Now With That Out Of The Way, Back To Christmachine – Audio Reference Server

Now With That Out Of The Way, Back To Christmachine – Audio Reference Server

Ahhh… Where Do You Keep The Vinyl Rips and Hi Resolution Digital Files ? ——————————–>Photo Courtesy Of Doc KEYAZA!!!

 

So there has been enough (So much!) time passed, it’s blatantly obvious to me that no one else will create an Audio Reference Quality Standards Catalogue for individual album releases.  The powers that be have showed us time and time again that they feel that we should be left in the dark about the music we have purchased and continue to purchase.  It’s loud and clear, they do not have to, there is no other option.

All we asked for was lineage and provenance of recordings that we spend gobs of cash for, as well as the textual and numerical details as to how they mastered, remastered, and transferred the new releases. Once again we are left clueless as to what we are purchasing. We know it can be done, some releases have done just that, usually projects overseen by reputable audio engineers.

I do understand that in some cases they do not know some of these details as they have been lost to time, poor record keeping, lack of proper labeling, and a sad state of storage of the original master tapes.  In some cases they don’t even know whether they are the “original studio masters” or well travelled copies.  We saw that in the report on the sad state of historical music archiving, much has been lost or destroyed….as we know back just a few decades ago music industry analysts and label bosses went with the prevailing wisdom, why would we want to preserve all this music–who is going to want it?  What is the use?

This:

https://www.clir.org/pubs/reports/pub148/pub148.pdf

And ESPECIALLY This (Re-Post):

http://www.billholland.net/words/Labels%20Strive%20to%20Rectify%20Past%20Archival%20Problems.pdf

 

Now that they realize the marketing and money making potential, oh the irony there, eh?  All we have asked for is crumbs; forget about the old arguments (for a moment) on the loudness wars, whether high rez audio can be heard by the human ear (The Nyquist Theorem), Wheather vinyl has more warmth and soul, whether expensive cables give a +/- better listening experience, The law of diminishing returns, “Sources? / Laws of Science?, Do CD’s suck, the failure of SACD, .mp3’s are garbage, etc.  Noel Gallagher saying there will be no more vinyl niche as an industry in a few short years as a result of streaming (He thinks? I agree, he is probably right).

With that said, our niche is just that–our niche, and it will continue as long as the electric grids are up.  Even then some of us crazies will be powering phonographs with a stationary bike, using a carefully sharpened fishbone as a rudimentary needle, a significant other propping up a makeshift jimmy-rigged cardboard cone to telescope and carry those wondrous melodies to the flash mobs in our living rooms.  Vinyl wear and tear bad, but for a time the ears are very good.

Remember what is normal any way, and relative to what?  With those previous dire predictions of the future, keeping in mind that some of us have never had or witnessed an argument on the early Yahoo and Alta Vista message boards about the wonders of Hi Resolution Audio (It will always be Hi-rez to me, soz!), I will try to parse mixed nuts.  Threading the needle like a steaming locomotive on crazy good meds, diplomacy will avail for all, no matter what our differences.  Joy!

 

Why don’t we focus on the things that which we do agree.

