In the early 1920s, the studio was long and wide with a control room separated by a double pane of glass. For sound proofing, a Mohawk rug was placed on the floor and drapes and towels were hung on the wall. Gennett issued a few early electrically recorded masters recorded in the Autograph studios of Chicago in 1925. These recordings were exceptionally crude, and like many other Autograph issues are easily mistaken for acoustic masters by the casual listener. Gennett began serious electrical recording in March 1926, using a process licensed from General Electric. This process was found to be unsatisfactory, for although the quality of the recordings taken by the General Electric process was quite good, there were many customer complaints about the wear characteristics of the electric process records. The composition of the Gennett biscuit (record material) was of insufficient hardness to withstand the increased wear that resulted when the new recordings with their greatly increased frequency range were played on obsolete phonographs with mica diaphragm reproducers. The company discontinued recording by this process in August 1926, and did not return to electric recording until February 1927, after signing a new agreement to license the RCA Photophone recording process. At this time the company also introduced an improved record biscuit which was adequate to the demands imposed by the electric recording process. The improved records were identified by a newly designed black label touting the "New Electrobeam" process.