Same record, same barcode, same serial #, but...

prabie

Member
Hello,

May be this issue has been discussed here a zillion times, so I ask for indulgence.

I just bought a surprise lot of 25 records and after checking it, I discovered that the Christopher Cross that has the pink flamingo on the cover was on the lot. I was very happy because this record is on my favourite 100 list. Hoping that this new copy was better than my previous one I decided to do an A/B test.

To my surprise I noticed that the colors of the cover were pretty different, changes during production said to myself.

flami.jpg

Ok, I can live with that, it's the wine not the bottle that matters.

The real problem started when listening to both records. The audio quality differences were completely noticeable. One was very dull and lifeless while the other was bright and a pleasure to listen.

I made some comparisons in the past among US and Canadian prints, just slight differences then, but this really caught me by surprise.

Both of them were US copies, same serial BSK3383, same production year but for sure they weren't the same record.

Regards

Pete
 
My basement system has two Technics SL-5350 turntables and two Audio Techica AT13 cartridges so when I get duplicate records I can compare them side by side to determine which one has better sound quality. I frequently find differences though not usually as great as what you describe.
 
Deadwax is different but I don't know how track or check that info.

Pete

You can just look at it and put it in a post here. Someone may know why you're hearing a difference in SQ. Sometimes some pressings are just mastered better and the deadwax info may list "Sterling" or "RL" or something that tips things off that that's a nice pressing because the mastering engineer is known for putting out good quality masterings.
 
Deadwax is different but I don't know how track or check that info.

Pete

Probably one was pressed on the west coast and the other on the east coast. If the album was recorded in Los Angeles, it's possible that the west coast pressing was made from lacquers cut from the first generation tapes, while the east coast pressing might have been cut from a tape dub.

Likewise, the covers were probably printed on different presses, run by different press operators. 4-color offset printing is not an exact science, there is some interpretation by the press operator involved.
 
Yeah, but what a pity if you get disappointed from a record only because it was poorly pressed. And there's no vaccine against that.

Regards.

Pete
 
I've noticed the same. Index number and copyright date don't mean they were pressed close to, or anywhere near, each other. That's part of the fun (and the headache) of vinyl. And it's why I have 5-6 pressings each of some of my favorite albums. You never know when a better one may pop up...
 
Back when I started back into Vinyl (dollar bin days) ... :rolleyes: oh NO! ... not this old story again.

Some of the old hard core Audiophile Vinyl collectors I use to blog w/ would buy the same album ($1 per copy) about 7 times on average before they kept the best sounding copy.

No ... not just surface noise issues ... according to them (back then) ... some pressings were more dynamic than others that were flat & lifeless. Made me think
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... if true ... someone could have bought a poor pressing and just assumed the recording itself was a bad recording.o_O


As for myself ... in replacing some legacy albums I've owned w/ better copies (condition wise) ... must admit ... I've had some pressings (same catalog number/label ... etc) that sounded better than others. Some times I've kept Vg+ copies that sounded better than Nm- ones I found. Go figure ... as an audio dealer once told me ... "Welcome to the wonderful world of analog".
 
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I was doubtful about major differences among pressings coming out of the same plant, until I took the plunge and bought some selected "hot" pressings from a dealer that specializes in them (at significant cost). No question in my mind now, the differences are clearly heard. As a result, I now always buy multiple copies of my favorite albums (from a variety of sources), select the best sounding, and sell the rest.
 
Yeah, but what a pity if you get disappointed from a record only because it was poorly pressed. And there's no vaccine against that.

Very common that one record can sound far better than another of the same title, cover catalogue numbers and the date the record came out doesn't mean anything, they can be 20 years apart.

Now what you need to do is read the dead wax, the area between the runout grooves and the labels on both sides fro each record. Use really good lighting and right down what you see all the way around the dead wax.
 
Very common that one record can sound far better than another of the same title, cover catalogue numbers and the date the record came out doesn't mean anything, they can be 20 years apart.

Now what you need to do is read the dead wax, the area between the runout grooves and the labels on both sides fro each record. Use really good lighting and right down what you see all the way around the dead wax.

Read a great article where the original press was engineered, off the master of course, but later represses used recordings and different engineering staff (cheaper attempts) to just get the record out for maximum profit (supply and demand).
 
I have several copies of that album on vinyl too, and the differences are huge. They are all Australian pressings and one German pressing.
One could be early in the stamper's life, the other could be at the end of its life.
 
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