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Rob,

I'm tempted to say I agree with you on the digital mastering of Exotic Dances. Analog or digital, it's a great mastering.

Is the Arnold Overtures really up to hype? On the bay they can go for 3 and change.:weird:
 
puroagave said:
I didn't know exotic dances was also recorded to tape, i'm pretty sure the vinyl was cut from a digital master. I also have the 176/24 HRx disc and its fabulous. Jan Mancuso said KOJ transferred all of his analog recordings to hi res and wouldn't use the analog tapes again for mastering LP reissues (?). Too bad really, plus I don't want to pay three bills for a replacement copy of Arnold's overtures.
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I'll email Paul Stubblebine and ask about the analogue versus digital. All the rest of the recent vinyl RR reissues were done after KOJ went to digital only mastering, IIRC.

Larry

PS. If Tape Project still has any of the Arnold Overture R2R tapes left (done from analogue master tape), they are not much more than 3 bills.
 
AP reissue. A wonderful series. I need to subscribe...

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Picked up this 1s/1s from local shop. Extremely quiet vinyl for a '58 pressing! :tup:
 

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Another 1s I landed this weekend. Noisier, not as transparent, but wonderful music!
 
socfan12 said:
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Another 1s I landed this weekend. Noisier, not as transparent, but wonderful music!
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I have a 5s of the Arnold as well as a Reel to Reel tape. Great recording - my vinyl is pretty quiet. It is an Absolute Sound Super Disc. The Cliburn Tchaikovsky is probably the hardest 1S to find, since it sold over a million records - of course recorded to celebrate Cliburn winning the first Tchaikovsky Piano Competition in 1958. IIRC it maybe still the best selling classical record of all time, and they went through a ton of stampers (I have a 13 15S and an 18 20S, both shaded dogs). I have seen stampers in the 40's, maybe higher, so the 1S, especially if it hasn't been played to death, is a real find. Congrats!

Larry
 
astrotoy said:
I'll email Paul Stubblebine and ask about the analogue versus digital. All the rest of the recent vinyl RR reissues were done after KOJ went to digital only mastering, IIRC.

Larry
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Here is the answer from Paul. "The Exotic Dances LP was cut from Hi-Res digital files which were made from the analog tape."

Larry
 
astrotoy said:
I have a 5s of the Arnold as well as a Reel to Reel tape. Great recording - my vinyl is pretty quiet. It is an Absolute Sound Super Disc. The Cliburn Tchaikovsky is probably the hardest 1S to find, since it sold over a million records - of course recorded to celebrate Cliburn winning the first Tchaikovsky Piano Competition in 1958. IIRC it maybe still the best selling classical record of all time, and they went through a ton of stampers (I have a 13 15S and an 18 20S, both shaded dogs). I have seen stampers in the 40's, maybe higher, so the 1S, especially if it hasn't been played to death, is a real find. Congrats!

Larry
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Larry, thanks for the background on the Cliburn. I did not know that, just loved the music.

Yes, the 1s Cliburn was a nice find. Think I paid either 4.99 or 14.99, don't remember.:happy:

Wow, you have the tape of the Arnold. That must be very nice. I thought the LP was awesome, can't imagine how much better the tape is!
 
puroagave said:
I didn't know exotic dances was also recorded to tape, i'm pretty sure the vinyl was cut from a digital master. I also have the 176/24 HRx disc and its fabulous. Jan Mancuso said KOJ transferred all of his analog recordings to hi res and wouldn't use the analog tapes again for mastering LP reissues (?). Too bad really, plus I don't want to pay three bills for a replacement copy of Arnold's overtures.
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Yes because Keith is protective of the tapes and didn't want to use them more than once. There's always the chance, especially when you are a perfectionist, to have to run the tapes several times to get a good lacquer. Of course they will say there's no difference between the tape and 176/24 copy.

Sent from my SM-G900V using Tapatalk
 
astrotoy said:
I have a 5s of the Arnold as well as a Reel to Reel tape. Great recording - my vinyl is pretty quiet. It is an Absolute Sound Super Disc. The Cliburn Tchaikovsky is probably the hardest 1S to find, since it sold over a million records - of course recorded to celebrate Cliburn winning the first Tchaikovsky Piano Competition in 1958. IIRC it maybe still the best selling classical record of all time, and they went through a ton of stampers (I have a 13 15S and an 18 20S, both shaded dogs). I have seen stampers in the 40's, maybe higher, so the 1S, especially if it hasn't been played to death, is a real find. Congrats!

