let's talk about our pressing of ALVEAR (Led Zep, AC / DC, CCR, Young ... and others ...)

Thanks Dee. Been an active reader for years. Pleased to share some thoughts on Alvear.

My AC/DCs are machine-stamped only. HTH is for sure double-wave and hand-graved. Had one in my hands last summer during my vacations close to Spain. It was only VG so I put it back.

 

Being myself Spanish, naturally I have plenty of vintage Spanish records.
I'm proud to say that there a lot of them that have great sound. The 70s AC/DC LPs sound on fire

 

Hello,
I have some appreciations of the Alvear work that I'd like to share with you.
I have now these new titles:
AC/DC, Let there be rock; A3/B2 (signed both sides)
AC/DC, High Voltage; A6/B4 (signed both sides)
Led Zeppelin IV; A5/B3 (stamped, no sign), A13/B11 (signed both sides)
Led Zeppelin III; A7/B3 (side one signed with waves, side two stamped)
Led Zepellin II, A8/B8 (signed both sides), A7/B6 (signed both sides)
Creedence Clearwater Revival, Willy and the Poor boys; A2/B1 (side one signed with waves, side two stamped)
Yes, Fragile; A4/B4 (Both sides stamped). A7/B6 (both sides signed) (waiting for it)

About the AC/DC ones: They clearly have the "Alvear sound". Hot, powerful, well balanced, rich in details. But I can't enjoy these album too much. I don't think its an Alvear problem, is just because I don't like how the albums were recorder, and I think no engineer can do miracles with them. They sound shrill, lacking bass... I only have one High Voltage UK first pressing to compare with, and they sound pretty similar. UK copy may win for a bit, but nothing that justifies the 30 euros difference between both copies.

Led Zeppelin IV: Both copies are great. But I liked more the A13/B11. I understand what Mr. Lethimonnier said about the hot mastering of the A5/B3; it sounds powerful and full bodied, but I think in the other hand it's a bit dark, and has some balance issues (let channel louder). For my taste the real Alvear sound is present in the A13/B11; it sounds powerful, well balanced, detailed, airy.

Led Zeppelin III. Wow! This copy is great! I had the chance to listen a A5/B3 (both sides stamped) before, but the copy has heavy scratches so I returned the LP. However I wasn't so impress with the sound of that copy. Hot (like the A5/B3 Zeppelin IV), but I miss details, and delicacy. In the other hand the A7 side sound great. Finally I can hear a nice bass in Since I'v been loving you. Not a boomy one, but each note. Rock, blues and acoustic sounds balanced and fresh. Side two sounds as good as one. I think maybe Alver only work over the side one because he was already happy with side two... Anyhow, this is one of the greatest Alvear works. I have a mid 70's Monarch US pressing of this and the spanish copy is no doubt better. Unfortunately it's very hard to find, specially in the upper range of VG+ or NM.

Led Zeppelin II. Other of the master works of this engenieer. Both copies I have sound amazing. If I have to choose, I keep both.. But for a personal taste I prefer the A7/B6. It is true that the A8/B8 has a very special holographyc and tridimensional sound (as Mr. Lethimonnier describe it) which makes it unique. But as I said in another post I miss a bit more mid/low end in this copy (and in his catalogue in general). The A7/B6 for my ears sounds perfect. It doesn't have the same tridimensional sound of the A8/B8 but sounds fuller, stronger, with the same amount of details and freshness. Compared to my UK A2/B2 this is almost identical.

CCR, Willy and the Poor Boys. I bought this without knowing the runouts, because it was very cheap and in NM condition (and seller can't say to me the info about the matrix...). I received this hybrid pressing and I'm very very happy wiht it. It sounds fantastic. And -which is very interesting- both sides sounds as good, with the same tonality and richness. I had compare this copy with the sounds samples that Mr.Lethimonnier shared wit us (from a A3/B3 copy) and both sounds the same to me (If there are differences these may be because our different stylus/cartridges). This is very interesting because this (along with the hybrid Zeppelin III) may be clues about the Alvear work. Now I'm very sure many of the stamped runouts from the hispavox records are from his work. Same could happens with runouts with his handwritten which didn't have a sign (my unsigned but hand-graved copy of Cosmos's factory soud great!)
Maybe we can have more information of this when the signed copy of the Fragile LP arrives. By the way, the stamped A4/B4 sounds great.