  1. We pay a lot of money re-purchasing music over and over.
  2. Music listening is a different subjective experience for each person.
  3. It “can” take a wee bit of trained ear (Not a B.S Degree), to hear improvements.
  4. The music is only as good as it’s source.
  5. ABX’ing can, not always, but “can” manifest as human listening fallibility & weakness.
  6. Placebo affect and bias are real “things”[sic].
  7. Provenance and Lineage of our recordings is Interesting and “nice” to have.
  8. There is such a thing as “brick walling”, “anti aliasing”, and de-noising”.
  9. There is more than one type of compression in music.
  10. Type A removes many of the tiny spaces to make music file formats smaller.
  11. Type B holds the fidelity of the performance together, Very Good!
  12. Good source players are available at many price ranges.
  13. There are good headphones and bad headphones at all price ranges.
  14. When in noisy public settings, audio nuances tend to decline.
  15. You Do NOT need to be an audiophile, to source good quality audio (If Available).
  16. Audiophiles can be nuts, same with Hi-Rez deniers. (In a good way 😉 )
  17. That said, Head-fi has it’s place, and deniers seem to hang around bigly.
  18. There are, subjectively to each of us, good mastering engineers and poor ones.
  19. We all have to listen to our source material and make our own judgements.
  20. I can have (IMO); my own vast archive of “self-proclaimed” Reference Quality Vinyl Rips, Hi-Rez digital lossless [FLAC 24/48, 24/96, 24/172, 24/192, 32 bit float, .WAV, even ALAC and DSD], quality sourced and mastered CD’s [16/44] etc., portable DAP’s/amps/DAC’s, and use .mp3’s and Youtube to preview and stream when need be.  It’s fine that you might consider this fodder, trendy, and hipsterish.  I often use apple ear buds while on the go with the mobile. I’m not a gobsmacked music snob…I listen to AC/DC cranked on the local radio in the car, beautifully overbearingly loud in all its overly-compressed glory.  I’d dance randomly in the street to an 80’s boombox with cassettes daily if these types of gatherings where more frequent.
  21. You can have 50,000 lossy .mp3’s on the go, with an excellent ear, sourcing quality CD’s and audio on your own volition (all without my schtick). You might even listen to vinyl for nostalgia purposes possibly.  Further you own low cost but excellent sounding source players as well as an expensive pair of headphones and/ or IEM’s. Even bluetooth love…it’s almost 5.0 (I too am sick of those frickin tangly chords). There’s nothing wrong with any of that.  What I’m getting at is it doesn’t matter.
  22. We can all site the Nyquist Theorem till we are blue in the face, and never get anywhere…agree to disagree perhaps.  If you’re happy, I am happy.
  23. Electronic music and Hip Hop does not and should not have to follow any of these rules.  Electronic music tends to sound great, almost always produced very well, unless it’s a very low bit rate or has been up sampled, but that is usually by design.  Hip Hop needs to be vicious or passive aggressive and Bassy…clean tight bassy…Superb dope! The only reservation I have is when either genre is too bright and shreds my ears. It’s rare, again unless by design.
  24. Classical music is on the other end of the spectrum…the rules DO very very very much apply. Soundstage and instrument separation are paramount.  Loud and soft, loud and soft just like The Pixies or Nirvana. A muddy midrange is a killer.  Attack, sustain, decay should be transparently punchy, grainy, and accurate.  The music has to breathe and pulse…ripping the heart right out your chest even with headphones on. Emotions, knocked about, tugged like a puppet to strings. It should convey an air of atmospheric space with perceivable parameters…and in a perfect world, pseudo-holophonic sound, as if you the listener can imagine you’re there live sitting center stage with the orchestra wrapped 180 degrees from ear to ear.  You’ll know something is wrong right off, a piano from each and every-little-single-ebony-to-ivory key is muddled together as one, or squashed in a constant spew of notes like an accordion. We should be able to perceive and hear milliseconds of spaciation[sic] and be acute to a differentiation between every single tapped key, no matter how fast the piece. I’ve said before piano is the hardest instrument to reproduce in recording with accuracy.  If that’s muddy then it’s all over.  I won’t get started on the pneumatic breath of the solo cello…you get my drift.
  25. Pop music…It depends on if it’s good! 😉 😉

So with all that said we arrive at the conclusion that we may not agree subjectively.  Please forgive me, as I was being purposefully presumptuous in some of the things I said above… but that is not the point.  I’m just generalizing for the sake of getting at the crux.  Most of the people reading this will not care one way or the other.  Some will be bored to tears as to, “what is the going on and on about”.  In the end we all just love music and are devilishly passionate about it–Pretty simple, no? 🙂

So, in the past I did some reviews….Beck, The Beatles Catalogue, Led Zeppelin Catalog, etc., they each get hundreds of hits daily as reference, awesome.  I also posted full album playlists (with some lineage)…it was quite subtle, again on purpose as to what I have deemed a Reference Quality Audio Recording.  I don’t know if I said it outright, I may have…If not my tongue in cheek went over people’s heads. A failed attempt by me.  Yes, you are left to taking me at my word, have to search for it yourself, and availability is spotty.  I know it’s somewhat authoritarian but let your ears be the judge.  There were many times I have searched for a single particular recording over weeks and months before finally getting a hold of it.  Time well spent!

If you search hard enough you will be able to get a hold of same source as I did, some searches will be easy, others will require patience and time.  Moderately I will recommend the High-Rez digital transfer available for everyone to purchase with a quick download and some cash.  I have no stake in this…no adverts, self funded hosting and servers.  I’m just passionate about music and everything else, and I know you are as well, or you would not be reading this.

