Recorded in Webster Hall, New York City. Produced by Ethel Gabriel Recording Engineer: Ernest Oelrich Mastering: Richard B. Gardner. Released in February of 1961

Story of the album: Congratulations for being one of the first to have Stereo Action! No doubt musical excitement is your ticket, and your the kind who likes to sit up and do some two-eared listening. Dynamica is probably the most action-filled music since Nero’s famous fiddle solo.

The man who puts the dynamite in Dynamica is arranger-conductor Ray Martin who, until 1957 when he took up residence in the U.S.A., was one of Britain’s top music personalities in the field of records, TV and motion pictures. To Ray music is action. Now, through the medium of Stereo Action, he’s found an even wider scope for his unusual and imaginative scoring.

Each tune in this album was specially chosen on the basis of how well it would lend itself to two-speaker motion. Then the arrangements were plotted with the care and split-second precision of a master choreographer creating a new ballet. The actual recording sessions were a "Summit Conference"—a happy collaboration by Martin, an orchestra composed of New York’s finest sidemen, the superb Engineering staff and the Artist and Repertoire staff of RCA Victor. This is one summit conference that really came off.

Marty Gold: It’s Magic, RCA Victor LSA-2290
(Did You Ever See a Dream Walking?, Little Sir Echo, Shuffle Off to Buffalo, The Trolley Song, It’s Magic, That Old Black Magic, High on a Windy Hill, Magic is the Moonlight, Witchcraft, Old Devil Moon, Out of Nowhere, I’ve Got the World on a String)

Recorded in Webster Hall, New York City. Produced by Herman Diaz, Jr.

Recording Engineer: Bob Simpson. Mastering: Richard B. Gardner. Released in February 1961

Story of the album: There’s more to the title of this album than the name of the pretty song that opens it. Sorcery is present in the shifting sounds and moods that unfold in Stereo Action as song after song spins by.

But this set is more than a collection of amazing Stereo Action effects set to music. It’s an album with rich musical content, played by Marty Gold and his big orchestra. Marty is no witch on a broomstick; but he is a musical magician with a sleeveful of tricks.

Full use was made by Marty of the dazzling potential of Stereo Action, as well as the wide range of colors and emotions available in his orchestra. The songs in the program are a beguiling lot of standards, each—in its own way—a whiz of a wizard.

And with this album it is safe to say that Marty Gold may one day become known as The Flying Sorcerer. Listen, and you’ll discover that his feet hardly ever touch the ground.

Dick Schory: Runnin’ Wild, RCA Victor LSA-2306
(Brass Jockeys, Me and My Shadow, Portrait in Jazz, Mama’s Gone, Goodbye, But Not for Me, Love for Sale, Runnin’ Wild, Lazy Bones, Down Home Rag, Greensleeves, Bully, Thou Swell).

Recorded in Orchestra Hall, Chicago. Produced by Marty Gold

Recording Engineer: Bob Simpson. Mastering: Richard B Gardner. Released in March 1961.

Comments on the Recording Session: About 1900, in Chicago, the more powerful members of society got together and cajoled each other into raising the necessary funds for a building to house the Chicago Symphony. They could not know then that Chicago’s Orchestra Hall would become one of this country’s few perfect recording halls. RCA Victor takes full advantage of what the Hall offers in recording Fritz Reiner and the Chicago Symphony and the wild sounds of Dick Schory.

With the first electronic recordings, sensitive equipment and near-perfect microphones (specifically with the magnetic tape recorder and LP record) the recording engineer began to develop an awareness of what he termed "room sounds." These are a blend of the direct sounds from performers, and the reverberant sound energy in the Hall (sounds reflected from surrounding walls which return to the microphone within specific time lapses). Of course, the engineer still couldn’t get the feeling of spatial dimension on the monophonic recording, because no matter how perfect the engineering work was the ear wasn’t fooled. When stereophonic sound replaced the existing monophonic sound with first one, then other simultaneous hi-fi recording channels, the illusion of dimension was accomplished. The human hearing system then could enjoy the illusion of depth dimension and acoustical reality. This is not intended to imply that two or three-channel stereophonic sound played back in your own home is better than the concert’s live sound; it only suggests, ever so slightly, that to the writer stereophonic sound is more enjoyable.

There aren’t any hard and fast rules about which stereo recording you should prefer. They range in content from the two-channel monophonic sound with ultimate separation and "Ping Pong" to the more natural sound, which spreads the instruments between speakers and gives the illusion of depth from behind each speaker, as if it were to spread across the wall. This depth dimension is offered by the exceptional acoustics of Orchestra Hall and sets Schory’s recordings apart from other current "Spectacular Sound" albums. In all of his previous recordings—Music for Bang, Baa-room and Harp (LPM/LSP-1866), Percussion! (From Melody to Madness)—Music to Break Any Mood (LPM/LSP-2125) and Wild Percussion and Horns A’Plenty (LPM/LSP-2289)—Schory has taken full advantage of this important acoustical element.

