| Section I - Introduction | Back to top |
"The Toast of New York" is a private non-profit collective that was formed for the purpose of preserving and sharing music from the period when records were primarily shellac and played at 78 RPM.
Will Friedwald, John Leifert, and Dan "Waterman" Levinson formed Toast of New York in 1997. They are also the current Board of Directors. They shared a love of vintage music. They soon enlisted the aid of a small group of friends, who also were New York City area vintage music enthusiasts, to trade music from their respective collections with each other. They also met occasionally to discuss and study the obscure details (do research) about this fascinating music.
The founding members used Macintosh computers and a program called "Toast" to record the CD's that they traded amongst themselves. Thus, these early members talked of "toasting" CD's of the music they loved, so it could be shared and studied. It followed that the group began to call itself the "Toast of New York" and that is how it is known today, although its membership is now worldwide. Also, quite naturally "Toast of New York" was shortened to "ToNY".
To a large extent, sharing CDs and jointly researching details of this period of music is still the core function today, but as the group has grown and taken in members with varied types of collections and interests, a broader purpose has become evident. A more sophisticated approach to the sharing and study of this music has evolved.
Growth was a wonderful thing as it caused the pool of recorded resources among its membership to expand beyond the fondest hope of the founders. In many cases, extremely rare and hard to find records have been submitted for various ToNY projects. At present, some of the world's foremost record collectors are members of ToNY. A few members are highly skilled at audio restoration. Others are accomplished authors in the field of vintage music. Some have produced, written liner notes for, done audio restoration and/or supplied records for commercial CD compilations, such as those by Mosaic, Jazz Oracle, The Old Masters, and many others. Some members contribute their time and music from their collections to conduct local public and commercial radio programs featuring this music along with scholarly commentary.
With this kind of talent among the membership, the breadth of interest and activities of its members have broadened and the aspirations of the total group expanded to new levels. Expectations of the membership are now higher and there is a greater reservoir of the recordings of this period available for enjoyment and study.
Technology has played an important role in expanding the possibilities of ToNY. Computer aided digital signal processing (DSP) has opened the opportunity to restore the sounds of this period as never before. This new technology, which makes it possible to here this music with higher fidelity than was possible even when these vintage records were sold new. It has added a new purpose to ToNY; to preserve this music for posterity, not only in digital format, but also with improved sound quality, as well.
However, the original structure and organization of the group was not designed to manage ToNY's present scope of operation. Thus, in June 2003 the board adopted the policies and rules set forth herein to provide an expanded and more formal structure.
2. ToNY Today:The mailing list for members today has nearly 50 names and addresses. The organization has an attractive web site with a Quick Topic discussion board and a number of pages displaying a large number of completed CD projects that have been toasted, as well as announcements about projects that are under way. The completed projects are displayed with full details and the projects in progress inform the membership approximately what to expect in the way of future postings. Sometimes, this will include a call for help in obtaining good source copies of records needed to make the project as complete as possible.
The success of ToNY has increased the workload on those who do the tasks which keep the organization going. Whether it be correspondence, number of CDs to post on the web site or CDs to duplicate, membership information to tabulate - you name it - there is more to do. This has and will continue to cause some functions to be shifted around in order to manager the workload and prevent burn out of our volunteer workers. The bright side to all this is that more CDs are being posted and sound quality has improved, thus the member benefits are better than they have ever been.
To help cope with today's workload, we encourage ToNY members to help when help is needed. When members fill out their membership applications is a good time to mention things you can do to help, other than just participating in projects and posting CDs. If you would like to be a part of the crew that keeps ToNY moving, let the present board members know what you can do to help.
| Section II - ToNY's Purpose, Structure, Policies and Rules | Back to top |
The Toast of New York, a non-profit collective, as it exists today, sets forth the following as its primary purpose: "The promotion of preservation, study and enjoyment of the recorded music from the time commercial recording began up to the time when vinyl discs and magnetic tape became the principal recording medium for commercial issue of artist's performances."
To carry out this purpose ToNY will sponsor and support activities:
2. Structure:
Board of Directors: The board consists of the three founding members.