Just a note **** again, the night site is under maintenance (The links from here the day page are static as of writing this)…It will be up again soon enough.  I’m going to do all those recordings here on the main page individually anyhow.  So there will probably be some updates as well.  When live, it will give you an idea of some of what I will cover, and it is only a small part of projected works.

From now on instead of taking a few months to do mega reviews, although I will someday do the Complete Pink Floyd Archives Posts (Damn there I go again, that’s one exception), from now on there will be single album releases (From past and present) which a single post can be done in one day.  I will do whatever I am listening to and I have in my wheelhouse as the best recordings and rips / digital to date.  The posts will vary widely in style, genre, and medium.  One day or two could be Thrash, the next Classical, Jazz, Electronic, Pop, wherever the music takes me.

In between I will continue to do my sordid stories, post mixes, photos, memorabilia, any type of art really.  I intend on making this site better by making it a reference site for individual albums.  In that vein It would make it possible for those who do not want to read my silly erotica, still be able to come here intentionally via direct link or search engine in order to just browse my reviews and recommendations on specific albums…quick and easy.

In conclusion, each album will have an easy to read, specific format that I have worked out, and tweak things as I go along.  If there is anything extra about a specific release that you would like to see, send me an email or message.  If I can get the info – I will post it or write you back.  Understand that I cannot council and/or recommend file sharing or piracy, so do not ask…messages from readers as to these types of questions will go unanswered.   No disrespect…just being clear.

 

Thanks For Reading & All Your Endless Support. My Readers Are Awesome!

Love You Lots! Stay Well, Be Kind & Bless.

 

Tak Tak, Bless!

Grazie, Ciao!

Obrigadx, Tchau! Adeus!

Gracias, Adios!

Danke, Tchuss!

Merci, Au revoir!

Dank je…Bedankt, Alstublieft!

Merci Vilmal, Adeau!

Gracies, Adieu!

Gracies, Adeu!

 

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 © 2017 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 ~

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/

 

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

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

 

The Best Of The “Led Zeppelin” Catalog Pressings…[Post Special] [Second Pass Edit 07/02/14]

Today Up On Christmachine Audio Reference Music Server :

 

The Best Of The “Led Zeppelin” Catalog Pressings…[Post Special]

465px-Led_Zeppelin_logo.svg

You will not find underground compilation lists like this anywhere else on the worldwide web. Christmachine Audio Reference Music Server Exclusive!

It’s what I call Guerrilla Listening Sessions…I’m on Fire here!!!

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Photo Courtesy Of Doc Keyaza!

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

 

The Best Of The “Led Zeppelin” Catalog Pressings…[Post Special] Part 1 of 2

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  • Click On Photos To Enlarge:
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Photo Courtesy Of Doc Keyaza!

This first section was written early on, I have returned to edit to make it seemless with part two, no latency here. I do not yet know how this mega post review is going to be laid out yet. I know that sounds strange, but I know what releases make the grade, just not sure how I will lay it out here. So this should be interesting. I have been listening to only Led Zeppelin for two weeks now and I am ready to lay it all on the line. Well almost, I had to listen to other stuff like The Black Crowes first three albums in Hi-res to rest my mind. OMG The Black Crowes in Hi-rez (listening now) & The Black Sabbath Dio Albums as well (I’m In good hands fo’ sho’!!!) Obviously that is not to say that this list did not take many years of listening to compile. I had my favorites, but I had to take into account the Deluxe Reissues released at the beginning of this month. This includes the first three records of the catalog reissues, in all three formats available, including CD’s, 24Bit/96kHz Hi-Res, and vinyl.

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Photo Courtesy Of Doc Keyaza!

At first I had a very hard time being as subjective as possible because although there are the releases that I clearly prefer. There were also many releases that had decent quality, although I still did not prefer them (or find their sound quality better) over my original favorites… some were close but clearly not superior. Therefore different from the few reviews I have done so far, I decided to add some new factors into my decisions specific for this review based on availability, price, and reputation. Of course sound quality will always be the number one determining factor, but there are releases (especially the Original and early Vinyl) that come very close to the best although they are still inferior IMHO.The thing is many people do not know the difference, so I build this guide with you in mind so you can go directly to the pressings recommended and know you are getting decent sound quality even if you have to settle with sources farther down the list. Still although there is lots of good, the bad is still quite bad…I expose the comparable sources with easier availability at a better price and acceptable sound quality to boot. The Law of diminishing returns is in full effect.

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Photo Courtesy Of Doc Keyaza!

