Photographer Doc…Doc’s Shots #15! [Sample Gallery Mega Post]

Today Up On Christmachine Audio Reference Music Server :

 

Time for another Doc Photo Post! I want to welcome my new followers from Twitter and the interwebs. As I said before we have so much amazing history to show in photos. This 8684eFLPpost is only another sampling of the 1000′s of amazing and rare photos I have from the Doctor which he has bestowed upon us! If you see a photo you know already, the doctor had his hands involved in it or at least through his friendship with the great Ross Halfin and other of our generations greatest music photographers. It’s going to take me years to post the best and I’m honored to do it here. One day Doc will be known more for his art than his real job, lead rigger for “The Monster”. So here we will publicly post and archive his Art of Photography.

 

 

 

 

ALSO COMING SOON TO CHARMSERVER & A FEW THINGS TO LET YOU KNOW:

I fixed all the videos on the night page (except 2, for Copyrght Issues) , there are more playlists to come soon, as well as more Articles!

AGAIN ALMOST ALL VIDEOS HAVE BEEN FIXED: NEW UPDATED & SYNCHED ~ LANA, FOOS, CLASH, MAIDEN, ELECTRONIC, SRV, PARAMORE, etc. etc.

Here in the links below:

http://www.christmachine.com/christmachine/todays-favorite-videos-18-a-little-bit-for-everyone-n-s-f-w-all-videos-and-mixes-are-fixed/

http://playlists.christmachine.com/

 

Also as I posted before, Coming In September the new  “BASTARD SAINT” [SERIES] ~

Also the first REVIEW in September is going to be the biggest and most comprehensive review We have ever attempted. Yes Bigger then Pepper’s! It’s going to be of my personal favorite album of all time. This will be another Audio Reference Music Server Exclusive, there is nothing else like it on the web. Some of you may be able to guess what it is…but I hope it will be a welcome surprise to many. It will drop in the first or second week in September!

To Finish and get to the post…In the next few months I will be working on a big surprise for all our friends here…it is so big that it makes my head spin…“Travel” is a hint as is “Global”, coming in 2015! Everyone will be along for the ride! wink wink nudge nudge! 😉

Stay Tuned….

 

You’re welcome to join me on Twitter if you want and I’ll follow you back as well.

https://twitter.com/Christ_Machine

Thanks For Reading and as always for you’re support…Now we can get down to business!

http://www.scoop.it/u/christmachineandicelandicgurlagenda

http://christmachine.tumblr.com/

 

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You ain’t seen nuthin yet!

Thanks Doc your the bestest.

 

Thanks, as always, for your support.

Cheers and Bless Bless!

 

CM ☕

 

Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.

 

 

 

Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine

Deadwax Info For Identifying Vinyl Lineage & Provenance…[This Post Will Be In Constant Evolution Over Time] To Be Used as Reference!

Today Up On Christmachine Audio Reference Music Server :

 

ANOTHER POST COMING JUST AFTER MIDNIGHT (EDT)

THIS POST IS CONTUNED AT ~ EXTENSIVE / COMPLETE LIST FROM THIS MAIN “DAY PAGE” IS ON THE “NIGHT PAGE” @ THE LINK BELOW BECAUSE IT IS TOO LONG TO POST HERE…

 

http://playlists.christmachine.com/cutting-vinyl/dead-wax-deadwax-list-full-length-continued-from-main-day-page/

THESE ARE NOT MY LISTS. ALL RIGHTS BELONG TO THERE RESPECTIVE COPYRIGHT HOLDERS! THANK YOU!

Here is where I will be posting all Deadwax Identifiers to help you identify your vinyl 900x900px-LL-CRPProvenance/ Lineage. This information was gathered from around the net, and I will constantly tightening it up and editing for completeness. If there is anything missing here, just let me know and I will add it if it is relevant. Again this is a FIRST DRAFT, when it is exactly as I want it, the post will be updated to say so. I hope this will help some of you in your search for the Holy Grail!

 

 

 

 

What is Deadwax?

Dead Wax (is) the area on vinyl records between the last track on the record and the label, varies greatly from one record company to the other, regarding value as well as quantity of useful information. The dead wax data on the products of smaller labels are often written manually, i.e. by hand.
I bought 12inch record but half of it is dead wax! It has only two tracks, the rest of it is blank, dead wax!  (Source Urban Dictionary)

 

 

RMAF13: Deciphering “dead wax” numbers, letters, squiggles and stamps and why they matter…(Video is lengthy but you can get the idea from watching some of it) Thanks to Michael Fremer @Analog Planet!

 

 

Deadwax Examples in Images:

 

1. Materdisk Pressing ~

Masterdisk

 

 

 

 

 

 

2. Robert Ludwig Pressing ~

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3. Wallt Traughot Pressing

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4. Beatles Pressing /Stampers

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5. Hand Etched

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*******************Deadwax Codes:*************************

 

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List #1

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Pressing Plant Numbers:
56 = Columbia, Pitman, NJ
73 = Columbia, Terre Haute, IN
25 = Columbia, Santa Maria, CA
70 = RCA, Indianapolis, IN
72 = PRC, Richmond, IN
26 = PRC, Compton, CA
16 = Sonic Recording Products/Goldisc
18 = Presswell
19 = Bestway Products, Moutainside, NJ
22 = Allied
24 = Monarch
30 = Plastic Products
49 = Specialty Records Corp., Olyphant, PA
53 = Keel Mfg. (prior to ’79); Hauppauge Record Manufacturing, Ltd. (’79 and later)
54 = Shelley Products
76 = Hub-Servall Record Mfg. Corp.
74 = Electrosound Group Midwest, Inc.

