78 rpm record dating guide
As early as 1906, it appears stamps were already in use in both France and Germany, following the 19 Copyright Conventions held in Europe. The many provisional values and small print runs provide a wide variety in overprints (handstamped, manuscript and even typewritten) pertaining to value or the name of the copyright holder. Information on the various Recording companies is also fairly good, except the more obscure ones, such as ARIEL or METROPOLE.
Stamps were issued in many countries, including the USA (for some scarce records circa 1912 and pianola rolls circa 1917). These are rare, and are generally those issued under the auspices of the Incorporated Society of Authors Playwrights and Composers (ISAPC) who supported the introduction of stamps, and invited their members to submit designs for their individual stamps. Villers-Stanford, Gordon Davson, Alma Goetz, William Wallace and Sidney Jones, while most were content to use the Society's generic stamp. These are the most widespread, with over 140 known, such as Francis, Day & Hunter, J. Most had their own stamps, such as Columbia (Australia), The Gramophone Co (HMV), Metropole, Cinch, Edison and Zonophone. The music publishers and copyright organisations are much more difficult, with the exception of a few major players. It is important for a catalogue to be able to classify when a particular stamp, or related set of stamps were in use, and when a change in design occurred.
Composer A has requested that his Society take responsibility for his stamping so they take sufficient blank sheets of their own generic stamp and handstamp 500 of them with 1d. As can be imagined, this was all rather labour intensive for all parties.
They also handstamp each stamp with Composer A's initials. It is not surprising, therefore, to find that many preferred the use of imprints on the record label, or using stamps without specific value, the actual amount being known only within an accounting transaction.
Say HMV wished to produce a recording of Sir Harry Lauder singing two songs, one by Composer A, and another by Composer B.
They decide to print 500 on their cheap label to sell at 1/6, and 200 on their deluxe label to sell at 2/6. have many values pre-printed and so the 500 1d stamps are supplied from stock.
If the copyright controller did not have stamps, there were several alternatives: In the case of 1.
A scenario may help to explain some of the complexities inherent in this system.In the UK today, almost the sole reminder of the stamps are the stickers used for importation of recordings into the UK from outside the EEC, under the auspices of MCPS. Examples include The Copyright Protection (Mechanical Rights) Society, Mechanical Copyright Protection Society, B. From a sociological standpoint, there is much of interest in the issuers themselves which has required investigation into the Music Publishers, the Recording companies, the composers and the Copyright Agencies.Many LPs of the 60's and 70's bear a plethora of small imprints, most deriving from the design of the original stamps. Cataloguing requires three areas of detailed information: 1. This detail can be gained from a close examination of many copies of the stamps to detect changes in perforation, printing method, paper, watermark. Composer information is fairly available at the reference section of your local library.Record and pianola roll collectors cannot fail to have noticed the presence on the record labels of small stamps.
This article aims to explain their original purpose, and the author's interest in them now.The section of the Regulations relevant here stated that "The adhesive label ...