Discussion in 'Music Corner' started by Vinyl Addict, Aug 3, 2016.
Veiled is what I heard.
Wow BDB sounds great!!!
Enjoyed the "old Rhino" label releases in October of these cool vinyl singles:
For those who grabbed Eliminator here's a sample from the old US Ludwig 'Pac-Man with a Hat' for comparison
Dropbox - Legs Sample.wav »
Might pick up the Flamin' Groovies. For those who have it, how's the sound quality?
Just listening now to check.It sounds good to me.I know it's probably digitally sourced but its not hard and bright.The guitars sound full and natural,like real guitars and the bass is thunderous.
Bear in mind that the original Shake Some Action album was boomy,like it had been recorded in a tunnel,as I recall.
Much appreciated, thanks.
Just curious if nyone picked up Stay Hungy from this series? If so, how does it sound? Yes, I know originals are fairly common but every one I have found has been trashed.
I had an original that I bought back when it was first released but that was when I was in college and it somehow disappeared. Come to think of it, a lot of stuff disappeared while I was in college.
Anyway, I'm just curious if this release sounds good or if its just another pretty colored record for collectors to frame and never play.
Ok! You all talked me into it. 50% off sale at half price books! Billion Dollar Babies! Sounds fantastic!
Thanks to all...
Listening to the Groovies at this very instant, side C to be precise.
I find the sound to be acceptable, but certainly not amazing.
Like many compilation/greatest hits the SQ is quite variable, likely owing to the various sources.
Unless I'm mistaken (which is entirely possible) that etched SH in the run out is Steve H, no?
(And yes I know that the others were likely being ironic)
What is a little odd is that there is no mention of who cut the vinyl in the liner notes. ..
Overall though, Fantastic song selection, and I'm happy with the purchase !
Its not a 'SH' in the runout.. its an 'IS'.. stands for Ian Sefchick! Check a bit upthread for verification of the symbol.
He also did the new Jane's Addiction box set.
Wow, yes it does. Pretty too.
And also the recent 2LP Stereo/Mono reissue of Otis Redding's Dictionary of Soul.
It is. Best reissue of 2016 IMO.
Got my BDB today and it sounds very nice. My copy's a little crackly but miles better than my two originals, which are crackle city.
Very nice bottom end and midrange, but maybe just lacking a bit of upper extension compared to an original. Definitely a good reissue.
Addendum: How have I never noticed the cannon blasts at the end of "Hello Hooray" before?!
Has this Mr Ian Sefchik, who I never heard of, a good reputation ? Does he cuts from analogue ? Where does he works ?
He's in the band Creeper Lagoon, and I'd say he is building his rep as a vinyl cutter. I like what I've heard based on the Otis "Dictionary" 2lp release, but it's almost certainly from a digital mastering. Haven't heard his contribution to the Rocktober releases though. Here's an article about his work I found interesting:
Shop Talk: Rock Frontman Turned Capitol Tech, Ian Sefchick - SonicScoop »
I can't agree that colored vinyl is "usually horrible to listen to". Black vinyl is colored vinyl also, as vinyl itself is colorless and translucent. It's just a dye that is added, usually black. That was a tradition brought forward to LPs from the shellac discs previously used for 78rpm records. Black dye was used for the shellac records because it looked better than the ugly fecal brown of the shellac surface.
This is not to say that colored vinyl (or colors other than black) can't sound horrible. And come to think of it, there is plenty of black vinyl that sounds lousy as well. But if they do, it's not because of the vinyl itself being colored (or colored black, for that matter). It's all vinyl. Bad sound (or good) will be in the source, mastering, cutting and pressing.
During the 1970s, colored vinyl actually became a sort of audiophile favorite for a time. But just as colored (other than black) vinyl isn't intrinsically inferior to black vinyl today, it wasn't intrinsically superior to clean black vinyl in the 1970s. The difference is that the 1970s were the era of using dirty and noisy recycled vinyl by many major labels, some (e.g., MCA and Capitol at least through the mid 1970s) being worse offenders than others. Pressings of that era on vinyl colored other than black sounded better than the same mastering on black vinyl because the former was usually clean vinyl for two reasons: 1) One couldn't really recycle black vinyl into another color (unless there was some process that could somehow remove the black from the recycled product before substituting a different colored dye, the expense of which would defeat the whole purpose of recycled vinyl, that being cutting costs); and 2) even if it could be done practically, it would be harder to get away with dirty recycled vinyl using colors other than black, because any impurities could easily be seen on cursory examination, whereas black vinyl would completely mask such impurities, at least visually. Most of the titles I own on colored vinyl from that era are the best versions of those titles I have heard for that reason, the mastering and other variables in a given release being the same.
