This virtual exhibition was created to pay homage to all those who have participated directly or indirectly in this fascinating story.
Text written by Timothy Hewlings.
Adaptation and integration by François Pilon.
If you think that you can contribute documents or archives in order to improve this exhibition, do not hesitate to contact us.
Would you believe that over a hundred years have come and gone since the day Herbert Berliner (son of Emile Berliner, the inventor of the gramophone), opened the first Canadian recording studio on Peel Street in Montreal? The year was 1904 and very few people could have imagined at the time the full impact that this event would have on the world, as they knew it back then. The opening of this studio marked the beginning of an industrial adventure that revolutionized the world of communications and introduced music and sound recordings in every household in the country. We present this exhibition as a tribute to Berliner’s efforts and that […]Read more
Even though Thomas Edison was the first to invent a machine that could record and playback sound, it is to Emile Berliner that we owe the greatest debt of gratitude for the spread of this new technology and the rapid growth of the sound recording industry. Where Edison’s phonographs used cylinders that had to be recorded one at a time, Berliner’s own invention, the gramophone, made use of flat records that could be pressed in great numbers from the mould of a single original recording. It is no wonder that records eventually won out over cylinders. In the early years of the 20th Century, sound recording efforts in Montreal were […]Read more
Born in Hanover, Germany, in 1851, Emile Berliner immigrated to the United States in 1870 where he proceeded to become a self-taught scientist and an inventor. He made his first significant breakthrough in 1877, when he invented a microphone that revolutionized the telephone industry. Over the years, he would invent several other items, in a variety of fields, but none better known than his famous gramophone and accompanying flat disks for which he was granted a US patent in 1887. Ten years later, the inventor sought and obtained a Canadian patent for the same invention and, shortly thereafter, opened an office in Montreal. Over the next 25 years, working in […]Read more
When the Berliner Gram-O-Phone Company of Canada received its charter in 1904, Herbert Samuel (H. S.) Berliner (1882-1966), the eldest son of Emile Berliner, was 24 years old. Along with two other shareholders, he was named director of the new company. Could he have known at the time that he would spend the next 60 years in the business of sound recording and become one of the most celebrated figure, after his father, of that industry? Passionate about technical matters and innovations, H. S. Berliner managed all his life to stay at the forefront of his industry’s many developments. While working for Berliner, for instance, he was among the first […]Read more
During the course of its 40 odd years of existence, the Compo Company recorded many Canadian artists; under its own Compo label, but also under the Apex label. In 1925, when the Starr Piano Co. ended its recording activities, Compo took over the Starr name and continued to use it until 1953. Starting in the early 1930’s, Compo also began a long association with Decca Records. Among the artists that benefited from H. S. Berliner’s expertise and that of his staff, which included Robert Chislett and John Bradley, were such greats as Mary Travers (La Bolduc), J. O. La Madeleine, Isidore Soucy, Rex Battle, Paul Dufault, Rodolphe Plamondon and Don […]Read more
In 1948, John R. Bradley became H. S. Berliner’s assistant, a position he held until 1966. His responsibilities included recording and producing artists for Compo’s labels in Montreal and New York. He was also responsible for researching and implementing the latest in disk cutting technology and, later, for acquiring tape recording technology. After the studio closed, he was made responsible for the custom record division of Compo in Lachine, which pressed records for outside labels including Capitol, London, Polydor and Trans-Canada. When MCA closed the Lachine Plant and opened a new facility, Bradley was involved in the design of the plant and later was put in charge of the […]Read more
