[REWRITE] Schitzo – Manifestation Of A Nomad…Jack Kerouac, Lowell Sun And Bastard Saint (Excerpts Part 2)…[Second Pass Edit]…

Today Up On Christmachine Audio Reference Music Server :

Schitzo – Manifestation Of A Nomad…Jack Kerouac, Lowell’s Son And Bastard Saint (Excerpts Part 2)…[Second Pass Edit]… Just so people know Part 1 has not been published yet, so we’ll start here. These are excerpts from an early version of a non-fiction memoir.  Again this is a true story…the caveat being that what readers take from this may have dissenting opinions of it’s possibility to be true.  For example, some might not agree or believe in the possibility of descriptions of phenomena described herein, and see them as delusional experiences (this is key and left for the reader to decide).  Again that is the point, each reader will see these descriptions as they relate to their own personal beliefs.  It is written with the highest regard to accuracy, and is in relation to the entire story, only a small piece of what the complete story has to offer readers.  This is just a taste, and the final name of this memoir has not been completed as of the date of this being published.  Finally, the text is subject to change with subsequent rewrites.  Enjoy!

 

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Excerpt #1: Pre-Amble – 

r5768986bbSo I want to be an author, but all I could think of is what right did I have to try and be anywhere near the caliber of a wordsmith as many of the world greats that had come before me.  My writing is shit to be honest, but again it comes back to my belief that this is a long term learning process, always reaching for the sky to attain higher levels of this disciplined art.  What I do have going for me is the many experiences that have been laid out before me to explore, going deeper when there was no shovel to dig.  My fingernails are stained from the soil, my hands chaffed and cracked, dry to the bone from the rare earth and loam.

Each piece that I write is part of a specific set of exercises that I look to explore and hopefully master at some point in the future.  The most exciting part of this experiment, that will unfold right before your eyes, is that each piece is published in relation to how I feel they belong in the overall story since the start of this process.  Each piece calls to me when it is meant to be posted.  What that fully means I do not know, but something prompts my conscious mind, and lets me know that this (whatever that means at that specific moment) is what is to be published next.  Some might see it as just the human mind doing what it’s supposed to do, others may see it as a higher calling.  Maybe it is a little of both, regardless to me at least, it is an interesting look into the creative process.

 

Excerpt #2:

I had been brainstorming for weeks, months maybe, thinking so hard that my brain began to hurt.  I was in transition from being a dreamer to a thinker and it was very very hard.  I had always been a fierce dreamer, the problem being that it was taking all the brain power afforded to me.  After many years, a lifetime really, the dreaming had literally taken over all of my mind.  Even worse, is that through the years I did not even notice it.  Then at some point dreaming became so dominant that I sometimes could not tell the difference between fantasy and reality.  It was as if I lived in a cartoon or was in the throes of full fledged dissociative episode where I was often living vicariously through an outer body experience.  It was not as some have described as looking down on their body’s in a situation where they were close to death, it was for me as if my body was going through the actions pertinant to the life situation and my detached soul taking the ghostly human form, sitting right next to me as my unconscious mind had completely taken over.  My detached self was prompting my earthly self to react as if I was a character in a video game.

I was a sleeper and I loved to lucid dream where I would drift half my life away, just as I had in a previous life as an opium addict, frequenting opium dens where I would indulge and float around, never seeming to reach a complete state of sleep.  There I would explore the universe without having to get off the hard bamboo mat, where my body would lie with my mind shelved on a small pillow.  Now don’t get me wrong, there is nothing wrong with an overactive imagination, obviously it is in part, absolutely vital to reaching our full potential.  At the time, more of it the better I thought.  It would help me to experience more of life with an open mind…and for the most part it did.   Having an overactive imagination opened my mind to experience all that I could, and helped me to understand and accept many things that others seem to have a hard time reconciling about the human race and the breadth of differences in people.  There was plenty of logic in there as well, which I now know I had confused to be a full fledged thought process, but logic is only a small part of a robust thinking mind.

I had come to the realization that I now had to rewire my neuronal pathways in my brain to be more of a thinker, and put the data stores in my mind to good use as there was no use for them in an overwhelmed dreaming mind.  Too many thoughts and experiences coming into brain storage and not much of that coming back out with intelligent efficiency.  Think of it like having hard disks or sets of file cabinets in your mind, and they are all overflowing with billions of separate thoughts coming and going into and out of consciousness.  There is only so much space before they begin to overflow, losing and misfiling pieces of paper or data.  At some point when these pieces of information are called forth by the conscious mind, the problem faced is that the data or files are now incomplete, corrupt, and damaged.  You can imagine the problems this would begin to cause…wait, what were we talking about, I completely lost my train of thought.

