"The Tech Rep: By James Michener Continyed:
"Holt would then transcribe these records onto tapes of high quality-say, twenty-nine of the best hot jazz numbers or the chamber music of Bach, including the six Brandenberg concerti-until he had a concert of a given type of music that would run a couple of hours. He was so skilled at this and his equipment was so precise that in the end he would have a tape better than any which the professional companies were making. He would then process it through various machines and make half a dozen copies for his friends. The result would be music so flawless that life in the Forgotten outposts would be a little more tolerable.
His own taste were specific. He respected classical music, and sometimes he was making a tape of Beethoven's nine symphonies or Verdi's REQUIEM for the local prime minister, he would admit grudgingly, NOT TOO BAD. But he kept none of these tapes for Himself. The raucous music of recent years he understood not at all, yet curious enough, he enjoyed making transcriptions or it for the younger tech reps, for it presented a technical challenge: A RECORD LIKE THAT...PURE NOISE...IT SOURT OF TESTS YOUR EQUIPMENT. LISTEN TO HOW THIS GEAR PICKS UP THOSE BASS NOTES AND SEPERATES THEM.
Spanish music, Mexican, oriental, Russian, Portuguese and everything in those genres he dismissed as GOOK SPOOK. I remember once when an aficionado asked him to make a tape from some valuable flamenco records. Holt listened to one minute of the first record, then growled, I'LL DO THE GOOK SPOOK BUT I'LL BE DAMNED IT I'LL LISTEN TO IT. And he made the whole transcription electrically, in complete silence, without once permitting the offending noise to echo in his quarters. Grand Opera was also gook spook, but oratorios or Masses for the dead, like the Verdi REQUIEM, were not. THAT'S RELIGIOUS, he said reverently."
To be continued:
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