Pequeña guía incompleta para comprar discos

[Alberto 244]

[b]PEQUEÑA GUÍA INCOMPLETA PARA COMPRAR VINILOS [/b]
La información a continuación no pretende ser una guía exhaustiva para comprar ediciones originales o reediciones de discos de vinilo, sino una invitación a convertir sus compras en un acto consciente e informado, especialmente cuando se trate de la adquisición de un disco de colección más caro de lo normal.
La he llamado Guía Incompleta porque sería absurdo pretender concentrar todos los datos sobre reediciones disponibles. A cambio, intento proveer algunos criterios de búsqueda que me han sido útiles.
[u][b]
Importante[/b][/u]: La mayor parte de la información que se presenta con fines ilustrativos, es un [u][b]extracto[/b][/u] de la información que se encuentra[u][b] completa[/b][/u] en los sitios web originales. Al comienzo de cada cita, se entrega el enlace al sitio web de la publicación original.

[u][font="Arial, sans-serif"][size="2"][b]ÍNDICE[/b][/size][/font]
[/u]
[font="Arial, sans-serif"][size="2"]INTRODUCCIÓN[/size][/font]

[font="Arial, sans-serif"][size="2"]PRENSADO[/size][/font]

[font="Arial, sans-serif"][size="2"]DESENREDANDO LA MADEJA[/size][/font]

[font="Arial, sans-serif"][size="2"]DESENTRAÑANDO CÓDIGOS[/size][/font]

[font="Arial, sans-serif"][size="2"]RECONOCIENDO ETIQUETAS[/size][/font]

[font="Arial, sans-serif"][size="2"]CLASIFICACIÓN DE DISCOS USADOS[/size][/font]

[font="Arial, sans-serif"][size="2"]DÓNDE COMPRAR DISCOS USADOS[/size][/font]

[font="Arial, sans-serif"][size="2"]SELLOS DE REEDICIONES 100% ANÁLOGAS[/size][/font]

[font="Arial, sans-serif"][size="2"]SELLOS A EVITAR[/size][/font]

[font="Arial, sans-serif"][size="2"]TIENDAS EN QUE HE OBTENIDO BUENOS RESULTADOS[/size][/font]

[font="Arial, sans-serif"][size="2"]ENLACES[/size][/font]


[font="Arial, sans-serif"][size="2"][b]INTRODUCCIÓN[/b][/size][/font]
[font="Arial, sans-serif"][size="2"]La producción de discos de vinilo se extendió como formato principal de venta para las grandes compañías del entretenimiento hasta los años noventas. [/size][/font]
[font="Arial, sans-serif"][size="2"]Es a mediados de los ochentas, como una forma de reducir los costos de producción y distribución, que la apuesta digital comienza, generando un fuerte incremento en las utilidades y un descenso en la calidad sonora, sobre todo en sus primeros años (Nota: No es de mi interés discutir este punto en este hilo). [b]Por lo tanto, la música [/b][b]a la[/b][b] [/b][b]que[/b][b] aquí [/b][b]nos referimos,[/b][b] fue hecha antes de la era digital. Casi el 100% de la producción posterior es digital. [/b]Es decír, nos referimos a reediciones y ediciones originales de música grabada de comienzos de los noventas hacia atrás.[/size][/font]
[font="Arial, sans-serif"][size="2"]Mucho se especula de las nuevas reediciones de vinilos que provienen de cintas master análogas originales o que povienen de fuentes digitales e incluso, hasta de discos compactos.[/size][/font]
[font="Arial, sans-serif"][size="2"]Existe una lista limitada de sellos que se dedican a hacer reediciones que cumplen con todas las premisas como para ser considerados "audiófilos", es decir, que usen en su elaboración, el material análogo original y que el prensado se haga usando maquinaria y material de prensado de buena calidad. [color="#000000"]Yo prefiero referirme a ellos simplemente, más que sellos audiófilos, como sellos que respetan la fuente original y al comprador, sin tratar de engañarlo.[/color][/size][/font]
[font="Arial, sans-serif"][size="2"]Tenemos, no obstante, la posibilidad de conseguir las ediciones originales o las reediciones hechas originalmente por los sellos con anterioridad a la aparición de las grabaciones digitales. [/size][/font]
[font="Arial, sans-serif"][size="2"]Cuando un disco sale a la venta por primera vez en su país de orígen, su manufactura involucra el master original análogo que se obtuvo de la mezcla que se hizo a partir de las grabaciones originales, ya sea en directo o por pistas. Utilizando solo el sentido común, las copias que provengan directamente del master original, tendrá una mejor calidad sonora y eventualmente comenzarán a tener un deterioro en la medida que se alejan de esta fuente debido a las características intrínsecas de la técnica de prensado y a la pérdida de fidelidad en las copias de generaciones sucesivas de esta fuente o a su deterioro.[/size][/font]

[font="Arial, sans-serif"][size="2"][b]PRENSADO[/b][/size][/font]
[font="Arial, sans-serif"][size="2"]En el proceso de prensado, primero se fabrica un disco metálico con un lacado de recubrimiento. Con este disco se trabaja en la tornamesa de corte. Desde la cinta master, se lleva la señal a un amplificador y este activa una “cápsula de corte” que tiene una aguja que es exitada con la señal de audio, de la misma manera que en la reproducción. La diferencia es que esta aguja al vibrar, va realizando un corte contínuo en espiral en el lacado del disco metálico que gira en la tornamesa. Una vez obtenida la grabación en el lacado, se incia un proceso sucesivo de moldes negativos y positivos hasta llegar al molde de estampado, que es el encargado de imprimir el surco en un pedazo de vinilo en estado plástico que es prensado para producir el disco que conocemos.[/size][/font]
[font="Arial, sans-serif"][size="2"]Este es un resumen de la sucesión de moldes usados desde el corte inicial en el disco lacado:[/size][/font]
[list=1][*][font="Arial, sans-serif"][size="2"]Lacado Master sobre disco de metal (Positivo) Se destruye en el proceso.[/size][/font][*][font="Arial, sans-serif"][size="2"]Master o Matríz de Metal (Negativo)[/size][/font][*][font="Arial, sans-serif"][size="2"]Molde de metal Madre (Positivo) Con este molde se hacen sucesivos moldes de estampado[/size][/font][*][font="Arial, sans-serif"][size="2"]Molde de metal para Estampado (Negativo) Duración aproximada 500 prensados.[/size][/font][/list][media]https://www.youtube.com/watch?v=pKbAksbvUqQ[/media]

[font="Arial, sans-serif"][size="2"]Los moldes de estampado se van reemplazando periódicamente porque en cada prensado van perdiendo definición, lo que provoca que dentro de una misma producción, la calidad sonora tenga una pequeña variación. Cuando este master original es copiado para ser enviado a otro sitio para realizar una producción, ya se habla de un master de segunda generación y las copias que de el se hagan, tendrán una calidad ligeramente inferior y así sucesivamente durante las siguientes reediciones, en distintos puntos del planeta. Eventualmente, en otros países se puede usar un nuevo molde proveniente de la matriz de prensado original y dependiendo de cuantas copias se realizaron de esa matriz, será la calidad del sonido.[/size][/font]
[font="Arial, sans-serif"][size="2"]En la medida que el precio lo permita, se puede estar seguro que adquiriendo una edición original se conseguirá un mejor sonido, es decir, más fiel al master análogo original, que en una tercera o cuarta reedición porque la matriz con la que se preparan los moldes de estampado también va lentamente pérdiendo fineza.[/size][/font]
[font="Arial, sans-serif"][size="2"]En las postrimerías de la época del formato disco de vinilo como medio predominante, ya se habían empezado a realizar grabaciones directas digitales con formato de salida análogo en algunos sellos de música clásica como Deutsche Grammophon. Estas grabaciones híbridas tiene buena calidad, aunque es, por razones obvias, imposible la comparación con la contraparte "todo análogo".[/size][/font]

[font="Arial, sans-serif"][size="2"][b]DESENREDANDO LA MADEJA[/b][/size][/font]
[font="Arial, sans-serif"][size="2"]Ahora, ¿cómo reconocer una edición original, más allá de las descripciones que aportan los vendedores?. Existen varios datos que podemos revisar, por ejemplo los códigos de letras y números escritos al final del disco, cerca de la etiqueta. Existe alguna información sobre cómo reconocer estos códigos que, para complicar un poco las cosas, son distintos para los distintos sellos. Más abajo se detallan algunos.[/size][/font]
[font="Arial, sans-serif"][size="2"]Otra forma que no es exacta, porque puede haber dos ediciones el mismo año, pero nos puede acercar bastante, es recopilar la información sobre las particularidades de las etiquetas e impresos de los distintos sellos discográficos. Mucho de ellos han ido cambiando las etiquetas a lo largo de los años, lo que permite ubicarlos en un período determinado. Más abajo se detallan algunos ejemplos.[/size][/font]
[font="Arial, sans-serif"][size="2"]También está, para las ediciones famosas, las peculiaridades de las impresiones de cartátulas. Estas tres fuentes, códigos, etiquetas e impresos, son complementarias para una identificación positiva.[/size][/font]
[font="Arial, sans-serif"][size="2"]Como todos sabemos, la música llamada comúnmente “clásica” (música culta o académica, etc.) tiene como particularidad que la obra de un compositor puede llegar a tener muchas versiones ejecutadas por distintos directores, distintas orquestas en distintos países, por lo que la cantidad de información a recopilar a veces es enorme. No sucede esto con la música popular como el jazz o el rock o la música folclórica que tienen una sola edición original en la casi totalidad de las veces. Afortunadamente para la música “clásica” hay bastante información ya que muchos de los coleccionistas serios se dedican a recopilar estas ediciones.[/size][/font]

[font="Arial, sans-serif"][size="2"]En términos generales y siguiendo con el mismo criterio podemos seleccionar los siguientes tipos de ediciones:[/size][/font]

[list][*][font="Arial, sans-serif"][size="2"]Primera edición, páis de orígen, realizada con el master análogo original. [color="#000000"]Óptima calidad. [/color][/size][/font][*][font="Arial, sans-serif"][size="2"]Segunda reedición, páis de orígen, eventualmente aún hecha con el master análogo original o matriz de estampado original. Probablemente óptima calidad.[/size][/font][*][font="Arial, sans-serif"][size="2"]Primeras ediciones, distintos países, hechas con copias del master original o eventualmente con derivados de la matriz del prensado original. Calidad variable desde muy buena, hasta aceptable. Las ediciones japonesas solían tener una gran reputación en sus prensados, por la calidad del material de fabricación y de elaboración. Normalmente tenían el mayor valor. Después continuaban las ediciones europeas y después las norteamericanas (Estados Unidos y Canadá).[/size][/font][*][font="Arial, sans-serif"][size="2"]Segundas y subsiguientes reediciones, distintos países, hechas con copias de más de dos generaciones del master original. Calidad variable desde buena hasta mala.[/size][/font][*][font="Arial, sans-serif"][size="2"]Segundas y subsiguientes reediciones, distintos países, hechas con el master original. Normalmente corresponden a ediciones especiales realizadas por los sellos. De nuevo, las japonesas lideran este tipo de ediciones teniendo en ocasiones muy alta calidad, rivalizando con el primer prensado original, pero hay que tener siempre en cuenta que el master ya no es nuevo como cuando se hizo el primer prensado.[/size][/font][*][font="Arial, sans-serif"][size="2"]Reediciones modernas, hechas con el master análogo original. Eventualmente estas ediciones, tienen algunas virtudes como mejorar posibles errores en las grabaciones originales, por lo que en ocasiones, si es que están disponibles las cintas originales, se realiza un nuevo master. Un ejemplo puede ser la reedición de Classic Records del popular Kind of Blue de Miles Davis, que la edición original del sello Columbia tenía un error de velocidad en un track, que fue corregido. También, con técnicas modernas, es posible reducir el ruido de fondo, sin alterar el contenido musical. Dentro del espectro de posibles copias, estas pueden ser equiparables a los primeros prensados, aunque existe un mayor conseso en la mayoría de los casos, en que la original prevalece como la de mejor calidad, entre otras razones, porque los masters estaban en su estado orginal, recién grabados y prístinos. [color="#000000"]Otro punto a destacar de estos discos originales es que son los prensados históricos, lo que les da un mucho mayor valor desde el punto de vista de un coleccionista. Cada sonido, hasta sus imperfecciones están asociados en el tiempo y circunstancias a la obra de un artista.
Por otro lado, las reediciones modernas, pueden o no, respetar el sonido original como fuente, por lo que las apuestas de sellos e ingenieros encargados adquieren adeptos y detractores en la medida de que sean o no fieles a la edición histórica.[/color][/size][/font][*][font="Arial, sans-serif"][size="2"]Reediciones modernas hechas con digitalizaciones en calidad de cd (16/44),master desconocido, incluso cortadas a partir de un cd. Mala calidad en general. Lamentablemente, este tipo de prensados han ocupado una buena parte del mercado de la moda del vinilo. (ver título “Listado de sellos a evitar”).[/size][/font][*][font="Arial, sans-serif"][size="2"]Reediciones modernas hechas con digitalizaciones de alta resolución del master análogo original. Hay veces que el master original está dañado y es necesario restaurarlo digitalmente. Estas reediciones pueden tener muy buena calidad, aunque podrían estar un escalón más abajo que una hecha todo análogo, porque la cadena se rompe y es necesario realizar una codificación y una decodificación en el trayecto. Aunque esté hecha con equipos de óptima calidad, es una transcripción un paso menos directa. (Nota: No es de mi interés discutir en este hilo estos temas).[/size][/font][/list]
[font="Arial, sans-serif"][size="2"][b]DESENTRAÑANDO CÓDIGOS[/b][/size][/font]
[font="Arial, sans-serif"][size="2"]Códigos de matrices de prensado.[/size][/font]
[font="Arial, sans-serif"][size="2"]Cada sello tiene sus propias características, pero en terminos generales, poseen esta información:[/size][/font]
[font="Arial, sans-serif"][size="2"]Identificador de Matriz (puede o no coincidir con el N° de catálogo) + N° de molde de estampado. También puede contener otra información que puede permanecer sin deverlarse, pero después de una tiempo en la búsqueda, estas variables empiezan a ser más cotidianas para los coleccionistas.
La siguinete información está públicada originalmente en: [url="http://www.7tt77.co.uk/matrix_numbers.html"]http://www.7tt77.co....ix_numbers.html[/url]



