Westminster Records WP 6014
Is This Thing Called Love?
Man from Mars
Breeze and I
Someone to Watch Over Me
IF YOU DO NOT HAVE THE finest high quality audio equipment, don't bother to play
this record. For here Arthur Ferrante and Louis Teicher present some of the most
unusual, massive, and baffle-busting arrangements ever recorded. In fact it is
absolutely the last word in effects recording, utilizing two gimmicked Steinway
grands and multi-channel, five-track stereophonic recording coupled with the most
unusual electronic effects you have ever heard.
If you are a fan of hi-fi and great recorded sound you might enjoy guessing the
gimmicks. Each piece contains a new gimmick not used in the one before. We are
sure you have seen records boasting "frequency response 16 22,000
where the instruments in question have no fundamental lower than 100 or higher
than 12,000, but the same cannot be said for this record, for if the fundamental in
question does not lie within a range Ferrante and Teicher want, they merely
relocate it to any frequency within the range of human hearing by means of
So many records involving gimmicks, both from a performing and an electronic
standpoint, have a very cold atmosphere and very little musical value. But Arthur
and Lou and their engineer have been experimenting with sound recording for
years, and in this album have achieved beautiful moodsdynamic, sensual,
humorousand really remarkable variety.
The recording was made through seventeen channels, utilizing four Telefunken
U-47, four Altec 21-C, four Altec 21-D, and five specially designed microphones.
These channels were multed through four 6-channel mixers for simultaneous
monaural and stereophonic recording, feeding modified 30" Ampex 301 machines,
adapted for 14" reels, with our own specially designed record and playback
amplifiers. Three 60-watt amplifiers were used for monitoring at the sessions. All
seventeen mikes were placed on movable suspended booms in such a way that
their movement could be controlled from the booth while the recording was being
This record was processed from 30" original tapes according to Westminster's
new and revolutionary "Panorthophonic" technique on continuously variable-pitch
Scully lathes equipped with Western Electric feedback cutters. The finished
records were then A-B-ed against the original master tapes to insure an absolute
match to the original sound.
The R.I.A.A. characteristic is used for this recording. To achieve the greatest
fidelity, each Westminster record is mastered at the volume level technically suited
to it. Therefore, set your volume control at the level which sounds best to your ears.
Variations in listening rooms and playback equipment may require additional
adjustment of bass and treble controls to obtain NATURAL BALANCE. Play this
recording only with an unworn, microgroove stylus (.001 radius). For best
economical results we recommend that you use a diamond stylus, which will last
longer than other needles. Average playback times: diamondover 2000 plays;
sapphire50 plays; osmium or other metal pointsbe sure to change frequently.
Remember that a damaged stylus may ruin your collection.
WHAT OTHER DUO-PIANISTS can boast that they have played together since the
age of six? Arthur Ferrante and Louis Teicher were fellow prodigies at New York's
famous Juilliard School of Music, and even while students they appeared as a team.
After graduation they gave a few joint recitals, then decided to take time out to
prepare a really distinctive repertoire. Together they returned to Juilliard, this time as
fellow members of the faculty, and spent all their spare hours for the next year or
so working over the standard pieces and cleansing them of every last hackneyed
cliché. Their professional debut as a team took place quite a distance from the
concert hall, for they bowed in as a popular piano duo at New York's sophisticated
penthouse night club, Spivy's Roof. They were such a hit with the starlight crowd
that they went on to more cosmopolitan boiles like the Blue Angel, the Little Club and
the Ritz-Carlton Terrace. Since 1947 they have been criss-crossing the country
annually, winning laurels everywhere for what The New York Times called their
"prodigious technical feats." Radio and television audiences know them for their
guest stints on Piano Playhouse, and the Firestone, Telephone, and Carnation hours.
They have also appeared with leading symphony orchestras throughout the country.
Their gift for blending the classic with the modern and the "heavy" with the
their extraordinary sensitivity, their technical perfectionthese are just a few of
reasons why one stern Manhattan critic, echoing the national concensus, called
Ferrante and Teicher "the most exciting piano team of our time."