LABELS

Record company codes (the letters after “ST”)

A = Atlantic Records
C = Atco
CAP = Capricorn
CTN = Cotillion Records LPs
CO = Cotillion Records 45s
FC = Famous Charisma
SS = Swan Song
AS = Asylum
MC = Manticore
RS = Rolling Stones Records
HT = Hilltak Records
IL = Island Records

Pressing Plant Codes for LPs:

PR = Presswell Records Mfg. Co., Ancora, NJ (they handled most of Atlantic’s LP’s during much of this period)
LY = Shelley Products, Huntington Station, NY
SP = Specialty Records Corp., Olyphant, PA
MO = Monarch Record Mfg. Co., Los Angeles, CA
PL = Plastic Products, Inc., Memphis, TN
RI = Philips Recording Co., Richmond, IN
AR = Allied Record Co., Inc., Los Angeles, CA
CT or CTH = Columbia Records Pressing Plant, Terre Haute
CP = Columbia (Pitman, NJ)
CS or CSM = Columbia (Santa Maria, CA; very infrequently)
BW = Bestway Plastics, Mountainside NJ
SO = Sonic Recording Products, Holbrook, N
MG or MGS = MGM Record Mfg. Division, Bloomfield, NJ

LP label example (Led Zeppelin I)
ST-A-681461-MO

ST = stereo
A = Atlantic Records label
68 = last two digits of the year Atlantic first received source (tape) and started working on mastering
1461 = tape master number (for side one in this example)
MO = Monarch Records pressing plant

London Records label matrix suffix:
AL – Allentown Record Co.
P – Columbia, Pitman, NJ
TH – Columbia, Terre Haute, IN
SM – Columbia, Santa Maria, CA
SH – Shelley Products, Ltd., Huntington Station, NY
BW – Bestway Products, Inc., Mountainside, NJ
GL – Decca/MCA, Gloversville, NY
K – Decca/MCA, Pinckneyville, IL
PH – PRC (formerly Philips) Recording Corp., Richmond, IN
W – H.V. Waddell, Burbank, CA

OTHER SCRIBINGS IN THE DEADWAX:

AT = Mastered at Atlantic Studios
AT/GP (handwritten) = mastered by George Piros at Atlantic
AT/DK (handwritten) = mastered by Dennis King at Atlantic
ATLANTIC STUDIOS DK (stamped) = mastered by Dennis King at Atlantic
ABS = Alex Sadkin
ab or AB = Abbey Record Mfg. Co. (? we still don’t know the exact meaning)
⍺ʙ = Al Brown (5)
BDI or B.D.I. = Brian Ingoldsby
EDP [in oval] = Europadisk Pressing & Mastering
PR or PRC or (PR) = Philips Recording Co. (maker of metal parts from lacquers)
LW or LWP = Longwear Plating (maker of metal parts from lacquers) Enter as “Mastered At”
♡POGO = Keith Olsen’s Pogologo, Inc. (Productions)
Porky or Porky Prime Cut = George Peckham
Pecko Duck = George Peckham
sƒ = Sam Feldman
RL = Bob Ludwig
LH = Lee Hulko
“ɑ” looks like Q = Allied Record Company (usually followed by B-XXXXX)
MG = MGM Records Division in Bloomfield, NJ (Pressing)
AMP = ABC-Paramount
M = Mercury
RCA = RCA Victor
◈-P-◈ = MCA Pressing Plant, Pinckneyville
回-G-回 = MCA Pressing Plant, Gloversville
G or G1= Columbia Records Pressing Plant, Carrollton, GA
✲ or ☆ (prior to ’64 = Capitol Records Pressing Plant, Los Angeles
—◁ = Capitol Records Pressing Plant, Winchester
RG = Rob Grenell, mastering engineer for Atlantic in the late 60’s
GK = Gilbert Kong
“cg” + “☮” = Chris Gehringer
GF = Greg Fulginiti, of Artisan
R3 or R4 = Mastered at Rainbo Records (on Capitol Pressing)
︵︵〰 (birds) or メ or ❀、= Brian Gardner
DT = Dave Travis
RJ = Ray Janos
AZ CB = Chris Bellman at Allen Zentz Mastering
JG = John Golden
JJ = John Johnson (3)
SM = Stephen Marcussen
MF = Mike Fuller
BK = Bill Kipper
McM = Ron McMaster at EMI NY
SH = Steve Hall
H.W. = Howie Weinberg
TJ = Ted Jensen
RB = Ron Boustead (Precision)
SG = Steve Guy
Chet = Chet Bennett
RAYS = Ray Staff at Trident Studios, London
TLC = The Lacquer Channel
FW Ѽ or FWNY = Frankford/Wayne Mastering Labs
GOL = Goldisc Recording Products, Inc.
SON or Son = Sonic Recording Products, Inc.
CSB ♪♪ = Carlton Batts (usually with F/W)
PP = Plastic Products
TD = Terry Dunavan
ESR = Elektra Sound Recorders
GC or Baseball looking symbol next to Sterling = Greg Calbi
Ƨ = Columbia Records Pressing Plant, Santa Maria
ℰMW = Electrosound Group Midwest, Inc.
WM (W integrated atop M stamp) = Wakefield Manufacturing
⋐riteriɑ = Criteria Studios
ʙʟ⍂ɪʀ or ʙʟ△ɪʀ = Chris Blair (mastering)
dg = David Gold (3) (Gold Star Studios)
HERbiE :^) = Herb Powers Jr. (mastering)
⁄|⁄ǀ⁄|⁄ǀ⁄|⁄K = Randy Kling (mastering)
ℐ⍺ = Jack Adelman

℗ © ™ ℠ ® ▷ △ ◁ ∇ Δ ◊ ∆ £ ↔ ℒ • · ˙ Ψ º ժ Σ ● Ⴔ

 

 