[/size][/font][b][size="+3"][size="+1"]The various numbers and markings which are generally be found in between the spirals of a record's
run-off groove can be a help in identifying which company made that pressing. Judging by a quick look at singles in my collection it seems that different pressing plants had different styles of run-off 'legend'. CBS, Decca, EMI, Philips/ Polydor, Pye, and (in the second half of the decade) RCA appear to have had distinctive and easily recognisable styles, so a few notes about them may be useful. There were of course a lot of other pressing firms, some of which had their own particular styles; I've been able to identify some of them - Orlake, and possibly British Homophone and Saga - but others remain elusive. What follows is [i]not[/i] authoritative; as I said, it comes from observation, not from first-hand knowledge.

Run-off legends come in different forms - hand-written or typefaced - and in different positions. They tend
to consist of the matrix number of the record with a few add-ons at the end. The matrix number is often accompanied by a 'cut number', which refers to the 'stamper' (the metal plate being used to press that side of the record). Other numbers, letters or symbols can often be found in association with the matrix number or at other places on the run-off; these refer to things such as the 'take' (which version of a recording is being used). Firms, or individual engineers, responsible for cutting the records sometimes added initials, names or even messages: Utopia studios used a lyre-like mark to identify its cuts. Making a record involves several stages, and marks can be added at each - it should be kept in mind that once a stamper has been made by one firm it can be taken to a different firm for the actual pressing to be done. Identification, therefore, is likely to be less than an exact science, and the following guide should be approached with caution. I would only claim that it is better than nothing. A comprehensive list of the various markings and their meanings can be found at [url="http://www.discogs.com/forum/thread/529e58cbea621117a73e0170"]http://www.discogs.c...a621117a73e0170[/url].[/size] [/size] [size="+1"]While reading the following descriptions it helps to think of the record as a kind of clock-face. Position the run-off legend so that it's the right way up. If it's at the top of the record, that's twelve o'clock; if it's at the bottom, that's six. The three and nine o'clock positions are where you'd expect them to be, as are all the rest of the hours. So if the description says there's an '04' at ten o'clock you should know where to look for it. He said, hopefully.

[/size][size="+1"] * * * * *
[u][size="+3"]CBS[/size][/u][size="+3"][size="+1"]

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/CBS_EARLY_HYPHENATED_MATRIX_BIG.jpg[/img][size="+3"][size="+1"]
[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/CBS_EARLY_MATRIX_BIG.jpg[/img]
[img]http://www.7tt77.co.uk/CBS_LATE_MATRIX_BIG.jpg[/img]
[img]http://www.7tt77.co.uk/CBS_HANDWRITTEN_MATRIX.jpg[/img] [/size][/size][/size][/size][size="+3"][size="+1"] [size="+3"][size="+1"]
CBS run-off legends from 1970-c.76 are typefaced and can be found at twelve o'clock. The basic matrix number
(which is generally the same as the catalogue number but with an 'A' or a 'B' added, indicating whether that side of the record is the 'A' or 'B' side) is followed closely by a single number, which presumably refers to the 'stamper' or the 'take'. The parts of the legend may be separated by hyphens or dots or they may be left blank. Typical examples would be 'CBS S 7986 A1' from 1972, 'CBS-S-2327-A2' from 1974, or 'EPCS 2151 B1', an Epic single from 1973.

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/CBS_TRIANGLE_BIG.jpg[/img] [img]http://www.7tt77.co.uk/CBS_D.jpg[/img] [img]http://www.7tt77.co.uk/CBS_2.jpg[/img] [img]http://www.7tt77.co.uk/CBS_5.jpg[/img]

At nine o'clock there are usually three dots, making the points of a small triangle; sometimes these dots have faint lines partially joining them, suggesting a badly-formed 'A'; on better-selling singles this may be a shallowly-impressed letter such as B, C or D, which lends support to the 'A' theory. The example shown is a 'D'. At three o'clock there are usually one or two numbers; again these may be so faintly impressed as to be barely legible: I've managed to scan a '2' and a '5' as examples, but it wasn't easy and the results aren't good. Around 1977 the typefaced legend was replaced by a handwritten one but the layout remained the same, as can be seen in the third and fourth examples shown above. The symbols at three o'clock and nine o'clock remained unchanged.

[/size][/size][size="+3"][size="+1"] * * * * *
[u][size="+3"]DECCA[/size][/u][size="+3"][size="+1"]

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/DECCA_MATRIX_BIG.jpg[/img]

With occasional exceptions Decca run-off legends are typefaced. They can be found at 6 o'clock. The basic
matrix number, which usually bears no relation to the catalogue number, is followed by a 'T' and a single number, and then by another single number and a letter - generally a '1' and a 'C' or a 'K'. The various parts of the legend are separated by hyphens. An example would be 'ZDR-56491-T1-1C'. The 'Z' seems to indicate a stereo recording, an 'X' a mono one. EMI legends are similar but they tend to be more widely spaced and to lack all but the last of the separating hyphens.

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/DECCA_1_BIG.jpg[/img] [img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/DECCA_U_BIG.jpg[/img]

At nine o'clock there is a single number, usually '1' but sometimes higher; Keith Stephens has been kind enough to mail in and say that this number was the 'mother' number - it referred to the metal 'mother' which was an integral part of the pressing process. At three o'clock there is usually a letter which, Keith points out, indicates which stamper was used to do the pressing. Decca used the letters of the word BUCKINGHAM to indicate the letters 1 to 10; thus a 'B' at 3 o'clock indicates a first stamper, 'K' a fourth, and so on. The letters could be used in combination, thus a 'BU' would be from the twelfth stamper. Each stamper was used to make approximately five hundred pressings, so for a popular record they had to be changed regularly.

[/size][/size][size="+3"][size="+1"] * * * * *
[u][size="+3"]EMI[/size][/u][size="+3"][size="+1"]

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/EMI_MATRIX_BIG.jpg[/img]

EMI run-off legends are placed at 6 o'clock, and come in a widely-spaced typeface. The basic matrix number
is followed by a hyphen, then a single number, usually a '1'. Thus we have 'SHAR 5113 B-1' for Harvest, 'YPUR 120 A-1' for Purple, and 'EMI 2397 A-1' for the EMI label. For labels where the matrix number is very different from the catalogue number, as is the case with Columbia and Parlophone, the results look like '7XCA 33002-1' and '7YCE 21469-1'. An 'X' in the matrix number generally indicates a mono recording, a 'Y' a stereo one, the 'WIPX' of the Island label (shown below) being an exception.

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/EMI_ASSOCIATED_MATRIX_BIG.jpg[/img]

Some EMI pressings can be found with a 'U' after the single number, giving 'UP 35760 A-4U', 'BELL 1299 B-1U', 'ARISTA 1 A-1U', MAG 127 B-1U' and so on. Phil Elliott has been kind enough to get in touch to explain that this 'U' indicated that the mastering had been done somewhere other than at EMI's own Abbey Road facilities; it was first added c.1970. Decca legends are similar but the letters are more closely spaced and always run in a straight line; the various parts of Decca legends are generally separated by hyphens.

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/EMI_ASSOCIATED_1_BIG.jpg[/img] [img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/EMI_LETTER_BIG.jpg[/img]

Away from the run-off legend there is usually something which looks like either a '1', a reversed '1', or an '!' at nine o'clock. There is a letter, or a pair of letters, at three o'clock; Keith Stephens has kindly informed me that, as is the case with Decca recordings, these refer to the different 'stampers' that were used to make the pressings. According to Keith, EMI used the letters GRAMOPHLTD to represent the numbers 1 to 10, so that a record with 'G' at 9 o'clock would be from the first stamper, and 'T' from the ninth, while 'GM' would be from the fourteenth. On records dating up to c.1973 the initials KT can often be found, inverted, at twelve o'clock. This would appear to refer to the purchase tax payable on the record.[/size][/size] [size="+3"][size="+1"]In addition, where a record has been perforated so that its centre may be pushed out, the perforations on EMI pressings (and those of RCA from Spring 1975 onwards) are noticably narrower than those of the other companies, which offers an initial readily observable clue as to a single's origins.

[/size][/size][size="+3"][size="+1"] * * * * *
[u][size="+3"]PHILIPS / POLYDOR / PHONOGRAM / PHONODISC[/size][/u][size="+3"][size="+1"]

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/PHILIPS_MATRIX_BIG.jpg[/img]

Philips and Polydor shared a close association. In the '70s their records were pressed at the Philips (renamed 'Phonodisc') plant in Walthamstow. The legend action - for want of a better description - on records in the Philips / Polydor groups and their
successors all takes place at the top of the record, and the legend is typefaced. The basic matrix number is at twelve o'clock: for Philips / Phonogram singles it consists of the catalogue number followed closely by a '1F' (for an 'A' side) or a '2F' (for a 'B' side). Then come two forward slashes, a single number (usually a '1' or a '2'), an inverted triangle and (usually, for British singles) the number '420'. For example you might find '6006160 1F//[size="3"]s[/size]420' (Philips), '6059026 2F//1[size="3"]s[/size]420' (Vertigo), or '6076002 1F//1[size="3"]s[/size]420' (Nashville). 'Seb' has written in to identfiy the various components: the first '1' or '2' after the catalogue number are side identifiers; the 'F' is the 'media identifier' and indicates that the record is a 7" ('Y' would mean a 12" or an LP); the number before the inverted triangle is the 'lacquer cut sequence number'; and the number after the triangle is the 'lacquer cut machine number' - it indicates what country the lacquer was cut in. Keith Stephens has been kind enough to send the following list of machine numbers and the countries in which they were used; he warns that it may be incomplete:
[i]Austria - 720; Australia - 150; Belgium - 170; Brazil - 200; Canada - 230; Denmark - 300;
Far East - 022; France - 380; Germany - 320; Great Britain - 420; Hungary - 450; Italy - 520;
Luxembourg - 630; Norway - 710; Netherlands - 670; Portugal - 790; South Africa - 960; Spain - 850;
Sweden - 970; Switzerland - 980; Rest of the World 000.[/i][/size][/size] [size="+3"][size="+1"] [/size][/size][size="+3"][size="+1"] 'Seb' has also provided the following information about lacquer markings: [i]Phonodisc used characters to denote an outsourced lacquer cut: [/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]E where 'E' stands for 'External'.[/size][/font][/i] [font="Times New Roman"][i]The matrix number would look like: CB 363 A // 1[/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]ET RAYS .[/size][/font][/i][/font] [i][font="Times New Roman"]In that example 'RAYS' stands for Ray Staff, mastering engineer at Trident from 1970 to 1986.[/font][/i] [i][font="Times New Roman"]The following studios were used:[/font][/i] [font="Times New Roman"][i]Abbey Road ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EAR); [/size][/font][/i][/font][font="Times New Roman"][i]CBS ([/i][size="3"]s[/size][font="Times New Roman"][size="4"][i]EC); [/i][/size][/font][/font][font="Times New Roman"][i]Decca ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]ED); [/size][/font][/i][/font][font="Times New Roman"][i]Kendun Recorders ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EKR);[/size][/font][/i][/font] [font="Times New Roman"][i]Master Room ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EM); [/size][/font][/i][/font][font="Times New Roman"][i]CTS ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EMC); [/size][/font][/i][/font][font="Times New Roman"][i]Master Disc ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EMD); [/size][/font][/i][/font][font="Times New Roman"][i]Pye / PRT (since 1980) ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EP);[/size][/font][/i][/font] [font="Times New Roman"][i]Portland ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EPS); [/size][/font][/i][/font][font="Times New Roman"][i]The Sound Clinic ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]ESC); [/size][/font][/i][/font][font="Times New Roman"][i]Sterling Sound ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EST); [/size][/font][/i][/font][font="Times New Roman"][i]Strawberry Mastering ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]ESTR)[/size][/font][/i][/font] [font="Times New Roman"][i]Trident ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]ET); [/size][/font][/i][/font][font="Times New Roman"][i]Townhouse ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]ETH); [/size][/font][/i][/font][font="Times New Roman"][i]Tape One ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]ETO); [/size][/font][/i][/font][font="Times New Roman"][i]Utopia ([/i][size="3"]s[/size][i][font="Times New Roman"][size="4"]EUT).[/size][/font][/i][/font] [/size][/size][size="+3"][size="+1"]

