My grandfather, Bruno, owned his own recording studio, Bee-Vee Sound, in New York for over thirty years. Before that, he worked at RCA and either before or after, for a man named Dick at Ohmstead Sound. He has worked with a ton of celebrities. I've told a few of his stories on here. I also still have to digitize the masters he gave me of a few things no one has ever heard anywhere ever except for him and the artist. Sendspace sooner or later. He was nominated for a Grammy in the '60s for Bob Prescott's "Cartoons in Stereo." A note on the record itself which I find pretty interesting from a site on the web:
Cartoons in Stereo was the brainchild of Bob Prescott, a prominent sound effects artist from the (g)olden days of network radio (Cavalcade of America, Lux Radio Theater, etc.). On this record, Mr. Prescott and friends make the many and varied noises, while veteran voice artist and commercial pitchman Cy Harrice (pronounced "Harris") provides the spoken parts for a series of 23 short, minimalistic comic vignettes punctuated by some hyperactive player-piano music (I suppose you could call these 'blackout skits' but for the fact that this is a record and you can't see the lights go down). The idea was apparently to create a sort of aural equivalent to the pithy, stylized single-panel cartoons you would have seen in The New Yorker, Playboy, and other popular magazines of the time. Some of the bits work, and some don't, but you cannot deny that Mr. Prescott made good use of what the swell reveiwers call the 'stereo soundstage.' So, put on your headphones for this one. I have removed some pops and carefully carved away some vicious surface noise to make this clip more listenable.
A note on the disc itself: it was released on Audio Fidelity records, an independent label (founded by Sidney Frey) that catered to the hi-fi nuts of the day. The cover features a scary-looking old-fashioned hypodermic syringe, which marks this as one of the releases in AF's "Doctored for Super-Stereo" series (presumably for the hyper-sepration between the two channels). Portions of the record (such as the gun-passing in "Russian Roulette") appear to have been binaurally recorded, a rare sonic treat. As with most of the AF discs I've seen, this one is pressed on hard, heavy-gauge, unwarpable vinyl, and has a handy strobe ring on the label to enable you (with the further aid of a 60Hz neon light) to adjust your turntable to the proper speed.
His brother in law, Dario, who was killed by his wife as he slept (yeah, I know, Felix Pappalardi/Phil Hartman shit) was a mechanical genius. He built all kinds of audio equipment, owned a few patents on a couple of things too but I never found out what. He build lathes, all kinds of machines, built his own preamps, mixers, tape machines, etc. He made his own watch, fishing rod, all this other stuff some of which I still have and still works. This coming from a man who never went to school a day after 10th grade and spoke basically no English. He was somewhat of an eccentric, but was a genius when it came to fixing/building.
My great-grandfather, Siro, was a bootlegger during Prohibition, once blew up a bathtub and got mustard-gassed during WWI. He worked in New Milford, Connecticut upon arrival in America in 1920 after going through Ellis Island (port of entry). He worked in a brickyard with other Italians for a group of Irish who busted their balls mercilessly. Siro, a hot-tempered and brutal man, killed a cop with a brick when a scuffle broke out between the men and they came to stop it. He left for New York City when the cops (mostly Irish too) in New Milford came to the communal housing and started arresting every Italian they found. Siro met my great grandmother, Teresa Cossavella, some time very soon after. That event basically had a big hand in my family forming the way it did. He was never apprehended for the crime.