Do Columbia WLP white label promo's sound better than standard release?

Just wondering about this and more specifically, the 60's Columbia white label promos. Were they the first pressing's of an LP? Did they have matrix numbers inscribed in the dead wax? And back to the original question, do they sound better than the standard vinyl counterpart? Are they that much significantly better sounding than the standard release?

 

I've found - in many cases, including Columbias - that the stampers for WLP's can be found for the standard production releases too. I personally have never found any sound difference as far as just the labels go - its all in the stampers being used with some variances related to the quality of the pressing itself.

 

Production runs don't always go the same way every time for Columbia. Sometimes mothers got replicated hundreds of times, sometimes not.

 

If I'm wrong about this, I'm sure someone will point it out, but I think all white label promos would have matrix numbers inscribed in the dead wax. I don't have many Columbia WLP's, but of those that I do have (and all other WLP's in my collection, for that matter) all have matrix numbers in the dead wax.

 

AFAIK, they all have matrix numbers. In addition, I would say that in many cases, the only difference between Columbia white labels and regular labels is the color of the label. I have white label copies with later matrixes than regular copies and vice versa -- and some with the same.

 

Sometimes the WLP's are a little better to have because of the vinyl itself. I've seen examples of Vinyl promos where the stocks are usually styrene. NOt a rule, but it does happen.

Then, of course, there's the colored vinyl issue......

 

I assume you're refering to 45s?

 

There WERE a scant few WLP colored LP's issued in the 60's on Columbia, but otherwise, yes....I'm referring to the 45's. I don't ever recall seeing a styrene Columbia LP (although other labels did indeed have them).

 

I've had good luck with Columbia white-label promos...

 

I have several Columbia WLP's that have the matrix info in the dead wax, that is stamped, not inscribed. One example is Cheap Trick's 'All Shook Up' LP.

 

I have a Johnny Cash 'At San Quentin' 2 Eye White Label Promo, which has the matrix info 'inscribed' in the dead wax. It's the only vinyl pressing I have of this album, so I don't know if it sounds better than a standard pressing or not. Sorry

 

I love the black on white lettering of these WLP's. So cool to look at.

 

Mono or Stereo?

 

Rule of thumb: If the lacquer number is written rather than stamped on the dead wax, the lacquer in question for this LP was mastered in Nashville. Another difference: Nashville used variable pitch whereas New York used constant pitch. But "promo" copies of At San Quentin most likely would use Nashville lacquers, as apparently yours does.

 

'Columbia Stereo CS 9827'

 

So using that theory, this would not be a Nashville mastering?

 

Bingo. I.I.N.M., Nashville was the only one of Columbia's studios never to use such machine-stamped type on the dead wax. Besides, from late 1967 to late 1968 Mr. Price was recording in New York City ("New York City?!" - Pace Picante ads of 1990's) with such arrangers as Robert Mersey, albeit produced (as always) by Don Law Productions. And at that point, New York was the only one to have machine-stamping on Columbia releases.

 

Very interesting, really. Thanks!

 

FYI-

Many of the WLP of 60's Columbia LPs have "later" lacquer numbers than the earliest pressings.

 

Man I love looking at that!