Cook Records
| Company type | Record label |
|---|---|
| Industry | Music |
| Founded | 1952 |
| Founder | Emory Cook |
| Defunct | 1966 |
| Headquarters | United States |
| Products | Records (binaural and stereo), audio equipment (Binaural Clip-On, tonearms, preamps) |
Cook Records was a record label established by inventor and audio engineer Emory Cook (1913–2002). Between 1952 and 1966, Cook utilized his Sounds of Our Times and Cook Laboratories imprints to express his principles regarding sound quality, recording technology, and production methods.
Recording techniques
In addition to the Sounds of Our Times label, Cook produced Road Recordings, a "White Label" collection, along with test and binaural recordings.
Originally, Cook aimed to demonstrate his recording and pressing techniques at an audio exhibition, employing binaural (stereophonic) sound to capture interest. The enthusiastic reception prompted him to manufacture and market both equipment and records.
His micro-fusion pressing method consisted of individually filling molds sequentially on an assembly line before pressing. Cook foresaw record retailers producing discs on-site to eliminate shipping and inventory expenses. By 1958, numerous outlets throughout Caribbean regions—from Puerto Rico to Trinidad—operated Cook’s pressing machines. Some shops recorded local performances and forwarded master tapes to Cook, who fabricated metal molds that were sent back for pressing copies as customers requested them.
Genres
The label issued over 140 albums encompassing European and American classical music, popular and traditional genres from the U.S. and Caribbean, calliope and carousel tunes, as well as recordings of mechanical and natural sounds. Caribbean music constituted more than 25% of the catalog, frequently featuring calypso or steel band performances. Many field recordings originated during Cook’s expeditions in Trinidad. Early high-fidelity theatre organ sessions by British organist Reginald Foort were also released under the alias "Michael Cheshire."
Binaural recording
Cook Records is distinguished for releasing the first commercial stereo discs in 1952, which Emory Cook labeled as "binaural." Approximately 50 binaural titles were produced. Unlike contemporary binaural techniques employing microphones placed inside the ears, Cook’s method recorded outputs from two separate microphones onto two independent monaural tracks located on one side of the disc. The grooves consisted of concentric rings—one channel occupying an outer band encircling a second band that began midway through the record. The subsequent V-groove or Westrex stereo LP system, which played each groove wall separately, was introduced in 1957. Following this development, Cook also released V-groove stereo records under the name "Cook Vector Stereo." During this era, other companies such as Livingston, Audiosphere, and Atlantic also produced two-track binaural records.
The Clip-on
To properly play binaural records, listeners required two monaural LP cartridges precisely spaced and aligned. Emory Cook created the "binaural phonograph adaptor," commonly known as the "Binaural Clip-On," an aluminum extension that attached to conventional tonearms to mount a second pickup cartridge. Retailing at US$5.95, this device allowed meticulous adjustment of cartridge spacing to avoid phase discrepancies between channels.
This invention exemplifies Cook’s engineering expertise and dedication to stereophonic sound reproduction, earning him a place in the Audio Engineering Society Hall of Fame while underscoring early consumer interest in sophisticated audio playback technology.
Tonearm
In partnership with Livingston Electronics Corporation, Cook developed a tonearm shaped like a tuning fork to accommodate two pickups. Similar to the Clip-On model, it positioned monaural cartridges at distances corresponding to the groove bands, ensuring synchronized playback and accurate phase alignment. To facilitate precise adjustment, Cook offered a test record containing a "Binaural Clock" with adjustable click intervals. This tonearm design inspired several HiFi manufacturers to introduce their own binaural arms.
Preamp
Cook’s binaural records employed unique equalization curves prior to the establishment of RIAA standards—both channels featured a 500 Hz bass turnover, but with different rolloff characteristics on the inner and outer grooves to allow for enhanced modulation. Since dual pickups required separate preamplifiers and existing HiFi preamps allowed manual adjustment of turnover and rolloff frequencies, this configuration was feasible. Cook engineered a two-channel preamplifier specifically optimized for binaural playback, compatible with his discs but lacking adaptability for other records. By 1954, Livingston introduced an integrated amplifier labeled "stereophonic," which incorporated these specialized preamps.
Microfusion pressing
Cook’s monaural records were regarded as premium products, boasting an extensive dynamic range and commanding higher prices—$4.98 for a 12-inch disc—approximately double the cost of typical LP vinyl at the time. This superior quality derived from Cook’s advanced recording and mastering methods that delivered greater dynamic scope and minimized noise. By 1955, production utilized his patented "Microfusion" pressing technique, which involved spraying cold vinyl powder into a metal mold resembling a waffle iron. The mold was then heated and pressed, causing the plastic particles to melt and fuse while simultaneously imprinting the grooves. This process resulted in improved mold filling and substantially reduced surface noise compared to the conventional hot vinyl "biscuit" pressing employed by competitors.
Unusual recordings
Cook’s catalog featured distinctive projects such as "Night Rain," katydid calls, Caribbean steel band performances, and blues sessions. Some titles, like "Speed the Parting Guest," served specialized purposes, while "Burlesque Uncovered," an audio capture of a striptease show, remains notable for its novelty value. His 1956 binaural release documented steam-powered calliopes and carousels, preserving the authentic mechanical sounds of 19th-century amusement devices still in operation.
Exhibiting shrewd business strategy, Cook obtained signed agreements from musicians recorded on-site, often acquiring full rights for nominal sums—commonly one dollar. This tactic enabled him to document performances unlikely to be recorded otherwise, thereby broadening his market offerings with genuine field recordings.
Stereo
Cook’s interpretation of stereophonic sound diverged from contemporary left-right channel separation. Instead of moving sounds across channels, he prioritized spatial depth perception. For instance, in Rail Dynamics, microphones placed on either side of railroad tracks captured trains traveling on a single plane toward the listener, producing an immersive sensation as if the train passed directly overhead. This inventive microphone arrangement preceded modern surround sound systems and provided a more realistic dynamic by capturing subtle auditory details from various moving components on both sides of the train, distinguishing Cook’s stereo recordings within the audio industry.
Company Legacy
In 1990, Emory and Martha Cook gifted the American division of their record label, along with master recordings, patents, and archival documents, to the Smithsonian Institution. These audio assets are currently overseen by Smithsonian Folkways.
The Trinidad division had been previously sold by Emory Cook. Due to the master recordings for several Trinidad-exclusive releases (primarily singles) remaining under the ownership of the Trinidad branch's proprietors, Smithsonian Folkways is unable to reissue those particular titles.