The recordings are all British, with a 3-digit matrix number starting at 101. Some of the recordings were issued on Dominion, and some of the old A-series Worldechos were re-issued on the subsequent B-series ones. The take "numbers" are shown as a letter stamped in after the matrix number:- plain (no letter) is take 1; X = take 2; Y = take 3; Z = take 4. Presumably if they couldn't get it right in 4 takes, it was abandoned!

The recording engineer at Worldecho was a very young Kenneth Wilkinson, who was still in his teens at the time. Wilkinson later moved to Crystalate and then worked for Decca (until his retirement in 1980) after they took over Crystalate in the late 1930s. He was one of the driving forces behind the "ffrr" and ffss" techniques at Decca in the 1950s, along with Arthur Haddy.

A report in the April 1929 issue of "Melody Maker" states: Reg. Spinelly (brother of Fred and Charlie) has a six-piece band including Tim Cave (trumpet), Norman Impey (reeds), Les Julian (sax and violin), Charles Kelly (piano), Reg Spinelly (drums). This combination has already made a number of records for the Worldecho company of which Fred Spinelly is the recording manager.

This raises an interesting point. All the Worldecho issues (see below) were recorded from October 1929 onwards. For this report to be in the April 1929 Melody Maker, it has to refer to recordings made in March 1929 or earlier, at which point there was no Worlecho label on sale. The most likely scenario is that the company had spent most of 1929 testing out the process, but it is odd that the magazine should refer to the record label as though it was a current one.

The solitary "Siemens Opal & Pearl" record (q.v.) seems to have been made by the same process and probably dates from early 1929, so could be one of the records referred to in the article, but there is no mention of Worldecho on that record.