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/POLYDOR_MATRIX.jpg[/img]

Polydor group matrix numbers are almost identical to Philips / Phonogram ones, except that that the 'A' and 'B' sides are indicated by 'A' and 'B' instead of by '1F' and '2F'. Thus we get '2058110 A//1[size="3"]s[/size]420' (Polydor) and '2025193 B//1[size="3"]s[/size]420' (Stax). There are occasional exceptions to these rules - sometimes the triangle or the '420' may be omitted or replaced by a letter, or the two forward slashes may be missing (as in the example shown above) - but the side-indicator seems to be ever present.

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/POLYDOR_NUMBERS.jpg[/img]

Two other number combinations generally appear on the run-off: '04' (sometimes '05' or '03') can often be found either at 10 o'clock or following the matrix number, and three other numbers, often with spaces between them, appear at around two o'clock. Often these three numbers consist of two '1's (sometimes one of them is reversed) and a '1', '2', '3' or '4'. 'Seb' identifies these as the 'Father number', the 'Mother number', and the 'Stamper number', in that order. Spacing varies wildly: usually the two '1's are close together, but the third number can be found near to them or anywhere else up to nine o'clock.
Labels which were pressed by Phonodisc but were not part of the Philips / Phonogram or Polydor families appear to have usually followed the Polydor style of run-off legends, for example 'RESL 31 A//[font="Wingdings"][font="Times New Roman"]1[/font][size="3"]s[/size][/font][font="Times New Roman"]420' (BBC) and 'EAG 0032 B//1[/font][size="3"]s[/size]420' (Eagle); again, parts might be substituted, as happened to the triangle and the '420' in 'BIG523 A//1 M' (Transatlantic), or missing altogether, like the triangle in 'MAG005 B//1 420' (Magnum).[/size][/size] [size="+3"] [/size] [size="+3"][size="+1"]Thanks to Keith and 'Seb' for all the information they have supplied.

[/size][/size][size="+3"][size="+1"] * * * * *
[u][size="+3"]PYE[/size][/u][size="+3"][size="+1"]

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/PYE_MATRIX_BIG.jpg[/img]
[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/PYE_MATRIX_TRIANGLE_BIG.jpg[/img]
[img]http://www.7tt77.co.uk/PYE_NO_SYMBOLS.jpg[/img]

The Pye run-off legend can be found at six o'clock. It varies in form, being typefaced from 1970-c.76 and
handwritten from then on, though handwritten ones can be found earlier in the decade. The typeface varies: from 1970-c.73 it generally looks rather rough, from c.1973-c76 it looks a bit thin. The legend consists of the matrix number (generally the same as the catalogue number, with a suffixed 'A' or a 'B' signifying the 'A' or the 'B' side) followed by a hyphen, a single number (usually '1'), a diamond, a triangle or a star, and finally one or (from c. 1977) two letters. This results in a typefaced 'DJS 232 B-1 *T' for DJM in 1970, a typefaced '7N 45554 A-[img]http://www.7tt77.co.uk/z_diamond.jpg[/img]G' for Pye in 1975, a typefaced 'KSS 701 A-2[font="Wingdings"][size="4"]t[/size][/font]X' for a 1974 Kama Sutra, and a handwritten 'EMBS 366-A-1[font="Wingdings"][size="4"]t[/size][/font]MB' for a 1978 Ember. There are of course exceptions to this rule, as shown in the third illustration, which is of a Bradleys single from 1974, where the symbol and letter(s) at the end are missing, but it seems to be generally reliable. 'Seb' has kindly sent along the following, which sheds light on the various symbols: [size="+3"][size="+1"] [i]The symbols stand for the cutting room/lathe machines.[/i] [i]Diamond: Identifying the Westrex Scully stereo suite until 1974; from then on identifying the Neumann SX74 suite.[/i] [/size][size="+1"] [i]Triangle: Identifying the second Westrex Scully stereo suite until 1967; from 1967 onwards identifying the Neumann SX68 suite.
[/i] [i]Star: Identifying the Westrex Scully Mono suite until c.1974.[/i][i]
[/i] [i]The alphas after the symbols are for the cutting engineers:
[/i] [i]F = unknown yet; [/i][i]G = Gordon Vicary; [/i][i]H = Howard Barrow; [/i][i]J = Geoff Calver; [/i][i]T = Tony Bridge
[/i] [i]W = Derek Strickland; X = Ian Cooper; [/i][i]BJ = Bob Jones; MB = Mike Brown[/i][i]
[/i] [i]So, a *T indicates that Tony Bridge cut the record in the star suite with the Scully lathe.[/i][i]
[/i] [i]Other symbols:
[/i] [/size][size="+1"][i]Pi symbol = Mike Brown; [/i][i]NOEL = Noel Summerville; [/i][i]TONE = Tony Bridge[/i][/size][size="+3"][size="+1"]

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/PYE_LETTER_BIG.jpg[/img] [img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/PYE_NUMBER_BIG.jpg[/img]

As for other markings on the run-off, there is a letter (sometimes two letters, late in the decade) at nine o'clock, and a number, generally '1', at three o'clock. These are handy, in that they help distinguish between Pye pressings, which have them, and Saga pressings (see below), which don't. In the '70s Pye pressings were often done on a kind of vinyl which appears a translucent wine red when held up to direct light, which is a useful identifying characteristic. There doesn't appear to be any distinction between run-off legends of Pye Group records and those of records which Pye manufactured and distributed for other companies.[/size][/size] [size="+3"][size="+1"]
[/size][/size][/size][/size][/size][size="+3"][size="+1"][size="+3"][size="+3"][size="+1"] * * * * *
[u][size="+3"]RCA[/size][/u][size="+3"][size="+1"]

[img]http://www.7tt77.co.uk/RCA_OWN_1971.jpg[/img][/size][/size] [size="+3"][size="+1"][img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/RCA_BIG.jpg[/img]

From the start of the decade until the spring of 1975 the run-off legends and the other markings on RCA singles - including associated labels such as Rockfield - are often pretty much identical with those of CBS singles, as CBS did a lot of the pressing: typefaced matrix numbers plus another single (stamper?) number at twelve o'clock; an 'A', often degenerated into a three-dot 'therefore' kind of mark at nine o'clock; and usually one or two numbers (often faint) at three o'clock. RCA singles, however, often have a letter 'E' after the 'stamper' number (if that is what it is). At first the matrix numbers of RCA records were vastly different from the catalogue numbers, but in 1973 they became more or less identical, with only a suffixed 'A' or 'B' (indicating the 'A' or 'B' side of the record) to distinguish between them. With the component parts added together, what we see in the run-off is something akin to 'BGBS 0992 1E', or 'RCA 2411 A 1E'. RCA pressed many of its own albums during the first half of the decade, but it also seems to have pressed a limited number of its own singles. One of the few examples that I have seen and of which I can be pretty sure can be seen in the first picture shown above. The matrix numbers are in a typefaced font, set in a slight curve at six o'clock; the number itself has a '1E' after it, separated from it by a hyphen, as the CBS pressings did. Elsewhere on the run-off there is a handwritten three-digit block such as A1A, A1C, and so on - their appearance is similar to the example shown below. The labels of these early self-pressed singles had shiny-looking labels and a ring 25mm in diameter around the spindle hole. Confusingly some CBS pressings from slightly later (1974-75) also have that 25mm ring, but the labels do not have the same shine to them. In early 1975, however, RCA developed a style of its own - presumably it started pressing all its own singles at that point (it had been increasingly responsible for pressing its own albums from mid 1969). As can be seen from the example shown in the second picture, the matrix numbers bore a close resemblance to those of the earlier self-pressed singles, except that the characters were handwritten; and they can be found in the same position, at six o'clock. It was usual for some of the components to be separated by hyphens, as in 'PB 5099-A-2E' and 'GO 336-A-1E'.

[img]http://www.7tt77.co.uk/MATRIX%20NUMBERS/RCA_AIC.jpg[/img]

As a rule there were two other marks on the run-off during this later period: a 'letter number letter' triad, such as 'A1C' or 'A1H',similar to that on the earlier self-pressed records, and a letter 'W' in inverted commas. These could be found at any point around the run-off; popular places for the triad were at three o'clock and nine o'clock, while the 'W' often turned up at twelve. On occasions the triad adds an extra letter or two, as in 'A1AT' or 'A1AAB'. Thanks to Keith Stephens for additional information.

[/size][/size][size="+3"][size="+1"] * * * * *
[u][size="+3"]WEA[/size][/u][size="+3"][size="+1"]

For the greater part of the 1970s labels in the Kinney / WEA group were pressed by CBS, the two companies having shared manufacturing and distribution facilites, and therefore they have CBS-style markings. WEA was an ambitious concern, however. It set up its own distribution network, which came into operation in early 1976, and purchased Island's pressing plant when it came up for sale in January 1978. According to Billboard magazine (21st January) its manufacturing agreement with CBS still had more than a year to run, but the plant was available for overflow work and third-party pressings. In that same year WEA invested in Damont, which had another pressing plant, and by February 1979 Damont had become part of the WEA group. This gave WEA two separate facilities to employ when it struck out on its own, which it appears to have done around the end of 1978. Its singles from then on can be divided into two distinct types. Singles of the first type have anti-slip ridges around the labels and often have a 'D' at twelve o'clock: it seems reasonable to guess that these are Damont pressings, particularly as in the early '80s the 'D' was sometimes replaced by a 'DAMONT'. The second type of single has no anti-slip ring and no 'D': I have no proof that these came from the ex-Island plant, but it seems not impossible. Singles of both kinds frequently have marks from studios such as Strawberry, suggesting that mastering was done by independent facilities. There are some differences in the run-off markings of the two types, and it is to these that we now turn. As ever, I would like to point out that what follows is a generalization, and that there are exceptions here as there are everywhere else on this page.[/size][/size]

[u][size="5"]WEA / DAMONT (?)[/size][/u] [size="+3"][size="+1"]
[img]http://www.7tt77.co.uk/WEA_MATRIX_AS_HYPHENS.jpg[/img][/size][/size] [img]http://www.7tt77.co.uk/WEA_MATRIX_AS_NO_HYPHEN.jpg[/img][size="+3"][size="+1"]
The matrix numbers themselves are at six o'clock, and are handwritten. The numerical part is usually without hyphens, but they seem to be optional after the 'A' or 'B' side indicator. There is often a number at three o'clock and a letter at nine, and the overall effect is similar to Pye pressings. Unlike Pyes, however, there is a 'D' (sometimes underlined, and sometimes quite fancy, as below) at twelve o'clock, and the WEAs lack the distinctive star / diamond / triangle markings which indicate Pye mastering.
[img]http://www.7tt77.co.uk/WEA_AS_NUMBER.jpg[/img] [img]http://www.7tt77.co.uk/WEA_AS_LETTER.jpg[/img] [img]http://www.7tt77.co.uk/WEA_TOP_D.jpg[/img] * [u] [/u][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/size][/b]


