
The cutter " thing" that afflicted Victor up till the end of the acoustic era, and which drives me insane, are sides where the cutter slowed down as the side progressed. Consquently the pitch and tempo increase towards the end of the selection. The Montreal studio had the same disease. I just played a dance side from 1925 on 216486 (Oh Joseph by the Venetian Gardens Dance Orch) that is almost a full tone higher by the end of the side. ( Okay, it's a piano tuner thing, but it drives me nuts!

Jim