Now all that might sound foreign to some as each person’s mind learns and is wired differently, but we’ve all heard the old addage as well as the song “Don’t fall in love with a dreamer”…as well as the part about the fool.  It also happens that many people have a more healthy balance and division in their use of brainpower.  For those who do not, like me, I’m apt to say that everything happens for a reason.  If I had not developed the way I had just described, I definitely would not be writing all the things I am now.  So what might be seen as weakness, I am now flipping on it’s head (No pun intended), and turning it into a form of strength.  In the extremes, It is how many people with seemingly devastating and debilitating disabilities, forge on with heroic stamina and poise.  With all that said, we cannot forget that societal stigma tends to deny that hidden wounds and internal mental scars can be just as devastating, if not worse.

In being a dominant dreamer, I can now see how so many are held back by it’s comforting yet deceptive charm.  Also as in many cases we are not taught the difference between dreaming and thinking, that there is a huge psychological and cognitive difference.  The phenomenon is often described that the affected person cannot see the forest for the trees.  As I realize all of this, it’s like a light switch has turned on in my brain.  Spending days, months, and recently years forcing myself to brainstorm, think, and write…I can actually now, as I put pen to page, feel the physical transition and transformation taking place in my head.  The dendrites and neurons in my brain are rewiring as I speak.  I now regularly go in and out of what are commonly referred to as peak experiences, and reaching the tipping point the words come to the page like an avalanche.  I can feel the blood pumping through my veins with excitement, my body a neuro-chemical suit.  As you can imagine it is not easy mentally making that transition, I can assure you that.  There is so much to tell…I cannot get the words out fast enough…It’s going to take me a lifetime (which I do not have) to complete, but I will do my best.

 

Excerpt #3:

The people began to feel lost in the coldest and darkest period in history.  Freewill was their ball and chain and again they were frightened.  The sage began to speak, “Flung into the darkness”, the man continued…”I was given the knowledge that is available to all men and women, all you have to do is stop and listen.  My Father’s Father was a great man.  My Father’s Father’s Brother was also a great man.  They recognized and chose to focus on the hope and the possibility for good in all humanity and became proprietors for the people.”  They knew that they could bring the people great joy and that it was good.  The world had just emerged from one of the greatest threats to all humanity, the greatest war against evil, men and women had ever known.  This was not about religion, or dogma, or God…far from it as a matter of fact.  What is known is that in exchange for winning the most tumultuous war of all time, in defeating evil this time, that it had not under any circumstances been destroyed.  There were many like my family, who had great faith in mankind as well as in the trees, sun, oceans, stones, and soil.  In order for the great war to have been one, it was well known that with all good there had to great evil…thus the world was slung into the universe, and bones ground to dust.

The evil that all humans knew continued to roam the land, taking the weak to their knees as they worshipped instant gratification into a blinding obsession.  The shortsighted were once again unaware and blinded by love, roaming the earth for souls to influence and nurture…but there was a catch.  The catch being that the earth was now slightly more than fifty percent evil, and slightly less than fifty percent good, so evil forces would always have a stronger attraction than good.  The difference seems slight but but paradoxically immense and infinite.  Legend has it that Mother Nature was to watch over this split and further the wisest mind of all time.  Whatever it was that was greater than the Mother was androgynous and absent of human form, and the life and energy and the future and the past and the intersection of all things, held the universe together in a balance (ebb and flow) beyond the conception of anyone on earth.  The equation of this meticulous and benevolent balance (never quite reaching perfect equilibrium), proved order through chaos, encouraging expansive outward movement in the formation of the evolutionary space-time continuum.   The constant tension of opposing forces is key to the development of both the universe and the species.

All that the people knew was that they were naked and flawed.  They felt the urge to compete, and there were no laws.  So the people had to create laws, and although unavoidably flawed, they had to be born out of protection for people who ought not be taken advantage of.  There were many who wanted to be “Gods”, even though there was no proof that there was such a thing.  Some of these self-proclaimed “Gods” were fare and charitable.  On the other hand there were many self-proclaimed “Gods” who were miserable and yearned for more and more power.  They did not care about the people, drunk on the blood and tears on those they held influence and sought to destroy.  This was the cost of freewill.  This was not beset upon the people, the people beset it upon themselves.