The responsibility and authority for managing and operating ToNY is reserved by the Board of Directors. The board will, as it sees fit, establish and delegate specific authorities to administrative and technical officials to carry out the functions of ToNY. These administrative and technical positions may be assigned to members of the board, active members, inactive members or non members in accordance with the wishes of the board, as being the best means to carry out the aims, objectives and purposes of ToNY.
5. Policies:
6. Rules:
7. Membership Obligations:
| SECTION III - Research | Back to top |
The Research Library is new and is being set up to answer a need that has been identified by several of our members. This need is to provide a place for research about the artists, as well as their recordings. It will be a place to put anything from rather minor bits of information to a lengthy treatise about the music and the artists of the period of ToNY interest. The hope is that members who are not as active in the actual toasting of the project, or cannot contribute many records or perform transfers, will volunteer to do research. It is anticipated that these members will choose to earn their ToNY benefit credits through the research and documentation that will add to the value of individual projects. Helping a Project Leader by taking over the time consuming task of providing proper documentation and research for CD projects is one way to earn CD credits. This will allow the Project Leader to focus on producing the highest quality CD(s) possible and other aspects of the project.
Of course, the volunteers will need to have research skills and access to resource material, but this enables a wider group of music enthusiasts an opportunity to participate in ToNY, without the need for a huge collection of records. Nearly everyone likes to read about the artist and have the full data about the recording in front of him or her while they listen to the CD. There are lots of CDs in the ToNY libraries that have little more than a puny listing of titles and few have an elaborate package of written material and pictures to go with them. ToNY would like to change that.
Because this whole idea is new, we are not at this time setting up any schedule of credits that can be earned for various contribution to the Research Library. For now, the directors will award credits according to the quality of work done and the amount of effort. The thing that members with more time than records need to be aware of is that this offers a chance for them to improve ToNY's wares by doing the work it takes to provide a nicely written and researched package with every CD in the CD libraries.
The "CD research projects" will be expected to provide all the information that is typical of any discography project. This includes, but is not limited to, Artist, Song Title, Composer(s), Date of Recording Session, Location of Recording Session, Sidemen (if known), Matrix Number, Catalog Number, and any information that may be unique to this recording. This would include, unissued takes, previously unknown takes, test pressings (both issued and unissued), and various other categories. Also, any unique information about the particular record used would also be desired (i.e., record condition, source, rarity, etc.)
Since this era of music has been so poorly documented, ToNY has the purpose of "filling the gaps" of known information about the artists, career milestones, commercial successes and failures and all other relevant data as it pertains to the performers, collaborators and producers of the music under study. Also, any information gathered about individual recording sessions and other tidbits should be included as well.
In essence, it is hoped that each completed ToNY CD project will, with the combined work of the CD project effort and the research project effort, contain some form of "liner notes" that will convey why this project was undertaken, what the scope of the project is, how the project was assembled, some biographical information about the artist(s) and information about the records used.
2. Future of ToNY Research ActivitiesWe hope this new area of ToNY activity will blossom. Who knows? As this area of ToNY activity develops we will try to evaluate its progress, provide additional guidance, and refine the credit earning issues, so that those wanting to get into this work will have a better idea of what to expect.
| Section IV - Technical Topics | Back to top |
ToNY's original purpose (and still its main activity) was to transfer to digital format as many recordings, made before the vinyl era, as the pooled collections of it membership made possible. With the growth of ToNY in recent years what can be accomplished exceeds our original expectation. Thus, to operate most effectively as a ToNY member, you should be able to make digital transfers. ToNY has the capability to deal with DAT, CD-R (audio), CD-R (data, wave files) and minidisc. However, ToNY issues its completed projects as audio CDs, thus members should have or plan to obtain that capability.
If you can make digital transfers, but cannot make audio CDs, it does not mean you cannot fit in, it just means you cannot do independent projects on your own. You need to work with directors to arrange for you to support projects headed up by other members. This is no big handicap, as most of the projects we do are necessarily coordinated efforts anyway. These projects are typically group efforts that are coordinated by a project leader.
