What genius thought it was a good design choice to repeat the album title exactly as it appears 5 inches to the right.
Just listened to side 1 of the half speed. I have owned the KG cut since it came out. I agree with the recent posts from Salvatore about the lack of real low end (“bass”) when compared to the KG version. So let me get this out of the way first, I find the KG version much more enjoyable and sonically superior. That said, the best way I can describe it (and most of you will hate this description) is that the KG cut almost has a bit of a “smiley face” eq sound to it. Deeper low and and crisper highs. Slightly recessed miss in comparison to the new HS. But I find it more dynamic and actually seems to have more depth than the new half speed. The new version, while punchy as other have said, is flatter and a bit dull in comparison. To my ears of course.
The LPs were staying still while the turntable was turning. I usually don’t have to turn the clamp too hard. I had to on these LPs.
I've never used a clamp at all and never had this problem. Is the center hole a tight fit over the spindle possibly preventing the record from sitting all the way down on the surface of the platter?
I have no idea. That’s why I was asking the question. I don’t believe I’ve ever had this issue before.
That was my first thought too, but, no, the holes are normal and the LPs lift up and down the spindle fine. I’m stumped.
It must have something to do with the label. The turntable is a VPI Scout which I think is pretty common.
Still haven't seen anyone comment on how the 2015 vs 2013 pressing lands - on Discogs it's the same entry/barcode, but the latter is pressed by @Miles rather than @KG via deadwax If I'm reading that it's the first of of the Miles masters, though not halfspeed? Or could Miles have cut from a EQ master that KG prepared but still had his name on wax?
I thought there was the Classic, the KG and now, this one. There was another “inbetween”?? Just to be clear, isn’t the KG the one with the regular gatefold ?
I think you are asking how does the 2013 Miles stereo cut compare to the 2014 Kevin Gray Tommy. The only 2015 Tommy LP is a Miles cut that was pressed by GZ…probably the same as Miles’ 2013. According to Discogs.
Yeah, that's where it was getting confusing... So, Miles did 2013, KG did 2014 they repressed Miles in 2015 (which seems the version I happen to own). This is my version: The Who - Tommy And the version supposedly I should actually have bought is this one: The Who - Tommy Which, if you scan the barcode on either comes up as a paired release with each other. I def wasn't paying as much attention back then when purchased.
My 2013 KG didn't have a hype sticker from what I remember so sometimes it is sheer luck. The only thing that is different I think between the KG and the Miles is that the KG is in a traditional double LP gate fold, The Miles I think are in the tri-fold jackets. If you see a gate fold Tommy that says 2013 on the back at the bottom that is a KG most likely...that is what mine came in.
I wonder how the illustrations are arranged in the regular gatefold….anyone that has it care to post a picture?
I suppose since it's only at half speed then some allowances must be made? Perhaps Joker James got his hands on that particular record.
So I bought two 12” single covers and have put the vinyl in those (with good inner sleeves and outer sleeves). But boy, even without the vinyl in, I had a dastardly time getting the Tommy cover back into my supposed larger outer sleeve…..
I put it in a extra large sleeve from a handful I ordered from some guy affiliated with ETSY. The same sleeve is a perfect fit for the Deja Vu deluxe and All Things Must Pass. Your idea of the generic white covers fir the two LP,s is a great one.
Not to thread jack but I also did something like this with the copy of Brothers in Arms I just picked up which is a double LP but not in a gatefold (yuck). So one LP is in the original cover and the other is in a single.
I think the 2022 ARHS by cut by M Showell sounds pretty darn good, very clear, and I swear I can hear things I haven't heard before on my (crackly) UK original. Jon Astley mastered this new version, so maybe that's why it sounds a bit better than the 2015 (also cut by Showell) version I also have. Or perhaps M Showell has refined his methods & techniques over the years, and it's reaping rewards. I can't wait to hear a new Whos Next, but especially Quadrophenia. Mofi take note: you can cut digital and be up-front about it!