======

List #2

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G.S.V.) -> Greg Vaughn
(spiral sign) @ D+M -> Robert Henke ( Dubplates-mastering, Berlin )
*-J.T.S.-* -> JTS Studio, London
@cul -> Moritz von Oswald
@t GP -> George Piros
“Soundmaster” Lionel @ Translab, Paris -> Lionel Nicod
7AP -> Augustus Pablo
A 1ST FOR KEV – TOWNHOUSE -> Kevin Metcalfe ( Townhouse Studios, London )
A Porky ‘Oh yes’ Prime cut -> George Peckham
A Porky Prime Cut -> George Peckham
A PORKY PRIME CUT -> George Peckham
A Porky Prime Er-Er-Er Goldfish I Think -> George Peckham
A Porky Prime sniff sniff cut -> George Peckham
A PORKY PRIME TANGO -> George Peckham
Allen Zentz -> Allen Zentz
AM -> Andy Mellwig ( The “A” looks like triangle; Dubplates-mastering, Berlin )
an “A with M” sign -> Andy Mellwig ( Dubplates-mastering, Berlin )
andreas at schnittstelle -> Andreas Kauffelt
andreas@schnittstelle -> Andreas Kauffelt
ARUN -> Arun Chakraverty
AT-GP -> George Piros
Audiodisc YYMMDD -> Pressed at Audiodisc AB
Az -> Allen Zentz ( note the lower case Z )
AZ -> Allen Zentz Mastering Company
AZ (with birds/flower) -> Brian Gardner ( Allen Zentz Mastering Company )
AZ CB -> Chris Bellman ( Allen Zentz Mastering Company )
B.E C.R -> Björn Engelmann ( Cutting Room, Stockholm )
B.E-C.R -> Björn Engelmann ( Cutting Room, Stockholm )
B.G. -> Bernie Grundman
BA -> Björn Almstedt
BA•CR -> Björn Almstedt ( Cutting Room, Stockholm )
BA-CR -> Björn Almstedt ( Cutting Room, Stockholm )
BA-EF -> Björn Almstedt
BA-GP -> Björn Almstedt
BA-T∞ -> Björn Almstedt
Beau -> Beau Thomas
BEAU -> Beau Thomas
beau -> Beau Thomas
Bell Sound -> Bell Sound Studios
Bell Sound sf -> Sam Feldman ( Bell Sound Studios )
BH -> Bobby Hata
BilBo -> Denis Blackham ( which looks like BiBo )
Bilbo master room -> Denis Blackham
BK -> Bill Kipper
BKG -> Brian Gardner
C.R -> Cutting Room, Stockholm
C.T.S. Wembley -> C.T.S. Studios, Wembley.
CGB -> Christoph Grote-Beverborg
CGB / D+M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
CGB @ D&M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
CGB@D&M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
CHRIS P @ UNITY -> Chris Parmenidis
COPYMASTERS – Miles -> Miles Showell
CR -> Cutting Room, Stockholm
CSB ♪♪ -> Carlton Batts ( followed by two musical notes )
CURVE PUSHER. -> Curve Pusher Mastering, London
D Jay @ Masterpiece -> Danny King ( Masterpiece Mastering, London )
D&m -> Dubplates-mastering, Berlin
D. SWABY -> Dudley Swaby
D.A.S. Disc Mastering -> Digital Audio Solutions
D+M -> Moritz Von Oswald ( (note; M has a hook on the end); Dubplates-mastering, Berlin )
DAMONT -> Pressed at Damont Audio Limited
DAS Disc Mastering -> Digital Audio Solutions
DB -> Denis Blackham
DCHARLES -> Dick Charles ( Handwritten signature )
DFI -> Pressed at DFI
Djay@ Masterpiece -> Danny King ( Masterpiece Mastering, London )
DK -> Dennis King
DMM -> Direct Metal Mastering
DMS C -> The Hit Factory, DMS, NYC
DMS cg -> Chris Gehringer ( The Hit Factory, DMS, NYC )
DMS cg [peace sign] -> Chris Gehringer
DMS Coin -> The Hit Factory, DMS, NYC
Doug -> Doug Sax
DUDLEY SWABY -> Dudley “Manzie” Swaby
EURODISC -> Eurodisk Manufacturing
EUROPADISK -> Pressed at Europadisk, NYC.
EXCHANGE 2000 – SIMON. -> Simon Davey
F.A. -> Frank Arkwright
F.A. Metropolis -> Frank Arkwright ( Metropolis Studios, London )
F/W -> Frankford Wayne Mastering Labs, NYC.
F/W J -> Frankford Wayne Mastering Labs, NYC.
Finnvox MJ -> Mika Jussila
FOON MASTERING -> Foon Mastering Center
Frankford/Wayne -> Frankford Wayne Mastering Labs, NYC.
Frankford/Wayne Mastering by Michael -> Michael Sarsfield ( Frankford Wayne Mastering Labs, NYC. )
FST @ D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FST D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FST>D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FTS -> Federal Recording Studios, Kingston / Total Sounds
G.K. -> Gilbert Kong
GC -> Greg Calbi ( Sterling )
Gene -> Gene Thompson
GEORGE – COPYMASTERS -> George Peckham
GK -> Gilbert Kong
Gordon at the Townhouse -> Gordon Vickary
GP -> Grammoplast, Sweden
Graeme -> Graeme Durham
GRAEME – SOUND CLINIC -> Graeme Durham
GRAZ – The Exchange -> Graeme Durham
Graz@The Exchange -> Graeme Durham
greyham the exchange -> Graeme Durham
GSV -> Greg Vaughn ( or “G5V“ )
GUY’S – THE EXCHANGE -> Guy Davie
HEM cg -> Chris Gehringer
Herb :^) -> Herb Powers Jr.
Herbie :^) -> Herb Powers Jr.
Herbie Jr :^) -> Herb Powers Jr.
Herve @ Translab -> Hervé Bordes
HFM ´[number] -> The Hit Factory, DMS, NYC
HFM cg -> Chris Gehringer ( The Hit Factory, DMS, NYC )
HP -> Herb Powers Jr.
HTM -> Harry Moss
HuB -> Frankford Wayne Mastering Labs, NYC. ( ? )
HW -> Howie Weinberg
J.Y. -> Joe Yannece
JA Tape One -> Jack Adams
Jacko – Tape One -> Jack Adams
JC Masterroom -> Jeremy Cooper
JD -> John Dent
JD-ASH -> John Dent and Ashley Burchett ( ? )
John D -> John Davis
JON2 -> John Dent
Jonz -> John Dent
Jonz @ Loud Mastering -> John Dent ( Loud Mastering )
K -> Andreas Kauffelt
KG -> Kevin Gray
K.P. -> Ken Perry
KDISC -> K Disc Mastering
Kendun -> Kent Duncan
LAWRIE @ CURVE PUSHER -> Lawrie Immersion
LB -> Larry Boden
LH -> Lee Hulko
Lionel & Hervé @ Translab -> Lionel Nicod & Hervé Bordes
Loop-0 at D&M -> Loop-o ( Dubplates-mastering, Berlin )
Lupo -> Loop-o
M.M.M.J.R. -> Mark Richardson (3) ( Metropolis Mastering, Chicago )
MANDY @ THE EXCHANGE -> Mandy Parnell
MARTIN @ C.T.S. -> Martin Giles
MASTERDED BY CAPITOL -> Capitol Studio & Mastering , Hollywood
