Totems of the Third Reich’s Musikkorps…

‘The Army of the Reich must gradually be steeped in the old traditions, especially those of Prussia, Bavaria and Austria…” so said Adolf Hitler in 1941 and amidst the pomp & tradition of Hitler’s Germany, one of the most enduring aspects of the Third Reich was the magnificence of its dress: a whole nation in uniform, with a tailored outfit, dagger and ornate accoutrement for every conceivable occasion. But it was perhaps the myriad visions of Nazi flags, banners & drapes, with their mix of Roman & Wagnerian imagery that would remain long after the Reich crumbled in the ashes of Berlin in 1945.

The word ‘flag’ is derived from the ancient German or Saxon word ‘flaken’, meaning ‘to fly’ or ‘to float in the wind’, and whilst Roman legions carried their ornate eagle atop a banner as a standard, the use of a flag as a means of identification began with the Vikings and was later used to great effect in the Crusades of the Middle Ages.

In 1848, the original German Federation adopted a tricolour of black, red and gold, colours based on the black coats, red collar piping and gold buttons worn by German university students who were raised as a volunteer force by Major Lützow in 1813 to assist in the struggle against Napoleon. Bismarck, however, later replaced this flag with the national tricolour of black, red and white, but at the end of World War One, the new Weimar Republic declared that the official colours of the new German republic were to revert back, and so in 1919, black, red and gold once again became the official colours of the German nation.

With the increasing unrest and upheavals in Germany in the 1920′s and 1930′s, the Weimar colours increasingly came to remind those on the right of Germany’s capitulation and subsequent humiliation brought about by the Versailles Treaty in 1918. As a result of this association, when the National Socialists came to power, one of Hitler’s very first acts was to abolish the loathed Weimar tricolour of black, red and gold. On April 22nd 1933, he decreed that a new national flag of black, red and white would henceforth be flown in conjunction with the NSDAP party flag of a black swastika within a white circle on a blood-red background.

As far as the armed forces were concerned, no official unit colours had been presented or indeed carried during the period of the Weimar Republic; however, one year on from the reintroduction of military conscription in 1935, Adolf Hitler announced that unit flags, banners and standards would once again be issued, and between 1936 and 1937, the vast majority of Wehrmacht units were presented with new official colours.

All subsequent unit insignia, from flags to pennants, were to incorporate and refer back to the initial unit colour issued, including regimental bands. Emblems displayed on or within flags & banners during the Third Reich usually included, in addition to unit details and/or towns of origin, the evocative images of either the German eagle, swastika, iron cross, SS runes or death’s head.

The origins of the eagle as Germany’s national emblem can be traced back to the ninth century and Charlemagne, who saw himself as the successor to the emperors of Rome and adopted the eagle upon the legionnaire’s standard as the symbol of his rule.

During the later periods of Hohenstaufen and the Holy Roman Empire, the German eagle developed into its distinctive upright stance, with its single-head, spread-wing and out-stretched talons, which became known as the ‘displayed’ eagle. This impressive image was adopted by the German Second Reich in 1871 and continued by the Weimar Republic in 1919, before coming to real prominence with the National Socialists in 1933.

This new eagle incorporated the National Socialist’s emblem of the swastika, mounted within a garland of oak leaves – the traditional German symbol of strength and longevity; thus the combination of eagle & swastika was enshrined as the official emblem of the Third Reich and as such was officially adopted by the German armed forces:

The army and navy adopted a differing version from the standard political eagle, known as the ‘Wehrmachtadler’, a ‘displayed’ eagle whose wings were only half open; whilst the Luftwaffe, as the newest branch of service, desired a more distinct emblem in the shape of an eagle & swastika whose wings gave the impression of flight.