El resto de la información en la página original: [font="Arial, sans-serif"][size="2"][url="http://www.7tt77.co.uk/matrix_numbers.html"]http://www.7tt77.co....ix_numbers.html[/url]
Más información de matrices:
[url="http://www.anorakscorner.com/PressingPlantInfo.html"]http://www.anoraksco...gPlantInfo.html[/url]
[url="http://www.discogs.com/forum/thread/529e58cbea621117a73e0170"]http://www.discogs.c...a621117a73e0170[/url]
[/size][/font][size="+1"][/size]

[Alberto 244]

Entrada 2
[b]RECONOCIENDO ETIQUETAS

SELLOS DE JAZZ
[/b]Información originalmente publicada en el sitio: [url="https://londonjazzcollector.wordpress.com/record-labels-guide/"]https://londonjazzco...d-labels-guide/[/url][b]
[img]https://londonjazzcollector.files.wordpress.com/2013/03/columbia-cheat-sheet-oct-2014.jpg[/img]
THE LJC COLUMBIA LABEL CHEAT SHEET

[/b]El resto de la información en el sitio original: [url="https://londonjazzcollector.wordpress.com/record-labels-guide/columbia-records/columbia-us-labels/"]https://londonjazzco...mbia-us-labels/[/url][b]
[/b]Más sellos: https://londonjazzcollector.wordpress.com/record-labels-guide/[b]
[/b]

Editado September 13, 2015 at 02:03 por Alberto

[Alberto 244]

Entrada 3
[b]RECONOCIENDO ETIQUETAS
SELLOS DE MÚSICA "CLÁSICA"

[/b]Brillante recopilación alfabética de etiquetas discos de 78 rpm. Hay algunas grabaciones de buena calidad en este formato: [url="http://early78s.uk/"]http://early78s.uk/[/url]

[b]EARLY BRITISH DISC RECORDINGS 1898-1926.[/b]
The ambition of this site is to illustrate each and every ‘make’ of disc record marketed in the U.K. in the period stated. They are often referred to (loosely) as 78 rpm records, and we think that nearly 300 labels may have existed during this time period. The bulk of the research work on these has already been done by Frank Andrews, the [i]doyen[/i] of British discographers. References to his writings are given. We hope you will find this site of help, and also of some slight entertainment value – the author believes that very long ‘dry-as-dust’ presentations almost always become tedious. 8^) Click on an initial letter above to go to the relevant page.

[img]http://early78s.uk/wp-content/uploads/photo-gallery/hmv20553.jpg[/img]










Otro ejemplo de recopilación de etiquetas HMV antiguas: [url="http://www.musicweb-international.com/Friedman/page13.htm"]http://www.musicweb-...dman/page13.htm[/url]


[b][font="Georgia"][size="5"]"His Master’s Voice" Trademark[/size][/font][/b]

[img]http://www.musicweb-international.com/Friedman/images/Nipper2.jpg[/img]



[font="Georgia"][size="2"]In February 1909 the Gramophone Company finally replaced the "Recording Angel" trademark used on labels since as early as February 1899 with the "His Master’s Voice" trademark which William Barry Owen had purchased from the painter Francis Barraud in that same year, and which the Victor Talking Machine Company had been using as its trademark since January 1902. The original painting is shown above. It may be noted here that the Gramophone Company had been using the HMV trademark on its tins of gramophone needles since as early as February 1904 (see the February 1904 Catalogue cover shown above). Moreover, John Bennett states that the HMV trademark had appeared on supplements as early as January 1900.[/size][/font]

[font="Georgia"][size="2"] HMV record labels used during the acoustical recording era fall into four major categories: 1) Gramophone Co., Ltd., with the Dog trademark; 2) His Master's Voice, large and small trademarks; 3) HMV B, C, D, and E series; and 4) HMV DA, DB, and other International Celebrity series. Labels were printed in different colors to identify price categories. In addition, a dark green label was used for lesser recording lights, for both 10- and 12-inch discs, from as early as 1909 to 1921 or later. As noted above, Russian labels never bore the HMV trademark.[/size][/font]

[font="Georgia"][size="2"]During the first period described above labels with the same general format were used in various countries in Europe, particularly in Spain. The only words in English on these labels were the designation above the trademark, the language, the vocal range or instrument and the accompaniment. During this period the label showed two catalog numbers placed at 5 and 7 o’clock on the label. This format has been seen on issues as late as December 27, 1911. Sometime during this period the double catalog numbers were replaced by a single number, which continued through about February 1918, when quadrants were placed in the lower half of the label (see below under [b]Double-Sided Issues) [/b][/size][/font]

[font="Georgia"][size="2"]From February 1909 to August 1910 the HMV label consisted of an unframed trademark occupying most of the upper half of the label, above which was the lettering [b]GRAMOPHONE CONCERT RECORD[/b] or[b] GRAMOPHONE MONARCH RECORD. [/b] Directly beneath the trademark was the company designation, as [b]Manufactured by The Gramophone Co., Ltd., (and Sister Companies). [/b]These are generally known as HMV Monarch or Dog Monarch for 12-inch discs and as HMV Concert or Dog Concert for 10-inch discs, respectively. The lower company designation was used in 1912.[/size][/font]

[center][img]http://www.musicweb-international.com/Friedman/images/Image966.gif[/img][/center] [center][img]http://www.musicweb-international.com/Friedman/images/Image832a.gif[/img][/center] [center][b][font="Georgia"][size="2"]Figure IV.A.1.a. pink, large font [/size][/font][/b][/center] [center][b][font="Georgia"][size="2"]Figure IV.A.1.a. pink, small font[/size][/font][/b][/center] [url="http://www.musicweb-international.com/Friedman/page13.htm#ixzz3laVf7k4k"]http://www.musicweb-...m#ixzz3laVf7k4k[/url]


HMV British B Series desde 1912 Hasta 1950: http://www.normanfield.com/hmv.htm

[img]http://www.normanfield.com/hmv_files/image002.jpg[/img]
[size=4]Introduction.[/size][size=4] In 2000, the City of London Phonograph and Gramophone Society published the impressive ‘Catalogue of HMV “B” Series Records’, by Frank Andrews and Ernie Bayly. (-1) This remarkable work, many years in the compiling, gives great detail on each of the approximately 9,400(!) discs in the series, the great majority of which were, of course, for the British market. In addition, the authors described the various designs of labels used. They listed 17 types. In April 2005, by way of a small tribute to Frank and Ernie, I decided to try to compile a set of these 17 types for this website. Together with help from Han Endeman (The Netherlands), Dr. Rainer Lotz (Germany) and Mike Thomas, progress was rapidly made. However, it also became clear that it was difficult to confine the label design just to seventeen broad types. After some discussion, Han Endeman proposed a new classification based on Andrews & Bayly. Further, he kindly undertook to develop such a system. Han’s proposals are, accordingly, set out below. An example of each label accompanies the description. Andrews and Bayly give a date range and catalogue number range for each of their 17 types. I have interpolated these in square brackets into Han’s text against the most appropriate label in his new classification, which defines 22 types. (But see also appendix)

[/size][center][center][color=#C00000][font=Arial][size=6]Classification of HMV labels used in the “B” series.[/size][/font][/color][color=#C00000][size=6][/size][/color][/center][/center]
[center][center][color=#C00000][font=Arial][size=4] [/size][/font][/color][/center][/center]
[center][center][color=#C00000][font=Arial][size=5]by[/size][/font][/color] Han Endeman.[/center][/center]
[size=4] [/size]

[size=4]HMV variable features [at 5 = at 5 o'clock position, &c]:[/size]

[size=4]1. Position of the catalogue number.[/size]

[size=4] a. in center, in rectangle below spindle hole[/size]

[size=4] b. at 5[/size]

[size=4] c. at 3; prefix ( followed by dot[/size]

[size=4]2. Size of trademark (dog + gramophone in half-circle) [= Nipper trademark][/size]

[size=4] a. large (i.e. spindle hole within tmk); text "TRADE MARK REGD" around spindle hole[/size]

[size=4] b. small (i.e. spindle hole below tmk); text "TRADE MARK REGD" above spindle hole[/size]

[size=4]3. Colour of trademark[/size]

[size=4] a. in colour; background light[/size]

[size=4] b. in colour; background dark[/size]

[size=4] c. monochrome[/size]

[size=4] d. dog + gramophone in outline (not a chronological type)[/size]

[size=4]4. Lower margin text about manufacturer[/size]

[size=4] a. absent (text - as in b - is shown below trademark)[/size]

[size=4] b. "Record manufactured by THE GRAMOPHONE CO., LTD., Hayes, Middlesex, England."[/size]

[size=4] c. text reduced to: "THE GRAMOPHONE CO., LTD."<br style="mso-special-character:line-break"> [/size]

[size=4]5. Typefaces of cat. no., tune title, mx. no.[/size]

[size=4] a. characteristic early typeface[/size]

[size=4] b. sanserif typeface[/size]

[size=4]6. Presence of 2 quadrants, in the lower part of the label at 4-5 & 7-8 o'clock positions, containing information (performance, mx. no. & cat. no.).[/size]

[size=4] a. white, gold-lined quadrants[/size]

[size=4] b. quadrants not white but in same colour as the remaining part of the label[/size]

[size=4]7. Position of mx. no.[/size]

[size=4] a. at 6[/size]

[size=4] b. at 7 [/size]

[size=4] c. at 9<br style="mso-special-character:line-break"> [/size]

[size=4]8. Statement SPEED 78[/size]

[size=4] a. SPEED 78 (underlined) in right quadrant at 4[/size]

[size=4] b. SPEED 78 (not underlined) at 4[/size]

[size=4] c. SPEED 78 at 9[/size]

[size=4] d. only 78 at 9 (after mx. no.)[/size]

[size=4]9. Side indication (A/ at 7[/size]

[size=4]10. Made in England on later issues at 3[/size]

[size=4] a. in small letters in italics[/size]

[size=4] b. in capitals<br style="mso-special-character:line-break"> [/size]

[size=4]11. Performance details (dance orchestra, &c).[/size]

[size=4] a. at 8[/size]

[size=4] b. at 9[/size]

[size=4] c. omitted[/size]

[size=4]Minor features not used to distinguish label types are:[/size]

[size=4]- Small variations within the trademark (like shape of dog, horizontal line) - The picture of the dog is slightly different in the various label types, but it is not known if this is a diagnostic feature.[/size]

[size=4]- Minor colour variations in the trademark and in the cat. no. panel in type #A[/size]

[size=4]- Size of typefaces[/size]

[size=4]- Mx. no. between brackets or not[/size][size=4] [/size]

[size=4]- The use of capitals or small letters for composers and performance details.[/size]

[size=4]Though these variations can be described, they seem not useful for a further subdivision, especially since they seem to vary at random.

El resto de la información en la página original: http://www.normanfield.com/hmv.htm
[/size]

Editado September 13, 2015 at 03:10 por Alberto

[Alberto 244]

Entrada 4
[b]RECONOCIENDO ETIQUETAS
SELLOS DE MÚSICA "CLÁSICA"

[/b]HMV más modernos[b]:
[/b]página original: [url="http://www.watsonrecords.co.uk/sell-your-collection/vinyl-records/guide-to-selling-classical-records/hmv/"]http://www.watsonrec...al-records/hmv/[/url][b]
[/b] [size="4"][u][b]History[/b][/u][/size]
HMV or 'His Master's Voice' has for long been a very important name in the music industry and used to be a large record label. The name 'His Master's Voice' originates from the label's logo which is a terrier dog listening to a gramophone recording of his master's voice.
The logo is a painting of the dog Nipper and it was bought, along with the UK rights to it, by the Gramophone Company in 1899. The Gramophone Company didn't use the logo on their records until 1909. Until then, the image had only been used in the USA by the 'Victor Talking Machine Company' on their records. They continued to use it and so did their successor RCA which bought Victor in 1929 along with their shares in the Gramophone Company.

[img]http://www.watsonrecords.co.uk/pictures/content/images/HMV%20Nipper%20the%20dog%20logo.JPG[/img]
EMI was created in 1931 and ultimately ended owning the Gramophone Company which was eventuallu called HMV. RCA owned shares in EMI until 1939 when it sold them but kept hold of the name 'His Master's Voice' in the USA. EMI kept distributing RCA records until 1957 when their collaboration was interrupted.
With the arrival of the CD, EMI eventually dropped the 'His Master's Voice' trademark and replaced it with 'EMI Classics', a name which could be used all around the globe.
The HMV trademark is now owned by the HMV retail company in Britain which owns over 400 shops around the globe. They have no current ties to EMI having sold all the shops to the HMV group in 1998. The first HMV shop opened in London in 1921 and they still use a modified version of the Nipper painting as their logo.