MASTERDISK -> Masterdisk, NYC
MASTERDISK G.K. -> Gilbert Kong
MASTERDISK TD -> Tony Dawsey ( Masterdisk, NYC )
Mastered at Abbey Rd -> Abbey Road Studios, London
mastered at ‘Abbey Road’ -> Abbey Road Studios, London
MASTERED AT ALLEN ZENTZ L.A., CALIF. -> Allen Zentz Mastering Company
MASTERED BY CAPITOL Wally -> Wally Traugott ( Capitol Studio & Mastering , Hollywood )
Mastered by NIMBUS, England -> Nimbus
Mastered MIAMI TAPE -> Miami Tape, Hialeah ( (“MIAMI TAPE” is stamped) )
MATT OPTIMUM -> Matt Colton
MCR -> Master Cutting Room, NYC.
Metropolis Mastering Chicago M.J.R. -> Mark Richardson (3)
MIKE @ THE EXCHANGE -> Mike Marsh
Mike @ The Exchange -> Mike Marsh
Mike’s™ -> Mike Marsh
MILES -> Miles Showell
MJFX -> Mika Jussila
MMMJR -> Mark Richardson (3) ( Metropolis Mastering, Chicago )
MPO -> Moulages et Plastiques de l’Ouest, Averton.
MR -> Mark Regan
Neil – Masterpiece -> Neil Devine
Neil Masterpiece -> Neil Devine
Nick -> Nick Webb Abbey Road Studios, London )[/i]
Nick’s cut! -> Nick Webb Abbey Road Studios, London )[/i]
NILZ – THE EXCHANGE -> Nilesh Patel
NIX MIX TOWNHOUSE -> Larry Nix
Noel @ Transfermation -> Noel Summerville
NOMIS -> Simon Davey ( “Simon” backwards )
NSC -> National Sound Corporation, Detroit ( used to be solely Ron Murphy (except some very early stuff), now also Heath Brunner )
Ø(Phase) -> Ashley Burchett
Ø(Phase) @ Whitfield London -> Ashley Burchett
ø@CURVE PUSHER -> Ashley Burchett
Ø[Phase] -> Ashley Burchett
Øphase -> Ashley Burchett
øPHASE -> Ashley Burchett
øPHASE @ WHITFIELD ST -> Ashley Burchett
Øphase@ Curve Pusher -> Ashley Burchett ( Curve Pusher Mastering, London )
ORLAKE -> Orlake Records, Dagenham
P.A. -> Phil Austin ( Trutone )
P.O.R.K.Y. -> George Peckham
PAUL S @ PORKY’S -> Paul Solomons
Paul S @ Porky’s -> Paul Solomons
PAUL’S @ PORKYS -> Paul Solomons
Paul’s @ Porkys -> Paul Solomons
PAUL’S THE EXCHANGE -> Paul Solomons
Pauls’ The Exchange -> Paul Solomons
PCMJR -> Mark Richardson (3) ( Prairie Cat Mastering, Belvidere )
PD -> Peter Dahl
PD-CR -> Peter Dahl ( Cutting Room, Stockholm )
PECKO -> George Peckham
PECKO DUCK -> George Peckham
Pete @ Tape To Tape -> Pete Norman
PIPO NYC -> Alberto Roges
POLAR -> Polar Mastering, Stockholm (defunct, now Masters of Audio, Stockholm)
Pole -> Pole
POM TR -> Pompon Finkelstein ( Translab, Paris )
porkeys prime cut -> George Peckham
Porky -> George Peckham
Porky Prime Cut -> George Peckham
Porky Primed -> George Peckham
Porkys -> George Peckham
Primed -> George Peckham
R @ D&M -> Rashad Becker ( Squiggly lower case ‘r’; Dubplates & Mastering ,Berlin )
Rashad -> Rashad Becker
Ray at The Exchange -> Ray Staff
RCE -> Rick Essig ( F/W )
RJ -> Ray Janos ( Sterling )
RL -> Bob Ludwig
RV -> Hervé Bordes
S.D -> Simon Davey
S.M. M.J.R. -> Mark Richardson (3) ( Session Masters, Carol Stream )
SD -> Simon Davey
Sean Abbey rd i…i -> Sean Magee ( Abbey Road Studios, London )
sf -> Sam Feldman
SH -> Steve Hall
SH | KG -> Steve Hoffman and Kevin Gray
SHANE -> Shane McEnhill
Shane – the cutteR -> Shane McEnhill ( Graffiti Style; The “h” looks more like a “t” )
Shane @ Heathman’s -> Shane McEnhill ( Graffiti Style; The “h” looks more like a “t” )
SI MASTERPIECE -> Simon Francis
SI Masterpiece -> Simon Francis
SIMON – THE EXCHANGE -> Simon Davey
SIMON „HOOVER POWER“ DAVEY -> Simon Davey
SIMON „NEW SHOOS“ DAVEY -> Simon Davey
SIMON „NIGHT NURSE“ DAVEY -> Simon Davey
simon the exchange -> Simon Davey
SIMON. -> Simon Davey
SNB -> Sabin Brunet
Sound Clinic -> The Sound Clinic, London
Sound Clinic, Graeme -> Graeme Durham ( The Sound Clinic, London )
Sound Clinic/Jonz -> John Dent ( The Sound Clinic, London )
SR -> Stan Ricker
SR/2 -> Stan Ricker
SR2 -> Stan Ricker
SRC signature -> Specialty Records Corporation ( (Stamped, Large S with the R and C in the loops) )
SST -> Schallplatten Schneid Technik, Frankfurt
STERLING -> Sterling Sound, NYC
STRAWBERRY U.K. -> Strawberry Mastering, London
STREAKY @ SOUNDMASTERS -> Streaky
Stu -> Stuart Hawkes
Stu. @ Masterpiece -> Stuart Hawkes
Tape One JA -> Jack Adams
TC -> Tom Coyne
THE EXCHANGE -> The Exchange, London
The Exchange – GD -> Guy Davie
THE EXCHANGE – NILZ -> Nilesh Patel
Tim D. -> Tim Dennen
Tim D. Masterpiece -> Tim Dennen
tim dixon masterpiece -> Tony Dixon
TIMTOM -> Tim Young
Timtom -> Tim Young
TJ -> Ted Jensen ( Sterling )
TLC -> The Lacquer Channel Mastering, Toronto
TML -> The Mastering Lab , Hollowood
TML-M -> The Mastering Lab , Hollowood ( M=Master )
TML-S -> The Mastering Lab , Hollowood ( S=Slave )
TML-X -> The Mastering Lab , Hollowood ( X=Extra )
TOWN HOUSE -> Town House Studios, London
TOWNHOUSE -> Town House Studios, London
Townhouse -> Town House Studios, London
Townhouse Max -> Max Dingel
tph@schnittstelle -> Thomas P. Heckmann
TR -> Translab Mastering, Paris
Transfermation -> Transfermation Mastering, London
TRANSITION -> Transition Mastering Studios, London
Transition -> Transition Mastering Studios, London
Truetone Mastering NYC Carl -> Carl Rowatti ( “Truetone” or “Trutone”? )
Trutone -> Trutone Inc, NYC
Trutone NY – PA -> Phil Austin
Trutone NYC Carl -> Carl Rowatti
TY1 -> Tim Young
Utopia -> Utopia Studios ( With vertical bar(s) in the “U” / Harp )
Village Mastering NYC CR -> Carl Rowatti
Wally -> Wally Traugott
Wally C. @ Masterpiece -> Walter Coelho
Wally C. @ Masterpiece Mastering -> Walter Coelho
Wly -> Wally Traugott
WMME Alsdorf -> Warner Music Manufacturing Europe, Alsdorf
Yann Dub @ DK -> Yann Dub”