Seemingly associated with Germany since time immemorial, the symbol of the iron cross actually dates back to the Crusades where German knights, ruling over Prussia, Estonia and Kurland, adopted a white surcoat upon which was displayed a distinctive cross in black. Friedrich Wilhelm III of Prussia later adopted this black cross and, having watched Napoleon create the Legion d’Honeur medal for bravery in 1802, introduced the Iron Cross as a German military award for gallantry some 11 years later.

1871 saw the iron cross adopted by the Kaiser and incorporated into the flag of Imperial Germany, whereupon it became the focus of a nation during the Great War between 1914 and 1918, before its adoption by the incoming National Socialists in 1933. Such is the historical bond with Germany and the iron cross that a Maltese-style version continues to be the symbol of the post war Bundeswehr’s displayed on its fighting vehicles & aircraft.

An ancient symbol, the swastika was traditionally a sign of good fortune and is derived from the Sanskrit words ‘Su’, meaning well and ‘Asti’, meaning ‘being’. Used widely as a Buddhist emblem, the swastika was also the pagan Germanic sign of Thor the god of thunder, in addition to being a featured symbol in the Nordic runic alphabet. During the nineteenth century, the swastika was widely regarded throughout Europe as a symbol of nationalism, and was adopted by the Ehrhardt Brigade and other Freikorps units during the German uprisings, following the defeat at end of the WW-I.

Adopted by Adolf Hitler, the Hakenkreuz (literally ‘crooked cross’) came to represent National Socialism, and in the years 1933 to 1945 was displayed on most flags and banners, either individually or with the traditional German eagle.

Perhaps the eeriest of all German insignia was the ‘Death’s Head’ adopted by the SS in 1934, but whose Germanic associations date back to 1740. Often thought as a design to terrorise the nation’s enemies, the Totenkopf  actually has strong links with German medieval literature, where it was a symbol of death & destruction. However, as a piece of German military insignia, it made its first appearance as a large, silver bullion jaw-less skull & bones, embroidered on the black drape at the funeral of the Prussian king Friedrich Wilhelm I. In tribute to Friedrich, the elite Prussian Royal Bodyguard Divisions (the Leibhusaren-Regimenten no.’s I and II), formed after his death, adopted black uniforms with large silver Totenkopf affixed to the front of their large busbies (Pelzmützen).

During the First World War, a number of crack Imperial German flamethrower & storm-trooper units also adopted the death’s head, and in 1918 it appeared painted on the steel helmets of the Freikorps in the German uprising, where it became a symbol of both war-time bravery and post-war anti-Bolshevism! Not surprisingly, members of the Stosstrupp Adolf Hitler took up the Totenkopf as their distinctive emblem in 1923, and with the coming of the National Socialists in 1933, the Stosstrupp’s successor, the Schutzstaffel, adopted the Prussian jaw-less skull as their symbol.

However, when the Wehrmacht’s new elite Panzer-Korps decided they too wished to be represented by the Prussian death’s head, the SS devised & ordered their own particular ‘grinning skull’, which became the standard death’s head for both the Allgemeine and Waffen-SS. Used in conjunction with the SS’s own distinctive version of the displayed wing eagle & swastika, the Totenkopf was used through to 1945 on all SS uniform insignia, vehicles, flags, standards, trumpet banners, drapes and drum covers.

Inextricably linked with the Totenkopf, the ‘twin lightning’ runes of the SS were derived from the historical alphabets and figures used by Germanic tribes of pre-Christian Europe. The standard single Sig Rune was long regarded historically as a symbol of victory, and by the end of the Second World War, some 14 variations were eventually in use by the Waffen-SS.

The double-SS runes originated in 1932 when SS-Mann Walter Heck, graphic designer with Bonn insignia manufacturer Ferdinand Hoffman, put two single sig-runes side-by-side to create the infamous SS-Runen. The SS leadership paid him the princely sum of 2.50 Reichmarks for the full design rights, and the organisation thereafter utilised the runes throughout all branches of service to represent the Allgemeine/Waffen- SS during the entire period of the Third Reich.

