Esquivel - Latin-Esque 1962 RCA Victor LSA-2418La Raspa*
Adios, Mariquita Linda*
Jesusita en Chihuahua*
Cachito (Pedacito)*
Latin-Esque*
La Paloma*
Estrellita*
(Oyeme) Cachita*
Jungle Drums*
Mucha Muchacha*
You Belong to My Heart*
Carioca*
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THE STORY OF THE ALBUM
Here is a new musical spectacular with audio and musical effects unique in the history of the recording industry. It is the product of composer-arranger-conductor Esquivel, his RCA Victor producer, and virtually the entire technical and engineering staff at the RCA Victor Music Center of the World studios in Hollywood.
This album represents, to the best of our knowledge, the first time in the history of stereo recording in which absolute separation of channels has been achieved. To accomplish this, the orchestra was separated into two parts—half in Studio 1 and the other half in Studio 2, almost a city block down the long corridor of the RCA building in Hollywood. Through an intricate system of inter-communication by headphones, the musicians were able to hear each other and play together just as if they were all in the same room. The effects are startling, the arrangements are daring, and when an instrument moves from side to side it can literally be said that the motion is almost a block long!
Five experimental sessions were held prior to the actual recording dates. At these sessions Esquivel and his producer and engineer tried endless different approaches to various percussion instruments with electronic effects applied to them. A careful book of notes was kept with the best and most convincing effects clearly marked, later to be applied to the actual arrangements by Esquivel himself. Space does not allow the details of the effects themselves, but in Latin-Esque by Esquivel you are sure to hear sounds you have never heard before— sounds your eyes can follow.
THE STORY OF STEREO ACTION
Stereo Action is a revolutionary new concept of stereo recording in which instruments, singers, whole sections, and even full orchestras are placed into movement so that the listener has, literally, music his eyes can follow. Stereo Action is a conscious and deliberate effort to set music in motion by utilizing actual movement of instruments and sounds from one speaker to the other, and even, at times, suspending an instrument or sound between speakers. It is a pioneering concept in stereo listening, and resulted from years of extensive experiments and remarkable technical break-throughs by the RCA Victor corps of engineers.
Stereo Action requires a wholly new approach to recording. Musical motion is first conceived by the composer and arranger. Every note of the music to be recorded must be scored with Stereo Action in mind, as if it were a new and dominating musical instrument or voice. An elaborate system of charting each and every instrument for proper stereo placement guides the actual scoring. In addition to the musical annotation, a companion series of non-musical diagrams for the studio work is developed.
This wedding of musical artistry and electronic creativity produces Stereo Action — literally, the sound your eyes can follow.
Howard Lucraft - Neely Plumb
1962, Radio Corporation of America
Here is a new musical spectacular with audio and musical effects unique in the history of the recording industry. It is the product of composer-arranger-conductor Esquivel, his RCA Victor producer, and virtually the entire technical and engineering staff at the RCA Victor Music Center of the World studios in Hollywood.
This album represents, to the best of our knowledge, the first time in the history of stereo recording in which absolute separation of channels has been achieved. To accomplish this, the orchestra was separated into two parts—half in Studio 1 and the other half in Studio 2, almost a city block down the long corridor of the RCA building in Hollywood. Through an intricate system of inter-communication by headphones, the musicians were able to hear each other and play together just as if they were all in the same room. The effects are startling, the arrangements are daring, and when an instrument moves from side to side it can literally be said that the motion is almost a block long!
Five experimental sessions were held prior to the actual recording dates. At these sessions Esquivel and his producer and engineer tried endless different approaches to various percussion instruments with electronic effects applied to them. A careful book of notes was kept with the best and most convincing effects clearly marked, later to be applied to the actual arrangements by Esquivel himself. Space does not allow the details of the effects themselves, but in Latin-Esque by Esquivel you are sure to hear sounds you have never heard before— sounds your eyes can follow.
THE STORY OF STEREO ACTION
Stereo Action is a revolutionary new concept of stereo recording in which instruments, singers, whole sections, and even full orchestras are placed into movement so that the listener has, literally, music his eyes can follow. Stereo Action is a conscious and deliberate effort to set music in motion by utilizing actual movement of instruments and sounds from one speaker to the other, and even, at times, suspending an instrument or sound between speakers. It is a pioneering concept in stereo listening, and resulted from years of extensive experiments and remarkable technical break-throughs by the RCA Victor corps of engineers.
Stereo Action requires a wholly new approach to recording. Musical motion is first conceived by the composer and arranger. Every note of the music to be recorded must be scored with Stereo Action in mind, as if it were a new and dominating musical instrument or voice. An elaborate system of charting each and every instrument for proper stereo placement guides the actual scoring. In addition to the musical annotation, a companion series of non-musical diagrams for the studio work is developed.
This wedding of musical artistry and electronic creativity produces Stereo Action — literally, the sound your eyes can follow.
Howard Lucraft - Neely Plumb
1962, Radio Corporation of America
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