I have bought a couple of records from this label for $15+tax: Ray Charles and Grant Green, and found the quality to be poor. There are others too. If you’re looking at any releases from the 80’s, avoid pressings with phrases like “electronically enhanced” or “digitally remastered” – these tended to be popular at the time, although digitally remastered is still seen today, but they tend to be a bit better at it now. Juliette Greco Just because something's been pressed on 180 gram vinyl doesn't mean its going to sound good or that it was sourced from analog. There are a lot of factors that go into whether an LP sounds good or not, and whether digital was involved is only one of them. The website. Ive got an original Zeppelin 3 12 and love the thing to death. And if a $60 LP from a major label is remastered from the best original sources, but comes out with a lot of crackling... well, I would RATHER get some $13 LPs possibly cut from dubious sources but with absolutely no surface noise. Capitol had some reissues that were wretched (Heart - Dreamboat Annie).
After I cleaned out the mass, I used my Record Doctor V vacuum record cleaner with a small mix of distilled water and 99% isopropyl alcohol and sucked out the residue. I wonder if DCC used an original master tape on more than just a handful of their releases. But that's another story. It was then that I noticed that the actual tracks on the individual albums weren't in the same order as on the cover or the original, and that there were actually some additional tracks, like one of those extended cd reissues.
To say I’m gutted is an understatement, even though I have many of those albums in digital form it’s not the same. Great to see the reissue of Some Girls is now on HD Tracks. Some I will likely never be able to replace as they are rare, but those I can replace I will. True story! In the 70’s, for instance, many producers opted for a cheaper and more efficient way to produce vinyl, called Dynaflex, which included recycled scraps of vinyl records. It’s not worth forking out the big bucks on the original if you’re ears are just as content listening to the cheaper reissue. In response to that, here’s a few notes on three popular terms: repress, reissue and remaster. Like I mentioned in the article, if you like Pink Floyd the latest album reissues are really well done. I was at a show in Scandinavia and someone was playing a Vinyl Lovers Rod Stewart LP. A few months back I paid about $40 in Norway for the Friday Music's 2008 reissue of America's self-titled album. Another point that can damage reissues or any vinyl for that matter, is when buying online.
The 3rd thing *can* make a difference, though that's mainly based on the era of the 90s, when CDs tended to be mastered loud, and had rather poor dynamics and overall audiophiles (rightfully so) felt 90s digital consumer media sounded a lot worse than their previous decade's analog media. At the end of the day, if it sounds fantastic to you, that’s all that matters! I will tolerate a bit of that (but NOT groove damage) to find a nice original pressing, generally buying from dealers who will offer a return policy if not satisfied. Interesting reading, especially your opinions on Music On Vinyl. Don't dismiss them outright because of the label, because you might be passing up a good vinyl. I think it's worth putting this on. It really stinks to drop $50 on a brand new copy of "The Wall" only to be inundated by staticky noise. Whether or not this really holds up, I don’t know. That mastering stamp more often than not indicates a good sounding record. Pressing plants closed, production equipment sat unused and poorly maintained, and experienced staff retired. I find all originals have better fidelity - I wonder if that has to do with brilliant Mastering Engineering and manufacturing?
The Londons? It's one of the flattest and most perfectly centered records I've seen in my life. Didn't know there was an analogue version of Modern Times. I haven't listened to it yet but this is a lesson learned.
And then the great vinyl resurgence of the late 2000’s happened. What do you say to that? Normally, a reissue shows variances from the original including the sourcing of masters, country of origin, packaging and even format. That could mean Bob took the master tape, did his thing, produced a 96/24 file and had Wes Garland cut from that, or that he went with the tape to NRP and cut from analog (assuming NRP has a preview head equipped playback deck), but sometimes there's nothing written in the Sundazed "deadwax", which leaves buyers with not a clue as to who did the all important lacquer cut and where it was cut, which is equally important: a mastering chain is like a hi-fi system in reverse. original 1st pressings of analog media IS better, it is physics. Tell ya what though, the pressings I've been happiest with have come from Quality Records. Ive been looking on eBay etc.
