What is unusual is mixing up a remastered mono stamper on one side with an older RVG stereo stamper on the other. Pre-printed label, title and content printed at another time. In the meantime, here are some links that give a small amount of detailed information about the manufacturing process: http://www.mastercraftrecordplating.com/how.html The photo he sent doesn’t have Inc on the address. QUESTION regarding that stylings of silver album i was so proud of. i believe it is 47 west 63rd, which would jive with LJC’s hypothesis about the labels being printed too early. DIVISION OF UNITED ARTISTS “(P) 1975”. 2. what are your thoughts? Thanks for your replies. That is very unusual, the mixing NY and Division of Liberty, but an ear? Dear dottore, I conclude this from Michael Cuscuna’s throw-away comment that the initial pressing run for Sidewinder (July 1964) was 4,000, which sold out within three to four days. The one risk I have encountered with Liberty/UA-era pressings is various defects in the metal parts which result in brief passages of noise or distortion. There are nine unique designs, which changed two or three times a year, that will tell you roughly when it was bagged at Plastylite. Their “A” looks like a “P” in the other photos. Everything I can imagine one wanting to do–compressing, limiting, EQ’ing–can be done at the mastering step…? The compositions are all superb, in my humble opinion. You mean an NY label? There are always a few outliers in pressing weight, so exceptions are found, but as a rule, weight is a good indicator of age, which my sagging waistline confirms. I was using the term ‘matrix’ in place of ‘master’ (occasionally, the silvered lacquer is also referred to as the ‘master’). Maybe have the ability to comment on each label individually instead of at the bottom. There are around forty Blue Note titles in the Blue Note catalog, examples are 4193, 4196, 4204, 4206, 4209, and many others approaching the 4250 cut-off, which had been prepared for release prior to the sale of Blue Note, but were pressed subsequent to the company sale to Liberty. The Tape Project has already released Jimmy Smith’s The Sermon (and Lee Morgan’s Sidewinder is slated for Series 3 release) on 15 ips tape. thanks https://www.discogs.com/The-Horace-Silver-Quintet-Song-For-My-Father-Cantiga-Para-Meu-Pai/release/12386517 #8 on your “cheat sheet” seems to be the same as the one numbered 7 in the article. Label Artists. To the collector, the most important indicator of record origin is the Plastylite stamp. If you get a fresh stamper, the high frequencies will be cut tighter and cleaner and will last longer. They are all (I believe) Stereo, but since mostly recorded after 1962, avoid Van Gelder’s early two-track-intended-for-mono hard panning and any eccentric instrument placement. All his Blue Note recordings. I say 1981-2. Unfortunately I can not afford it. Could you help me clarified which issue it is ? Same seller has a blue/white of the same record ending next week, but I kind of want to see if the guy is legit first before I start giving him tons of cash. Even some ‘original’ orange label versions have a remaster for side A. Side 2 has neither. However around the mid eighties EMI France soon began to adopt the German Teldec DMM technology, which are identified by the dreaded Direct Metal Mastering symbol. Blue Label Records. Variable experiences from one title to another. yep! I am interested to hear your opinion of a recent Blue Note reissue I picked up. This new engineering standard was referred to as “microgroove” to differentiate it from standard groove shellac. I’m a fairly novice collector and this website is an incredible resource for me as I learn all about the different Blue Note labels so my thanks for providing this fine education! It also has the machine stamp VAN GELDER in the run out along with the catalog number. The absence of ear on these forty or so Blue Note titles doesn’t mean they “lack the Blue Note sound”. Do you know anything about these repress from 2008? Hi Myles Stream Tracks and Playlists from Blue Label Records on your desktop or mobile device. The choice of playbck systems clearly may affect our reaction to the two sources plus having heard the tapes (and yes I’m an audiophile as you might guess from having R2R setup).. To my ears, the monos have a hollow sound to them that I don’t care for–though that might be mititaged if one uses a mono cartridge for playback of the mono LPs. What I have just done is change the sort order on comments, so now the most recent comments come to the top. There is no finer granularity with dating covers, but it confirms your copy of Vol 2 was probably manufactured at least after 1960, ruling out mixing up covers. Along with RVG, Ear, etc. The first pressings of the following titles do not have ears because they were released (sometimes much) later than planned: I wish I had the disposable income.. for any of that, including traveling to Tokyo and Moscow. Only the Lexington labels from around 1956 came in at such a heavy weight as over 200grams.. That fell to around 180 grams by the late ’50s, and then fell progressively to around 160 grams by the mid ’60s. So the ‘kids’ may actually prefer the fabric softener treatment. I have been outbid on a few originals of this album, it’s quite frustrating! The proof would be in the dead wax of the Van Gelder UAs. Even 767 Lexington labels (1956) can be found on Liberty pressings (1966). And it’s an incontrovertible fact that the earlier the tape, the better the sound. From May 1961, to mid 1965, including the New York label years, the pressing dies which left behind the “deep groove” indentation in the label area began slowly to be replaced at the Plastylite plant. Liberty DivLib Keel (7) 141 1521 was released in July 1956, at which time the Lexington label was in use. Right now I am listening to some early seventies US United Artists Records Inc second pressings and they sparkle compared with the dodgy UA early sxties originals I have. Scorpios pop up on eBay to snare the unwary. It was a mechanical process of some kind, and like all mechanical processes, sometimes fails. 4222: Lee Morgan, Cornbread (1965) Is this a matter ? I never heard a boot (If it’s a boot) with such clarity and fullness. That’s why de-noising happens on so many reissues, because there is a whole lot of sound on the tapes that isn’t supposed to be there. first New York issue: 4062 Please save me for sent to the nuthouse, I have read you when you say Nothing is ever sure (almost) but really if 9M is Client Code blue Note for Plastylite then why on earth there is no “P/earmark”? CEMA was a record label distribution branch and budget label of Capitol-EMI. “my guess is that Van Gelder used a mono 1-mil cutting head for all Blue Note mono pressings he mastered, he just cared too much about his work and mono specifically to make a haphazard decision like that to use a stereo cutting head to cut mono records…though I have no evidence.”. Anyhow, my Herbie Hancock record most closely resembles the Grant Green “Final Comedown” label in the “cheat sheet”, which is not discussed in your article, except that where that one shows publishing info, this “Takin’ Off” lists the musicians (names, no instruments). If it sounds good to you, that’s what matters. They appear to be re-mastered from the original tapes by UA house engineers, who did a better than passable job, though there is no certainty as to the use of intermediate copy tape. I wanted to let you know that your web site is critical in identifying the evolution of Blue Note as well as other labels. But who printed for giant labels like UA in the Seventies God alone knows (God in this case being W.B. I have a Prestige pressing of “Workin’ Out!” with Bobby Timmons and Johnny Lytle that has this same issue, although both sides are VAN GELDER masters so presumably there was a mix up at Abbey where the LP was pressed. I think he sold finished albums and that was it. As owner of a half dozen Connoisseurs I can attest to their generally excellent sound quality, though they do not stand up to direct comparison with originals. Anyway – many thanks again and keep on posting Great record by the way. For some people, a Scorpio is as close as they will ever get to owning the legendary Mobley 1568. A collective experience and journey through music and stories. Hi. Some of us have speculated based on our limit knowledge of LP manufacturing, but the actual facts are few and far between. It is manufactured with original RVG stampers, using old stock labels cannibalised from a second press around 1957-9 (47W63rd labels no inc or R both sides) but the cover is Blue Note Records Inc, hence cover manufactured somewhere between end-59 to 1961.