Kind regards

 

Thanks for sharing and for that last bit above as it pertains to stamped, signed, unsigned, handwriting.

 

Do you have many records perhaps in Spanish but also on the Hispavox label? Perhaps recorded in or reissued in the 1970's and 80's.? Curious if his name appears on any of those as well.


Which got me thinking about non-native or just non-English-speakers who may have worked on these records and how, if so, if one listens more closely to the tone of the voice, as that is all there is to that person, and additionally masters the sound any differently because of that. Sounds kind of silly writing that out here so just a random thought. I realize mastering engineers by trade should be already sensitive to the sound of the voice, but what if one does not understand the words. I wonder what influence that has on any additional mastering choices. Just a thought.

 

Great discussion Christophe

 

In my haste, I completely forgot to post some pictures of Alvear's signature! This is Bayou Country by Creedence Clearwater Revival. A1 / B1. reissue from 1983.





Alvear mastering A1/B1 ~~





Sorry guys for the delay!

 

Overall completely agree with you!
AC / DC has never privileged the bass in its recordings! Also correctly mastered records can appear "aggressive"! Logic !

For Led Zeppelin ll, I have the following ALVEAR's: A7 / B7 ~~ and A8 / B8. ~~).

The A7 / B7 sounds exactly at the crossroads of one of the first Spanish presses (A5 / B4 stamped machine) and the incredible and unique A8/B8 and its Dolby surround sound! Personally I like three Alvear! The A5/B4 pressing is adorable! very punchy, rich, it is probably the most "monophonic" mastering I have heard! Completely opposed to the first Italian pressing of with its "cinemascope" soundstage (unfortunately to the detriment of a great dispersion of energy). To another and opposed, the mastering ALVEAR A8/B8 seems to have pushed the band to its ultimate limits! Spectacular sound stage (If your speakers are well arranged, the group will come to play in your living room!) And relief of new guitars! With RL mastering, my favorite listening; but the A7/B7 is more balanced and superb too!

For Led Zeppelin lll, my A5/B3 stamped machine is magnificent I think. But if Multirock says the Alvear / stamped machine B Side hybrid even better, I would believe it! It must be amazing !?

 

Green River...not Bayou Country ! Sorry !

 

Interesting detail, obviously no copyright on the back cover for the ALVEAR A7/B7 ~~ mastering!



...So we can assume a release before the end of the 70s!

 

While his A8/B8~~ mastering is easy to date; the copyright is written on the back cover (© 1981).

 

Just after the release of Led Zeppelin ll mastering ALVEAR A8/B8~~ (©1981), WEA now distributes Led Zeppelin albums in Spain in 1983.

 

Another interesting detail. Here is an AC / DC mastered by ALVEAR. "Dirty deads done dirt cheap". The matrix does not include its usual signature, the famous small wave (~~), nor the mention "Alvear", but only a matrix number with the letter "P" then a letter or a number. This pressing came out in 1980 (see my photo below) as his wonderful mastering of Back in black ... released in 1980, as everyone knows! At the moment, I am negotiating with a Spanish dealer for the soundtrack "The Blues Brothers". He told me both matrix were hand engraved and had the letter "P" on either side! The album was released in 1980! Conclusion?!

 

So you have dated his work then as late as '83 (CCR and others?) but no later? and also under there under the WEA name as it seems to have replaced the Hispavox name, although on discogs it isn't until 1985 when EMI bought the label and company...

Alvear did the vinyl for the 1981 release in Spain for Too Late The Hero by John Entwistle, although it has WEA labels, Hispavox has the manufacturing and record company credits in the discogs listing.

The 'P' must be a moonlighting Pedro Almodovar. The only logical conclusion

 

Maybe I misspoke myself? What I wanted to say is that from 1980, it seems that he used several names to sign his mastering work. Apparently the "The Blues Brothers" soundtrack has different matrix, some with the little wave (now quite famous!) and others with the letter "P" ... like some of my AC/DC records, all certified "ALVEAR ".