STEREO ACTION is a conscious and deliberate effort to set music in motion by actually moving the sound of various instruments from one speaker to the other, and at times suspending it in the space between. It can smoothly float or excitingly sweep a solo instrument or group of instruments across the room before you. This pioneering adventure of "music in motion" is the result of extensive experiments and technical developments by a corps of RCA Victor personnel.

Musical motion is first conceived by the composer or arranger. He must score every note of his music with Stereo Action in mind, as if it was the musical voice of an instrument. An elaborate system of charting each and every instrument for proper stereo placement guides the scoring itself. A companion series of schematic diagrams for the physical placement of instruments and microphones are developed for each selection.

The stage of Orchestra Hall, which comfortably accommodates the full Chicago Symphony Orchestra, is a jam-packed maze of two truckloads of brass and percussion instruments, 23 musicians, microphones and other recording gear. Conductor Dick Schory is perched high on his podium in full command of the musical activities. Deep down under the stage, producer Marty Gold works wonders in coordinating musicians, sound men, engineers, stagehands and people running for coffee.

Engineer Bob Simpson is seated at the controls of his specially built twelve position three-channel mixing console. A new passive phantom mixer designed by Joe Wells offers an additional channel providing four more microphone inputs for the new feats of Stereo Action. Two Ampex 300-3 three-channel tape recorders manned by technician Ronnie Steele are set in operation to faithfully preserve the musical scores. Three-channel Altec audio monitoring equipment guides the control room activities.

In order for Bob Simpson to have full facility of the fine room sound of Orchestra Hall, Telefunken U74m’s condenser microphones—and one U49—are placed high out over the tenth row with 360 degree pattern set. The rhythm section is tightly placed in center stage and covered by three RCA 77DX ribbon mikes. The section feeding the center channel and the phantom circuit uses one or more Telefunken KM56 condenser mikes, depending on instrumentation. The lead guitar, in various positions for different selections, is close miked with an RCA 77DX ribbon. The various percussion instruments are covered by additional Telefunken KM56’s, with rhythm drums covered by a Telefunken 201. The harp was covered by a Telefunken KM54, because of its effective pickup pattern. In all, a multiple mike setup employing 16 mikes is used.

Now, the only way to demonstrate how all this complicated array of talent and technical devices produces a recording you want to hear is to listen. This recording is a superior accomplishment of musical composition and engineering skill, all for the purpose of giving you entertainment through "the sound your eyes can follow."

Robert Oaks Jordan

Vic Schoen: Brass Laced With Strings, RCA Victor LSA-2344
(Love for Sale, Summertime, Lover, Come Back to Me/Lover, Lonely Town, Trees, By Myself, Easy to Love, Let’s Take the Long Way Home, Hello, Young Lovers, Without a Song, Glad to Be Unhappy, And the Band Played On.)

Recorded at RCA Victor’s Music Center of the World, Hollywood, California. Produced by Lee Shapiro. Recording Engineer: Al Schmitt. Assistant Engineer: Dave Hassinger. Mastering: Al Schmitt. Cover Photo: Scotty Sapiro. Released in March 1961

Story of the album: This album could be suitably described as "A Story in Motion." In noting the various techniques, which have been applied to modern stereo, we believe we have created something newer than new. Not simply a series of toneless jolts and jabs—although there are "shockers" and "stabs" in abundance in this album—but the word "motion," in effect, tells the entire story. We believe that music, without excitement or entertainment, has no value as an achievement nor as a selling commodity, therefore, the circular motion you will hear will be most entertaining and exciting. At times you will note the effect of clockwise motion, other times the movement will seem counterclockwise as trumpets intimately apply their brass and polish in smooth movement with trombones and horns, with horns and cellos, an alto flute, and rhythm.

The instrumentation is interesting and unusual. The twelve-brass choir consists of four French horns. To this is added the lushness and warmth of six cellos, four rhythm (piano, bass, drums and guitar) and one woodwind, which variously doubles on alto flute, flute, clarinet, bass clarinet, piccolo and tenor saxophone. Every facet of the brass choir is explored but though we have twelve brass, they needn’t necessarily be loud. There are heights of tremendous excitement, of course, but there are intimate times, too. There are warm times, and lush times. There are "round" ones, big ones, and soft ones. We think you will find the exploitation of the brass "choir" sound complete. Too, you will find the cellos used in a slightly unorthodox manner.