What it came down to here fundamentally was what sound signature each listener is used to. So I am happy to announce there are a lot of choices for the general listening public, it depends a lot on what you know as “The Led Zeppelin Sound” as well as your budget and dedication to the craft of mastering and pressing. For example some reviews I am able to wipe out a whole swath of choices because say there were no good quality CD releases. That is definitely not the case here, with some searching It is possible to find an excellent quality CD in the used CD bins at any record store (or online) on the cheap, as long as you know what the specific years, mastering, and pressings from which the CD or vinyl for sale was cut.

 

 

Here is the Led Zeppelin Discography Referred to throughout this review:

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Photo Courtesy Of Doc Keyaza!

Led Zeppelin (1969)
Led Zeppelin II (1969)
Led Zeppelin III (1970)
Led Zeppelin IV (1971)
Houses of the Holy (1973)
Physical Graffiti (1975)
Presence (1976)
In Through the Out Door (1979)
Coda (1982)

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First We’ll Start with the CD’s:

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Photo Courtesy Of Doc Keyaza!

For the CD’s there were two early masterings… The Original 1980’s Atlantic Barry Diament/ Joe Sidore’s and the 1990’s Marino/Page Remasters. It does not matter which countries for the Diament/Sidore’s (US, German, Canadian, Japanese, etc.) the specific year of release is more important as it varies sometimes by one or more years depending on country. Although Barry Diament has stated publicly that he can hear a difference in CD sound quality from one pressing plant to the next. You probably will not be able to tell the difference unless you are a super fan and have multiple copies of which to compare, if at all.

Recommended CD’s Original 1980’s Atlantic Diament/Sidore Example:

http://www.discogs.com/Led-Zeppelin-Led-Zeppelin/release/895323

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Photo Courtesy Of Doc Keyaza!

So my standard recommendations would be to look for any of the 1980’s Original Atlantic Diament/Sidore CD’s, they have the punch and dynamics to be highly recommended here. The only caveat would be Led Zeppelin IV (the only title to be mastered by Joe Sidore only), It is well known that he had a sub par copy of the Original Analogue Masters. You would think that with the importance of LZ IV they would get it right, but he only had access to inferior tape. Then again on the other side of the coin they have never made available the Original Analog Master Tapes of Led Zeppelin IV, or any other release ever from Zep, other than for the Original Vinyl from the Complete Catalog, but that’s another story. This is not a killer for me as I still prefer the 1980’s Original Atlantic Led Zeppelin IV mastered by Sidore. If you’re feeling dangerous then try 1990’s Zeppelin IV George Marino Remaster (cheap used) and compare it against the 1980’s Original. Also the Marino Zep IV’s suffer from early fades, unforgivable by some. Get both on the cheap and compare yourself, you’ll see what I mean.

Overall none of the 1990’s Marino Remasters are recommended here as they Distort when turned up loud. They are a victim of “The Loudness Wars” and they do not have 20974_1074039588034_3176351_nthe same tight punch that the 1980’s Diament/Sidore’s have. One other problem to note on some of the early 1980’s Diament/Sidore’s, from a few pressing plants have the channels reversed, so be aware if you are a long time listener. This is not restricted to CD’s, it affects vinyl as well. Again if you don’t know the difference, just listen and enjoy!

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Photo Courtesy Of Doc Keyaza!

Here we can jump on quickly to the June 2014 digital remasters of the first three records just released this month. All of the formats (24Bit/96kHz Hi-res, CD & Vinyl: All Digitally Sourced) were sourced from  24Bit/192kHz digital transfers of the original analog tapes. They were then mastered, compressed, and dithered down to their respective formats. IMO I still like the 1980’s Diament/Sidore’s over these 2014 remaster CD’s, however they are an acceptable CD pressing (espcially over the 1990 Marino Remasters) and if your not hung up on the sound of the Original 1980’s CD’s you will still get good sound and that is great news for all. Dynamically speaking they are not as good as the 1980’s Originals, you will find an prime example here where a lower DR is not the be all end all for the sound quality. Remember kids it’s all about the mastering!

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Photo Courtesy Of Doc Keyaza!