The earthly gravitational microcosm was the family, and the intention was good, although flawed. There was tension, but the intention was good, although flawed.  There was learning, and the intention was good, although again flawed.  Until one day when the son of the Father’s Father felt inferior for one reason or another, and that son took the burdens of all of his family that had come before him as personal.  This son saw an opportunity to exploit a weakness, a metaphorical cancer, which he also had the choice to extinguish.  Instead of stomping it out, he let it flourish because he felt slighted and inferior.  At the time he did not distinguish it for a cancer that would grow and swell uncontrollably to magnanimous proportions, fed by the bitterness of his brothers scorn.  There were many incidents along the way which inadvertently spurned and encouraged the disease.  At some point it grew out of the control of the weaker son’s hands, the point at which he had the opportunity to stop the spread had come and gone, and he was blinded by hate.  Some of it was rational but more of it was not. This brother sadly believed that if he waited for just the right time, when no one was looking he could destroy his brother, the people however would be the real victims.  Because he was blind, he could not see beyond his brother.  If he had to spend his entire life (till his dying day) trying to destroy his sibling, he would, even if it also meant the destruction of himself as well all he held dear.

 

Excerpt #4:

One night as the scorned brother was sleeping, in his dreams he came upon a powerful force in the form of a spirit.  It was very hard to see but he knew that it was there.  He felt power and awe and riches, beyond the dreams of any man who had come before him.  He felt compelled to kneel before the force to get a better look, as it was very very dark.  Without a moments notice, as he tried to focus on the spiritual force, he realised he could see the massive enticing power before him if he kept his eyes closed.  It was then then that the dark force seemed to reach out to the scorned brother, and the powerful said to him…

I’m pleased to make your acquaintance,

We have not met before, but you always knew I was there for you.

It was before my stay in the womb that you were conceived.

Taking the position of the blind, with one exception, the ability to feel.

Is it not so quiet with so many around.

People weakened from participating in humanity.

May I touch your face as I cannot see to well?  As my fingers cross the breeze and I feel your scars…

They are smooth and rough as the result of many fine years.

With your eyes closed, is it not true that I let you see?

Does the grass not grow, as we watch, right beneath our feet?

Does the sun not feed, insatiable…Does the water not quench, parched?

It offers me a gentle and pure time, with the dearly beloved.

Wait not, come into me and I into you, let me show you the world!

And you me, know that your secrets are safe with me.

Let me do the walking as you rest, forgotten son.

As we join together in spirit, you keep what you have, and I give you the rest.

The future is yours for all eternity.

It is all about you now and forever will be.  With all of us…

 

Excerpt #5:

I found myself plastered to my bed with fear and agitation.  My musculature was tightly shaking, anchored as if taught rubber bands were wound tight around my bones.  I was in the throes of an uncontrollable full body spasm with no end in sight, grinding my teeth so tight and unable to swallow.  Burying my face into my pillow, I tried to meditate to calm my nerves which were exploding with sharp pains as if I was lying on a plywood bed of nails.  Parts of my extremities were falling asleep and waking with no warning, just as one feels when they get pins and needles in a foot or arm from pinched nerves.  Sweat leaked from my pores, although there was no sign of fever, it was in a word brutal.  I did not know how long i could keep this up as my mind was anxiously suggesting that I was going completely insane.

I was lying in a bed next to the nurses station and there was only one incandescent light in that area with a single nurse doing paperwork.  The room was otherwise completely dark and as my eyes were adjusted to the darkness, I could see thirty other beds in the same room all full with patients, many writhing in different states of insanity.  Some were vomiting and others were screaming out loud in all kinds of noisy agony, the nurse just sat there as if this was normal. The large room was only separated by the warm humid outside air by large screens and there was no breeze.  I was hoping upon deception that a cool breeze would pass over my body, but it was not to be.  Out in the yard, in plain sight, there was an extremely large industrial size bug zapper where hundreds of mosquitoes and moths were electrocuted with every passing moment.  With the constant biological genocide before me,  I found myself wishing to be in their place…just kill me and put me out of my misery.  I thought to myself that if there was a hell, this would surely be it.

My mind began to wander aimlessly, I was not being kept there against my will…mulling over the idea that I could just walk out the main screen door not far from where I was interned at any time.  Then the reality of the situation would hit…where would I go?  It was quite feasable and a bit calming to think that I would probably feel better just getting this out of my system, running off into the black night screaming my head off until I fell to the ground in complete exhaustion.  The problem was that I did not have the energy to make this happen, exhausted from my hopeless quivering corpse. There was a clock on the far wall that would unervingly tick tick tick, every deafening second heard through the cries of despair and agony…every single moment felt like hours.

