Chuck Nessa

OK, here goes. One record has many MASTERS. B) A master TAPE is prepared for production. The tape is used to cut an "ACETATE" master. The "acetate" is sent to be electroplated. When you peel the plating off the acetate, you have a negative called the MASTER or father. This master is electroplated to produce a positive called the mother. The metal master is filed away and the mother is plated to produce stampers. A mother can usually be plated a number of times for more stampers without any measurable degradation. When a mother shows wear, it is discarded and the master/father is retrieved to make another mother, etc, etc. The initial pressing for a jazz record might be in the 1000-2500 range depending on advance orders from the wholesale customers. Depending on the busyness/capacity of the plant, they may make many stampers the first day to press the order on multiple presses. I pressed most of my records at a plant called Wakefield Mfg in Phoenix. I pressed there because I considered them the best "day in, day out" plant in the US. I happened to visit the plant while they were making the initial run of one of my projects and they had 9 presses running on my job. If you have more questions, please ask.

Rudy told me Alfred would supervise the mastering (disc cutting). He said he was the only producer to do this. He said he stopped coming near the end because he didn't have the time. I don't understand what you mean when you say "recreation of a master tape".

Test pressings are rarely as good as production samples. Test pressings almost always have anomolies - that's why they would send the label 5 to 10 copies. You would check them against each other to see if the flaws occur in the same place.

My remarks had nothing to do with Rudy. I’m continually bothered by incomplete and/or inaccurate information fostered by “audiophile/collector” fans. This is usually the result of a lack of understanding of the processes record labels used. As a result, people begin “hearing” nonexistent differences To me this thread implies every time BN moved and printed labels with the new address, Rudy remastered all dates before they were pressed again, giving all records with the “new” label a new set of metal parts. No record label would incur this needless expense. A NY, USA pressing of an earlier title could be pressed from the same mothers/masters as a Lexington Ave, 63rd, or “whatever” if they were still in good condition. You need to examine the etching in the groove runoff to see if it has been remastered. The label address tells you nothing for sure. Records would be remastered when the mother can produce no further stampers AND the master can produce no further mothers. For some some slow selling titles one well cared for master could produce “originals” for over 10 years. Variables can be many, such as the age of the plating bath when stampers are made, the consistency of the vinyl resins, etc. The variations are almost endless.

'Tis available on Neatwork 2038 "Count Basie Vol 1".

I'm waiting.............. Wolfie, tell us your perspective beyond your prejudices. Tell us the facts you know, especially about "sound differences (probably resulting from engineering and mastering changes) people had noticed between 47 W 63rd's, NY USA and Liberties."

Please ----someone explain the differences (every step along the way) between Lexington Ave pressings and Liberty pressings, deep groove and non deep groove, etc. What is an original, what is a repressing, what is a reissue? Please explain all the reasons for your answers.

What chuckyd4 said. Certainly I have a "vested interest" but it's all "emotional", not financial. Where is the Morris thread (bunch to choose from), the Charles Tyler thread, the Charles Brackeen thread, the Ted Brown thread, the Don Bennett thread, the Hank Crawford thread, the etc? BUT we have a very active thread about the changes in the printing of the RVG series! Anyone wanting to know the "probable" reason for the label change, email me. Reality check, people:

Hold a mirror up to that thought.

I have 3 compilations I have ALWAYS started with for about 5 years - Armstrong 5s/7s, Red Allen '29-33, Hawk & Red with Henderson. I fill the box after that according to my whim.

What we really need is a "24 bit" condensed package of ALL the 5 Spot material. I would buy that "in a heartbeat". Same story with the Prestige Dolphy in Europe stuff, the McLean/Waldron sessions, etc.

small correction - IAI.

This is NOT my primary concern. I'm saying (and this is the heart of the matter) the incentive to preserve "primary sources" is being removed by the arcane copyright laws. These laws were written when the human lifespan was around 50 years and before any electrical storage media existed. This issue needs to be examined again for the creators, audience and future generations. Written words copied to paper may be a completely accurate duplicate of the original, but this is not the case with recorded music. Let's move into the 20th century!!!!!!!! Oh, we're beyond that? Damn, we missed an opportunity. When I'm dead, will Classics, Frog, Fresh Sounds, whoever have my original multi track masters? Who will have them and why will they preserve them at all - let alone at the proper temperature and humidity. Damn, I am tired of this crap.

Go for it! I'm sure your father would tell you to use any advantage you can manage.

I have had this since the '60s, like it and stand by my post.

Thanks for posting this Dan.

Yup, Wolfie is correct! I have memberships in the "Jazz Club" and the classical one. I choose the best deal - not necessarily the same. Under the current deal you need a bunch of cds to get the best from them.

FWIW, I feel the Ra solo dates are "feeble". Better to "get to know" the band dates and spread out.

This thread reminded me, when I first issued the Art Ensemble box one of the early calls (w/ MasterCard in hand) was Thurston Moore - he got set #65. Zorn got #42.

Yes to all.

I bought those too, but understood they were the recent Conns. Never thought they were RVGS.

I'm curious. Which Conns did you get instead of the "expected" RVGs?

I'd ignore it. No real effect on the artform to date - only a commercial consideration at the time.

So..............eat my shorts. B)

Yeah, it might be a TOCJ or a JRVG. Go ahead, they have a bunch of recent RVGs. I have a bunch of them and they are all recent RVGs. Why the "negativity"?