Are you changing your recommendations of the Fairport Convention reisuses on FMWB? I would expect it to be GOUGED for that many crackles. Apparently no one at Simply Vinyl pays much attention to sound. I think it speaks for itself. As a double 45 and in print is even better! Any record label worth its weight will always try to use the best analog source available to them. Hi Michael and everybody. Like anything when buying used vinyl, you just have to look out for the quality of the record itself and maybe do a little research into the pressing if you’re able to.
We just updated all our jewelry labels to organize our merchandise and for better security. When I first started collecting records, I couldn’t quite understand why some seemed condemn at reissues and revere original releases and first pressings. Third fact. Readers of Audiostream.com know the subject of "what's in a name?" All things being equal (which of course they never are), original, or even close to original, pressings are going to sound better than vinyl re-issues almost all of the time. Often you can see a "WG/NRP" on the inner groove area, which means "Wes Garland at Nashville Record Productions" did the cutting even though the credits say "mastered by Bob Irwin". Watch out when the Beatles, Stones and others get into the public domain here. I do not see how the discs of Jazz that are fifty years old, or discs of Caetano Veloso like Tropicalia (1968) can be considered as being in the public domain. Great track selection, pretty questionable sound from various sources.
Some of these records ended up being very low quality, containing bits of paper from previous record labels, or being so thin, they were practically floppy. His work on reissues is top-notch, for example, so it’s all about knowing who to look out for.
Never again. To quiet the raging collector inside me, I needed to understand the real difference between first pressings and reissues. Hi! I'm reading an old thread, but just to add my 2 cents: back in the late '90s I realized Mofi did not always use original masters when I bought Clapton's "461 Ocean Blvd", which contained a track from his subsequent album ("One In Every Crowd") right in the middle of the CD. It sounds quite respectable. Unsurprisingly, if you can pass off 44.1/16k as a full analogue chain and sell it as such, why tell people? You will probably want to investigate all of these things before deciding on your pressing of choice! I ask that question every time I buy new LP. This only really applies where the original source, before the digital remastering, was in an analog format. There’s SO much data that I now know what the word ‘audiophile REALLY means, and I’m just a wannabe, lol! Many of them were cut at places like Bell Sound that used dupes of dupes for cutting, and they sound awful. And I'm glad you are not "digiphobic" and call them as they sound. The world's largest high-end audio community. Kevin Gray cut the lacquers, and the vinyl was pressed at Quality Records. To: martin
But it is so long that it has become difficult to mine for relevant information. It’s also believed that color variants or picture discs don’t play as well as black pressings. Consider this answering your question without directly addressing your question". Some engineers wouldn’t put as much effort into producing the vinyl original pressings, and even less so into any reissues. Aside from those of the heart, there are a few legitimate reasons that some people covet first or early pressings. There’s not much to say about the 1990s as vinyl was pretty non-existent compared to previous decades for most music-genre circles (Dance music genres being the ones that thrived). Japanese releases often have have bonus material not released in other countries. Is it true that records currently made in the USA aren't made with 100% virgin vinyl because of EPA regulations,so possibly the best sounding current reissues are made overseas.At least as far as surface noise.I assume virgin vinyl is much quieter. The jacket and the sleeve are high quality, and the vinyl looked really nice when I inspected it under normal lighting. Thanks! With knowledge comes power, and research into the year the record was produced, who it was produced by and where it was pressed can really help in finding the best pressing. As this is the reason why someone with the original LPs would buy these. Just because something is an original pressing is no guarantee of superior sound; plenty of vintage records never sounded really good to begin with, and later remasterings can often yield major improvements, although certainly not always. They used Capitol 3 & 4th generation copies, Parlophone eq'd dubs etc. Compressed and terrible sounding Is the quality that much different to justify the difference in price $10 Vs $25 or more. A repress often goes hand in hand with a remastering.
People buy it under the impression it's analogue. I'll wait for the Music Matters reissue later this year.
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