It was then that I realized, with nothing left in the tank, that before I had come to this godawful place that my father had given me a set of brand new rosary beads in a small leather pouch.  They were in a drawer right near were my head was situated, but I was convinced at what help would they give…none, I’m sure.  As I began to choke on the frothing saliva from my mouth and nose, I suddenly felt compelled to go for the beads.  I removed the beads from the pouch and grasped them tight enough to rip them apart. After wrapping them a few times around each hand, the crucifix fell into the palm of my hands surreptitiously, as if that was the place it was supposed to be.  Also inside the pouch was a small piece of folded glossy paper with prayers and a step by step method on how to use the beads. The instructions indicated what sections of the beads corresponded to each of the individual stations of the cross.  I was not the praying type and did not even know if I believed in any God.  Having no place to go and seeing no harm in attempting to just say the words and go through the motions, even if it only meant helping me to pass the time, anything to ride out this physically emotional and psychological trauma.

The one light in the background of the nurses station helped me to just make out the words on the paper now unfolded and laid out before me.  I first said an opening prayer as instructed, and then began to go through the stations of the cross one by one…it was unintelligible, choppy, and manic, but I soldiered on.  I would forget where I was and lose my spot as I mechanically moved the beads through my wiry shaking fingers.  I found myself tentatively re-reading passages and sentences over and over as I made my way through the process.  Sweat dripping from my hands and forehead, acidic fluid that upon contact with the print on the glossy instructions, rendered the words illegible. As I was doing all of this, I simultaneously was pleading with the universe to please let this pass, please-please-please let this pass.

At some point a few minutes later the shaking began to wane somewhat.  I was ecstatic that just faking it and going through the motions was working.  Suddenly stunned into a kind of stasis, In the air above the other patients right before my eyes, appeared what looked to be a hologram but it was more real than that.  There in an almost indescribable full range of color and motion, appeared a perfectly symmetrical apparition several feet wide.  At first there were several wrapped layers of green interwoven prickled thorn strands, wrapped around a beating heart that had flames shooting out the aortic canal at the crest.  About two feet on each side of the wreath of rotating thorns, the ether seemed to produce a moving universe where time and space were flowing towards but not fully reaching me.  My eyes no longer welded closed, then witnessed a woman appear above the heart in full color, while all the imagery that I just described was in constant motion all around her.  I had to be hallucinating this I thought, but I’ve never hallucinated without drugs before.  Anyway I continued to experience this phenomena as it was quite amazing and in turn began to calm my wretched frame. The woman looked only to what I could recognize as Mary the Mother of Jesus, seated and draped in a blue and white separated headdress and full body shawl, while the flames from the aortic valve flashed in her lap. She had a slight ethereal white halo rotating around her head.

All around her were what I recognized too be visions of men and women saints (if you believe in that sort of thing) and androgynous angels coming and going, propping her up in the air as I just lay there plussed. At some point her lips began to move but there was no auditory projection, nonetheless I somehow knew what she was indicating…that ‘I had to make a choice’.  As soon as I realized this, I could see what I can only describe as the ‘forces of light’ situated to her right side.  For some reason I equated this ‘welcoming force’ with the presence of ‘Jesus’ although there was no sight of what I could impossibly perceive to be ‘his’ likeness.  I actually felt a calm bliss with the ‘forces of light and ‘peace’.  Simultaneously on her left side was also only what I can describe as the ‘forces of darkness’. Similarly there was no ‘demon or satan’ but the  ‘impression was put upon me’ that they were there in the same way that ‘The Son Of God’ was there on the opposite side.  From the ‘dark forces’, I felt ‘power and strength greater than I had ever known’, and it sent shivers up my spine and riddled goosebumps all over my skin.  There were no more words, but the side with the ‘dark forces’ was the only side trying to ‘make its case to coax, convey, and convince me to come to their side’.  It was ‘implied’ that the ‘world would be mine…power and riches beyond my dreams, no more room for pain, and eternal glory’.  Focussing back on the side with the ‘good forces’, there was no hard sell and no promises, but ‘calm, peace, and eternal life’.