Very little is known about the Walter P. Downes Studio. It seems to have existed from the late 1930s or early 40s until the early 1960s. Downes studio was built on the roof of the Dominion Square Building, quite close to a noisy elevator housing. Downes was also known to be the local representative and agent for the Presto Company, manufacturer of disk cutting lathes and styli and, later, of tape-recording equipment. The studio’s primary business was recording radio transcriptions. After the Compo Studio closed, Downes did some music recording for Apex and other Compo labels. In the summer of 1957, the soundtrack of the McGill University stage revue “My […]Read more
In 1929, the Radio Corporation of America (RCA) merged with the Victor Talking Machine Company of Canada which then became RCA Victor. It was thus in the RCA Victor studio that scores of works were recorded, in the 1930s and 1940s, on the Victor and Bluebird labels. In 1942, the company moved into a brand new studio, at 1050 Lacasse Street. This facility was the first in Canada ever to use formal acoustical treatment in its construction. Its design was created in the RCA labs in Camden, New Jersey. Following the lead of the Berliner family, the RCA Victor studio continued to record numerous Canadian’s artists, both English and French. […]Read more
Born in Quebec City in 1896, A. (Albert) Hugh Joseph was a graduate in chemistry from McGill University who began a career in the recording industry in 1923. That year, he was hired as a chemist by Edgard Berliner, one of the inventor’s sons and Vice-president of the Berliner Gramophone Company at the time. Joseph was initially in charge of preparing the waxes and pastes used in the production of masters and records, but his curiosity lead him to explore all facets of the sound recording process. He soon became indispensable and thus, in spite of the changes in names and ownership which transformed the Berliner company into the Victor […]Read more
During the 1920s, important improvements were made by the disk industry to its product as it went from acoustical to electrical recording. As the 1930s rolled in, more detailed research on magnetic recording was carried out leading, ten years later, to a new revolution, as optical film recorders appeared, followed by steel wire and, finally, magnetic tape recorders. Following in the steps of Herbert Berliner, other research was also being carried out on 33 rpm disks with higher groves density. This research brought about the introduction by Columbia in 1948 of the first long playing 33 rpm disks, followed a few months later by RCA Victor’s counter move, the launch […]Read more
In 1937, Jean-Marc Audet, also known as Marko, began his career in the recording industry at radio station CKAC, recording programmes off the wire to disk. He cut 16” master discs off-air which were then sent to Compo to be copied and sent to 75 stations across Canada. Live shows were recorded with 2 record lathes at a time. Commercials were recorded, 10 spots at a time, to 16” disks. In 1948, he opened his first studio at 1477 Mountain Street. Marko cultivated the advertising business, recording commercials for radio, sound for TV spots and dubbing films. After an illness in 1974, he sold his business to National Cablevision – […]Read more
In 1954, Maurice Bougie and Jack Raskin opened their studio in a basement apartment space on Mountain Street. Paul-Emile Mongeau was the chief technician. Stereosound was accessible to the multitude of up and coming rockers and pop music artists of the time. In 1963, the studio moved to the top floor of the converted film studio on Côte des Neiges, previously used by CFCF. At the time, it was by far the largest studio in town, so it was the only place suited to large groups of musicians. In the early 60s, every major Quebec pop star recorded there, including all of the “YéYé” groups, Robert Charlebois, Ginette Reno, Renée […]Read more
André Perry is a giant in the Quebec recording industry. Starting in the late 1960s, he was involved in an enormous number of recordings of the “Relève”, beginning with Robert Charlebois. After he recorded John Lennon’s “Give Peace a Chance” in June of 1969, he was determined to put his Ville Brossard studio on the map as a place to record major international artists. In order to do this, he was relentless in his pursuit of new recording technology – always ahead of his time. His was the first studio in Montreal to purchase an 8-track and, later, a 16-track tape recorder. His new studio, at 1135 Amherst Square, was […]Read more
