Why the Original Pressing (almost) always buries the Reissue! A Discussion
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- čas přidán 7. 10. 2022
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There comes a time when you have to part with a record. It could be you have upgraded your copy, or you are trying to create space in your library, and you want to sell the duplicate, or it could be you want to make some money. While selling your records should be very easy, it can sometimes prove to be a challenging task. You may have seen a copy of some record sell for only a few dollars and seemingly an identical copy of the same sell for hundreds or thousands of dollars. Many things can cause this, including varying conditions of both vinyl, but one of the most critical aspects associated with such is the specific pressing being offered. Keep reading below to learn how to tell if a record is an original pressing so you can make a better decision when buying or selling a record.
To be precise, this is a very extensive subject matter. Every record label has a unique way of cataloging their records. Rather than cover all the possible variations, which can be thousands. Here we take a closer look at the fundamental steps you should follow to know if your record is an original pressing.
STEP 1: CHECK THE SLEEVE TO SEE IF THE RECORD IS AN ORIGINAL PRESSING
Many original pressing of a classic record has probably been frequently used. Chances are the sleeve of an original pressing, possibly from the late ’70s will not be in the best condition. This does not mean that near mint original pressings do not exist, but such pressings are very rare to come across. This is particularly true for many party records. In most cases, reissue or newer pressings will have a crisp, clean sleeve with vibrant artwork.
A closer look at the spine of the record sleeve will also help determine whether you have an original pressing. Original pressings usually have a four-letter and number combination like WXYZ-1234. Other records after the second or third pressing have two letters and five number combinations, such as XY-12345.
STEP 2: DOES THE SLEEVE HAVE A BAR CODE OR HYPE STICKERS?
There is no classic record released before the ’80s that will have a barcode on the sleeve. Also, the older original pressings are rarely on the 180-gram vinyl. Any sign of bonus content or something like “Includes the Hit….” It could show later pressings. Also, unless you are considering a recent release, the early original pressings do not include any download code card. Current records, however, can have some of these things.
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michael---there is nothing "objective" about sound quality. that idea does not exist. in the end it is all opinion as you say----you say there are some objective findings like Elvis Costello's voice; but even that is still a subjective opinion.
The problem is finding an original in as good a condition as a reissue is going to cost you an arm and a leg.
As an audio engineer who has worked in studios for many years with some really well known acts, and came up in that small window of engineers trained in both analog and digital production (yes I can set the bias on your Studer tape machine, as well as calibrate your Pro Tools I/O), I absolutely love that you are discussing production methods and how we change the sound in mixing stages, mastering stages, how the system is set up, etc. Man I would love to sit down and have a drink with you someday and just pick each other's brain. Great videos man. Keep it up.
I had a 10,000 album collection, started in 1969. I’m 64 now and regret selling it off through the years. I had all originals first pressings, imports etc
It's interesting how things have flipped. The older original pressings were mostly played on cheap common turntables and equipment but they have the best sound. Now we have so much better equipment and turntables but the current pressings have so many issues and problems as well as inferior sound.
I lived in Southern California in the 70's and had several friends high up in the music business. One of the things I learned was that a stamper was typically used for at least 10,000 copies. Sometimes more. You can have 3 NM- copies of the same pressing and sonic-ally they will all sound different. If the pressing was early in the stampers use it will sound significantly better. I have experienced this numerous times.
Being a child of the 50s, I got most of my LPs new in the 60s and 70s.....sometimes it's great to be an old timer
Early pressings do sound better but they usually have been played more often than newer pressing. I bought some used original pressings and some are worn out while others have dirt and probably beer or wine stuck deep down in the grooves . I also read somewhere that the microphone choice can make a difference in audio quality. Some claim that Neumann microphones are more sensitive and make for a superior recording.
Such an excellent and thought provoking video Michael. I specifically appreciated the fact that you discussed your HiFi system. It should go without saying (but is lost on many) that the quality and more accurately the resolution of a system is a major factor when making determinations and comparisons of different vinyl pressings. With an Uber system like yours, that is ultra-transparent, the most subtle differences in versions will be detected by the listener. Whereas in a more modest setup, there may be very little to any discernable difference at all. Which really leads me to something I have being thinking about your comparison videos, it really should be understood that unless the differences are night and day, most regular listeners are safe with the modern remasters. That's not to say your videos aren't of value, we need someone to tell us what is really on those records, and I trust your opinion. Thanks.
