andreas

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  • Marc Myers writes on music and the arts for The Wall Street Journal. He is author of "Why Jazz Happened" (Univ. of California Press). Founded in 2007, JazzWax is a Jazz Journalists Association's "Blog of the Year" winner.
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