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Re: [ARSCLIST] early CD bashing
Phillip,are you talking about CDs,or vinyl ? The difference in sound from promo and stock records,has been noticeably different for certain labels (Columbia,and Atlantic spring to mind.),since the late 50s,and early 60s respectively.By the late 70s,the gap became quite obvious.Pull out a late 70s white label promo Arista Lp.On some titles,such as Patti Smith's "Horses",the difference is striking.(I know it's a fairly rare piece that sell for upwards of $200,but I happen to own one.)The vinyl is heavier,and is usually virgin(Though Columbia's were not.)By 1982 Warner was touting their "Quiex II" pressings for US DJ copies.This contined to some degree,up until the early 90s,when you often saw MFSL/DCC quality 200 gram pressings,made for club DJs.I have a couple of these of Paul McCartney,and David Bowie.So it should be logical,that the promo/DJ of CDs would be better,too.
Roger Kulp
phillip holmes <insuranceman@xxxxxxxxxx> wrote: I snatch up Columbia promo copies whenever I see them. The classical
promo copies are especially good, compared to the regular issues, even
though the Columbia classical sound doesn't measure up to RCA, Mercury,
EMI and Decca standards--mostly because of EQ decisions made--house
sound?--the tapes and CD reissues sound much better than the LPs. The
cream of the crop, IMO, of classical records, produced domestically, are
the Mercury Living Presence radio promo copies. Outstanding in every
way. Recorded by some guy named Bob Fine, mastered by Piros, pressed at
the RCA Indianapolis plant from the first master/mother/stampers. First
rate!
Phillip
Bob Olhsson wrote:
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> It must be remembered that the very first pressings were always the principal sales tool for selling additional copies! The pressings were better (The VERY best pressings I ever encountered were RCA and Columbia DJ copies) and the early masters were rarely cut from "eq. production masters" which have been the source for many CD reissues.
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