Copyright @ Brian Matthews 2014

Extracted from the book:  The Military Music & Bandsmen of Adolf Hitler’s Third Reich 1933-1945                     Published by The Tomahawk Films WW-II German Archive.    ISBN 0-9542812-0-9

 

Tomahawk Films’ New Year..

A very happy and contented New Year to all of the fantastic and most loyal customers of the Tomahawk Films’ WW-II German Archive that we have around the world and indeed to the ever-growing band of kind and enthusiastic collectors & students of military history now regularly reading our Blog and are beginning to contact us either to share welcome snippets of information or just telling us they are enjoying what we post from time to time here on the Tomahawk Film’s website…

I must admit, (though my friends & colleagues in the business already know it to be fact, sadly), that being the Luddite that I am, I’m so much happier with just a word-processor to write on; so that having to finally launch ourselves into the modern era of ‘social media’ and leave behind the old Tomahawk Films catalogue mail-order business, (that has served us so well over 27 years), has become a bit of a shock to my system… it’s sad, but I know it has to be done!

Albeit still so embarrassing when I watch a tiny tot happily & confidently typing on a lap-top or using the latest mobile phone with all its latest apps & gizmos with such aplomb… makes me feel a right klutz)! Then I content myself with the thought that said tot could not write and produce a 50 minute WW-II TV documentary..but then again, knowing my luck these mega-bright little sparks probably could.. and judging by some current TV output..actually do!

But I find it really worrying that there is now such a cultural divide (or should that be a cultural apartheid?) opening up between those of us over 50 and those under.. and, yes, I am the man that shouts at World’s Strongest Man contests on the box when the commentator says a competitor is ’1.8 metres high and weighs 128kgs’. Excuse me? Speak English man not some strange continental Euro verbiage.. I can imagine a man at 6” 6” weighing 26 stone..but everything else… just forget it!

However persisting with my desire…well it’s not my desire but everybody else’s it seems, (thanks Malcolm!), I actually spent over 6 hours yesterday at our local IT company hopefully, and finally, sorting out the Tomahawk Films website and ensuring that its upgrade to a new, firmer foundation and with a change-over from Card Net (Lloyds Bank’s credit-card clearing bank) to the more global Barclaycard, goes seamlessly. If it does then within the next few weeks the our distinctive German archival website will both have a more secure footing to stand upon and be an easier, more customer-friendly & ultra-secure experience for those German music & film footage fans that generously want to continue buying our rare German archival products via the website and having Barclays accept their welcome Visa & Master card payments on our behalf, (alongside our continued usage of PayPal of course).

If that wasn’t enough (smelling salts Daphne!) I then went through an intensive couple of hours being shown the rudiments of Twitter, Facebook & You Tube, (thanks to the aforementioned Malcolm, who is our great mate Malcolm Moore who runs the excellent Mist of Time on-line & battle re-enactors militaria operation up there in Yorkshire and who is ‘our man in the north’ (along with felllow friend Anthony at Militaria.net) as it was Malcolm that finally convinced us here at Tomahawk that we have to embrace the new social media..or die.

Sadly it is a case in fact that one of the downsides to our fabulous success of our German Archive as we enter our 28th year of operation is that we are a regular target for the myriad rip-off merchants in Europe, Russia and North America who still appear to be sitting in their back bedrooms copying our CDs on a home computer then offering the contents on–line as if it were their own (or passing it off as genuine Tomahawk Films products) or worse simply banging it all up on You Tube without asking our permission. Indeed infamous US pirate even went to all the trouble of copying our distinctive red cardboard covers and placing our ripped-off material on several well known American on-line auction and book sites, but I think a ‘phone call to the right ears disabused him of that notion, hopefully he is now out of business..well we can hope I suppose!

