Film-Tech Forum ARCHIVE: Any turntable junkies out there?

my profile | my password | search | faq & rules | forum home

»	Film-Tech Forum ARCHIVE » Community » The Afterlife » Any turntable junkies out there? (Page 5)

This topic comprises 7 pages: 1 2 3 4 5 6 7

Author

Topic: Any turntable junkies out there?

James Westbrook
Phenomenal Film Handler

Posts: 1133
From: Lubbock, Texas, Usa
Registered: Mar 2006

posted 03-18-2008 03:03 PM

My copy of Sgt Pepper had the Apple label on it, if I recall correctly.
Meet The Beatles, which is the album pictured, was released with the Capitol Records label that was in use at the time. The early 80s reissue of Hey Jude was using the same Capitol label.
This may mean...
Apple label - Original or close to...(from 66 forward)
Capitol label - later reissue, likely after John Lennon's death.
I could be wrong.

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 03-18-2008 11:50 PM

..course, "Meet the Beatles" was originally released on the "VJ" label - the record company who originally signed up the Beatles to have their songs released here in the States .. in the summer of 1963.

If one has a curious bug driving them insane about record labels, one needs to chek out this vinyl label site on which record label they're wanting to do a search on.

Excellent reading .. -Monte

quote: James Westbrook
My copy of Sgt Pepper had the Apple label on it, if I recall correctly.

...you should pull it out to make sure of the label and the matrix nos, for if it had the Apple label, then it's either an inport, or a late pressing.

Capitol Records SMAS 2653 stereo, is the catalog number for this album.

Apple Records began in 1968 under an agreement with EMI, Capitol Records and the Beatles..

| IP: Logged

James Westbrook
Phenomenal Film Handler

Posts: 1133
From: Lubbock, Texas, Usa
Registered: Mar 2006

posted 03-19-2008 11:23 AM

I bought Sgt Pepper in 1975, so I am sure it's a late pressing.

| IP: Logged

David Stambaugh
Film God

Posts: 4021
From: Eugene, Oregon
Registered: Jan 2002

posted 03-19-2008 11:41 AM

Vee-Jay Records released Introducing The Beatles on January 10, 1964. There were numerous variations on that one, and many counterfeits exist. Vee-Jay had some financial problems, didn't bother to report all their sales for royalty calculations, and ultimately Capitol Records took control of US distribution for The Beatles.

Ten days later, Capitol Records US released Meet The Beatles!, on January 20, 1964.

Each contains some unique material. They're not the same album. [Smile]

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 03-20-2008 03:27 AM

I have the plain black/silver label of the VJ album "Meet the Beatles" - found it in a thrift store for a buck in decent condition. Sadly, it's the later mono pressing..not the rare 'AD', or stereo pressing.

I also have the Swan label 45rpm release of "Love me do" by the Beatles.

| IP: Logged

Leo Enticknap
Film God

Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000

posted 03-20-2008 06:41 PM

quote:
Social experience Crowding around a record player to listen to a new album with friends, discussing the foldout photos, even getting up to flip over a record makes vinyl a more socially interactive way to enjoy music.

If it's interactivity they want, it's not vinyl they should be collecting but shellac! I have Bruckner's 8th symphony on 26 sides, with record flips needed every four minutes or so, if that's any use to them!

Another form of listening social interactivity is the screaming of x-rated language when you accidentally drop a shellac record and it shatters into a bazillion little pieces...

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 03-20-2008 07:04 PM

Leo - If you think of the screams that would emit when shellac hits the floors, see what happens with cylinder recordings...with this accident ..quite funny, yet sad at the same time ..

For glorious shellac stacking and flipping, try Beecham's "Messiah" 1947 recording on RCA Victor . has 42 sides - set was in two, 11 sleeved album books-weighed over 20 lbs. Then Malcom Sargent did the same piece with Columbia (the MM-666) that garnished 19 shellacs in 1948.

RCA came out with a console in 1942 that was like an automatic turntable that incorporated the "Magic Eye" - a system with two tonearms - one arm to play the one side and the other arm to play the other. When one shellac was finished, it would remove the shellac from the turntable and drop another shellac to continue the performance. Then, when that stack was done, it would reverse the process to play the other side of the stack. I've only seen picts of it, but what a mechanical marvel that RCA put together, along with their "Golden Throat" hi-fi concept before hi-fi was realized for shellac and then onto vinyl when the LP came out.
-Monte

| IP: Logged

Bruce McGee
Phenomenal Film Handler

Posts: 1776
From: Asheville, NC USA... Nowhere in Particular.
Registered: Aug 1999

posted 03-21-2008 04:14 PM

Monte:

I thought Motorola had the Golden Throat idea.

I could be wrong, of course.

I've seen pics of the RCA system that played both sides of the records. Wild.

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 03-21-2008 11:03 PM

Hi Bruce/All: -

Here's a topic on RCA's "Golden Throat" Era that you can gander at. Quite interesting to read.

Looks like RCA was almost reverting back to the acoustial era in depending on speaker surroundings and additions to make the reproduction as best as it could be.

-Monte

| IP: Logged

Warren Dewey
Film Handler

Posts: 28
From: monterey ca usa
Registered: Jan 2006

posted 03-30-2008 01:44 AM

Vinyl junkies might bear in mind that one of the toughest things about producing albums was the disc mastering stage. It was really difficult to get vinyl to sound anything like the master tape. Every once in a while the Black Magic would work in your favor and your pressings would sound great, but most of the time the final product was disappointing compared to the master mixes.