Larry
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IIRC I've seen in the 100s and as high as a 140 stamper.

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socfan12 said:
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An 11s. Still not bad sounding! Quiet vinyl!:tup:
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Remember thete's not always a 1, 2,3,4, etc stamper of a given release. So a 10 s could be early; I'd have to check to say definitely on this release.

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astrotoy said:
I'll email Paul Stubblebine and ask about the analogue versus digital. All the rest of the recent vinyl RR reissues were done after KOJ went to digital only mastering, IIRC.

Larry

PS. If Tape Project still has any of the Arnold Overture R2R tapes left (done from analogue master tape), they are not much more than 3 bills.
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The only release worth having is the tape. I had the LP and was never impressed. Even less impressed with the CD. The tape is everything the LP isn't.

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Myles B. Astor said:
Remember thete's not always a 1, 2,3,4, etc stamper of a given release. So a 10 s could be early; I'd have to check to say definitely on this release.

Sent from my SM-G900V using Tapatalk
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Don't forget the Mother's either....

From each Lacquer the Mothers are made and from each Mother the Stampers are made.

Each additional Mother or Stamper in the process can degrade the pressing to a degree. However, not all "first pressings" are the ideal either.

From what I've come to understand (and like so many threads here have shown), it's all in the engineering/mastering if sound quality is the goal. In other words, you can have the most pristine of the first lacquer, first master, first mother, first stamper and if the engineer who was running the cutting lathe was a newbie....well then you might have a pristine copy of a recording that's off kilter in whatever manner.

Something that has always fascinated me with the collecting of records is the depth of the knowledge one must attain if older audiophile quality records will be owned. By this, I mean given a particular recording by a particular artist/composer/symphony/etc. it might be known in some circles that the 38S / A6 version (of an RCA Shaded dog Living Stereo) is the most coveted and spectacular because XXXX engineer produced it vs. the 15S / A1 which is total crap because Billy the intern was given a shot at the lathe that day.

Now, multiply this knowledge (or lack of) by the number of recording labels of a given era who each employed different engineers, pressing plants, quality of vinyl composition, etc. and add in stereo vs. mono (among other variables), not to mention entirely different matrix number encryption between labels and you have the makings of a real puzzle.

It is complex.
 
MikeCh said:
Don't forget the Mother's either....

From each Lacquer the Mothers are made and from each Mother the Stampers are made.

Each additional Mother or Stamper in the process can degrade the pressing to a degree. However, not all "first pressings" are the ideal either.

From what I've come to understand (and like so many threads here have shown), it's all in the engineering/mastering if sound quality is the goal. In other words, you can have the most pristine of the first lacquer, first master, first mother, first stamper and if the engineer who was running the cutting lathe was a newbie....well then you might have a pristine copy of a recording that's off kilter in whatever manner.

Something that has always fascinated me with the collecting of records is the depth of the knowledge one must attain if older audiophile quality records will be owned. By this, I mean given a particular recording by a particular artist/composer/symphony/etc. it might be known in some circles that the 38S / A6 version (of an RCA Shaded dog Living Stereo) is the most coveted and spectacular because XXXX engineer produced it vs. the 15S / A1 which is total crap because Billy the intern was given a shot at the lathe that day.

Now, multiply this knowledge (or lack of) by the number of recording labels of a given era who each employed different engineers, pressing plants, quality of vinyl composition, etc. and add in stereo vs. mono (among other variables), not to mention entirely different matrix number encryption between labels and you have the makings of a real puzzle.

It is complex.
Click to expand...

In general, with few exceptions and all things being equal, the earlier the pressing, the better the sound. And yes am aware as much as anyone of all the intricacies and codes. In fact, was at RCA and got a lot of the information for many releases as to what stamper were actually released, cutting levels, etc. Also remember back I the golden days, there weren't that many people cutting the LPs. For instance, all Mercs were cut by George Piros. RCA had the same team in the early days.

In fact, Larry here has done much the same for Decca and written a book on it.
 
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