Some youngsters seem to view my generation who’ve been in Film & TV a life-time (so do actually have a small clue as to what we talking about..well sometimes!) as dinosaurs; however for some reason there is a new breed of techno folk coming through now who either have no understanding of the concept of Copyright..or simply care even less and it is really galling when you do a regular Google test to check where our German Archive sits within their listings.. only to find those rip-off merchants are actually ranked higher than our bona fide archive..frustrating in the extreme!

These techno-herberts may be highly advanced in all forms of on-line technology but none of them seems to have grasped the simply concept of Copyright and that if somebody else has that Copyright you simply do not rip it off and post it or advertise it on-line as yours…I think these folk must wear strange glasses that make the words ‘on-line’ translate into ‘free to plunder’… and the on-line authorities seem to care not a jot..well that has to change if there is any justice!

One of these companies passing themselves off as ‘professionals’ have simply lifted our rare and original Kriegsweihnachten Christmas Carols CD (that took me 2 years to source and produce), changed the running order, replaced our distinctive cover and, bold as you like, have it offered on their website as ‘legal downloads’ with some obscure German name appended to the recording to make it look as if they have legally acquired the rights….I think not!.. and in fact I’m not sure they would understand the meaning of the word legal if it hit them in them face. Certainly, and as mentioned before, Tomahawk Films does not offer any of our material as digital downloads as happily, (at least for now) our myriad customers still want our complete archival albums on CD and in an attractive sleeve.. (or the real enthusiastic collectors as I tend to call them!) Perhaps ‘digital’ is not the way forwarded as everybody once blithely predicted..indeed look at the newly burgeoning vinyl market with new material being released onto record..who’d have thought it

Sadly as I increasingly make my way through the business world I see there is precious little honour left in business dealings any more (though with wonderful exceptions inall  the people Tomahawk deals directly with in terms of sale & supply!). I suppose with the pirates, where there is a buck to be made from somebody else’s endeavours, then honour is an alien concept, which is really tragic!

But let’s not get down about the dishonest ‘herberts’ infecting the internet and just be thankful for all the good people out there..to whit, thanks to Malcolm, Craig at our IT company CT Central, my director-cameraman Nobbie and his girl-Friday Harriet, Tomahawk are now about to take the fight to the pirates and ne’er-do-wells by opening our own YouTube account so we can legally list and offer some our archive’s music as tasters of the original material to be found in our archive via the Tomahawk Films website… likewise we will open up a Facebook account to keep ourselves updated and see what’s what in the wider world outside of our production offices here in Hampshire..

I have to say that Twitter is the one that I am least convinced by at the moment as what do you say that can be of any meaning in however few characters you are allowed.?. What can you actually say that might be of some importance to anybody else? Since last evening I have started to follow Jeremy Clarkson, BBC ‘Top Gear’ stalwart and a journalist I admire greatly, (though not for his motoring columns as cars, sadly, do nothing for me), but his weekly newspaper columns about life in general are some of the funniest ‘laugh out loud’ musings I have ever seen and happily are now available as delightful book collections, which I read avidly and highly recommend!

For my money, Jeremy is consistently quite the funniest and irreverent writer currently in print,but watching & reading his exchanges yesterday with a female journalist (who I suspect might be London’s Mayor Boris Johnson’s feisty magazine-editor sister) it all seemed quite inane and not really worthy of taking up any of their valuable time and I thought, er why?

The gist of the tweets seems to a bit of slagging for his most impressive Q17 Arctic Convoy documentary that went out last week and was in fact one of the finest war-time documentaries I have seen of late (after the recent Goering: A Career) and I urge you all to take a gander if you get the chance. Jeremy is just a sublime & confident presenter of such war-time docs as his very evident patriotism shines through and his admiration for the veterans he is talking about certainly adds a very personal touch to the programme.

But returning to his ‘tweets’ of yesterday I sort find all these rather unedifying to have such little spats played out in public.  These are bright people so why do they need twitter..something I am still musing about with Tomahawk. Just why do we need a place to leave inane one-liners when we have our website and our Blog through which to express ourselves more fully? .I cringe even more when certain ‘loved up’ couples in the media seem to play out their entire romance on Twitter of the edification of others and I feel like shouting ‘oh do get a room you two’..!