 

 

 

===================

 

AGAIN THIS LIST IS ABBREVIATED AS IT IS TOO LONG TO POST HERE> THE LINK BELOW WILL TAKE YOU TO THE “NIGHT” PAGE WHERE IT IS COMPLETE………..

http://playlists.christmachine.com/cutting-vinyl/dead-wax-deadwax-list-full-length-continued-from-main-day-page/

 

===================

THESE ARE NOT MY LISTS. ALL RIGHTS BELONG TO THERE RESPECTIVE COPYRIGHT HOLDERS! THANK YOU!

Thanks For Your Support!

Cheers and Bless Bless!

 

CM ☕

 

Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.

 

 

 

Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine

The Devil and the Dope God…[Remixed, Re-Edited, and Remastered]…

Today Up On Christmachine Audio Reference Music Server :

 

ALL COMING SOON TO CHARMSERVER:

I fixed some videos on the night page, there are playlist to come soon, as well as more Audio Reviews, Articles, and the always popular Doc’s Mega photo post!

Also as I posted before, Coming Soon the new series “Bastard Saint”~

Stay Tuned….

 

As I entered the medical complex I was subdued by the blue tiles and chrome fixtures that adorned the stairwells and foyers for each floor. The paradoxical patchwork for calm, an oasis, in a building which seemed barren and tucked away in a corner of the violent city ghetto. A strange eerie calm permeated the solitary structure as would an abandoned grade school between classes, there was not a sound or a person in sight. All I could think 900x900px-LL-6880f2e6_2775610896_1d4e45377eof, was I in the right building, the address was what I had written down but there was no signage one would usually encounter in a building with medical doctors. So I did not know the floor or the office for the doctor I was coming to see.  I wandered around knocking lightly on few doors with the hope to talk to anyone who might give me direction as to where I should go.

After about ten minutes or so of wandering aimlessly I saw a plaque on a door down at the end of a hallway and I thought I could make out the sound of a television with a boisterous crowd cheering and jeering. It was faint but I was comforted by a faint pulse of humanity in this seemingly soulless hall of sedation. As I got to the door I could now see the plaque up close and there it was the name of the Doctor that I was looking to see. I went for the door handle and as I opened it I came upon a waiting room with several couches packed with a carnival of people. Full 20006aFLPfamilies and shady characters abound, no one looking each other in the eye, as if to not acknowledge that anyone else was there. There was a large console color TV in the corner with a wooden finish, straight out of the 1970s with a tinfoil antennae, where Jerry Springer was holding court.  On top of the television where two spider plants which looked as if they had not been watered, well ever.

As I scanned the room I saw an open office with a half door, off of the waiting room, which screamed to me “check in”. Although there was no sign, there was a bright light emanating from the room. It seemed only right to see if there was any sign of life in there. The drab unwelcoming waiting room, gave me the uncomfortable urge to just sit down and wait for something to happen. A bizarre display of lifelessness hung over the room as young children would occasionally break the silence with there screeches directed toward their parents in Spanish asking different variations of when this would be all over and they could go home.

Making my way through the sludge, I arrived at the adjacent office and in there was a small adult woman answering an overwhelming tide of calls. Pressing the blinking buttons with rapid fire precision and asking people “to hold” in Spanish. After several minutes of this and a finger wave prompting me to wait until she had a moment to attend to me. At some point she said to me in English, “Are’s you ‘ere to zee zee Doctor?” After answering in the affirmative…she told me her name was Rada, and directed me to fill out the patient form attached to a clipboard complete with a ball point pen tied to the clip with a string. Rada then told me to bring it back to her when I was done filling it out. There was nowhere to sit so I filled it out while standing at the waiting room entrance. This place was from another dimension in time and you could cut the uncomfortable dysfunction with a knife. It’s odd to 9002a say, but there was a strange comfort in that. As I always say welcome to mars. How do these situations always find me with ease? When I was done with the form I returned it and went and stood quietly again by the door…just in case anything normal happened I could burst out the door and get the hell out of there in an a flash.

As I stood waiting, one woman wanted to change the channel on the TV and apparently had no intention of letting everyone else know. She twisted the channel knob to reveal only three local stations available and the picture was wavy and spinning full of static. As soon as her intentions were clear another woman got up and tried to start a fight with her over changing the channel. WTF they were going at it in their native tongue, pushing each other back and forth…I pulled out the proverbial bucket of popcorn in sheer joy as I had a front row seat to this ridiculousness. After a few minutes of arguing and manhandling each other, Rada come out from behind the door and said, “No chang of channel, cud it oud!” as she put the channel back were it was before and everyone calmed down and sunk back into their seats. Oh my God, the humanity!

After twenty minutes or so, after more of the patients who were angry over things as small as making slight contact with other patients in the room, the door to the doctors offices opened and a tall man with grey wiry wild hair and a spaghetti tie walked into the room. This man obviously the Doctor, looking like Colonel Sanders entered the room and instantaneously all hands went up, and they all began to talk to the doctor at the same time in several different languages. Was this for freaking real? The Doctor redirected them like dogs with a sharp squeal , “chit…chitt!” He addressed them by name in a strange diatribe of noises, interspersed with slang from a cornucopia of languages. One by one he calmed them down. I came to find out that the Doctor did not go in terms of order…he picked and 7f09_-1-Lchose people who it looked like he was either trying to get rid of them or playing favorites to quell the drama, I could not figure which. It was then that arguments would break out over order, saying that they were here before them and the doctor would just make his choice and taking the patient, he would close the door.

At some point after a good hour the Doctor came into the waiting room and finally called my name. I also had noticed that everyone who had seen the doctor would leave with several prescriptions in hand and leave the office, finally calm, seemingly getting what they had come for. So as the Doctor prompted me to come in, I was anxious to finally get out of that cage and as I hurried in to his office came a flurry of hoots and hollers, hands all raised in the air relentlessly complaining that they were before me. This was the first time seeing the doctor and he seemed to prescribe me whatever I suggested. Never had that happen so easily, but it was happening.