Coming from the same source as the CD’s, with the added improvement of higher bit depth and sample rate, the Hi-Res 24Bit/96kHz although different in many ways and (IMO) a step down in sound quality from the Original 1980’s CD’s. The 2014 Deluxe Reissue vinyl is included in this, I could not hear much difference between the 2014 Hi-Res and the 2014 vinyl, except for the added warmth typical of vinyl. The 2014 remasters have superior detail over the 1980’s Diament /Sidore’s but I still prefer raw sound of the original 1980’s CD’s. One complaint that I can render from all these 2014 remasters is that they have a more clinical sound signature. So if your a vinyl hound and are not on an endless search for a clean copy of the original vinyls then the 2014 Remastered Vinyl and Hi-Res are a worthy and easily accessible format. With that said I still believe that the 1980’s Diament/Sidore Mastered CD’s are better than all formats of the 2014 Deluxe Reissues. When I mentioned a step down that is subjective opinion on my part, as I said earlier what you make of these 2014 digital remasters will depend on what the “Led Zeppelin Sound” is to you. Many will hear the clarity and detail of the remasters and say they are better. Food for thought.

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Photo Courtesy Of Doc Keyaza!

The last angle has to do with price and availability. The Original 1980’s Japanese Diament/Sidore mastered CD’s have excellent sound as well, the problem is their availability and price. Add in the Original Red OBI and the price goes up significantly. So unless you are a collector or find one of these CD’s on the cheap I would just go with the other 1980’s Diament/ Sidore’s recommended. One last thought stay away from the 2008 SHM Japanese Releases either in the original box set or separately. Here is an incidence where Japanese does not mean better sound. They are said to be sourced from the 1990’s remasters, and when I heard them, all I got was louder and more compressed in a bad way. They may be no different from the 1990’s Marino CD’s but just a tad louder. You know how I feel about “Louder”. Next!

Recommended CD’s Original 1980’s Japanese Atlantic Diament/Sidore Example:

http://www.discogs.com/Led-Zeppelin-Led-Zeppelin/release/3864824

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Photo Courtesy Of Doc Keyaza!

 

The Best Of The “Led Zeppelin” Catalog Pressings…[Post Special] Part 2 of 2

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Photo Courtesy Of Doc Keyaza!

CD Vs Vinyl Vs Hi-Res Digital Vs. Hi-Res Vinyl Rips…

Read this well articulated piece on Led Zeppelin Vinyl, before reading on…my previous concerns are touched on here as to value and the Law of Diminishing Returns:

Taken From The “Every Record Tells A Story” Blog…Link Below Excerpt,

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Photo Courtesy Of Doc Keyaza!

“in contrast to the general rule of record collecting that if you buy an early pressing from the country of origin of the artist, you are most likely to be nearer the source tapes, and therefore the sound ought to be better. It seems Led Zep are an exception: they had such great success in the USA that this generally fairly reliable guideline doesn’t hold true – after the first album at least. I didn’t know it at the time, but my US pressing was pretty early and has excellent sound – probably better than an equivalent UK version.”

http://everyrecordtellsastory.com/2014/03/03/led-zeppelin-a-vinyl-buyers-guide/

Now that I’ve got that out of the way, I can get back to form with the Original Vinyl as well as the Classic 45 Reissues and others. How I will do this is start by listing each record of the full Led Zeppelin Catalog. With each record I will list in order IMHO what the best pressings / releases are, and I will incorporate the Original 1980’s Atlantic Barry Diament/ Joe Sidore releases as well as the 2014 Deluxe Remasters.

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Photo Courtesy Of Doc Keyaza!

You can feel safe knowing I’m in the ballpark after listening to no less than 138 Led Zeppelin Vinyl Sources over the last two weeks. I already had my favorites but had to make a few swaps here and there after some aggressive A/Bing as well as some recent acquisitions. ADHD helps in this regard.:) Also I heard someone say in another forum vinyl rips are not the same as listening to vinyl….bullshit, if your sources drivelines and methodology are the best anywhere, whatever is on that vinyl will come through so transparent and quiet with very limited post processing. Therefore I can say with complete confidence that this technology does not just reveal limitations of the source tapes…it enhances them!

 

 

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Photo Courtesy Of Doc Keyaza!