I don’t know whether it is a ‘showbiz thing’ that these folk have to always been seen in public or cannot live their lives without somebody commenting about them…Malcolm & Nobbie have both told me that Tomahawk being on Twitter, (plus the aforementioned You Tube & Facebook), will all help keep Tomahawk Films in the public eye and so keep us right up in the Google rankings, above the very people trying to rip us off..So if it is for the good of the company then we will give it a go..but I can already see Twitter will be the first of these social media to fall by the wayside for Tomahawk Films, as who is going to be sitting in his bath, say, and be interested in the fact that we have just acquired a new German signalhorn for the archive?

Actually that said, I’ll now completely contradict myself and thank John for contacting us having read my Blog relating to such signalhorns & German Bugles to say that he has recently bought a Max Glass-marked example and do we know of the company?… We certainly do for Max Glass (left) was one of the main manufacturers of such signalling instruments and was prolific in distributing them…but oddly Max Glass was also a typewriter-producing factory and was probably as well known, if not more so, for such German Schreiber machines.

Indeed our good pal Shawn over in Texas very generously gifted us an original invoice (Rechnung) dated September 1st 1939 that he picked up recently as issued by Max Glass from Klingenthal, one of the major musical instrument production areas of Germany (also a ski-jumping town I believe?) during both the years of Imperial Germany and the Third Reich. We just missed adding another Max Glass to the archive over Christmas so must ask John if it was indeed his good self that managed to purchase this bugle from a dealer..it had a small waffenampt stamp to the garland, (something I have never seen before so am keen to hear more about that). However our signalhorn collection continues to ebb & flow..as we speak we are awaiting one from Holland and two from Germany but the Christmas back-log seems to have all 3 still in its grip.. so we must be patient!

However back to the social media and it will just remain to be seen if Tomahawk launching itself on to such platforms will be a success or indeed a damp squib…I must admit I have certainly enjoyed writing the Tomahawk Blog which is now just over a year old…though sometimes the ‘old grey matter’ runs a bit dry and it is not always easy to come up with something new opine on…that is why occasionally there are 3 or 4 Blogs in a couple of weeks or nothing for a month. However it is good to see that since we started Blogging the hits to our Tomahawk Film’s website have actually doubled. So we know you guys out there are finding us..and thank you so much for that..great to know we are not sitting in the dark, wittering to ourselves!

On that front, sad news to report that over the Christmas holidays I heard from the family of former Ober-Kanonier Helmut Zimmerman of the 319th Artillery Regiment stationed in Guernsey, (and whom I wrote about in my Blog and magazines articles A Guernsey Gunner’ returns) passed away on Boxing Day and I would like to extend my deepest condolences to his family. Helmut was a wonderful man whom I was pleased to know and spend some time with over in Guernsey… as with many terrific, German veterans he always had a twinkly smile and a warm greeting and was a much loved friend of Guernsey.

So in being able to share both happy & sad news I can see social media does have its part to play in keeping everybody involved & interested in this specialised field of military study & collecting and to that end I welcome any Blog readers contacting me via the Tomahawk Films website to either say ‘hello’ or share any information or comments about anything I may have written here..or indeed any world war two television documentaries you may have watched & enjoyed that I may have missed? Having spent the bulk of my professional career in the film, TV & sporting outside broadcast world, I am still a sucker for a good TV documentary and still enjoy watching them & writing about them, so please feel free to make contact with me, it’ll be great to hear from you…!

Meantime wishing you all a great year of study & collecting in 2014… Tomahawk certainly did much better in 2013 than expected on sales of archival CDs, DVDs & Books so perhaps the Recession is finally lifting its heavy hand from backs & our wallets… here’s hoping!  