That’s a good point about the vocals on a remix/remaster: setting the vocals on top of the track, as opposed to it being used as another instrument, changes the sound in a significant way, and can become something of a distraction.
The freshness, vibrancy, and just plain magic of original vinyl pressings is undeniable. Looking at it scientifically is interesting, but we may never be able to really explain or re-create that lightning in a bottle. The other thing that is revealed over time and listening to hundreds of vintage copies of a particular album is that every single one is different. They are like block prints - sometimes the paint goes a little bit this way, or a little bit that way. Some are sharper, some are more balanced. They are all beautiful in unique ways.
I built up a collection of more than 10,000 records from 1962 (age 16) to 1992 (age 46) and was then very enthusiastic and fascinated with the front end. I experimented with many turntables, cartridges, arms, pre-preamps and cartridge transformers (not phono amps). As years went by, I realised that the record support/surface determined the character of the signal fed to the preamp, power-amp and finally the speakers. To obtain the sound that suited the type of music and to my hearing, I played with the "Minimum Contact (Mincon) Principle", i.e. just placed the record on a platter with a thin raised rim (5mm) of cork or rubber glued round the platter's outer-most edge. As for the hole in the middle of record, the record rested on a fitting ring placed around the spindle to support the record above. Then I used a clamp with variable points of contacts made of multiple choices varying from hard to soft contact points to tailor the type of sound that I wanted to hear and in varying tonality. In other words, the "Mincon Factor" affected the reproduction of music through the speakers, i.e. a choice of multiple types of contact points producing multiple range of tonality from lean/clean, medium to thick/warm sound. This "Mincon" clamp could also control most record warps. I gave up my collection of records after 2005 and concentrated on CDs which are more convenient and cheaper too. It is now time for me to just enjoy music and no more tiresome, painstaking and endless hours of DIY experiments and purchases too.
Beyond the sound, original country of origin pressings usually have the best packaging as well. Most reissues can't recreate the quality of vintage sleeves. Those nice laminated sleeves common on UK albums from the '60s and '70s have never been replicated. Then there are those textured paper jackets, diecuts, embossing, gatefolds, posters and other inserts which don't survive past the initial pressing.
I've bought several reissue/remasters over the past couple years, of favorite records, because I wanted the best possible version available. Immediate impressions are almost always "wow, this sounds so clear and noise floor is so low!", but upon repeated listens, you start hearing things like distorted vocals, boosted or artificial/unnatural highs, etc. I usually end up reappreciating original pressings, background noise be damned. The 2019 Traffic 6 LP box set is a prime example.
I know plenty of artists who have been unable to be a part of the mastering of their work. In other words, the label (most on larger labels) decided on the mastering and pressing. Also, I was once told by a manager of some famous bands, that they viewed vinyl as a trinket and did not care about the perfect pressing. That is, the labels just wanted to sell product. As far as I know, of all the bands he managed, only one was able to re-release what we would consider audiophile pressings. This was when the band got control of their masters.
While I agree with some of your points, I'm pretty sure that in the vast majority of cases, the idea that the band remained intimately involved in the post production process is a myth. Some artists would be involved in the mixing process, but far less in the past than perhaps today. It would be extremely rare for any artist to be present at a mastering session and any time past or present. Some artists would get sent test pressings to approve or reject, but even that is pretty rare.
Totally agree time and the ear of artist is a missing ingredient, along with the ambition to try and make the re-issue better, meaning it’s going to sound different to the original.
Brilliant topic Michael. You really have given us so much to consider with your personal insight. Some of the factors you’ve suggested, I hadn’t considered before so I have certainly learned something this evening. Great work.
I find your videos highly informative, your knowledge is extremely accurate and truthful. Please keep up the great work.
You are so right here I think - the craftmanship was partly lost for 15+ years! (& artists/producers/engineers/management involvment was of course very important)