 

Led Zeppelin I (1969) Best Releases / Pressings:

L1

 

 

 

 

 

 

 

 

1. Led Zeppelin – I (1969) (Original US George Piros/Monarch Pressing) Ans2TheMstr Vinyl Rip > transferred to 24Bit/48kHz ALAC .MP4 [Hi-Rez]

2. Led Zeppelin – I (1969) (German Strawberry Pressing) Mach5 Vinyl Rip  > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

3. Led Zeppelin – I (1969/2006) (Classic Records 45 RPM Reissue) FnlMstr (NC) Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

4. Led Zeppelin – I (1969) (Original UK Plum LP) Early AT33PTG Vinyl Rip   > Transferred to 16Bit/44.1kHz Lossless Flac

5. Led Zeppelin – I (1969/1987) (1987 US Atlantic Barry Diament/Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

6. Led Zeppelin – I (1969/1987) (1987 Barry Diament/Joe Sidore Japan Atlantic Mastered CD) 16Bit/44.1kHz Lossless Flac

7. Led Zeppelin – I (1969/2014) (2014 Deluxe Digital Remaster) Vinyl Rip  > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

8. Led Zeppelin – I (1969/2014) (2014 Deluxe Digital Remaster) HD Tracks 24Bit/96kHz Lossless Flac [HI-RES]

9. Led Zeppelin – I (1969/2014) (2014 Deluxe Digital Remaster CD) 16Bit/44.1kHz Lossless Flac

This is the list for Zep 1 but as I said before, don’t fret if you can’t get a hold of any original Zep Vinyl…you will go broke. Just reach and search for the pressings/releases farther down the list.

5848_1033371491357_5510726_n

Photo Courtesy Of Doc Keyaza!

 

Led Zeppelin II (1969) Best Releases / Pressings:

L2

 

 

 

 

 

 

 

1. Led Zeppelin – II (1969) (Original US Robert Ludwig Pressing) Ans2TheMstr Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

2. Led Zeppelin – II (1969/2006) (Classic Records 200 Gram Reissue) LegMstr Vinyl Rip > Transferred to 24Bit/48kHz Lossless Flac [HI-RES]

3. Led Zeppelin – II (1969/1987) (1987 US Atlantic Barry Diament/Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

4. Led Zeppelin – II (1969/1987) (1987 Barry Diament/Joe Sidore Japan Atlantic Mastered CD) 16Bit/44.1kHz Lossless Flac

5. Led Zeppelin – II (1969/2014) (2014 Deluxe Digital Remaster) Vinyl Rip  > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

6. Led Zeppelin – II (1969/2014) (2014 Deluxe Digital Remaster) HD Tracks 24Bit/96kHz Lossless Flac [HI-RES]

7. Led Zeppelin – II (1969/2014) (2014 Deluxe Digital Remaster CD) 16Bit/44.1kHz Lossless Flac

 

The Original US Robert Ludwig Mastered Vinyl Blows all others away. Clarity, Control, and punch…unsurpassed. From which all other Led Zeppelin II’s are judged!

5848_1033372571384_1768927_n

Photo Courtesy Of Doc Keyaza!

Led Zeppelin III (1970) Best Releases / Pressings:

L3

 

 

 

 

 

 

 

1. Led zeppelin – III (1970) (Original Canadian Pressing) FnlMstr (NC) Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

2. Led Zeppelin – III (1970/2006) (Classic Records 45 RPM Reissue) ZxAryMstr Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

3. Led Zeppelin – III (1970) (Original UK Atlantic) Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

4. Led Zeppelin – III (1969/1987) (1987 US Atlantic Barry Diament/Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

5. Led Zeppelin – III (1969/1987) (1987 Barry Diament/Joe Sidore Japan Atlantic Mastered CD) 16Bit/44.1kHz Lossless Flac

6. Led Zeppelin – III (1969/2014) (2014 Deluxe Digital Remaster) Vinyl Rip  > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

7. Led Zeppelin – III (1969/2014) (2014 Deluxe Digital Remaster) HD Tracks 24Bit/96kHz Lossless Flac [HI-RES]

8. Led Zeppelin – III (1969/2014) (2014 Deluxe Digital Remaster CD) 16Bit/44.1kHz Lossless Flac

I could not find a clean Original US Atlantic Vinyl Rip, if I could it probably would rank high on this list from what I’ve heard from others. Conjecture of course.

Bron-y-aur_-_geograph.org.uk_-_21107

Bron-y-aur!