 

I had a LZII snagged right out of my CART today while going back and forth over days of emails with the seller who was away from home and supposed to be checking two or three other titles for me. Oh well. I think I'm going to put the Physical Graffiti pressing I found with Alvears sig on sides 1 and 3, up for sale soon here in the Classifieds and have it 'State-side' for any interested collectors. Just have to try to playgrade it first.

I haven't been able to find anything different i.e. alvear, about the Spain pressings or releases of Presence or In Through The Out Door.

I found a different mastering and cut by Ivar Finsen from Rosenborg Studio in Norway for ITTOD but I still wasn't thrilled with the sound of the album.

Was hoping to find a Goats Head Soup by alvear but no luck so far in any sigs. A stamped 1973 release. I'd like to find a 'clearer' sounding mastering on vinyl of that without it being too modern. There are quite a few Stones 45z and a few albums manufactured at or distributed by Hispavox.

 

So some copies of the Blues Brothers ST have his name and a letter 'P' in the wax and others don't but have the same letter 'P' in the wax. Perhaps this letter 'P' means something else?

 

Hold on, dear friend, and I'm sure you'll find a Led Zeppelin ll that's right for you! I listened to my 2 records mastered by ALVEAR. A7 / B7 ~~ and A8 / B8 ~~. I confirm the criticism of my comrade Multirock. The ALVEAR A7 / B7 ~~ or A7 / B6 ~~ mastering is more balanced than the 1981 ALVEAR reissue (A8 / B8 ~~). More audiophile if you prefer! On the other hand, the mastering ALVEAR A8 / B8 ~~ (reissue © 1981) distils its magic through an incredible 3D soundstage and fierce electric guitars! Raw power too !! ... fantastic!!! Both are essential (even for legendary RL fans like me!) For true Led Zep fans !!!

I understand your relative disappointment with the Led Zeppelin Physical graffiti hybrid, "Partially mastered by ALVEAR. The problem with this album, like all compiled albums, is that each song should be individually mastered. One which is rarely the case. .. alas! So this will inevitably lead to a compromise ... with its share of disappointment or frustration!

You have to understand what ALVEAR, like other great engineers (Ludwig, Peckham, Piros ... etc ...), produced magnificent masterings (Led Zep l, ll, IV, AC / DC BIB, CCR Willy & the poor boys ... etc ...) but also others a little less good!

So act! ...

;-)

 

Since I don't want to get angry with my American friends, to go further than the "ALVEAR" example and some wonderful Spanish pressings, we are going to travel to...Greece!

As I have already said, some records are magic, in particular, those mastered by another mysterious engineer whose name unfortunately I did not find, but seems only symbolized by this sign: (...) 3 points of suspension ... and that's it !?

His Rolling Stones masterings, "Beggars banquet" [Alvear and Robert Ludwig in the same studio... Amazing!], "Between the buttons" ... absolutely sumptuous (Mick Jagger should listen to this pressing, he who complained about the lack of sound discernment of his album!) and The Who, "Tommy" (the most beautiful texture I have heard ... purely subjective impression of course!).

I found the same writing on Greek pressings of Led Zeppelin and frankly it was... mediocre!?!?!
However, these pressings did not have these mysterious suspension points (...) at the end of each matrix!?! Did these clues point to the use of a first-generation tape (allowing more working latitude to produce better mastering) or simply this Greek engineer was more inspired for the music of the Rolling Stones and The Who than Led Zeppelin?!?!


Any thoughts on this?

 

Another but mysterious engineer with perhaps a strange signature ?! (...)

See photos below ...

 

Thank you dear @ James_888! I don't know what happened, but I had a problem with some posts!

I hope you are well ?

Yeah, great talk! ;-D

 

I'll see if I have the chance to pick up two Spanish pressings from this album! Some copies have (apparently?) several different masterings made by ALVEAR
... but with different matrices too! ;-)

We will see...?!