I would go once a month from then on and every time something absolutely nuts would go down in the waiting room. It became very routine…this Doctor was a strange man, he told me he was from Romania, with an accent but a firm grasp of English. Every time I came to see him he was always eating cold fava beans from a glass bowl with a spoon…odd that. It got to the point where he would have me sit down and after telling him what minor problems ailed me, he would say so what do you need today. I would just say whatever 3t51qhlargecame to mind specific tranquilizers, opiate pain meds, muscle relaxants. As time went on he even would ask me to tell him what dosages and how many times per day. As my pharmaceutical nomenclature progressed I would be spitting out a bevy of meds that would tranquilize a small town.

After I few months I new the drill and I did not think anything of taking anything he suggested to try out and I would pretty much tell him what to prescribe. This was before the days of doctor shopping and the modern pay pain clinics that are a mainstay in today’s treatment regimes. I would leave with heavy prescriptions of Soma, Flexeril, Xanax, Klonopin, Valium, Oxycodone, Percs, Vics, Hydros, Dilaudid, Morphine, Adderal, etc.etc. the list goes on and on. My favorites were tincture of Opium/ Laudanum (When I could get it as it had to be ordered, but he would write the scrip) Codeine Prometh, fentanyl. I would not get all these at once but as I would get a tolerance to a certain drug and I would have breakthrough “Migraines” as well as other aches and pains, the Doctor would prescribe something stronger with every visit. There were a lot of other drugs but those are just off the top of my head.  I was also taking street drugs and alcohol as well, wow, what I could achieve with my daily Brompton Cocktail.

With all that said I must stress that I did not seek out this Doctor, it was just by chance that this fun loving droogie would happen upon this madness. I was young as well so if the doctor prescribed it then it must work. Well it worked that’s for sure. It would be common for me to leave with as many as eight prescriptions per visit. I remember one time where a covering doctor who was standing in for my regular doctor, wrote my scrips that were posted in the notes of my medical folder, and she kept looking at me funny only to finish by 900x900px-LL-3957547f_Beyerdynamic_DT770_by_Pas1990saying, “You know you should really cut down on these meds, especially the benzos, you could have a severe seizure and die, if there was ever a problem getting them filled.” I nodded as if to agree, and she wished me “good luck”.

As a result of a lot of people in our circle of friends with good connections for substances we would trade and share what we had. Over time I was given the name Dr. X, because shall I dare say it, I embarrassingly at the time had a fanny pack which was a pharmacy to go. I will not get into depth as to why I got that name. I’ll leave it to the imagination. Let’s just say I used to have a plethora or assortment of uppers, downers, and all arounders…to cure all that ailed ye!

So that sets the stage of the dimension my life was taking. I could work and take my drugs and I got good at it so that I knew the exact amount to just keep me functional. When I had time off I would let loose. I was basically knocking myself out at night to sleep. I would wake up to the alarm the next day and dose up so I was always able to go high. For some reason even though I was really careful at raising dosages so I would never OD and I had the tolerance of an elephant so I never even felt like I got close to an overdose. The drugs made me feel normal and there would always be a buzz of euphoria but I always felt in control. I’ve had one speeding ticket in my life and never got in any trouble. In the city I blended in easily into the crowd.

At the time, this was before I was working in the music industry, but I moved around a lot from state to state, city to city. Having all this availability to get all the pharma grade substances, as you would expect it was easy making friends who would let me crash at there house for as long as I wanted. Every night was a party, partied hard! So between attending concerts and festivals I would come back to town and stay with a few circles of friends. At the time I carried a gun everywhere I went…I hate saying that, as I would never do such a thing today. It was a crazy life though, and there were several times when people would try to rob me or I would get mugged but they never got anything out of me even under threat of having a gun pointed at my head. The worst thing that ever happened 46070_hto me had nothing to do with a gun, was one time I had a 40oz beer smashed over my head and I was punched with brass knuckles by a gang of 8-10 gang members…I just went to the hospital got slung up and they loaded me with more meds.

So I was running with a group of characters in one city and there were like ten to a dozen of us living in one huge house all partying 24/7 and then sleeping for days. One guy was a great cook and he always cooked us crazy good meals. Another friend was a music prodigy who would stay awake for days writing wacked out progressive metal and he could play just about any instrument. Another guy had all these meds from all these wild disorders and he bred pet rats. Pet Rats, I’ve held them, but I think their the only animal that creeps me out. There was another guy that made chain male by hand and made good money doing it.

Then there was my most “normal friend” and his girlfriend, we dug the same music and liked doing the same drugs. I was dating a girl from the group at the time which was fun. Finally there was the Satanist, WTF….yup there was one of those, and although I did not share his ideology, he was quite a nice guy. It’s just that when he was drunk and face exploding red, he would scream at the top of his lungs, in a fake pseudo tongue spewing nonsense words supposedly direct from Prince of Darkness, and attesting to his love for 900x900px-LL-d3d2555c_62aced3e4d84b644e0a9ba890e06his favorite band “Deicide”. No Slayer was not evil enough for him, this guy was a real character. To be honest he was fun to be around, as strange as that may seem.

The Satanists name was Damon (really Damon, I could’nt make this stuff up if I tried) I will not say his nickname even though it would give a good laugh. I don’t know if you have ever known a “Real Satanist”. He was not even one of the logical ones like Marilyn Manson who actually don’t believe in the devil. Damon was a real life “Lesser Demon” and he was fucking serious…he worshiped a red guy  with horns and a pointy tail. I have to laugh at it now as it seems quite silly…but he never seemed to hurt anyone except himself.  Self destruct right before our eyes, was not uncommon. He would always be the guinea pig  to try the home made meth a neighbor of ours would make…I would never touch that stuff, it was highly adulterated crank (You could 900x900px-LL-d0see the left over chemicals in the cut) and he would do huge amounts in a single line. I mean I’ve tried meth but the real stuff (glass)…I never liked it. Yuck…I was not made a tweaker. I did like pharma stims (amphetamine salts) though.

The other thing about Damon that was interesting was that his personality was a cross between Charles Manson and Aleister Crowley without the killing. Damon would always tell me about his love for heavy girls and the next thing you know he would be introducing me to his Harem. This group of six heavy girls (I have nothing against heavy girls…that’s not what made it humorous to me, just that this situation existed in our presence was remarkable.) They would follow him around and he would orgy with them in the next room with us shaking our heads thinking WTF.  I can’t say it enough, the girls really seemed to like it and I never saw him do anything mean…he just indulged extravagantly and they used him in that way back. The orgiastic debauchery was mutual between participants, I can say this today, that I cannot believe anything that we were already doing could be trumped, but the regular Satanic orgies did just that.