I can't speak for the general quality of pressings on colored vinyl (other than black) today, as I own too few to make an adequate sample size. But the game is surely different because the black vinyl used today is a far cry from the dirty recycled vinyl used during most of the 197os, though there is still the issue of poor quality control at certain pressing plants. Given that, I would expect that today's colored vinyl would sound no better (nor worse) than today's clean black vinyl, there being no reason why it should. But colored black or any other color, it certainly can sound lousy, particularly as it does with some of those dodgy EU labels like Lilith, Vinyl Lovers, Four Men With Beards, and the like, clean though the vinyl itself usually is. Just as it is with black vinyl, the reason for lousy sound is not the color. Any problems with the vinyl itself will be the result of poor pressing practices, nonfill, poor handling and lax quality control, all unrelated to the color of the vinyl used.
Some who today hold colored vinyl pressings in low regard could be confusing them with picture discs, which usually can be counted on for poorer sound. The playing surface is still a specie of plastic, similar to what was used for soundsheets, but not the same as vinyl of any color used for LPs. And being a "sandwich" construction, the manufacturing process is very different from the normal pressing process. The result is a surface that is softer and not very flat, and a groove that deteriorates rapidly with play. But that is a different story altogether.
Well ......., thanks for all of that! My one line which you quoted in the post above, was just my quick response regarding my basic experience with "purposely colored" vinyl and that is that it is usually noisier than standard vinyl pressings. I don't usually make it a point to search out "purposely colored vinyl", it's a novelty to me at best.
It was not so much to make a big point, other than that black vinyl is not intrinsically superior (nor inferior) to colored vinyl. It's just one of many dyes that can be used. Back in the 1970s, colored vinyl usually meant clean vinyl and thus less noisy pressings, when most black vinyl was recycled and dirty because the big labels could get away with it (a HUGE issue at that time), which is certainly not the case today. Keep in mind that in those days, there were no "audiophile" labels, and no Steve Hoffman or Kevin Gray cuts to choose from. Everything was from the same label, unless it was an import. Less noisy vinyl, if it could be found, was the ONLY difference maker at that time. Imports and Japanese pressing were often highly prized for the same reason.
Still, even today colored vinyl is just is as standard as black, and vice versa, as I don't think anybody recycles black vinyl these days (or really even since the very early 1980s). So today I no longer have ANY expectation that a pressing on "colored" vinyl will be less noisy or otherwise any better than on black, unlike the past. In that context, I wouldn't quarrel with your experience even a little bit. And TODAY I never search out colored vinyl either, as there SHOULD no longer be any reason to do so. The real magic is back to sources used, mastering, cutting and, most of all the pressing.
I would reckon that the real test would be whether there is a difference involving a latter day release, with the same mastering and cutting from the same source, and pressed at the same pressing plant, that is available in BOTH "colored" and black vinyl. The problem is that when a given title is available in both, it frequently involves different releases with different sources, mastering, cutting and/or pressing plant involved. A good example would be "Pet Sounds" on Capitol from the vaults (green and yellow vinyl) versus many other contenders such as Analogue Productions (in that case, absolutely NO contest). I have also seen some releases on colored vinyl from Friday Music, but Friday's results have been sonically all over the map, good and bad. Still, I remain convinced that it's not because of the color of the dye used in the vinyl.
I suppose that in the end, one must remain vigilant about the quality of pressing on ANY vinyl, with today's red flags primarily involving pressing plants with well known quality control issues (hello Nashville/United, also Rainbo, etc.). But even more highly regarded plants like QRP and Pallas occasionally let some stinkers through. In my experience it would seem that only the Japanese seem to get it dead flat perfect every time. I've NEVER even once seen a Japanese pressing that was otherwise, though sources and EQ choices are another story entirely with the Japanese.
Thanks, you saved me some money and frustration...
Here's a link to this year's Rocktober reissues
I'm interested in the Alice Cooper-Love It To Death
Bull Moose. Collectable Vinyl
Separate names with a comma.