[size="2"][u][b]Classification of HMV records (English Pressings)
[/b][/u][/size]HMV records, same as [url="http://www.watsonrecords.co.uk/sell-your-collection/vinyl-records/guide-to-collecting-records/columbia/"]Columbia[/url] and [url="http://www.watsonrecords.co.uk/sell-your-collection/vinyl-records/guide-to-collecting-records/decca/"]Decca[/url], come in mono and stereo. Mono records come in the series ALP, BLP, CLP and DLP, while stereo records come in the series ASD and SAN, also known as the Angel series. Earlier records from these series have 3 digits after their corresponding prefix and later records have 4. The earlier ones, with three digits, are the most valuable and collectible ones. All mono records have four digits and tend to be generally less valuable, exceptions are records by artists such as De Vito.
[size="4"][u][b]Mono LPs - ALP Series
[/b][/u][/size]HMV released its first mono LP in 1952, much later than its rivals [url="http://www.watsonrecords.co.uk/sell-your-collection/vinyl-records/guide-to-collecting-records/decca/"]Decca[/url] and [url="http://www.watsonrecords.co.uk/sell-your-collection/vinyl-records/guide-to-collecting-records/columbia/"]Columbia[/url]. Its ALP monos have a red label and present the Nipper logo in a semi-circle. Around the semi-circle we can see the words 'His Master's Voice' indicationg the name of the label.

[img]http://www.watsonrecords.co.uk/pictures/content/images/HMV-EMI%20ALP%20series,%20red%20label%20and%20white%20writing.JPG[/img] [img]http://www.watsonrecords.co.uk/pictures/content/images/HMV%20ALP%20r-g%20label.png[/img]
This record belongs to the HMV ALP series and can be recognized by the semi-circle Nipper logo with the words 'His Master's Voice' sorounding it. It as a red label with white and dark red lettering.This record belongs to the HMV ALP series and can be recognized by the semi-circle Nipper logo with the words 'His Master's Voice' sorounding it. It as a red label with gold lettering.

[size="4"][b][u]Stereo LPs - ASD and SAN (Angel) series
[/u][/b][/size]
HMV records belonging to the ASD series come in 6 different labels and vary greatly in value accordingly. As said previously, generally records with 3 digits after the prefix are more valuable than ones with 4. The first label is the most valuable and runs from ASD251 to ASD575. The second label runs from ASD576 to ASD2480. The third label runs up to ASD2800, the fourth one runs up to about ASD3850, the fifth one runs up to ASD4000. The sixth label, most recent one, was introduced in the 1980s and unfortunately is of lower sound quality than its predecessors.



[img]http://www.watsonrecords.co.uk/pictures/content/images/HMV-EMI%20ASD%20first%20label,%20white%20label%20with%20gold%20edges%20and%20red%20writing.JPG[/img] [img]http://www.watsonrecords.co.uk/pictures/content/images/HMV-EMI%20ASD%20second%20label,%20red%20label,%20semi-circle%20Nipper%20logo.JPG[/img]
This record belongs to the HMV ASD first series. It can be easily recognized by its white label with gold edges and red writing. This record belongs to the HMV second series. It can be easily recognised by its semi-circle Nipper logo and red label.
[img]http://www.watsonrecords.co.uk/pictures/content/images/HMV-EMI%20ASD%20third%20series,%20red%20label,%20white%20and%20dark%20red%20writing,%20Nipper%20logo%20in%20box%20with%20white%20edges.JPG[/img] [img]http://www.watsonrecords.co.uk/pictures/content/images/HMV-EMI%20ASD%20fourth%20series,%20black%20and%20white%20Nipper%20logo.JPG[/img]
This record belongs to the HMV ASD third series. It can be easily recognized by its red label with dark red and white writing. It also has the colour Nipper logo in a box with white edges and the name 'His Master's Voice' at the bottom of the box. This record belongs to the HMV ASD fourth series. It can be easily recognised by its red label and black and white Nipper logo.
[img]http://www.watsonrecords.co.uk/pictures/content/images/HMV-EMI%20ASD%20fifth%20series,%20red%20label,%20Nipper%20logo%20in%20box%20with%20%27Digital%27%20on%20top.JPG[/img] [img]http://www.watsonrecords.co.uk/pictures/content/images/HMV-EMI%20ASD%20sixth%20series,%20red%20label,%20semi-circle%20logo%20with%20%27His%20Master%27s%20Voice%27%20inside%20semi-circle.JPG[/img]
This record belongs to the HMV ASD fifth series. It is the first series recorded digitally. This series can be recognised by the 'Digital' logo on top of the Nipper logo box. HMV ASDsixth series. It recognisable by its semi-circle logo with the words 'His Master's Voice' written inside the semi-circle (often pressed in Germany).

[size="4"][u][b]Stereo LPs - Angel (SAN) series
[/b][/u][/size]The HMV Angel series contains records that came out around the same time as the ASD series. The difference is that Angel series records have an angel logo on their label. These records are sometimes collectible, especially the earlier ones. Angel series records have a serial that starts withe the prefix SAN which is followed by 3 digits.

[img]http://www.watsonrecords.co.uk/pictures/content/images/HMV%20Angel%201st%20label.png[/img] [img]http://www.watsonrecords.co.uk/pictures/content/images/hmv%20angel%202nd%20series.png[/img]
This is an example of an HMVrecord belonging to the Angel series. This is part of the first Angel series label collection and it can be recognised by its gold label with a white angel logo. Items with this label are very collectible.This HMV record belongs to the 2nd Angel series and can be recognized by its coloured Nipper logo. It also displays an EMI logo at the bottom of the label.

Editado September 13, 2015 at 03:32 por Alberto

[Alberto 244]

Entrada 5
[b]RECONOCIENDO ETIQUETAS
SELLOS DE MÚSICA "CLÁSICA"

[/b]DECCA UK: Pagina original: [url="http://www.watsonrecords.co.uk/sell-your-collection/vinyl-records/guide-to-selling-classical-records/decca/"]http://www.watsonrec...-records/decca/[/url][b]
[/b] [size="2"][b][u]History[/u][/b][/size]
Stockbroker Edward Lewis founded British record label ‘Decca Records’ in 1929. The name ‘Decca’ originates from a portable gramophone by the name ‘Decca Dulcephone’ which was produced by Barnett Samuel and `Sons. Edward Lewis bought it in 1929 and renamed it as ‘Decca Gramophone’.
The Decca US wing was launched in 1934 and in 1942 the started trading their stock at the New York Stock Exchange. During the second World War the American and British Decca labels grew apart and became separate organisations until 1998 when US Decca bought UK Decca. Today they both lie under the Universal Music Group umbrella.
John Culshaw was employed by Decca in 1946 as a junior but eventually got promoted to senior recording producer. He revolutionised the recording process and his skills and techniques helped Decca become one of the major labels in the industry.
In 1948, [url="http://www.watsonrecords.co.uk/sell-your-collection/vinyl-records/guide-to-collecting-records/columbia/"]Columbia Records[/url] launched the LP (long playing) record, which allowed users to play up to 30 minutes of on-going music without interruption. This was a major breakthrough because its predecessor only allowed up to 5 minutes of listening time. Decca started selling LP’s in 1949.
The first LP’s were mono and were received with much enthusiasm due to their superior sound quality. They gave Decca a competitive advantage over rival [url="http://www.watsonrecords.co.uk/sell-your-collection/vinyl-records/guide-to-selling-classical-records/hmv/"]EMI[/url] that continued using the old version for years to come.
1958 saw a new era in the records business with the launch of the stereo LP. This allowed for an even higher sound quality and again put Decca ahead of its competitors. In the late 1970s, Decca developed its own digital recording system and used it master its classical musical releases to LP’s and CD’s. This system was used until the late 1990s. In present times Decca is involved in the development of new multi-channel and high-resolution recordings.

[size="2"][b][u]Classification of Decca Records (English Pressings)
[/u][/b][/size]As mentioned in the history section above, there are two different types of LPs: [b]mono[/b] and [b]stereo[/b].
[size="4"][b][u]Mono LPs - LXT series
[/u][/b][/size]At Decca, mono LPs fall into two series: the [b]LXT2000[/b] and the [b]LXT5000[/b] series. The LXT2000 series, which is the earliest, runs from LXT2501 up to LXT2999, and the LXT5000 series, the latest of the two, runs from LXT5000 to LXT5685.
[img]http://www.watsonrecords.co.uk/pictures/content/images/Decca%20LXT2000%20series%20gold%20writing%20on%20orange%20label.JPG[/img] [img]http://www.watsonrecords.co.uk/pictures/content/images/Decca%20LXT5000%20series%20silver%20writing%20on%20orange%20label.JPG[/img]
This record belongs to the LXT2000 series and can be easily recognised due to its orange label with gold writing. This record belongs to the LXT5000 series and can be easily recognised due to its orange label with silver writing.
[size="4"][b][u]Stereo LPs - SXL series
[/u][/b][/size]Stereo LPs are known as the [b]SXL series[/b] and can be split into the [b]SXL2000[/b] series and the [b]SXL6000[/b] series.
The SXL2000 is the earlier series and runs from SXL2001 to SXL2316. It comes in 5 different labels: ED1, ED2, ED3, ED4 and ED5.
SXL6000 is the later series and runs from SXL6000 to SXL6921. It also comes in 5 different labels: ED1, ED2, ED3, ED4 and ED5.
Here are a few examples from both series:

[img]http://www.watsonrecords.co.uk/pictures/content/images/Decca%20SXL2000%20series%20ED1%20wide%20band.JPG[/img] [img]http://www.watsonrecords.co.uk/pictures/content/images/Decca%20SXL6000%20series%20ED2%20wide%20band.JPG[/img]
This record is an example of an ED1 from the SXL2000 series. It can be easily recognised due to the words 'Original Recording by...' written around the rim. All ED1 records have a wide band which can be seen just under the label name 'Decca'. ED1 records are generally the most valuable and saught after. This record is an example of an ED2 from the SXL6000 series. The only difference between an ED1 and an ED2 is that the words 'Original Recording by...' written around the rim have been replaced by the words 'Made in England...'. ED2 records also have a wide band and generally the same sound quality as an ED1.

[img]http://www.watsonrecords.co.uk/pictures/content/images/Decca%20ED3.png[/img] [img]http://www.watsonrecords.co.uk/pictures/content/images/Decca%20SXL6000%20series%20ED4%20narrow%20band.JPG[/img]
This record is an example of an ED2 from the SXL6000 series. The difference between an ED3 record and the earlier versions is the lack of a groove. This record is an example of an ED4 from the SXL6000 series. All records in this series after SXL6448 are ED4's. All ED4 records have a narrow band and the 'Decca' label in a box above the band. These records have a Dutch pressing, as opposed to their predecessors which have an English pressing, and are generally less valuable.
[img]http://www.watsonrecords.co.uk/pictures/content/images/Decca%20ED5.jpg[/img]
This record is an example of an ED5 from the SXL6000 series. All records in this series after SXL6932 are ED5's. The ED5 label is very similar to that of an ED4 so it's easy to mistake one for the other. One way of distinguishing them is the 'Made in Holland' writing at the bottom of the ED5 which ED4s don't always have. All ED5s have a Dutch pressing.
In general, records belonging to the SXL series are more valuable than records from the LXT series, early stereo records being more sought after by collectors. The exceptions are records that only come in the mono LXT version.

Editado September 13, 2015 at 03:37 por Alberto

[Alberto 244]

Entrada 6
[b]RECONOCIENDO ETIQUETAS
UN POCO DE ROCK?[/b]

Este es probablemente el sitio más completo que recopila la información de las ediciones de Black Sabbath: [url="http://dio.kapsi.fi/sabbath.se/Discography/discographymain.html"]http://dio.kapsi.fi/...graphymain.html[/url] Incluye fotos de las etiquetas y carátulas originales y ediciones de todo el mundo , además de distintos formatos y ediciones no oficiales.