The early noise reduction schemes use by major recording companies, CEDAR and NoNoise, were very expensive. Fortunately, there are comparatively economical software programs that enable effective noise reduction on home computers. As a result, ToNY has added a special CD library, The Restored Works Library, which contains the CDs that have full computer aided noise reduction performed on them. As a result of this being such a valuable contribution to the enjoyment of the music, all of which was recorded on pretty noisy media by present day standards, ToNY now is open to members who can perform computer aided noise reduction. We are also encouraging the computer buffs among us to look into the possibility of expanding their capability to include CD projects that include noise reduction for The Restored Works Library. If you are interested in doing noise reduction, our Technical Advisor will help you get started.
2. Making Digital Transfers from 78 RPM RecordsThe most important thing about making your transfers is that you not approach making transfers the way you would approach the casual playing of a few records just to hear them without regard to details. When you make transfers think of it as doing something where every detail must be as nearly perfect as you can possibly achieve. Take the extra time necessary to check all of the following and do what is needed too get the best transfer possible.
3. Clean Records:Check the record in the proper lighting conditions, much as you would for record grading. That is, look at both sides carefully when held about one foot from a shaded light bulb of at least 100 watts. If it shows lint, dirt and other foreign material, carefully clean the record. (This edition of the Membership Packet does not have a topic with tips on cleaning records, but it is planned for the future.)
4. Turntable Speed:Turntable speed tends to drift with time. Using your strobe card, check turntable speed before beginning to make your transfers and after every hour's operation. (If you are one of those 78 RPM experts who know that some early discs were recorded at speeds other than 78 RPM and can deal with those details, fine. Otherwise just make sure that your turntable runs 78 RPM. Once in the digital domain, speed problems can be dealt with in the computer, if necessary.)
5. Stylus Selection:Using a stylus that properly fits the groove is absolutely essential to making good transfers. Twenty years ago a variety of diamond styli could be had rather economically. Today, they are becoming a little pricey, but they are no less essential to quality transfers. Fortunately, you can play about 95% of all 78 RPM records with styli ranging from 2.5 mil to 3.5 mil. However, a large selection is needed to get the best play of all the 78 RPM records you are likely to come across. The quickest way to determine optimum stylus size is using a small 30X hand-held microscope similar to the stylus inspection microscopes nearly all records store sold 50 years ago. The alternate method is by playing trials. When doing transfers you must take the time to do it one-way or the other. (A more complete discussion of stylus selection is planned for the future.)
6. Volume Settings:The approach to recording in the digital domain has really changed things from what it was previously using analog tape recorders. The analog tape recorder what rather forgiving if you over modulated. Over modulating digital recorders is disastrous, because it causes clipping and renders the results totally unsatisfactory. Fortunately, the 16-bit 44.1 KHz CD format provides for about a 90 dB range in which to put material that is not likely to ever exceed 45 dB. In fact, the dynamic range of most 78 RPM records is seldom more than 20 dB or 25 dB. Therefore, you can safely give yourself a margin of 6 DB. That is, try to keep the peak levels from going above -6 dB on your VU meter.
If you are preparing transfers that will be processed in the computer for noise reduction, or just edited in the computer without noise reduction, you can safely give yourself a margin of 10 dB, that is -10 dB on your VU meter. (One very nice thing about using a computer in preparing CDs is that it will enable you to adjust volume levels, as well as a number of other things that make better more uniform CDs. If you are just doing sound editing as opposed to full noise reduction, the software cost is no more than $50 to $100 for very capable programs. Contact out Technical Advisor for more information.)
Finally, the cardinal rule when doing digital transfers is, if you mess up, stop and start over.
7. Preamplifiers and Their Settings:Most older preamplifiers made by quality hi-fi product manufacturers have a 78 RPM setting, as well as the RIAA setting used to play vinyl records. If you have this kind of preamp use the 78 RPM setting. Then, feed your recorder from the TAPE OUT jack. This way there will be no effect from any tone control settings that might otherwise alter the output from a flat frequency response. It is VERY IMPORTANT that no tone controls or equalization equipment is in the loop to the recorder.