           Copyright @ Brian Matthews 2014

Cavalry Music of the Third Reich…

Over the many years that Tomahawk Films has been  renovating and restoring Third Reich-period archival recordings, we have received many a call asking if we could release a specific album devoted to this German musical subject or that and, enjoying this welcome interaction with our valued customers, we’ve always made a note of such interesting suggestions. Though, sadly, this original period, archival music does not grow on trees and so takes many months, (and some cases years), to track down, with the help of our colleagues in Germany we have been able to continue our search and on a number of occasions have been able to ‘come up trumps’ and produce an album, based on that very specific customer feed-back.

Our CD Reitermärsche was a good case in point and I am glad that we were able to source some of this stirring instrumental music through our German colleagues, for Prussian cavalry music, (with its distinctive trumpet and kettledrum instrumentation and its instantly recognizable ‘trotting cadence’), was an important part of the German military musical inventory and one of its leading exponents, though not Cavalry-based, in and of themselves, was the Spandau-garrisoned Musikkorps.3.Batl./9.Inf.Regt. originally directed by Adolf Becker.

Following the disbandment of the German Army in 1919 in compliance with the Treaty of Versailles, a new 100,000-man Reichswehr was eventually created for the new Weimar Republic, and with but a handful of regiments compared to those of Imperial Germany, new battalions would have to represent the previously hard-won honours & traditions of entire former regiments.

So it was that the III Battalion 9th Infantry Regiment’s Musikkorps became the new ‘Tradition-bearers’ for the old Kaiser Franz Garde-Grenadier Regiment Nr.2 and, often referred to up until 1945 as the ‘Franzers’, was initially led by Adolf Becker, who had been bandmaster of the old Kaiser Franz Regiment, and the very epitome of the Prussian soldier and one of the youngest ever Guard Obermusikmeisters.

On parade, Becker’s exhilarating and bombastic style of music thrilled the crowds in Berlin where he became known as ‘Adolf mit dem Paukenschlag’ (or Adolf with the Drumbeat), because he always had his drummers add special loud flourishes to their performances, particularly as the Unter den Linden’s Guard-Changing ceremonies were goose-stepped to their conclusions.

The original band members of the 3.Batl./9.Inf.Regt. were drawn from the old Prussian Guards ‘Franzers’ band and continued to be led by Adolf Becker, until Adolf Berdien took over the position upon Becker’s retirement in the mid 1930’s and now, along with two rare performances by the Wehrmacht’s mounted Trompeter-Korps Reiter-Regt. Potsdam supported by the in-house military orchestras of the Odeon & Grammophon record labels, this evocative album contains 14 superb tracks including: Der alte Dessauer-Marsch, Allen voran, Hohenfriedberger Marsch, Marsch der finnländischen Reiterei and Kavallerie-Parademarsch that all German mounted-Musikkorps buffs will instantly recognise - and hopefully enjoy..!

Copyright @ Brian Matthews 2013

 

Converting Nazi-era Military Music to Tomahawk Films’ CDs…

At the risk of ‘teaching Grandma to suck eggs’, not all collectors will be familiar with the art of digitally re-mastering old & highly precious 78rpm schellack records into a modern playable format, (some now actually over 100 years old), and yet, even in today’s digital age, some still believe it is simply a case of whacking a much-loved schellack onto an old wind-up record player, sticking a microphone in front of the speaker..and hey presto..job done!! (…and yes, we have seen that done!).

Happily for us, all of Tomahawk Film’s archival 78rpm German recordings are digitally renovated & repaired, (where needed) and then remastered by the superb archival audio-engineer Simon Wood (or ‘Woody’ as he is known by everybody), at his superb recording studio, Dubmaster, deep in the heart of our beautiful southern county of Hampshire.

