What are your feelings on how 78s should be transferred?

In transfer and reproduction of the modulation content of a gramophone record groove, the variable information must needs be tailored to the peculiarities of the subsequent processing. Choices must be made concerning not only the programme but also the character of the attendant noise. . . and their subsequent separation for clarification of the former and reduction of the latter whether by quantification or simple perception. All of this will give rise to style. . . and each engineer has his own. . . he may seek substantial noise reduction at the expense of (instrumental) separation and peripheral "air" or he may colour tonality to alter the perceived spatial position of noise at the expense of realism; he may ignore the noise element in favour of realism, separation and "life". . . or any of these and others in combination. Just as you might read a scathing review of a current stage production while knowing that your own opinion is usually unlike that of the reviewer and see and enjoy the performance, so record-buyers will favour the style of a sound engineer over that of another. My own style is based in the presentation of maximum feasible information. . . and let the recipient have the choice. . . !

What are some of your favorite methods of cleaning?
Part and parcel of transfer must be preparatory work--whether simple (or not-so-simple) cleaning or physical repair. . . another three chapters! Generally, repairs should be durable but not irreversible. Generally, dry and clean is preferable to application of unguents and lubricants--many of which will change the nature of the original surface material and cause insidious and premature destruction.

Do you have any proteges you're grooming for after you retire?

Although, a couple of years ago, my ears were routinely tested and found still to be able to hear to 14 Kc/s, I am acutely conscious of their deterioration and less-than-confident of my fitness to continue my engineering work. I console myself a little in that most of my listeners are in worse shape than am I--but I have always hoped that my transfers would be complete enough that they would serve as source material for future generations. "Shellac" (a bit of a misnomer actually) doesn't last forever and I have a selfish (?) interest in preserving for future generations the sounds which have brought me a lifetime of pleasure. Yes, I do have a "protegé" upon whom I lavished some two and a half years of attention and to whom I passed as much of my information and experience as I was able. His name is Ted Kendall. . . and, while I had hoped that he might work with me, he is doing excellent work on his own. . . dammit!, he's better at it than I am!. . . and I am much pleased.