Your objective must be to obtain (by correct stylus size and faithful electronics) the most accurate recording of the information in the record groove that is possible. Any modifications of the type that were typical of what was done in the past for most enjoyable playback of scratchy records is a NO, NO! Even in the past, it was not a good idea to put filtered material in the archive, because everyone like a differenct amount of filtering. Nowadays with computer-aided restoration likely to be performed on a faithful transfer that is fit for such, we should strive to make every transfer one that is a candidate for restoration. Remember that it is always possible to do the filtering for improved enjoyment of a scratchy record during playback. We should not impose individual filtering tastes on the group or destroy a transfer's chances of being restored by taking away, in the recording process, information the computer software needs to do a good job of click removal and noise reduction, at some future time.
8. Preamplifiers with Only RIAA Equalization:This never used to be a problem, because most tube type preamps had a 78 RPM setting, but some collectors of 78 RPM records today have a hard time finding a preamp with a 78 RPM playback setting. Having to use an RIAA only preamp to play 78s is not a hopeless situation, provided the transfers are labeled as "done with RIAA " setting. The differences in turn-over and roll-off characteristics can be taken care of later, when restoration is done, provided the transfers are properly labeled. But, the best advice to collectors who have RIAA only preamps is to keep on looking for a preamp with 78 RPM settings. It will probably have to be a tube type preamp, and they have gotten somewhat pricey, lately, since certain advantages of tube circuits have made them the choice of wealthy enthusiasts. One other possibility is to purchase a unit like Esoteric Sounds Re-Equalizer, which removes the RIAA curve applied by your current amplifier, and then provides you with 6 roll off settings and 6 turnover settings allowing any vintage record to be properly equalized. It also includes a bypass switch to play your RIAA microgroove recordings. It also includes a lengthy list of suggested settings for various labels and types of pre-1960 records. This unit connects to stereo systems just like any ordinary graphic equalizer. Also, a similar, but less elaborate unite was manufactured by OWL, which is no longer in business, but used units can be found on ebay and elsewhere, from time to time.
9. Generation Loss:It is necessary to understand this term in order to appreciate why ToNY is so adamant about its project leaders seeking out original 78 recordings to use for making transfers. The term generation loss refers to how much fidelity is lost each time an audio recording is copied. During the days when analog tapes were the best means of archiving audio recording, the lost per generation was considerable. This was because the best reel-to-reel analog tape recorders had about a 1% harmonic distortion rating. In addition to loss of fidelity from build up of harmonic distortion from copy to copy, it was essentially impossible to achieve a perfectly flat frequency response. Thus, harmonic distortion grew and the frequency response of the process altered the flavor of the sound. All this meant that there was a noticeable difference between the original tape recording and the first copy known as the second generation, as the original recording was referred to as the first generation.
All sound engineers know that they must find and use the original master tapes, if they are working with sound originally recorded on analog tape. When dealing with 78 RPM recordings keep in mind that the master recording disc itself is the first generation and an analog tape of it is already second generation. Although it is common practice to refer to such analog tapes made from 78 as first generation master tapes, they are indeed second-generation copies. There are several advantages of digital recordings (and a few disadvantages), but the single most significant advantage of digital recording lies in the fact that there is a zero generation loss form copy to copy. So, What is different about a digital transfer? Exactly this it has about 1/10 of the distortion as the so-called first generation master tapes. Why? The reason is that the digital recording process introduces only about 0.1% harmonic distortion, whereas the analog process introduces at least 1%, and often much more.
10. Tape and LPs as Sources:We try to not use either of these on ToNY projects. There are many good reasons. We will cover the more important ones. First if all, ToNY is definitely not in the business of converting LPs issued by major record companies to CDs in the ToNY libraries. Only occasionally, to fill a track or two in project that is otherwise done from direct transfers from original 78s do we accept use of analogue tape and LP sources. The issue here is to preserve completeness at the sacrifice of faithfulness and future use in restoration. High quality reel-to-reel recordings were the premium means for obtaining the best fidelity until digital recording and computer signal processing came along. Then we have learned how poor the transient response of analog recording was as compared to digital recording and that the recording process itself has far less distortion the any analog recorder ever did.