[img]http://dio.kapsi.fi/sabbath.se/Bilder/vinyllp/blacksabbath_uk_phillipsunderswirl_label_big.jpg[/img]

[img]http://dio.kapsi.fi/sabbath.se/Bilder/cd/blacksabbath_standardcover_sma.jpg[/img] [img]http://dio.kapsi.fi/sabbath.se/Bilder/paranoid_standardlogo.jpg[/img] [img]http://dio.kapsi.fi/sabbath.se/Bilder/masterofreality_standardlogo.jpg[/img] [img]http://dio.kapsi.fi/sabbath.se/Bilder/volume4_standardlogo.jpg[/img] [img]http://dio.kapsi.fi/sabbath.se/Bilder/sabbathbloody_standardlogo.jpg[/img] [img]http://dio.kapsi.fi/sabbath.se/Bilder/sabotage_standardlogo.jpg[/img] [img]http://dio.kapsi.fi/sabbath.se/Bilder/technicalecstasy_standardlogo.jpg[/img] [img]http://dio.kapsi.fi/sabbath.se/Bilder/neversaydie_standardlogo.jpg[/img]

[img]http://dio.kapsi.fi/sabbath.se/Bilder/vinyllp/blacksabbath_uk_phillipsunderswirl_inside_big.jpg[/img]

Editado September 13, 2015 at 04:01 por Alberto

[SeRaF 2]

Alberto:

Dejame ser el primero en felicitarte, excelente información!!!
Muchas gracias en compartirlo

Saludos

[Alberto 244]

Entrada 7
[b]RECONOCIENDO ETIQUETAS
UN POCO DE ROCK?
[/b]Es el turno de Led Zeppelin[b]:
[img]http://www.rarerecordcollector.net/wp-content/uploads/2013/03/588171-superhype-publishing-error.png[/img]
[/b]
En este sitio se encuentra una recopilación de los detalles de prensados de LZ y de otros grupos:
LZ1:
[url="http://www.rarerecordcollector.net/atlantic/led-zeppelin/led-zeppelin-i/"]http://www.rarerecor...led-zeppelin-i/[/url]
LZ2:
[url="http://www.rarerecordcollector.net/atlantic/led-zeppelin/led-zeppelin-ii/"]http://www.rarerecor...ed-zeppelin-ii/[/url]
LZ3:
[url="http://www.rarerecordcollector.net/atlantic/led-zeppelin/led-zeppelin-iii/"]http://www.rarerecor...d-zeppelin-iii/[/url]
LZ4:
[url="http://www.rarerecordcollector.net/atlantic/led-zeppelin/untitled-4th-album-2/"]http://www.rarerecor...ed-4th-album-2/[/url]
LZ HOTH:
[url="http://www.rarerecordcollector.net/atlantic/led-zeppelin/houses-of-the-holy/"]http://www.rarerecor...es-of-the-holy/[/url]
LZ PG:
[url="http://www.rarerecordcollector.net/swan-song/ssk-89400-led-zeppelin-2/"]http://www.rarerecor...led-zeppelin-2/[/url]

Libro ‘Led Zeppelin: The Complete UK Vinyl Discography’ disponible en papel y en pdf:
[url="http://www.rarerecordcollector.net/category/led-zeppelin/"]http://www.rarerecor...y/led-zeppelin/[/url]

Más sobre los primeros prensados de Led Zep.
[url="http://recordcollectormag.com/letters/zep-first-press"]http://recordcollect...zep-first-press[/url][b]

[/b]Otra más:[b]
[/b]http://everyrecordtellsastory.com/2014/03/03/led-zeppelin-a-vinyl-buyers-guide/[b]

[/b]Solo pongo un par de ejemplos de Rock, pero suficiente como para que sepan que hay mucha información para coleccionistas en la red. Es cosa de buscar adecuadamente.[b]
[/b]

Editado September 13, 2015 at 12:45 por Alberto

[Alberto 244]

Entrada 8[b]
CLASIFICACIÓN DE DISCOS USADOS

[/b]Pese a que hay más de una manera de clasificar discos, se han hecho populares algunas guias[b]. [/b]Una buena clasificación debe tener valores separados para el disco y la carátula e insertos.
Guía Goldmine:
[url="http://www.goldminemag.com/collector-resources/record-grading-101"]http://www.goldminem...ord-grading-101[/url]
[b]MINT (M)[/b]
These are absolutely perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition. There is no set percentage of the Near Mint value these can bring; it is best negotiated between buyer and seller.
[b]NEAR MINT (NM OR M-)[/b]
A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it’s nearly perfect. Many dealers won’t use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever truly perfect.
NM records are shiny, with no visible defects. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must be absent; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)
NM covers are free of creases, ring wear and seam splits of any kind.
[b]VERY GOOD PLUS (VG+)
or EXCELLENT (E)[/b]
A good description of a VG+ record is “except for a couple minor things, this would be Near Mint.” Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it toward the high end of the grade (sometimes called VG++ or E+).
VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.
VG+ covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.
NOTE: These are high standards, and they are not on a sliding scale. A record or sleeve from the 1950s must meet the same standards as one from the 1990s or 2000s to be Near Mint! It’s estimated that no more than 2 to 4 percent of all records remaining from the 1950s and 1960s are truly Near Mint. This is why they fetch such high prices, even for more common items.
Don’t assume your records are Near Mint. They must meet these standards to qualify!
[b]Very Good (VG)[/b]
Many of the imperfections found on a VG+ record are more obvious on a VG record. That said, VG records — which usually sell for no more than 25 percent of a NM record — are among the biggest bargains in record collecting, because most of the “big money” goes for more perfect copies. For many listeners, a VG record or sleeve will be worth the money.
VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise.
Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.
VG covers will have many signs of human handling. Ring wear in the middle or along the edges of the cover where the edge of a record would reside, is obvious, though not overwhelming. Some more creases might be visible. Seam splitting will be more obvious; it may appear on all three sides, though it won’t be obvious upon looking. Someone might have written or it or stamped a price tag on it, too.
[b]Good (G),
Good Plus (G+)[/b]
[b]or Very Good Minus (VG–)[/b]
These records go for 10 to 15 percent of the Near Mint value, if you are lucky.
Good does not mean bad! The record still plays through without skipping, so it can serve as filler until something better comes along. But it has significant surface noise and groove wear, and the label is worn, with significant ring wear, heavy writing, or obvious damage caused by someone trying to remove tape or stickers and failing miserably. A Good to VG– cover has ring wear to the point of distraction, has seam splits obvious on sight and may have even heavier writing, such as, for example, huge radio station letters written across the front to deter theft.
If the item is common, it’s probably better to pass it up. But if you’ve been seeking it for a long time, get it cheap and look to upgrade.
[b]POOR (P)
and Fair (F)[/b]
Poor (P) and Fair (F) records go for 0 to 5 percent of the Near Mint value, if they go at all. More likely, they end up going in the trash. Records are cracked, impossibly warped, or skip and/or repeat when an attempt is made to play them. Covers are so heavily damaged that you almost want to cry.
Only the most outrageously rare items ever sell for more than a few cents in this condition — again, if they sell at al
Sealed Albums
Still-sealed albums can — and do — bring even higher prices than listed.
However, one must be careful when paying a premium for sealed LPs of any kind for several reasons:
1. They may have been re-sealed;
2. The records might not be in Near Mint condition;
3. The record inside might not be the original pressing or the most desirable pressing;
4. Most bizarre of all, the wrong record might be inside. I’ve had this happen to me; I opened a sealed album by one MCA artist only to find a record by a different MCA artist inside! Fortunately, I didn’t pay a lot for that sealed LP. I would have been quite upset if I had!
[b]Imports[/b]
The Goldmine® Record Album Price Guide lists only those vinyl LPs manufactured in the United States or, in a few instances, manufactured in other countries, but specifically for release in the United States. Any record that fits the following criteria is an import, and you won’t find it in the price guide:
• LPs on the Parlophone label by any artist, at least before 2000. Parlophone, best known as the Beatles’ British label, was not used as a label in the United States until very recently.
• LPs that have the letters “BIEM,” “GEMA” or “MAPL” on them.
• LPs that say anywhere on the label or cover, “Made in Canada,” “Made in the UK,” “Made in Germany,” etc.
We have chosen not to list records from Great Britain, Canada, Japan or any other nation for logistical reasons. Where do you start, and where do you stop?
Unfortunately, we realize that there is a lack of reliable information on the value of non-U.S. records, especially published in the United States. Please don’t contact us seeking information on non-U.S. records; we cannot help.
Also unfortunately, there are few general rules about the value of an import as compared to an American edition.
Some import albums, especially well-made Japanese imports that still have their “obi strip,” can go for more than the U.S. counterpart. Others seem to attract little interest in the States.
One rule is just as true of imports as it is with U.S. records: Those discs that are originals in the best condition will sell for more than reissues and those in less than top-notch shape.
[b]Promotional Copies[/b]
Basically, a promotional record is any copy of a record not meant for retail sale. Different labels identify these in different ways: The most common method on LPs is to use a white label instead of the regular-color label and/or to add words such as the following:
“Demonstration — Not for Sale”
“Audition Record”
“For Radio-TV Use Only”
“Promotional Copy”
Some labels, of course, used colors other than white; still others used the same labels as their stock copies, but added a promotional disclaimer to the label.
Most promotional albums have the same catalog number as the regular release, except for those differences.
Sometimes, regular stock copies have a “Demonstration — Not for Sale” or “Promo” rubber stamped on the cover; these are known as “designate promos” and are not of the same cachet as true promotional records. Treat these as stock copies that have been defaced. Exceptions are noted in the listings.
All of this is mentioned as a means of identification. As a rule, we do not list promotional records separately, nor are we interested in doing so. There are exceptions, which we will list below. But we feel that the precious space in our guides is better used for unique commercially available records rather than for thousands upon thousands of promotional copies.
Most promotional LPs sell for approximately the same as a stock copy of the same catalog number. That has been our experience.
However, there are certain exceptions. Those are the kinds of promos that you’ll find documented in our price guide, and which we plan to continue to document. These include:
Colored vinyl promos.
Promos in special numbering series, such as Columbia albums with an “AS” or “CAS” prefix; Warner Bros, albums with a “PRO” or “PRO-A-” prefix; Capitol albums with a “PRO” or “SPRO” prefix; Mercury albums with an “MK” prefix; and other similar series on other labels.
Promos that are somehow different than the released versions, either because of changes in the cover or changes in the music between the promo LP and the regular-stock LP.
Promos pressed on special high-quality vinyl; these were popular in the 1980s and can bring a premium above stock copies of the same titles.

Más guías se pueden conseguir en la red, basadas o no en la Goldmine, por ejemplo en Ebay y Discogs

Editado September 13, 2015 at 12:51 por Alberto

[Alberto 244]