So what is the moral of this story? I have no freaking idea. I guess just another silly story but it seems quite a poignant period of time in my life. I left a lot out just because I don’t know what more to say, and don’t want to ramble. Or maybe there are other experiences relevant to this time period, check. The Hells Angels come to mind…that will have to wait though.

By the way I was looking into what happened to Dr. Feelgood several years ago, and I heard that he was under investigation by authorities for fraud and/or over prescribing. I never gave his office any money, insurance covered those visits for candy. I also heard that he fled prosecution to Romania…and that’s the last I’ve heard of him.

As for Damon the Satanist I found out many years ago that he passed away only a few years after last seeing him, that he had contracted full blown AIDS and hepatitis. I can say now that if there was anyone destined for a torturous death it was Damon. He lived harder than any person I have ever seen. Speak of the Devil.

 

Cheers and Bless Bless!

 

CM ☕

 

Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.

 

 

 

Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine

 

Is It Not A Contradiction To Simultaneously Support Vinyl And Hi-Rez Digital Formats. Here Is Why It Is Essential That We Do!

 

Today Up On Christmachine Audio Reference Music Server :

Is It Not A Contradiction To Simultaneously Support Vinyl And Hi-Rez Digital Formats.

Here Is Why It Is Essential That We Do!

 

I have a lot of other things I have been itching to address, but when I saw someone post this question, “Is it a contradiction to support vinyl and digital formats?”, it Immediately BpUGB3qIEAA70Zo.jpg large.jpgCRPcaught my attention. The reason being that when I first read it, my mind was in a clusterfuck, as I already do support both simultaneously. The thing is, as I began to think about it more, I could understand why someone who may be new to Hi-Res Audio (HRA) may struggle with this reconciliation. It is a common theme that many think the move to Hi-Res Digital Audio, and it seems logical, is meant to free us from need to use vinyl as a source of High Quality Audio. That may be true, but thinking that we are there would be a big mistake.

As we know Hi-res Audio is becoming a widely recognized format, but aside all the controversy and looking at the facts. It is essential that we entertain both formats for several reasons…

1. It is because of Vinyl and High Quality Vinyl Rips (as well as advances in technology), that we now have the growing demand for Hi-Rez music that we have today.

2. In many cases, High Quality Vinyl rips Still, are the nearest representation to the Original Analog Studio Master Tapes, that is, obviously when the Vinyl is sourced from the Original Master Tape. When an All Analog Signal Chain was used in the Transfer to Cut the Original Vinyl Masters and thus is from what the Vinyl is “Properly” Pressed. In the case of Digital Hi-Res it is Optimal for a Direct Analog To Digital Conversion from the Original BnB20largeAnalog Studio Master Tapes to the digital domain. Even with Hi-Rez being offered for purchase at online stores, it is still hit or miss as to the lineage of the new digital recordings.

3. Because of point Number 2, we can use these superior pieces of vinyl, as well as the their High Quality Vinyl Rips, to Compare against Current and Further Digital Hi-Res Releases as well as Re-Issues of Vinyl. This comparison is relevant  whether the Vinyl Re-Issues or Hi-Res Digital is a Straight Flat Transfer from the Original Master Tapes, or they have been Remixed and or Remastered and then subsequently Transferred and then Pressed to Vinyl or Converted to Digital. Then a High Quality Vinyl Rip to Digital by a seasoned ripper may be up for consideration as a Hi-Res “Reference Recording” amongst the community. This means that it must have the Characteristic Sound Signature audio enthusiasts look for in excellent recordings. When a Vinyl Rip has these characteristics and there is a consensus, it can be considered to have the nearest representation of what the artist intended us to hear, as well as nearest available source to what the artists heard in the studio.

4. Just because an artist is an amazing or legendary musician, in most cases, does not automatically make them an excellent producer or mastering engineer. As a matter of fact they usually are not, even if they think they are. I am not going to name names so as not to unnecessarily offend anyone. The reason I can come to this conclusion is because of years of listening with a trained ear to the “Right” Reference Recordings. Obviously you come to your own conclusions about which I spout, but what I do know for sure is that this 900x900skill does not come from a few months or even years of listening, because it is dependent on “What Recordings” you are listening to and knowing “What Sound Signatures” and “Set Ups” hold weight. How can anyone come to a complete decision if they have not experienced it for themselves? These Vinyl Rips are available for anyone to search for and find, however their acquisition is unconventional and time consuming, but the rewards are immense.  Having the ability to “Cross Reference” from a number of Sources in your listening tests is Essential to coming to an “Educated Conclusion”.

5. The recording industry does not make this easy for us, as a matter of fact they would rather we remain confused so as to continue to buy sub par recordings. I am confident and hopeful with the coming Pono releases from the Pono Music Store, overseen by legendary producer Bruce Botnik, will streamline and perfect the process of lineage and quality of transfers to the Hi-Res (HRA) Digital Domain. Those of us who know the difference remain vigilant.

6. I implore CD and Digital Mastering Engineers to check their work against High Quality Vinyl Rips from Seasoned Vinyl Rippers, that have perfected the Art of Vinyl Transfers over years of tweaking set ups and searching every corner of the globe for the Finest Vinyl Pressings Available. In the private communities their rips have evolved exponentially before our eyes and ears, and over time have held up against and withstood intense criticism and discussion from the most trained and particular listeners in the world. In fact 6547Aalthough I consider myself to have a very good set of “trained ears”, they are eclipsed by the ears of even more seasoned veterans from nations again around the world. These vinyl rippers have all the experience and techniques to rival the best known and revered audio and mastering engineers.

7. To underscore the strength of High Quality Vinyl Rips…I am not going to name names but I do have knowledge that there have been recordings (especially re-issues) from famous artists that have been released to the public with the Understanding that they were Sourced From High Quality Vinyl Rips. Further murking the waters, there have been Artists (living or dead) who had No Knowledge that this was done by Their Mastering Engineers or Labels because the Particular Vinyl Rip was Better than the Source that had been given them by the Artist or Label in the studio.

There are also cases where the Mastering Engineer was given Vinyl Ripped Sourced Tape or Digital Recordings, and Low Level Audio Mastering Engineers as well as their Labels had no knowledge that they were using said Vinyl Ripped Sourced Masters for Re-Issues and either Willfully or Unknowingly Distorted Lineage on Packaging For Sale. There are many cases where the Packaging and Print on a vinyl pressing or piece of vinyl either confuses the purchaser into thinking that they were buying a pressing sourced from the “Original Analog Master Tapes” when they in fact had not.  The details on this 6745underhandedness is again murky and short on details but it is known to have occurred. Please do not ask because I cannot comment further on this…I can promise you that someday someone will write the book.