 

 

Led Zeppelin IV (1971) Best Releases / Pressings:

L4

 

616px-Zoso-square-layout.svg

 

 

 

 

 

 

1. Led Zeppelin – IV (1971) (Original US Pressing) FnlMstr (NC) Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

2. Led Zeppelin – IV (1971) (Original US Pressing) Mach5 Vinyl Rip  > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

3. Led Zeppelin – IV (1971) (Original US 1841 Broadway LP George Peckham “Porky” PECKO DUCK Matrix) Early AT33PTG Vinyl Rip   > Transferred to 16Bit/44.1kHz Lossless Flac

4. Led Zeppelin – IV (1971) (ZoSo) (Rare UK 1st Stamper) Vinyl Rip > Transferred to 24Bit/192kHz Lossless Flac [HI-RES]

5. Led Zeppelin – IV (1971/2006) (Classic Records Reissue) LegMstr Vinyl Rip > Transferred to 24Bit/48kHz ALAC .MP4 [HI-RES]

6. Led Zeppelin – IV (1971/1985) (1985 US Atlantic Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

7. Led Zeppelin – IV (1971/1985) (1985 Atlantic Japan Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

8. Led Zeppelin – IV (1971/1994) (1994 Atlantic US George Marino/Jimmy Page Re-Mastered CD) 16Bit/44.1kHz Lossless Flac

 

As I said earlier that this is the only CD that was Originally Mastered by Joe Sidore only with an inferior copy of the analogue tapes…I still prefer it over the 1994 George Marino Re-Master but others go for this remaster even with the unforgivable early fades, overly compressed, and loud mastering. Uncrankable without distorting and ear fatigue city. Not much choice other than the vinyl and hopefully the coming 2014 Deluxe Reissues. See for yourself.

5848_1033372411380_7414260_nCRP

Photo Courtesy Of Doc Keyaza!

 

Led Zeppelin – Houses of the Holy (1973) Best Releases / Pressings:

L5

 

 

 

 

 

 

 

1. Led Zeppelin – Houses Of The Holy (1973) (Original UK “Porky” George Peckham Pressing) Ans2TheMstr Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

2. Led Zeppelin – Houses Of The Holy (1973) (Original US Robert Ludwig Pressing) Ans2TheMstr Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

3.  Led Zeppelin – Houses Of The Holy (1973/2006) (Classic Records 45 RPM Reissue) FnlMstr Vinyl Rip > Transferred to 24Bit/48kHz ALAC .MP4 [HI-RES]

4. Led Zeppelin – Houses Of The Holy (1973/1987) (1987 US Atlantic Barry Diament/Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

5. Led Zeppelin – Houses Of The Holy (1973/1987) (1987 Barry Diament/Joe Sidore Japan Atlantic Mastered CD) 16Bit/44.1kHz Lossless Flac

 

 

UK George Peckham Porky Beats out US Robert Ludwig IMHO. This is my favorite Zeppelin album with II right at it’s heels!

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Photo Courtesy Of Doc Keyaza!

 

Led Zeppelin – Physical Graffiti (1975) Best Releases / Pressings:

L6

 

 

 

 

 

 

 

1. Led Zeppelin – Physical Graffiti (1975) (Original US Pressing)  Ans2TheMstr Vinyl Rip > transferred to 24Bit/48kHz ALAC .MP4 [Hi-Rez]

2. Led Zeppelin – Physical Graffiti (1975/2006) (Classic Records 2LP 200gr Pressing) Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

3. Led Zeppelin – Physical Graffiti (1975/2006) (Classic Records Reissue) LegMstr Vinyl Rip > transferred to 24Bit/48kHz ALAC .MP4 [Hi-Rez]

4. Led Zeppelin – Physical Graffiti (1975) (UK) Early AT33PTG Vinyl Rip   > Transferred to 16Bit/44.1kHz Lossless Flac

5. Led Zeppelin – Physical Graffiti (1975/1987) (1987 US Atlantic Swan Song 2XCD Barry Diament/Joe Sidore Mastered CD’s) 16Bit/44.1kHz Lossless Flac

 

If you can get hold of 1987 US Atlantic Swan Song 2XCD Barry Diament/Joe Sidore Mastered CD’s it is highly recommended.

5848_1033372451381_82134_n

Photo Courtesy Of Doc Keyaza!

 

Led Zeppelin – Presence (1976) Best Releases / Pressings:

L7

 

 

 

 

 

 

1. Led Zeppelin – Presence (1976/2006) (Classic Records 45 RPM Reissue) FnlMstr (NC) Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

2. Led Zeppelin – Presence (1976) (German Second Pressing) Ans2TheMstr Vinyl Rip > transferred to 24Bit/48kHz ALAC .MP4 [Hi-Rez]

3. Led Zeppelin – Presence (1976/1987) (1987 US Atlantic Swan Song Barry Diament/Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

5848_1033371651361_1157678_n

Photo Courtesy Of Doc Keyaza!

