Grooves in the Mist – A Vinyl Memoir, Part II
Earlier in this backward glance, I tried to revive a feeling of what it might have been like to have a phonograph in one's life. Looking over it, a reader may sense that the 78rpm record was a fragile blessing at best, while perhaps understanding why even today a child would appreciate it. We left off in the early 1960s, where, one might suppose, the advent of the stereo LP solved everything! By then, I had decent quality electronics, and even the admiration of screech resistant female ears.
This isn't to say I was always so terribly thrilled with the outcomes, myself. The great curse of the phonograph, of course, was its tracking ability, surface noise and distortion. It was one thing to chisel a groove, another for your needle to follow it. Recordings were quite dynamically limited in those days, but even so, the Empire 108 cartridge simply would not track, even at 3 grams pressure, the first tutti in Klemperer's Philharmonia Schumann Fourth. It wasn't until 1963 and the Empire 880, that a cartridge could be expected to follow every groove. I was fairly happy with the bass performance of my Lafayette speakers, though. That year Charles Munch's famous recording of the Saint-Saens "Organ" Symphony on RCA was very much a sonic standard, and I was happy to note I could hear the 32cycle organ pedal tones in the slow movement.