During the 1960s and 1970s, the combination of Expo 67 and the Olympic Games created an atmosphere like no other ever experienced by Montrealer’s. As the city got ready to live the most extraordinary decade of its history, the impact was felt in all sectors of the economy. This was certainly true in the field of sound recording where an increased demand for all manner of recordings, music, jingles, film and others, fuelled a rapid expansion. The late1960s and 1970s were also influenced by several new social dynamics that had a direct impact on events. As “baby boomers” came of age, for instance, with their new attitudes towards consumerism and […]Read more
At the end of the 1960s and throughout the 1970s, as young sound engineers came into their own, many new enterprising studios appeared on the Montreal scene. Denis Pantis During the ’60, he began to produce the first francophone rock’n’roll records ever produced in Quebec. In 1962, he met Michèle Richard and produced the “Twiste avec Michèle” album, which sold over 100 000 copies. In 1964, Pantis introduced the Jeunesse label under which were produce Gilles Brown’s “Ce soir” and the Classels’ “Avant de me dire adieu”, among other great songs In 1965, Pantis created Télédisc, which regrouped the Bel Canto, Sultans, Bel-Airs and Mersey’s, César et les Romains, the […]Read more
When Studio Tempo opened its doors in 1972, it became Montreal’s second state-of-the-art installation, designed by Tom Hidley of the world-famous Westlake Audio of Los Angeles. It boasted custom Westlake monitoring and a 24 input Neve console from England. It was also equipped with an MCI 16-track recorder and Dolby Noise Reduction. In the first years, under the leadership of Technical director Tom Montgomery and chief engineer Michel Lachance, and later on Ian Terry, it was dedicated to staying at the forefront of technological advances. Studio Tempo was owned by three partners – musicians Yves Lapierre, Bernard Scott, and François Cousineau, and was on the top floor of a building […]Read more
Guy Charbonneau 1945 – today Guy Charbonneau is a pioneer in the sound recording industry. He is passionate, genuine and unpretentious. He was born in 1945 in Rigaud, Quebec. Filtronique 1969 – 1974 By 1969 he was operating a cutting-edge audio store, Filtronique. A business based on Lajeunesse Street in Montreal. This is where it all started. “My story begins in 1973, when a well-known Montreal radio station (CFGL which is then operated by Jean-Pierre Coallier) came to my high-end audiophile store to ask for advice on recording a TV show. live music. I not only supplied the equipment, but then recorded over 50 shows for Canadian radio and television. […]Read more
Text written by: François Pilon: François Pilon Gaétan Pilon (1955 – today) Sound engineer and producer, he was born in Saint-Henri, Montreal. He studied at Vincent d’Indy. Son Soleil (1977-1985) In a basement in 1977, the house studio Son Soleil was born. Three young entrepreneurs Gaétan Pilon, Gérard Brunet (Junior) and François Pilon are developing their skills in the field of recording on rue De Monts in Ville-Émard. They will start by acquiring 2 TEAC A-3340 4-track recorders, then move on to a TEAC Tascam 80-8 8-track recorder and finally acquire the 24 track MCI JH24 from Studio Tempo. All this in a few Months. As a console the small […]Read more
The field of cinematography is one that also progressed following the rhythm of technological advancements, including some that were directly related to sound recording. The invention of the Blatnerphone, in 1929, made it possible to magnetically record cinematographic sounds on steel wire. In 1934, John A. Maurer developed a sound recorder for optical film. It used sprocketed 16mm film that could be synchronized to picture and edited along with it using a Moviola. In the 1950s, magnetic film recorders allowed sound editors to directly edit the synchronized sound on Moviola and Steenbeck editors without having to carry out an optical transfer. In 1951, the Swiss company Kudelsky introduced the Nagra […]Read more
In 1981, Sony introduced its first Pulse-Code-Modulation (PCM) recorders: the PCM-F10 and the portable PCM-F1 digital audio recorders. These reasonably priced machines allowed the recording of digital audio on any standard videotape format, from Beta to VHS to U-matic. Other systems, including the processes developed by Decca and Soundstream had preceded them, but the technology was proprietary and prohibitively expensive. Later, Sony introduced several refinements in the PCM-701ESD (1983); the PCM-601ESD (1985) and the PCM-501-ESD (1987). These machines became instantly obsolete when the Digital Audio Tape (DAT) recorder was introduced in 1987. The DAT machine, at a cost of about $7,000 compared to about $30,000 for a tape recorder, soon […]Read more