 

 

Led Zeppelin – In Through the Out Door (1979) Best Releases / Pressings:

L8

 

 

 

 

 

 

 

1. Led Zeppelin – In Through The Out Door (1979) (Original US Pressing) Ans2TheMstr Vinyl Rip > Transferred to 24Bit/96kHz Lossless Flac [HI-RES]

2. Led Zeppelin – In Through The Out Door (1979/2006) (Classic Records Reissue) LegMstr Vinyl Rip > transferred to 24Bit/48kHz ALAC .MP4 [Hi-Rez]

3. Led Zeppelin – In Through The Out Door (1979/1988) (1988 US Atlantic Swan Song Barry Diament/Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

5848_1033371411355_2020598_n

Photo Courtesy Of Doc Keyaza!

 

Led Zeppelin – Coda (1982) Best Releases / Pressings:

L9

 

 

 

 

 

 

 

1.Led Zeppelin – Coda (1982/2006) (Classic Records Reissue) LegMstr Vinyl Rip > transferred to 24Bit/48kHz ALAC .MP4 [Hi-Rez]

2. Led Zeppelin –  Coda (1982/1988) (1988 US Atlantic Swan Song Barry Diament/Joe Sidore Mastered CD) 16Bit/44.1kHz Lossless Flac

5848_1033371531358_6534788_n

Photo Courtesy Of Doc Keyaza!

 

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

 

 

800px-Hindenburg_burning

Final Verdict Overall: I recommend that if you cannot get a hold of the Early Vinyl, you search out the 1980’s Barry Diament/ Joe Sidore Mastered CD’s. They are the unsurpassed digital version of the RAW Led Zeppelin “Sound”. As you can see from my rankings all versions of the 2014 Deluxe Reissues fall behind the 1980’s Diament/Sidore Masterings. As I said earlier you may love the 2014 Deluxe Reissues. Whether or not that is the case is up to you. This may be a good time to start to get a trained ear by acquiring different pressings as you probably already have one or two releases. If not and want to just save your cash, you now know which releases to go directly after and enter bliss.

I hope this gives you some reference information. I will be updating it over time as the music continues to evolve. The next batch of Deluxe Issues are slated for Early Fall 2014. Thank you all for you questions, comments, and words of wisdom. Do What Thou Whilt!

End\

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So there you have it…thanks for reading and your massive support.

Bless Bless!

199283_1018999052055_2128570_n

Photo Courtesy Of Doc Keyaza!

 

Mirror: The Portal To The Back end Side Of This Site:

http://playlists.christmachine.com/hd-tracks/christmachine-audio-reference-music-server-playlist-12-the-best-of-the-led-zeppelin-catalog-pressingspost-special-second-pass-edit-070214mirror-post-special/

 

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.

 

 

 

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©2014 – 2020 Christmachine

 

 

 

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All Analogue Mono British Beatles Vinyl LP’s Coming Sept. 9– CONFIRMED

Today Up On Christmachine Audio Reference Music Server :

 

I know it seems like this is a Beatles site, it’s not…far from it, it just happens by chance that there is some great Beatles news lately. So it is now confirmed that an all analog mastering chain Vinyl Beatles Box Set (14 Vinyls w/ laminated flipback covers) will be released on September 9th, 2014. They will be pressed at Optimal in Germany. Yes I said it, ALL ANALOG! Yes!!! Here’s all the news and the links to sources.

Looks like mono British Beatles vinyl LPs coming Sept. 9, early listings show

http://www.examiner.com/article/looks-like-mono-british-beatles-vinyl-lps-coming-sept-9-early-listings-show

 

THE BEATLES GET BACK TO MONO

 

 http://www.thebeatles.com/news/beatles-get-back-mono

 

 

 

 

The Beatles – Mono Masters (Mono 180 Gram Vinyl x 3)

http://www.thebeatlesonline.co.uk/thebeatles/Mono-Vinyl/Mono-Masters-Mono-180-Gram-Vinyl-x-3/3DGA041A000

 

 

The Beatles Get Back To Mono and AAA Vinyl ~ By Michael Fremer

http://www.analogplanet.com/content/beatles-get-back-mono-and-aaa-vinyl

 

 

“These mono LP’s are all analog cut from the original analog masters and pressed in Germany for worldwide release. This is from the Elusive Disc listing.”

http://www.elusivedisc.com/The-Beatles-in-Mono-Vinyl-Box-180g-14LP-Set/productinfo/CAPLP63379/&utm_source=email&utm_medium=special

 

So there you have it…thanks for reading and your massive support.

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