One important point to understand here is that computer software for click removal operates much better on audio with the excellent transient response of digital recording and has trouble doing a good job working on what would be considered excellent analog recordings. The general consensus is that tape and LPs should be avoided except for a few temporary fills. One important exception is made for cases where the only commercial issue was on LP. Then, there is no choice but to use the LP, unless a test pressing can be found.
11. Computer Restoration:When ToNY was formed, using computer restoration on ToNY projects was hardly practical. The equipment and the software for doing a good job were just too expensive. Nowadays that has changed and ToNY has also changed to take advantage of the much more enjoyable products that can be produced.
Some of our members are learning to do computer-aided restoration and our Tech Advisory has been actively doing computer-aided restoration for about ten years. Simply put, ToNY is keeping up with and taking advantage of technical advancements, just as our whole purpose in the beginning was based upon the technical advancement that gave us economical means of doing digital recordings. We do not think every member has the means or talent for this work, but we want as many restored CDs in our library as we can get, thus we encourage those who are interested in this fascinating work to investigate it and give it a try. Please note that most of our members, even those who and not do restoration, really like CDs with restored audio. Thus, we offer more credits for CDs with restored audio. There needs to be one word of caution about the business of restoration. Bad restoration is really bad and no one likes that. There is some cheap software out there which does not have the potential to do the type of quality restoration that we are interested in and even with excellent software operators must master it use before their results are worthwhile. For that reason, we require the directors to review and approve CDs proposed for the Research Library.
The good news is that ToNY has an excellent resource for advice on audio restoration software packages and we plan to publish some white papers giving "Tips And Tricks" for using the most popular software.
Our Technical Advisor has substantial experience is the field and has generously offered to help interested members get started in this fascinating field.
12. Standards for ToNY CDs.Just as everyone had to make adjustments in how they handled recording volume level for digital recording as compared to analog tape recording, ToNY members should make other changes as well to keep up with the times. Remember how we used to cue records to make our recording sound "professional" like the DJs and sound studios did them? That is all out now! Nowadays we are blessed with the miracle of our age the digital domain. It is changing many things, because it enables an endless number of copies without the losses we had in the analog domain. It also opens up a new field of digital processing of information that can greatly improve old movies, old sound recordings, and any other kind of information that was plagued by analogue noise. These processes involve some very sophisticated mathematics in the treatment of the digital data, but we do not have to understand the mathematics to use it or to make our recordings that are done today so that they are suitable for digital processing. Since our enjoyment of this music we love is improved so much by digital noise reduction, we would be foolish not to do our transfers so they are suitable for feeding digital processing. The good news is that it is easy. Do we have to give up anything? Well, a little bit, but it is something that is no big bother. Mainly, we cannot any longer use the filtering we used to do to make scratchy records sound better. Analog filtering takes information away which is necessary to achieve better sound through digital noise reduction. The big difference between analog filtering and digital filtering is that analog filtering takes out as much sound as noise, but digital filtering takes out more noise than sound. Analog processing really cannot tell sound from noise, but digital processes can.
B. Making Digital Transfers Useful For Digital ProcessingAs said above, its easy; but it is different from how we have been doing it. To remove the groove noise from a noisy record, the digital process needs a sample of the groove noise with no music. Where can we get that? It can be obtained from the lead in groove, which is only available if we do not cue the record. When making transfers of anything that you hope will be digitally restored someday, try to get one turn of the silent groove recorded before the music begins. What else? The rest is to make sure no information you could record is lost by filtering or any other analog processing that was suppose to remove clicks (but really didn't) is in you system. Go directly from your preamplifier to the recorder. But that kind of transfer does not sound as good. What do I do about that? It is easy, do your filtering during playback, and not during recording, for CDs you plan to post with ToNY. Filtering during playback works just as well as filtering during the recording phase. Then, once your effort has been digitally restored it will sound a lot better than you can ever make it sound using analog filtering. That is what ToNY and your efforts to preserve this great music is all about.