Entrada 9
[b]DONDE COMPRAR DISCOS USADOS
[/b]Esta entrada podría ser una lista interminable de tiendas, pero me limitaré a esbozar la idea de que los prioritario es que el vendedor presente la información adecuada para la correcta identificación de los discos. En el caso de las Ebay o Discogs, el otro parámetro importante es la reputación obtenida por la calificación que reciben de sus compardores.
[b]
SELLOS DE REEDICIONES 100% ANÁLOGAS[/b]
Originalmente publicado en:
[url="http://www.ebay.com/gds/Guide-to-Audiophile-LPs-Part-1-of-2-/10000000003682313/g.html"]http://www.ebay.com/...03682313/g.html[/url]
[url="http://www.ebay.com/gds/Guide-to-Audiophile-LPs-Part-2-of-2-/10000000003682354/g.html"]http://www.ebay.com/...03682354/g.html[/url]
General Overview
- Vinyl Quality. Most audiophile LPs are now released on vinyl weighing either 180 grams ('180g') or 200 grams ('200g') and are denoted as such to indicate the greater quality of the vinyl used, often being 'virgin vinyl' meaning purer vinyl is used rather than the recycled plastics used in the production of standard LPs. A result of the greater quality and weight of the vinyl is usually lower surface noise and less cross talk. Please note: earlier audiophile LPs (including those from MFSL, Nautilus, Nimbus Supercut, etc.) were released on standard weight vinyl, but the quality of the vinyl used was very pure and as such, the quality of the sound on these releases is as good - or in some cases better, than the quality of newer releases. Furthermore, heavier vinyl arguably has a longer life and can withstand repeated plays more than the cheaper, less pure vinyl used on standard LPs.
- Original Master Tapes. Audiophile records are often mastered from the original tapes that were used to record the album in the studio or live. This is in contrast to many standard LPs which are mastered from sixth, seventh or even eight generation copies or dupes. With each successive copy sounding less like the original tapes and losing something in the copying process, mastering from the original tapes means that the sound of the resulting record will be as close as possible to the sound of the original tapes and thus as close as possible to the experience of actually being there during the original recording. Many audiophile records are mastered from the original tapes and clearly state this on the record, for example, Mobile Fidelity Sound Lab (MFSL) releases are all labeled 'Original Master Recording' to make this as clear as possible!
- Half Speed Mastering. Half speed mastering refers to the speed of mastering the original recording onto the master lacquer, which is then used to make the masters that press each LP. Many standard LPs are mastered at standard speed, which means that the master tape moves at the same speed as the original recording session and the master lacquer moves at 33 13 rpm. In contrast, it is also possible to run each of these machines at half speed. As a result, there is twice as much time for the cutting stylus to cut every possible detail and delicate groove modulation, resulting in LPs where you can hear details and nuances on your favourite albums that you never heard before. Furthermore, mastering at half speed uses less power and as a result the cutting head amplifiers use only one fourth as much power, resulting in much greater head room, better dynamic range, frequency response and lower distortion. This is another reason why resulting audiophile LPs can sound much closer to the sound of the original recording in comparison to standard LPs.
- Mastering Process. Audiophile LPs are produced with much greater care and consideration at every stage of the mastering process. Some labels clearly state a special feature of their mastering process. For example, Classic Records use tube amplification in every stage of their mastering process, following the logic that tubes sound warmer and less clinical than transistors and as such, the resulting LPs should follow suit. In many cases, mastering engineers may have to work with master tapes that are damaged or which need level adjustments to compensate for deterioration.. It is an art to do this and to still achieve a sound as close as possible to that of the original recording. In some cases, there will be master recording notes to work with, but damage to a recording tape over time can mean that some albums take considerable time to master properly. In any case, there are some clear cases of significant improvements in sound from some audiophile LPs when compared to original pressings, for example with Carole King's Tapestry from Classic Records, which sounds much more realistic and less 'EQ'd' than standard original pressings. There are some mastering engineers who have achieved small celebrity status for the quality of their mastered albums, for example Steve Hoffman and Bernie Grundman.
- 45rpm, One-Sided LPs, etc. Many audiophile labels have recently released some LPs which are playable at 45rpm. This is an extension of the logic used for mastering at half speed. Mastering an LP at 45rpm rather than 33rpm gives a greater groove length in which to press x period of music, which should arguably result in greater detail and resolution. One sided masters follow similar logic, with the suggestion that this results in one perfect playing surface.
- Direct to Disc. Some audiophile LPs were released using this process, which means that the pressing is made live, with the signal from the session going through to the cutting lathe. The logic behind this approach is that the resulting recording should be devoid of the limitations of a recording medium and should have low distortion, excellent dynamic range and the widest possible frequency response. However, the practicalities of this approach have meant that these releases tend to be solo performers and are of the majority jazz albums. Furthermore, modern digital and 'lossless' recording techniques on newer albums mean that the benefits of this approach are arguably less important now.
- Original artwork, labels, and inclusions. Most audiophile LPs include where possible accurate reproductions of the original cover art, LP labels and any other inclusions which were included at the time of the original release. Such dedication allows you to enjoy the record as if you were buying it for the first time again, but with the advantages of the better mastering.
- Poly-lined inner sleeves. Most standard LPs are packaged using cheap paper sleeves, or in worst cases cardboard sleeves, which can scratch and scuff the vinyl when removing and replacing it before and after play. In contrast, most audiophile LPs are packaged with poly lined inner sleeves, which include a sheet of poly lining to protect the vinyl from getting damaged and for safer storage. Mofi refer to their version of these as 'rice paper inner sleeves', which are also now available in packs of 10, 25 and 50 in store so that you can replace cheap inner sleeves with these superior replacements.

Audiophile Labels
Mobile Fidelity Sound Lab (MFSL)
Mobile Fidelity Sound Lab (MFSL or Mofi) was one of the first companies to release audiophile records in the late 1970s. Denoted as 'Original Master Recording' due to the mastering from the original tapes at half speed, Mobile Fidelity went through several periods as a company, which is reflected in the dates of their releases. However, the philosophy of releasing the best possible sounding releases has remained, as has the company's dedication to presenting luxury packages that include original album artwork and sleeve notes wherever possible.
The earlier releases from the 1970s and 1980s, were pressed on 'super vinyl', which was standard weight (as most audiophile releases during the period were), but was an extremely pure vinyl produced by JVC in Japan, so pure infact that it is translucent when held to the light and feature 'an extraordinarily quiet playing surface, extreme durability and a lifespan many times exceeding conventional pressings'. In 1979, Mofi released their LP master of Pink Floyd's 'Dark Side of the Moon' which was a huge seller and became the benchmark hi-fi system test LP for years to come. Following this release, Mofi started to release further releases from 1980 onward. These earlier pressings have some of the most quiet surfaces available of any audiophile LPs. In fact, many near mint and mint examples have next to no surface noise and the level of resolution is incredible. Many releases from this period often sell for high sums second hand, but they are still usually the best sounding releases of the album in question available and likely to rise in value in future, thus also being an investment to some buyers. These releases were mastered by Stan Ricker and Jack Hunt.
Mofi also released three now legendary LP box sets. The first released in 1982, 'The Beatles Collection' is legendary as being the best sounding release of the fab four's albums ever available. The second released in 1983 was 'Sinatra, a collection of his best albums from the Capital label years. The third released in 1984, the 'Rolling Stones Collection' was a collection of their first albums, none of which was released separately (only 'Some Girl's and 'Sticky Fingers' - two of their later albums, were released separately by Mofi). Each box collection is expensive to obtain, but are worth every penny and are arguably three of the best audiophile collections ever released and were all individually numbered. These box sets also included the 'Geodisc' which is arguably one of the best cartridge alignment tools available, but is now available from Mofi and is in store. During this period, they also released several UHQR (Ultra High Quality Records) titles which were pressed on 200 gram (200g) vinyl and marketed as sounding better than their standard counterparts. They also released some cassettes during this period using the same mastering processes, but these are rarer and arguably less desirable now than the LP releases.
The next wave of releases came in 1994 and were referred to as the 'Anadisq' series. These used a different vinyl compound and were released on heavy 200 gram (200g) weight vinyl and mastered using the 'Gain system'. These releases were also all individually numbered.
The original company folded in 1999, but was resurrected by Music Direct and is now releasing audiophile LPs and CDs again. Its debatable whether the newer LP releases equal the quality of the earlier releases, but the company still follows the same 'Original Master Recording' philosophy. These newer releases are mostly released on 180 gram (180g) weight vinyl and include some 45rpm releases.
Classic Records
Classic Records are a recent US audiophile label dedicated to producing high quality new LP pressings. Each release is mastered at half speed from the original master tapes using an 'all-analog mastering process' which also uses tube amplification at every stage of the mastering process. The majority of their releases are pressed on high quality 200 gram (200g) weight vinyl, which has virtually no surface noise and sonically superior dynamics. Classic Records are also highly dedicated to releasing each album with the original artwork, LP labels and any other materials which were included with original pressings. Their dedication to this is shown in the quality of the each release, with albums having thick, heavy duty sleeves, and many being presented exactly how they were when originally released. For example, Led Zeppelin's III has the original wheel cover, 'In Through the Out Door' includes the brown paper bag cover and booklet, The Who's 'Tommy' includes the original booklet and tri-fold sleeve. In short, Classic Records have aimed for each release to be a sensory experience, and as close to the experience of buying the original LP as possible. As a result, their releases allow you to enjoy the experience of buying your favourite albums over again, being in sight and touch exact replicas of their original counterparts, but with the advantage of the quality of the LP included, which in many cases far succeeds the quality of the standard LP release.
Classic Records are critically acclaimed for the sound and presentation of their releases, many of which are now considered to be the definitive releases. These include the Led Zeppelin catalog, which sound of which is breathtaking, The Who catalog, and many more. They are also due to release the Beatles catalog in late 2007 or 2008 - so we will get to enjoy these albums once more and see if they equal or exceed the quality of the Mobile Fidelity releases!
Nimbus Supercut
Nimbus Records have achieved somewhat of a legendary status within the audiophile circle for their 'Supercut' releases, which were only available by mail order through the Hi-fi magazines 'Practical Hi-fi' and 'Hi-fi Today' in the early 1980s. Nimbus mastered each release from the original master tapes using the best available mastering processes. Infact, Nimbus employed many techniques for each release that were not commonly used. For example, generally when bass moves from channel to channel on an LP, groove modulation is employed to reduce the movement of the stylus and this results in this bass being centered more over both channels. Most audiophiles would argue that this - and in fact anything, which changes the original recording should be avoided although this is common practice on most LPs. For example, the release of 'Joan Armatrading' had bass moving from channel to channel in several places, but Nimbus did not limit this, resulting in an outstanding pressing. Nimbus also had the ICI company produce an extremely pure vinyl for the LPs, which has amazing frequency reproduction and is virtually noise free - similar in quality to the 'super vinyl' used on earlier Mofi pressings. Due to their rarity and small pressing quantities, they are often more expensive than audiophile LPs from other labels, but the sums paid can be justified by the outstanding quality of the pressings and the fact that they tend to rise in value over time and as such are deemed as investments by some audiophiles. Other releases included Pink Floyd's 'Wish You Were Here', Beatles 'Sgt Pepper' and Wings 'Band on the Run' and many other excellent titles.
Nautilus
At a similar time to the original Mofi LP releases, Nautilus released a comparatively smaller - though excellently mastered number of audiophile LPs in their 'Superdisc' series. Most of these were mastered at half-speed and pressed on high quality standard weight vinyl. These are also rare releases and were released in limited quantities. Nautilus also released some direct to disc releases.
CBS Mastersound
This label released a large range of half speed mastered LPs during the 1980s, all mastered on excellent quality vinyl and using the best available mastering techniques. These releases also include a 'CBS Mastersound Information Sheet' (where still included), detailing the mastering processes used. These releases are arguably sonically equal to many of the earlier Mofi releases, but often do not command such high sums and as such are usually quite a bargain. The exceptions are for some of the releases which are outstanding such as Pink Floyd's 'Wish You Were Here'.
Sheffield Lab
This label released a range of audiophile LPs during the 1980s, many of which were mastered direct to disc. We sometimes have these titles available, but they are quite rare and tend to be more obscure jazz titles.
Pure Pleasure
Pure Pleasure are quickly gaining an excellent reputation for releasing excellent sounding jazz and blues releases on 180 gram (180g) vinyl, many of which are mastered from the original master tapes.
Sundazed
Sundazed are dedicated to releasing older rock, folk and psychedelic albums, which have included much of the Bob Dylan catalog (in original mono), the Byrds catalog (also original mono) and many more. Each release also includes faithful reproductions of original artwork and LP labels and are pressed on high quality 180 gram (180g) weight vinyl. The Bob Dylan releases are arguably the best sounding versions of these albums available, each having a much fresher sound than on standard pressings - which in some cases can be surprising, for example with 'Highway 61 Revisited', on which 'Like a Rolling Stone' sounds much fresher than most other versions available. See our current range of Sundazed LPs available.
Warner/R.T.I.
These releases are mastered at half speed, often by some celebrity mastering engineers, including Stan Ricker - who mastered many of the earlier Mofi LPs. They are pressed on high quality 180 gram (180g) weight vinyl and are always presented with high quality thick artwork sleeves and LP labels. See our current range of R.T.I. LPs available.
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Otros sellos:
Analogue Productions
ORG
ORG Music
Music Matters
IMPEX
Mosaic
Rhino
Pure Pleasure
Speakers Corner
Reference Recordings
Sony/Legacy (algunas grabaciones más recientes)
Algunos de los sellos mencionados arriba no los conozco, pero están documentados en las guías de Ebay. Soy bastante desconfiado en general (me gustaría traspasarles este escepticismo a la hora de comprar discos) y trato de hacer una pequeña búsqueda para confirmar si son efectivamente "todo análogo".
Otra información que se puede recopilar es sobre las plantas de prensado. Conociendo la forma de operar de estas plantas, se puede confirmar si el proceso es todo análogo o no. Nota aparte y no están incluídos en esta guía son las ediciones en vinilo de sellos independientes que provienen originalmente de fuentes digitales. No tengo nada en contra de estas ediciones. El punto es otro.

