Boston radio DJ Dale Dorman has died. He joined WRKO-AM in 1968, the same year that WBCN-FM went from Classical to counter-culture. Dale provided the perfect contrast to the underground sound of ‘BCN. He was a DJ with a distinctive voice and personality that was just right for the Top 40 format — top 30 at ‘RKO — and he was essential to helping ‘RKO become a longtime ratings leader.
Something that Denro and I talk about incessantly is how drastically music changed year-to-year in the 1960’s. The best place to go for a thorough and insightful exploration of Sixties popular music is Andrew Sandoval’s unique and outstanding online show, Come to the Sunshine.
After Pop gave way to the Psychedelic shake-up of 1967, 1968 was the year when underground FM stations started to take over the older teen market. The influence of FM on AM could be heard in records like this one, which became an unlikely top 20 hit.
What made underground, aka Hippie, radio possible in the Sixties? The same thing that was behind other 60’s happenings like NASA, the pre-Internet Arpanet, and the Vietnam War. The United States Government, that’s what.
To promote the adoption of FM stereo radio, on January 1, 1967 an FCC mandate went into effect that required radio broadcasters to no longer simulcast their AM signals over their FM stations. College-aged disc jockeys started to flood the airwaves in major cities, formats changed overnight, and instead of playing the latest singles they played album cuts.
The iconic Boston station, WBCN, had an overnight format change, but it didn’t happen because of the simulcast requirement. What made ‘BCN possible was the desperation of the owner of a failing all-Classical station. Former ‘BCN disc jockey Carter Alan, who is now on WZLX in Boston, has the story in his excellent book, “Radio Free Boston: The Rise and Fall of WBCN.”
This 1956 educational film from RCA explains the process of recording, producing, and manufacturing vinyl records. Stereo recording was a very new innovation at the time, and stereo records as we know them weren’t available until 1958. Note that 12″ LP’s were introduced by Columbia, not RCA, which developed the 7″ 45 rpm format for singles.
Another audio technology pioneer has passed away. Ray Dolby started at Ampex, working on magnetic tape recorders that were based on German machines captured at the end of WWII by Jack Mullin. Later, Dolby made major contributions to Ampex’s development of the first video tape recorder. In the 1960’s, when recording studios went from four to eight tracks — leaving less surface area on the tape for each track — hiss was the result, and the Dolby A noise reduction system was developed to alleviate the problem. Dolby B was the consumer version of the circuit. Today, every HDTV has Dolby Digital decoding built in. I know somebody who worked at Dolby Labs. I’ll see if I can pry out a comment about the man.
Addendum: Somebody who worked at Dolby Labs says…
He was a very very nice man, quiet, extremely intelligent, good-natured. The company under his leadership was a marvelous place to work, where engineers had the ability to follow ideas, where the technology was cutting edge. He was also an extremely good businessman, and understood the power of licensing. His engineering contributions to early recording were ground-breaking.
… and the comments at this link are recommended.
Amar Bose has died. I drive past the Bose headquarters almost every day, and I felt obliged to buy a Bose Wave Music System after having the porch remodeled. There really is no other product that does what the Wave does for its size.
In high school, when I was bitten by the stereo bug, the Bose 901 speakers were a big deal. It became a joke that if you walked into a stereo store you were guaranteed to hear Edgar Winter’s Frankenstein played full blast on a pair of Bose 901’s.
Personally, I never cared for the sound of the heavily-equalized Bose 901, preferring instead the designs of Roy Allison, but I have to admire Amar Bose for his marketing savvy and his profit margins. He had the vision to lead the home audio trend away from ever-bigger box speakers by introducing tiny stereo satellites that were coupled with a dedicated bass unit that could be hidden under an end table. The innovative and imitated Bose noise-cancelling headphones are very successful.
Greater Boston has a great and grand tradition in audio, but now it’s mostly in the past. Acoustic Research, KLH, Advent, H.H. Scott, EPI, Genesis, Allison, Snell, ADS, Cizek, Avid and Apt are long gone. Boston Acoustics was sold years ago and NAD is in Canada. Only the Bose Corporation endures with its name and heritage intact, and that is a testament to the leadership of Amar Bose.
Addendum: In 1971 Bose sued Consumer Reports for libel, because its review of the 901 Series I loudspeaker stated that the stereo image “wandered around the room.” Not yet knowing of the CU lawsuit, but having read the review at the library, I had the exact same impression of the Series I when I heard it in early 1972. A year later the 901 Series II was introduced and the “ten feet tall violin” effect had been tamed. I assumed Bose had taken the criticism to heart and fixed the problem, which can also be affected by speaker placement, so I was surprised when I learned of the lawsuit in one of the hi-fi magazines I devoured in those days. Bose should have dropped the case, but it dragged on for over ten years and went all the way to the Supreme Court, where Bose lost.
Addendum 2: Atlantic Technology is still in business, in Norwood, MA.
In 2011 BBC Radio 4 presented Brian Sibley’s superb radio drama adaptation of Mervyn Peake’s fantasy saga, The History of Titus Groan. The series is available from Amazon as an Audible book. It makes for particularly good listening on headphones.
Radio 4 now has another outstanding adaptation, with Neil Gaiman’s Neverwhere. The series features James McAvoy, who is known to comic book fans as Charles Xavier in X-Men: First Class, and Natalie Dorman.
Neverwhere is available through this week, until March 29. The first episode is an hour long, and for convenience I’ve put it on the audio player. Parts 2-6 are 30 minutes and they’re on the BBC iPlayer.