Long ago I was on the engineering staff at Capitol Records, working in the tower on Vine St in Hollywood. One of the most fun things to do in down time was to bust into the library and play the 15 ips masters from Sgt Pepper or Abbey Road in the studio through the (tube) Macintosh-driven Altec monitors.

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 03-30-2008 02:18 AM

quote: Warren Dewey
but most of the time the final product was disappointing compared to the master mixes

Would that be due to the major steps from lacquer, master, mother, and stamper..plus the many stampers that were plated from the mothers and when that set of stampers begin to wear down from the many pressings?

Then, the RIAA "e.q." thing that had to be just right as well, but one would realize that even if the pressing was just right, the results in the home wasnt because of worn needles, sub-par amplifiers and speakers that didn't match up to the amplifiers.

I've heard that if one plays a fresh lacquer cutting, that it's just like the production master tapes - not like the session masters.

| IP: Logged

Warren Dewey
Film Handler

Posts: 28
From: monterey ca usa
Registered: Jan 2006

posted 03-30-2008 08:42 AM

quote: Monte L Fullmer
Would that be due to the major steps from lacquer, master, mother, and stamper..plus the many stampers that were plated from the mothers and when that set of stampers begin to wear down from the many pressings?

The most difficult transition was from tape to cut lacquer-- the mastering process. It's a big leap from a magnetized pattern on tape, which could reproduce the input signal quite well, to the physical representation formed by a heated stylus cutting a groove-- which was then reproduced by another mechanical linkage and translated back into an ac waveform.

Sometimes there would be problems in the pressing plant. It was pretty easy to tell if the stampers weren't right. But the mastering process was a lot more than just making a copy of the tape. The distortions that occurred during cutting were fairly nonlinear; it was difficult to predict what you would end up with.

A huge problem at the time was dealing with the high frequency rolloff that had to be imposed as you got closer to the center of the disc. There is less real estate per revolution to work with and top end, especially sibilants in vocals and other complex high-frequency information, would not reproduce well.

There was a lot of competition between mastering facilities, all with their own individual brands of voodoo-- Capital had a pretty good setup that used Neumann equipment. My favorite was Doug Sax's Mastering Lab-- he was also the guy that cut a lot of the direct-to-disc albums. Bernie Grundman at A&M did a great job also.

quote: Monte L Fullmer
I've heard that if one plays a fresh lacquer cutting, that it's just like the production master tapes - not like the session masters.

Usually when a project was new and you were working on the "first edition" pressings, you would use the tape of the original studio mixes. After that, the mastering engineer might make a production master based on eq, compression, level changes etc. that were decided on in the original mastering sessions.

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 03-30-2008 05:09 PM

quote: Warren Dewey
Capital had a pretty good setup that used Neumann equipment.

...why "Mr. Blue Eyes" - Frank Sinatra .. loved his U47. He wouldn't use any other brand of mic but this one Neumann.

Prob why Deutche Grammophon, when they cut their lacquers, left a lot of territory towards the center of the disc..to prevent this high-end rolloff..

quote: Warren Dewey
My favorite was Doug Sax's Mastering Lab-- he was also the guy that cut a lot of the direct-to-disc albums. Bernie Grundman at A&M did a great job also.

Course, Bernie went solo with his Classic Recordings releases - by somehow gaining permission from major labels for their session masters and recutting lacquers for those 180 and 200g vinyl pressings..

And we can't forget about George Piros and his famous P17 and P23 lathes that he loved to cut the lacquers for the Mercury and Command labels...

| IP: Logged

Sean McKinnon
Phenomenal Film Handler

Posts: 1712
From: Peabody Massachusetts
Registered: Sep 2000

posted 03-31-2008 10:02 AM

I have a pretty crapper turn table. It is one of those all in one tuner, tape deck, phono jobs from Sanyo that I got for free from the trash (a neighbor set it out on the curb with a FREE sign on it) but the speakers are pretty big they come up to above my belly button and they sound good, it also has aux inputs (RCA) for a cd player, and video. anyways...

I have a very small collection (3 records! one is a double!) of local boston punk/hardcore bands. I have 2 "Blood for Blood" albums. One is a double album with the first record a compilation of thier more popular songs, the second record is a live recording of a benefit show for these two kids that died. I also own a record by the (former) band "Reach The Sky".

My father has a pretty nice collection of all the origional beatles albums, rolling stones albums, led zepplin, beach boys, moody blues, and a ton more origional albums from that era.

| IP: Logged

Monte L Fullmer
Film God

Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004

posted 03-31-2008 12:37 PM

..and if your father has the first 7 albums from the "Moodies" (Moody Blues), that's a treat in itself..for I have them too.

...and if one can find the mono copy in great condition of "Days of Future Passed", you've got a rare and collectable vinyl since London/Deram didn't press too many of the mono version.

...plus, Led Zeppelin rocks the world! He's got some great taste there in his "liquorice pizza" collection.

| IP: Logged

All times are Central (GMT -6:00)

This topic comprises 7 pages: 1 2 3 4 5 6 7

Printer-friendly view of this topic

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.