[b]SELLOS A EVITAR[/b]
Artículo original del infaltable Mike Fremer . El no es enemigo de las ediciones a partir de una digitalazación de buena calidad. Como expongo más arriba, a veces es necesario para rescatar una cinta original en mal estado.: [url="http://www.analogplanet.com/content/reissue-labels-avoid-and-some-best-proceed-caution#RObXQ2bofADV6qrf.97"]http://www.analogpla...Q2bofADV6qrf.97[/url]
Call me crazy (and you wouldn't be the first!) but when I spend $25 or $50 on a 180 gram reissue, I want to know the source used and who did the cutting, plating and pressing. Don't you? But we don't get that vital information as often as we'd like, do we?
We do get it from certain labels, like Mobile Fidelity, ORG, ORG Music, Analogue Productions, Music Matters, IMPEX, Mosaic, Rhino, Pure Pleasure, Speakers Corner, Reference Recordings, more recently Sony/Legacy and probably a few others I can't recall off the top of my head. I'm not good with lists.
Sometimes we get slightly fudged information. LIke the original reissues of the Tom Waits Elektra albums Rhino issued that were stickered "cut from the original analog master tapes" when in fact, they'd been "cut" by Ron McMaster at Capitol from 96/24 files (per Tom's instructions) produced from the original master tapes. These were all defective, with no top end above around 6kHz due to a screw-up somewhere along the line.
The albums were subsequently re-cut by Chris Bellman at Bernie Grundman Mastering, this time using the analog master tapes, and they sound fantastic. The point is, you can't even necessarily believe what you read on the jacket! "Sourced from" does not necessarily mean "cut from."
Other times you get part of the story, the most important part of which is, was the original master tape the source of whatever was used to do the cutting—whether a high resolution (96/24) digital file or a 1:1 analog copy of the master, which is what some labels have to use if the tape's owner refuses to let it out the tape vault door.
If you buy from Sundazed, for instance, you can be assured that the original tape was used as the source, because Sundazed's Bob Irwin, who has worked for Sony's Legacy division for years producing CD reissues, is very focused on using masters. But there's no guaranty the LP was actually cut from the tape because Sundazed doesn't specify who cut and from what.
Often you can see a "WG/NRP" on the inner groove area, which means "Wes Garland at Nashville Record Productions" did the cutting even though the credits say "mastered by Bob Irwin". That could mean Bob took the master tape, did his thing, produced a 96/24 file and had Wes Garland cut from that, or that he went with the tape to NRP and cut from analog (assuming NRP has a preview head equipped playback deck), but sometimes there's nothing written in the Sundazed "deadwax", which leaves buyers with not a clue as to who did the all important lacquer cut and where it was cut, which is equally important: a mastering chain is like a hi-fi system in reverse. If you don't like the hi-fi, you won't like the sound.
The Netherlands based Music on Vinyl label issues some albums cut from analog sources but mostly from high resolution files sourced from masters that they obtain directly from the labels (at least based on my experience). 4 Men With Beards? I have no idea.
But still other times you get nothing, yet you're asked to plunk down big bucks for these reissues. There are certain labels I urge you to avoid. These include Doxy (not Sonny Rollins' label—apparently there's another one using the same name), ZYX from Germany, Vinyl Lovers, Simply Vinyl and Abraxas
I was in Greece a few years ago visiting a Stereophlle reader who'd invited me over to hear his stereo—one of the best, if not the best I've ever heard. A Sarah Vaughn fan, he played me a "greatest hits" album from ZYX that had been culled from Sarah's later Pablo catalog. Pablo was a Norman Granz label (Granz founded Verve among other labels) that used top engineers and the RCA vinyl infrastructure to process its albums and what this guy was playing me sounded wrong.
We later went used record shopping in Athens and I found an original Pablo Sarah Vaughn for a few bucks in near mint condition. At least one track on it was on the ZYX reissue. We compared and the difference was so great, we at first thought the ZYX was a different arrangement and performance. Then we figured it was a different take from the same session. Finally we realized it was the identical take but sounding soooo wrong, it was difficult to identify. I guaranty you, the ZYX was cut either from a CD or some other source that the mastering engineer completely ruined when he cut it.
Vinyl Lovers definitely cuts from CDs. I was at a show in Scandinavia and someone was playing a Vinyl Lovers Rod Stewart LP. I had a track on a CD made from the original pressing and we compared the two and the CD killed the vinyl played back on a very good turntable. Not even close and obviously cut from a commercial CD. You can read a review of a Vinyl Lover's John Cale reissue on this site. It's not pretty.
Simply Vinyl refuses to identify sources. Actually some of them, especially those licensed from EMI, can sound very good and could very well be analog tape sourced, but the company refuses to identify sources. I'd stay away.
Recently a friend brought over a copy of Jeff Buckley's Grace album Simply Vinyl had reissued. I had the original European vinyl. We compared. The original was much better. The SV reissue was bright and hard by comparison.
The bottom line is, be careful. Just because something's been pressed on 180 gram vinyl doesn't mean its going to sound good or that it was sourced from analog.

[b]TIENDAS EN QUE HE OBTENIDO BUENOS RESULTADOS[/b]
Los cabrones de la industria Acoustic Sounds. Dueños también de Analogue Productions, Classic Records y otros sellos y plantas: [url="http://store.acousticsounds.com/cat/5/Vinyl_Records"]http://store.acousti...5/Vinyl_Records[/url]
Elusive Disc [url="http://www.elusivedisc.com/default.asp"]http://www.elusivedisc.com/default.asp[/url]
Music Direct: [url="http://www.musicdirect.com/c-506-vinyl-lp.aspx"]http://www.musicdire...6-vinyl-lp.aspx[/url]
Discos usados:
Ebay
Discogs
Eil: [url="http://eil.com/"]http://eil.com/[/url]

[b]ENLACES[/b]
[url="http://www.analogplanet.com/"]http://www.analogplanet.com/[/url]
[url="http://recordcollectormag.com/"]http://recordcollectormag.com/[/url]
[url="http://www.high-endaudio.com/supreme.html"]http://www.high-enda...om/supreme.html[/url] Best sounding records (recomendable)
[url="http://www.classic-choice.co.uk/collectorsguide.asp"]http://www.classic-c...ectorsguide.asp[/url] guía música clásica
[url="http://www.goldminemag.com/"]http://www.goldminemag.com/[/url]
[url="http://www.45rpmrecords.com/date_rite_house.php"]http://www.45rpmreco..._rite_house.php[/url] guía discos 45 rpm
[url="http://www.revolutions33.co.uk/collectors_guide.html"]http://www.revolutio...tors_guide.html[/url] guía música clásica
[url="http://www.high-endaudio.com/softw.html"]http://www.high-enda....com/softw.html[/url] guía de compra música clásica (recomendable)
[url="http://www.anorakscorner.com/PressingPlantInfo.html"]http://www.anoraksco...gPlantInfo.html[/url] plantas de prensado en estados unidos
[url="http://forums.stevehoffman.tv/threads/a-nice-simple-explanation-of-beatles-parlophone-stampers-mothers-matrix-etc.124102/"]http://forums.steveh...rix-etc.124102/[/url] algunos datos sobre ediciones de the beatles
[url="http://sounds.bl.uk/sound-recording-history/early-record-catalogues"]http://sounds.bl.uk/...cord-catalogues[/url] These early catalogues cover discs produced by record companies for the British market during the acoustic era from 1898 to 1926
[url="http://gasdisc.oakapplepress.com/matrix4.htm"]http://gasdisc.oakap...com/matrix4.htm[/url] información de identificación discos antiguos
[url="http://www.mosaicrecords.com/"]http://www.mosaicrecords.com/[/url]

Editado September 13, 2015 at 14:56 por Alberto

[bavario 298]

Acá tenemos una invasion de ediciones nuevas, alguna pista mas simple o concreta para saber cuales hay que evitar y cuales son buenas?

Insisto, no me molesta que un disco haya sido cortado de un master digital de alta resolución (una copia de la cinta master a 24/96 por ejemplo en una maquina de calidad), sino más bien me interesa el resultado final.

[Alberto 244]

[quote name='bavario' date='13 September 2015 - 11:05 AM' timestamp='1442156724' post='316575']
Acá tenemos una invasion de ediciones nuevas, alguna pista mas simple o concreta para saber cuales hay que evitar y cuales son buenas?[/quote]
Capítulo SELLOS A EVITAR. Este listado de sellos mula es mucho más largo. Lo que me interesa transmitir es una actutud a la hora de comprar, no dar recetas mágicas. En todo caso, la mayoría de las ediciones hechas con las cintas análogas originales, lo aclaran. Y las que son todo análogo, también. El resto siempre está en duda.

[quote name='bavario' date='13 September 2015 - 11:05 AM' timestamp='1442156724' post='316575']
Insisto, no me molesta que un disco haya sido cortado de un master digital de alta resolución (una copia de la cinta master a 24/96 por ejemplo en una maquina de calidad), sino más bien me interesa el resultado final. [/quote]
Bueno, aclaro que este no es el lugar para discutir estos asuntos y también que no soy enemigo de las digitalizaciones en determinadas circunstancias. La guía está un poco más orientada a los discos de colección que a las reediciones modernas, pero doy suficiente información objetiva como para apoyarse.....pero hay que darse el trabajo de leerla. El resto depende de cada uno.

Editado September 13, 2015 at 15:27 por Alberto

[Alberto 244]

[quote name='SeRaF' date='13 September 2015 - 07:50 AM' timestamp='1442145033' post='316563']
Alberto:
Dejame ser el primero en felicitarte, excelente información!!!
Muchas gracias en compartirlo
Saludos [/quote]
Gracias SeRaF! al final esta información es solo la punta del iceberg. Antes de internet, coleccionar discos era mucho más complicado.....pero igual se hacía. Nadie esperaba que le dieran todo en la mano; se buscaba la forma.
Saludos

[MartinV56 866]

Excelente aporte, Gracias!

[bavario 298]

Antes del internet solo teníamos ediciones originales......
No vamos a discutir eso de análogo digital porque no es tema del topic, eso ya lo hemos discutido montones de veces, no voy a dar la lata con eso.

La guía es bastante extensa, y de los discos que comúnmente se encuentran en las tiendas solo hay unos pocos que a mi me dan confianza como:

-Rhino
-Beatles nuevos
-Discos americanos salidos de su fábrica de origen de artistas modernos que son 100% digitales (tengo unos que son muy muy buenos, Capitol made in usa).
-algunos Warner salen muy muy buenos.
-Music On Vynil
-Rolling Stones hechos de DSD.

El resto....es muy pero muy variable, incluso con un mismo artista y mismo fabricante de los discos: el Bad triple de M.Jackson de MOV es muy superior al Off The Wall MOV, el cual parece hecho de un CD.

[Alberto 244]

[quote name='bavario' date='13 September 2015 - 02:00 PM' timestamp='1442167210' post='316600']
Antes del internet solo teníamos ediciones originales......
[/quote]
Bueno, aparte de las ediciones originales antes del internet había toneladas de reediciones, porque se producen discos desde comienzos del siglo XX. En el formato más actual, al menos 3 décadas o más de reediciones sucesivas, antes del internet masivo. Habían guías que uno podía comprar con información para coleccionistas, pero sobre todo había una cultura de compra un poco más con la actitud de coleccionista. Claramente no hablo del comprador habitual, sino del apasionado. Cuando chico, si mi presupuesto lo permitía, yo no iba al supermercado a comprar un disco de Pink Floyd o Zappa, me las rebuscaba para conseguir la mejor versión que pudiera....ojalá japo, aunque debiera esperar, etc.
Si te fijas, independiente de las que obviamente tienen más posibilidades de sonar fieles al registro original, [b]esta guía se trata de lograr herramientas y un criterio para identificar la versión que uno va a comprar[/b] para que no te vendan la pomada. También, para fines de información, no basta que una edición suene subjetivamente bién, sino que podamos establecer si eventualmente podemos acceder a una mejor versión...es decir, ejercer la posibilidad de elegir.
Intentar hacer una guía que contenga toda la información es absurdo porque requiere de una dedicación constante. Apenas ingresé estas entradas se me ocurrieron muchos datos más, pero insisto: lo que importa es la generación de unas herramientas y un instinto o criterio a la hora de comprar.....por eso, además, la llamé guía "incompleta" ....claramente, para el que le interese partir con una colección....no le voy a dar, seguramente datos nuevos a un coleccionista viejo perro con colmillo. Cada uno es dueño de comprar con o sin información. Como sea, casi no compro disco en Chile, porque son caros y se puede escoger poco.
Saludos

Editado September 13, 2015 at 19:11 por Alberto

[Alberto 244]

[quote name='MartinV56' date='13 September 2015 - 01:55 PM' timestamp='1442166918' post='316599']
Excelente aporte, Gracias!
[/quote]
Gracias Martin.
Ojalá le sirva a alguien. A mi me han servido varios de los datos que aporto.
Saludos

[hectori 761]

Alberto, gracias por la dedicacion! Compilar toda esta info es un trabajo no menor, excelente aporte!

[edoctnein 46]

Que buena la información!!!

[tomate 129]

A leerlo.
Agradezco el resumen Alberto.
Saludos