Using the very latest and updated technology available to the world of audio-dubbing, Tomahawk has enjoyed a fabulous 25 year-plus relationship with Woody and on many an occasion we have called on his considerable expertise as both a television location sound-recordist & studio audio-producer to recover, preserve & then re-master some of our original audio material that has come in directly from all four corners of Germany… and some of it quite often in various states of disrepair..!

Whilst some of these beautiful and very rare schellacks have been found by us in Germany in almost pristine condition, (thanks to careful handling by the previous owners), and so often look & sound as if actually produced in recent years and thus need only a minimum of the love & care Woody lavishes on them, nevertheless it is the case that some of our original material now goes back as far as 1910 and has required a bit more in the way of TLC..!

Our unique Imperial German release: The Kaiser’s Musikkorps of the Great War 1914-1918  (for which many thanks to our friends at Eagle & Lyre for their additional help & expertise in this earlier field of German military music), being very much a case in point. This earliest of CD’s in our Archive actually started life as a wonderful collection of some of the first schellacks around that were actually found, by accident, in the former Eastern Germany, when a house was being demolished and a large, carefully bound album of these old records was found amidst the lathe & plaster of the attic as it collapsed around the builder’s heads..!.

When you come to think of it, it really is quite amazing that here was an original schellack record collection that had survived the the 5 years of World War One, the Weimar Republic, the Rise of the Nazis & The Third Reich, heavy Allied bombing of Germany’s cities and her industrial areas in 1943-44 and then, post-war, Soviet Occupation and the ultimate Fall of the Berlin Wall… talk about ‘if only a collection could tell a story’..!

Amazingly these schellack 78rpms also cleaned up beautifully in Woody’s studio and so Imperial German Military music, that would have been played on wind-up gramophones in fox-holes & trenches of the Western Front, can now be enjoyed by collectors & enthusiasts on CD some 100 years later!.

Working with schellacks that have actually been quite this old was something of a nervous one-off for Tomahawk as the majority of our German music releases are from the Third Reich/Nazi-era and so Woody ‘only’ has to go back some 75-odd years. However the recovery & restoration of this wonderful music still requires the same skills & studio equipment and Woody’s professional lightness of touch, (or ‘magic’ as I still call it!), in re-mastering this historical material to CD and so successfully preserving The Tomahawk Films WW-II German Archive of Third Reich/Nazi-era music for many years yet to come..!

As far as the actual sound quality of our original old recordings themselves are concerned, many collectors will know that an original historical schellack 78rpm record had a beautifully inherent and very distinctive low-level hiss & rumble, (even when brand-new in the 1920s, 30s & 40s); and whilst Woody has faithfully brought many of these lovely old records ‘back from the brink’ and digitally cleaned them up to give a markedly enhanced listening experience, in so doing he has also successfully managed a superb ‘historical balancing act’ to leave enough of that original light hiss & rumble in the CD transfer in order to preserve the integrity of the original medium…

The end result is that our listener is happily aware that he is listening to an original & historical schellack recording and not some ‘antiseptically over-worked recording’ that sounds like it was merely lifted yesterday and as such has absolutely no atmosphere left to it whatsoever! With his incredible sense of hearing, (and his hands a blur over a studio dubbing-console that looks more like Concorde’s flight-deck!), Woody has ensured that in Tomahawk Films’ audio recordings you are listening to the high quality that original German audiences would have also listened to on schellack 78rpm, either on their gramophones or on radio via the early radio recording services of The Third Reich..and even earlier!

It also has to be said that Woody himself has a long and very distinguished television & recording studio background, (including television drama & documentaries as well as studio & location recording of anything musical from modern rock bands to classic orchestral ensembles), and such is his expertise in audio-art that this year he found himself much in demand in a supervising audio-recording role on the UK Television sound coverage of the Olympic Games staged here in London in 2013. So Tomahawk Films count ourselves very lucky to still have all of that audio & studio recording  expertise at our command along with Woody’s sensitive ears..!

Copyright @ Brian Matthews 2012