As I gripped the rosary tight, I thought to myself I have to make a leap, I had to make a choice (well really I did not have to, but I did anyway), even if it was going through the motions as I said before.  I checked to make sure I was not dreaming…but I was wide awake.  I always could tell when I was in a dreaming state and I was surely WIDE AWAKE!  So I made my decision and ‘click’ everything went black and all the pain and shaking stopped.  As I lay there for a moment, I felt a rush of adrenaline and power.  I wanted to yell out what had just happened or tell the nurse but I was rendered small, minute, and humbled.

Next thing I know I was suddenly stunned and shocked awake in a pool of sweaty white sheets.  The clock on the far wall revealed it was early afternoon the next day.  Exactly twelve hours later from 2 a.m. when the visions occured…I was covered in itchy hives and the clock read 2 p.m.

 

 

Thanks for reading and for all your kind words and support!

More Interesting Articles and Reviews to come.

Cheers and 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

3 Posts Today…1.Beyond EDM Post Special (40 Tracks) ~ 2. Today’s Favorite Videos #19 ~ 3. How Vinyl Master Plates Are Made (2 x Videos) – A Little Bit For Everyone… [N.S.F.W. ~ 3 Mega Video Post Special]

Today Up On Christmachine Audio Reference Music Server :

3 Posts Today…1.Beyond EDM Post Special (40 Tracks) ~ 2. Today’s Favorite Videos #19 ~ 3. How Vinyl Master Plates Are Made (2 x Videos) – A Little Bit For Everyone[N.S.F.W. ~ 3 Mega Video Post Special]

 

Reviews for individual albums or sets will be posted HERE (The Main “DAY” Page) but 3755fdaily Videos & Playlists will be posted in the Playlist “Night” Feed Blog. Again you can access it from the “Playlist “Night” Feed” button in the header menu below the “HOME” button. Or you can get there using the links below.

Note: If you look under a specific name in the categories to the right….for example say “John Lennon” and see what is archived under that name, you should always check the band members’ full band name as well…i.e “The Beatles”. The reason is that at first when I made the two websites, I just used band names. In the last 2 months I began to add individual band members names. So If you look under “John Lennon” there may be a lot more Posts about him, obviously under “The Beatles”. This can be done for all individual band members and their bands at both the “Day” and “Night” “Pages”, as there may be different content at each. Search function also works well…but you must search at both the “Day” and “Night” Pages separately. I know it’s a little confusing but if you search around you’ll find everything we have here. 😉

Post #1. Beyond EDM Post Special (46 Tracks)

Christmachine [* EDM ELECTRONIC *] Audio Reference Music Server Playlist #138875a ~ 46 Of My Favorite Dance Tracks Played Last Night In 4 Hour Set…[ Beyond EDM Post Special ] Link Below A Direct Portal To “Night Page” Side of this Site… 

http://playlists.christmachine.com/playlist/christmachine-edm-electronic-audio-reference-music-server-playlist-13-40-of-my-favorite-dance-tracks-played-last-night-in-4-hour-set-beyond-edm-post-special/

 

2765gCRP

 

Post #2. Today’s Favorite Videos #19
Todays Favorite Videos #19 + 2014 Beatles Mono Vinyl Set Unboxing…[Video-Direct Links Via Embeds] ~NSFW~ Link Below A Direct Portal To “Night Page” Side of this Site…

http://playlists.christmachine.com/youtube/todays-favorite-videos-19-2014-beatles-mono-vinyl-set-unboxing-video-direct-links-via-embeds-nsfw/

 

 

76843s

 

Post #3. How Vinyl Master Plates Are Made (2 x Videos) [Video Post Special] Link Below A Direct Portal To “Night Page” Side of this Site…

http://playlists.christmachine.com/youtube/how-vinyl-record-masters-are-made-2-x-videos-video-post-special/

 

 

3486gAlso: DMancuso~ DJ&AudiophileVideo Updated and second video added as well @ link below:

http://www.christmachine.com/uncategorized/if-youre-into-music-the-next-23-minutes-and-30-seconds-could-be-the-most-important-in-your-life-david-mancuso-on-sound-tech-structure-mood-and-acoustics-video/

 

 

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

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 ☕

 

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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 ~

deadwax-robert-ludwig

 

 

 

 

3. Wallt Traughot Pressing

deadwax-wally-traugott-2

 

 

 

 

 

4. Beatles Pressing /Stampers

runout-groove-info-web

 

 

 

 

 

 

5. Hand Etched

images12

 

 

 

 

 

 

 

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

 

======

List #1

======

 

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

======

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”

 

 

 

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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/

 

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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

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 ☕

 

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