13. Qualifications of CDs for Premium And Digitally Restored LibrariesHow do I make my CDs qualify for the extra credits given for those posted in these two libraries? It is very easy and there are only three basic requirements.
14. General Library Requirements:
The main thing that we want all members to know is that doing transfers as they would do them for the Premium and Restored Works Libraries is a pretty good idea to follow all the time. There has been one item added to requirements for posting to all ToNY libraries. That is, you must identify the source of your transfers and state the condition of the record, if it is less than E, and you must identify all tape sources as such giving the generation code. If you do no know the generation number of a tape you have used, the generation code is UT (unknown tape). In the long run everyone benefits from better transfers, because they mean more enjoyment for ToNY members.
| Section V - Frequently Asked Questions (FAQs) | Back to top |
Q: What is the TOAST Group?
A: It's an organization of music fans - a collector's collective, you might say - who exchange mostly quite rare music on homemade CDs (a.k.a. audio CD-Rs). We abide by two major rules concerning the CDs we make and trade: 1) the CDs are not sold, they are only traded, and 2) we mainly deal with music that is not otherwise available on commercial CDs.
Q: How do I join?
A: You must apply by filling out a Personal Data and Activity Plan (PDAP), then the board of directors must accept you as a new member.
Q: What is a PDAP?
A: The PDAP is a form which tells us about you. We want to know who you are, where you live, how you can be contacted (regular mail, email, telephone, fax, etc.) and some facts about your record collection and your collecting interests, plus what you can offer to the group's aims and purposes. In the PDAP you can forecast of your activity level and indicate what CD and research contributions you would like to make to ToNY's libraries. You may get a PDAP form by email or regular mail from the ToNY Data Base Coordinator. The completed PDAP is sent to the ToNY Data Base Coordinator. Currently these duties are being shared by the Head Toastmaster and the Technical Advisor. Contact either one to obtain a PDAP form. Send completed PDAP forms to Ed Noble (P. O. Box 759, Mesilla Park, NM 88047) for entry into the ToNY Data Base.
Q: What are my chances of being accepted as a member?
A: Of course, it depends a lot on whether or not you fit into what ToNY is all about -- that is, its aims and purposes. We don't go around advertising our existence, but we occasionally inquire of other record collectors as to their interest in joining. Mostly, this is done by members contacting other record collecting friends. So, if an existing member sponsors you, then there should be no problem. Our website, for instance, is private. Anyone can access the first page and the other pages containing organizational information like theses FAQs, but you need to be a member with the access key to view what is available in the CD libraries. ToNY makes no restriction for membership based on race, gender, or religious background, but does reserve to the organization the right to control benefits based upon contributions of it's members to the CD libraries and the body of research relating CDs being posted and of research on other matters under study.
Q: How many people are currently involved?
A: The mailing list currently goes out to as many as 40 people; however, not more than 12-15 people are highly active with regular on-going CD projects active all the time. Several of our active members contribute only a few tracks to CD projects, when called upon, rather than taking on full CD projects on a regular basis.
Q: Who are your members?
A: Most ToNY members are 78 RPM record collectors who enjoy sharing their collections and research findings with each other.
Q: Who makes the decisions and sets the ground rules for the group?
A: There is a Board of Directors, made up of the three individuals who were primarily involved with founding the group.
Q: Does one have to be a 78 RPM record collector to become a member?
A: No, but if you want to become an active member who contributes and earns lots of CD credits which enable you to receive a lot of ToNY CDs, realistically, it sure helps. But there is some room for other than big time 78 RPM record collectors. Keeping this organization going requires lots of work. Non-collectors can help with the paperwork (doing track sheets and the like), and can do research. We also need people with special skills such as web site management, audio restoration, CD duplication, as well as administrative and documentation skills. As previously mentioned, we do not sell any of these CDs, so being a member in good standing requires contributions of audio CDs or labor or research. You may qualify by doing enough of any one or more of these.
Q: Is there a financial contribution required?
