This recording was transferred, digitally restored and kindly made available to me by Julian Dyer.
A Billy Ternent composition (and presumably arrangement) from Hylton's period with Decca, one of Hylton's occasional forays into jazz and hot music. As with many other such exercises, this feels to be a variant on Tiger Rag!
|Work||Hylton Stomp||Performers||Jack Hylton, dir|
|Philippe Brun, Jack Reine, t|
|Les Carew, Eric Breeze, tb|
|Johnny Raitz, cl-as-ts|
|Noel "Chappie" D'Amato, as-g|
|Abe Romaine, cl-as|
|Dave Shand, cl-as-bar|
|Billy Ternent, ts-v-a|
|Johnny Rosen, Maurice Loban, Dick Williams, vn|
|Billy Munn, p|
|Sonny Farrar, bj-w|
|Harry Chapman, harp|
|Clem Lawton, bb|
|Spike Hughes, sb|
|Max Abrams, Gilbert Webster, d-tymps-vib-o|
|Date Recorded||12th October 1932|
|Date Restored||5th October 2014 by Julian Dyer|
|Serial Number||Decca F3239|
|Recording Cutter||Western Electric 1B|
|Bandwidth||60Hz to 6.5kHz|
|Transfer Stylus||2.5mil truncated conical|
|Transfer Cartridge||Shure M75|
|Transfer Turntable||Lenco L75 at 78RPM|
|Cutter Compensation||375Hz first order lift|
|Click Reduction||ClickRepair, wavelet x3 mode, DeClick 40, pitch protection, reverse, stereo|
|Crackle Reduction||ClickRepair, DeCrackle, wavelet, 5 stereo passes|
|Low Frequency NR||DeNoise LF at 50 Hz|
|Wideband NR||DeNoise, auto, -12dB reduction|
|Limiting Filter||48dB/octave Butterworth, at bandwidth limits|
This excellent transfer and restoration, originally listed on YouTube was completed by Julian Dyer using Brian Davies' restoration software. I have also applied a few of my own Butterworth bandwidth limiting filters to this work, along with some very mild peak limiting to bring the level up a bit.
With the permission of the original transfer engineer, I have made this work available for free download.
Vorbis is used for site downloads as it provides transparency at about a third of the file size compared to MP3. There isn't really much point for using FLAC as the final listening format (all processing is done losslessly, of course) as the quality of the recordings themselves is already rather limited given their age. The general consensus on HydrogenAudio is that Q5 is enough for transparency with modern recordings, so the downloads offered are encoded at a more than ample Q7. Vorbis is by far a superior codec to MP3, as transparency is obtained at almost half the file size.
The audio track listed on this page is a digital restoration of a 78 RPM record, whose mechanical copyright has expired before the time of this page's publication. No later release is used so any copyright affecting such a release does not apply to any of the sound recordings shown on this page. Claims to the contrary may be vexatious if pursued. Any communication between parties claiming copyright of the material on this website and the author of this site will be published immediately with great derision. The contents of this page must not be copied represented or sold without express permission.
Julian Dyer and Michael Fearnley 2016