Vic Schoen

Leo Addeo: Music Goes Round & Round, RCA Victor LSA-2353
(Dancing Tambourine, Let’s Take A Walk Around The Block, The Doll Dance, Don’t Fence Me In, Stumbling, Love Is Just Around The Corner, Then I’ll Be Happy, Would You Like To Take A Walk, Elmer’s Tune, I Found A Million Dollar Baby, You’d Be Surprised)

Keith Textor: Sounds Terrific, RCA Victor LSA-2365
(Lullaby Of Broadway, Surrey With The Fringe On Top, A Foggy Day, Gone With The Wind, You Turned The Tables On Me, Hey, Look Me Over, Syncopated Clock, Lonesome Road, South Rampart Street Parade, Perdido, The Wind And The Rain In Your Hair, I Get A Kick Out Of You)

Guitars Unlimited: Crazy Rhythm, RCA Victor LSA-2371
(Expresso, Diga Diga Doo, Lady Of Spain, Anitra’s Dance, This Can’t Be Love, The Donkey Serenade, Nola, La Rosita, Glow Worm, Air Mail Special, Puppet On The String, Crazy Rhythm)

Bernie Green: Futura, RCA Victor LSA-2376
(Futura, I Love Paris, Ping Pong, Kiss Of Fire, The Music Box Waltz, Out Of This World, Under Paris Skies, My Heart Sings, Pentagon, Steel Bones, I’ll Remember April, Futura (Reprise))

Recorded at RCA Victor’s Studio A, New York City, 1961 Recorded engineer: Bob Simpson

Stereo Action mastering: Marty Gold and Jack A. Somer

Story of the album: Futura—What will popular music sound like in 1970? In this album we are probing with both ears for full Stereo Action perception. We intend to foreshadow the future sounds and techniques of popular music recording. Bernie Green Orchestra Leader, circa 1961

Bernie Green, an orchestra leader who became endeared to millions when he conducted the unusual music for Henry Morgan’s weekly radio show not to long ago, is a musician who could well belong to the generation that will walk the earth in 1970. His ideas and techniques, particularly his tonal color achievements and his unabashed sense of humor, have placed him in the classification, "Ahead of His Time."

Futura was conceived by Bernie Green a full two years before Stereo Action made its debut. The arrangements were written with an eye to the future. They literally cried for performance in Stereo Action. Now that time has caught up with Mr. Green, and his musical ideas have become practical due to the development of Stereo Action equipment by RCA Victor engineers, this album appears to be headed for a classification as unique as that into which its creator has been placed: "Most Exciting Album Yet."

Some of the electronic techniques used in Futura are pretty far out. In the program notes overleaf Mr. Green will describe them as closely as words can. They have opened an entirely new field of work in the popular music area. Many of the orchestral devices and techniques used for color and texture are Mr. Green’s own, and come from a mind in constant creative ferment.

Marty Gold: Stereo Action Goes Hollywood, RCA Victor LSA-2381
(Around The World, The Children’s Marching Song, Song of The Barefoot Contessa, Song From "Moulin Rouge", The 3^rd Man Theme, Gigi, Colonel Bogey, Moonglow and Theme From "Picnic", The High And The Mighty, Tara’s Theme, Baby, Its Cold Outside, Invitation)

Dick Schory: Stereo Action Goes Broadway, RCA Victor LSA-2382
(Heat Wave, Seventy-Six Trombones, Keep-A-Hoppin’, Bali Hai, It’s Legitimate, Slaughter On Tenth Avenue, Hernando’s Hideaway, I Got Rhythm, Camelot, Show Me, The Sound Of Music, El Sombrero)

Henri Rene: Dynamic Dimensions, RCA Victor LSA-2396
(My Blue Heaven, Sweet Sue—Just You, Me and My Shadow, Temptation Rag, Manhattan Idyl, On The Sunny Side of the Street, Tea For Two, Dizzy Fingers, Punctuated Performance, Parade of the Wooden Soldiers, Time on My Hands, Swanee River)

Leo Addeo: Paradise Regained, RCA Victor LSA-2414
(Ka-Lu-A, Lovely Hula Hands, A Song of Old Hawaii, Keep Your Eyes on the Hands, Now Is the Hour, Adventures in Paradise, Every Little Movement, Trade Winds, Hello, Aloha!—How Are You?, Beyond the Reef, No Other Love, I’ll See You in Hawaii)

Esquivel: Latin-Esque, RCA Victor LSA-2418
(La Raspa, Adios, Mariquita Linda, Jesusita en Chihuahua, Cachito, Latin-Esque, La Paloma, Estrellita, (Oyeme) Cachita, Jungle Drums, Mucha Muchacha, You Belong to My Heart, Carioca)

Ray Martin: Excitement Inc., RCA Victor LSA-2422

Keith Textor: Sounds Sensational, RCA Victor LSA-2425

Manny Albam: More Double Exposure, RCA Victor LSA-2432

Dick Schory: Holiday For Percussion, RCA Victor LSA-2485

Stereo Action Unlimited: Various Artists, RCA Victor LSA-2489

Many Albam: I Had The Craziest Dream, RCA Victor LSA-2508

The Three Suns: Movin’ N’ Groovin, RCA Victor LSA-2532

Keith Textor: Sounds Terrific, RCA Victor SP-33-148 (Special monophonic version made exclusively for radio use)

Stereo Action Demonstration Record, RCA Victor SPS-33-124 (33 rpm 7" single that includes "The Story of Stereo Action" as well as selections from various artists in the series).