A: As stated earlier, we ask the members to pay for the cost of the CDs plus packaging and postage for the CD they order. At present, ToNY has no annual dues, but that policy is subject to change, if additional funds become necessary to pay operational costs. (For example, we now operate using a free web site, but it may be necessary to upgrade to an advertizement free web site in the future. Other growth possibilities could lead to expenses that can not be provided without some regular fees from members.)
Q: What do you mean by "toast"?
A: The first software program, so far as we know, that was used to produce homemade audio CD-Rs using a computer was Adaptec Toast. Based upon the name of the software program, it became common slang to refer to the making of a audio CD as "toasting" a CD. Soon, after the Apple computers made audio CDs, the IBM compatible computers made them, too. The PC guys usually spoke of "burning" their CDs, but the majority of early ToNY members had Apples and "toasting" stuck as our slang term, even though more ToNY members now have PCs than Apples.
Q: Can you tell me a little more about the process of making an audio CD or "toasting"?
A: Yes, assuming that, as a record collector, you are pretty well versed in the basics of dealing with shellac disc recordings and electronic equipment, the transfer of the music to CD is a relatively simple process, and probably will not add a lot to what you are doing already.
There are basically two ways to make audio CDs: 1) use a computer with a CD recorder mounted in it, or 2) use a stand-alone audio CD recorder. On the whole, the CD recorder method (the kind that does NOT involve a computer) is easier for most non-technical types and is recommended for those not into computer sound editing. Audio CD recorders are economical these days and the process is much less involved - the controls are very similar to a standard audio cassette recorder. The computer process produces wonderful results, but the effort is somewhat more involved and requires a suitable software package and some basic computer skills. If you are technically inclined and would like to consider doing audio restoration, the computer with CD recorder may be for you. Help is available through the group's Technical Advisor and various published resources.
Q: What is your policy regarding jewel cases?
A: ToNY does not use them. If you want jewel cases, plan to provide your own after you receive your CDs. It is OK for you to send in the CDs you post with jewel cases, but the CDs you get when you order will be in sleeves.
Q: How are the master CDs members contribute for posting paid for?
A: Costs associated with the master CDs members send in for posting are paid by the individual members.
Q: Where do members send their master CDs that ready for posting?
A: They are sent to the Chief of Projects and Plans. (John Leifert, One Hudson Square, 75 Varick St. - 5th Fl., New York, NY 10013) Do not send them directly to the Duplicating Manager as this will cause delay. There are a few things that must be done before new CDs are ready for posting on the web site and made available for ordering by members. Your CDs will be forwarded to the Duplication Manager by the Chief of Projects and Plans.
Q: What kind of music do you toast?
A: Our musical boundaries are more or less 1900 to 1950. We are interested in solo, small group, and large group music such as piano solo, trios and quartets, big band, jazz, dance music, vocals and personalities - basically, pop music! Most of our members favor the '20s, '30s and '40s. That's partly due to personal taste of the collectors in the group; but, also, is due to the fact that comparatively little music from the pre-swing era is available on standard commercial CDs. But, we also have members who specialize in other forms, including Broadway cast albums, race and hillbilly music. (About the only things we don't do is classical.)
Q: What is your policy regarding track sheets?
A: Unless special arrangements are made beforehand with the Chief of Projects and Plans or the Head Toastmaster, we require members to provide track sheets with the CDs they post. These are put on the web site and you may download track sheets for the CDs you order at the web site. (We are studying other ways to make it easier for members to get their track sheets, but until something better is put in place, get them from the web site.
Q: How do projects get initiated?
A: Members often propose projects of their own based upon the strength of their collections and work independently. Also, members communicate with other members and round up enough help to do a project that they could not do alone. Once the project has been defined, it should be discussed with the Chief of Projects and Plans to get the go ahead. This is necessary to prevent duplication and to insure that the project is within the scope of what the organization wants to preserve.
Q: How do group projects work?
A: Usually, one of the group is designated as the project leader and coordinates the group's activity. Who does what is best determined by what each person can do. Usually, the project leader makes the final master CD, but that is not always the case. It all depends on the skills and equipment available from each member of the team.