7. Again to underscore the strength of High Quality Vinyl Rips…There have been Specific Releases by Artists who have Requested to use a Particular Vinyl Rippers High-Quality vinyl transfers for their vinyl pressings and CD releases without the Vinyl Purchasing Public having knowledge. This however, in comparison to point number 6 is a good thing. It seems counter intuitive that certain releases would be sourced from a High Quality Vinyl Rips, but the Consumer are inadvertently getting Quality Sound Because of a Vinyl Ripper. Both points number 6 & 7 have had this result happen quietly for a number of reasons, usually because of Lost or Damaged Original Master Tapes to Unlabeled Masters Without Known Lineage, and a High Quality Vinyl Rip just Sounds Better than what they have available. This practice is not widespread but it is known to have occurred. Again someday someone will write the book. Remember the first rule of fightclub is…and the second rule of fightclub is….

Now with all those points made I hope to address point number 1 sufficiently. To properly describe the movement it seems necessary that I make a long story short in reverse. Again, it is because of Vinyl and High Quality Vinyl Rips that we now have the emergence of demand for “Quality Controlled” Hi-Res Audio (HRA). In some ways it was inadvertent by default, and in others a direct result of deliberate actions from the Vinyl Rippers in the Audio Enthusiast Community. This has been reported and discussed at length in previous articles and forums around the web. All the information is out there for your research…I 2709swas able to find it all through search engines, and it is therefore available for you with some dedication. We must make a distinction that there is Good Quality Hi-Res and Poor Quality Hi-Res.

Over the last decade as the music industry was in turmoil, and “The Loudness Wars” took over the stage front and center, savvy music enthusiasts found that they could extract the music from vinyl and render a superior sound signature than the music industry was releasing on CD, .mp3 digital, or on a significant portion of vinyl re-issues. As a matter of fact it was often highly superior, although this phenomenon was not universal, as a piece of vinyl and it’s resulting rip, logically is only as good as it’s original source. The idea that “You can’t polish a turd”, comes into play in this realm. In those cases where the vinyl is as close as possible to the original analog source studio tapes, after a decade of tweaking their setups, rigorous testing of rips that hold up in large listening communities, and finding the best quality vinyl pressings in the world has become in some respects an “Objective Pseudo-Science” in the last few years. Try and wrap your head around that, don’t think too hard as your head might explode. When you find yourself amongst that precipice, it is a truly astonishing event. I must reiterate that all these events are a result of a desire for quality that was not available, so it goes that Quality Hi-Res vinyl rips were born.

Fast forward to recent months…

So the industry was unable to control this underground viral movement, with the collapse 73423dof the music industry and as nature abhors a vacuum, there was not much choice left for them to come on board. That is not to say that the record industry came aboard easily. It has also been said that there are two factions in the music industry, one which fights to do quality control of released recordings Vs. the business or money side of the industry. In the end it’s sadly all about money over art, and as a result of the recent growing demand for Portable Hi-Res Audio Players (DAP’s) already on the market, as well as the opening of Hi-Res Audio online vendors such as HD Tracks and others, made it critical that the music industry take notice.

The final piece of the puzzle, was the insistence of the Legendary Musician Neil Young and his new Pono Player (To be released in October), the Coming Pono Music Store, as well as it’s streamlined Ecosystem…which finally shifted the tide in our favor. It took all these factors to finally bring the music industry to the table. It was only a matter of time as well, after convincing  the recording industry to see the advantage of a new revenue stream, before they folded.

There has been a lot of Hi-Res Audio that has been officially released over the last few years and what we music junkies have found is that there is still many cases where the best known sourced vinyl still beats out the official Hi-Res Audio releases. So as a result of the desire for the highest quality audio, which can only be sourced from vinyl, it still 8453ndremains an important tool in our arsenal.

So all of the aforementioned still, for the most part, holds true. It is because we can use High Quality Vinyl Rips as a source of “reference recordings”, that keeps the bar yet raised very high. There is still a lot of change that needs to come from the artists and music industry before we can say that we have an adequate amount of “Reference Recordings” in Hi-Res Digital Format. This is the goal which Pono Music and it’s “Quality Control Ecosystem” will attempt to meet and I believe they can do it. Some have said that a lot of the music that the Pono Music Store will have access to will in many cases consist of what the Artists and Music Industry has already made available for Hi-Res purchase. A lot will depend on the many famous artists stumping for Pono and the influence they have with their labels. Again I prefer to remain optimistic.

To finish we must ask ourselves have we answered the original question, “Is It A Contradiction To Simultaneously Support Vinyl And Hi-Rez Digital Formats?”. In answering, amongst the current surge in vinyl collections and nostalgia for a physical item as well as it’s strength as a indispensable format for comparison, we must remember one thing, that while we for a time gave up on vinyl, just know that vinyl never gave up on us. Again my process my review.

 

Cheers and Bless Bless!

 

CM ☕

 

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Today’s Favorite Videos #18 – A Little Bit For Everyone… [N.S.F.W.] ~ All Videos And Mixes Are Fixed!

 

Today Up On Christmachine Audio Reference Music Server :

Reviews for individual albums or sets will be posted HERE (The Main “DAY” Page) but daily Videos & Playlists will be posted in the Playlist “Night” Feed Blog. Again you can C5642aFLPaccess it from the “Playlist “Night” Feed” button in the header menu below the “HOME” button. Or you can get there using the links below.

 

 

 

 

 

 

Todays Favorite Videos #18…A little something for everyone…~NSFW~[Video-Direct Links] Link Below A Direct Portal To “Night Page” Side of this Site…

http://playlists.christmachine.com/youtube/2days-fav-vidz-18a-little-something-4-every1video-direct-links-nsfw/

***Also All Previous Videos And Mixes Are Fixed! (Except 1 Which Is Unavailable)***

 

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Playlist Coming Soon!

Thanks As Always For Your Support.

Enjoy, more interesting articles to come!

Cheers and Bless Bless!

CM ☕

 

 

Please do not reproduce this article either all or in part without the expressed written permission of the author who can be reached via the “Contact” section in the header menu. You may link to the article if you wish, all that we ask is that you give credit to the respective author…”Christmachine” wherever you post a link. Thank you.

 

 

 

Copyright © 2015 Christmachine. All Rights Reserved.

©2014 – 2020 Christmachine