Q: Do all projects have to be some artist complete type efforts?
A: ToNY wants to preserve as many artist complete as possible, and we encourage artist complete projects. But, it is impractical to do every artist complete and we do not discourage the fun of doing theme and miscellaneous types of CD projects. If our Chief of Projects and Plans believes it comes up to ToNY standards, that is all it takes to get a project approved.
Q: Do I have to identify the source material?
A: Yes, as a preservation and research oriented group, it is essential that we accurately document the source material used for each and every track. Secondly, that information will become useful should a member be in a position to offer to upgrade certain tracks. Finally, it is only fair to our membership, as they deserve to know what the CDs they are receiving as a member benefit came from.
Q: Is there any artist or band you wouldn't want?
A: There may be, but nothing specific has been said as to who it might be. We are "equally opportunity toasters", so feel free to propose any band or personality from the period of 1900 to 1950, as long as we haven't done it already. Even artists with existing CDs are not totally unwanted, as there are some projects which can be substantially upgraded and improved over what was done the first time around.
Q: What limits do you have on music styles and does everything have to be from 78 RPM records? (In other words are any dubs from LPs, tapes, and CDs permitted.?)
A: Any good music is okay; but it should be music originally recorded before vinyl discs became the main medium for commercial issues by recording companies. A few tracks from tape or LP reissues to complete a project are permitted, if clearly labeled as such, but we had rather you find a good 78 of the issue and make a quality digital transfer from it. As to the music we would embrace almost all popular music of 1900-1950. Thus, cakewalks, ragtime, hot dance, vocal, jazz, country, folk, blues, or whatever are OK, but nothing that is principally European style classical, symphonic or opera.
Q: How do I know what artists are being toasted, and what inputs are needed for what projects?
A: There are three things you can do. First, tour the ToNY web site to learn what has already been done and what are the new projects in progress. Second, check with the Chief of Projects and Plans because people proposing new projects will be talking to him about their plans. Third, take advantage of the ToNY Quick Topic Board (QT Board). It is on the ToNY web site and that is where the membership chatter takes place. From that chatter you will pick up what the members are thinking about and preparing to do. To take advantage of the QT Board go the web site, then to the QT Board and subscribe. Once you subscribe you will get an email copy of every thing said on the QT Board.
Q: How are the CDs made and distributed?
A: Individual collectors toast the original master CDs. Any member posting a CD makes a master copy for himself (or project team) and a second dup-master copy that is sent to the Chief of Projects and Plans for review. The Chief of Projects and Plans coordinates with the Head Toastmaster and the Technical Advisor concerning specific library assignment, then forwards it to the Duplicating Manager. The Web Site Manager posts the relevant information about the CD on the website. That signals the members that it is available for distribution, upon request. Members can then place orders, based upon the CD credits they have earned.
Q: What does it take to start receiving CDs?
A: First, you have to be an active member. (We also have some non-members who sometimes provide specialized assistance to the group and are given CDs in appreciation, but that is a different matter.) Once you have submitted your Personal Data and Activity Plan and have been accepted as a member, you are eligible to receive from 10 to 20 CD's for each one you contribute. Whether it is 10 or 20 depends on the value of your submissions. There is a restriction of no more than 20 discs per month, to keep the duplication work from being over-taxed. There is also one other thing required before you can receive CDs.
Q: What's the other thing?
A: You must pay a small fee based on what it costs to make, package and mail you orders. Since it takes about the same packaging and mailing cost for one CD as it does for a few more, we have worked out a fee schedule, based upon how many CDs you order. (In times past we let members furnish blank CDs. NO MORE! That is not the technically sound or economical way to provide the blank CDs, because it involves mailing fees that add to costs and because it results in CD storage and other problems at the duplication point.) Beginning in June 2003 members may send only money (check, cash or MO) for their CDs. It is OK to include a small amount over the fee schedule to cover contingency operating expenses, but we leave that to the good will of the members. DO NOT sent a large contribution over and above the fee schedule amount.
| Section VI - CD Orders and Fee Schedule | Back to top |