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Your thoughts on reissues, is it worth it to track down old/original pressings?

I say yes, because an original has the best chance of having the mix/rendition of a song the way I remember hearing it the first time(s) I heard the piece. As opposed, naturally, to a knockoff/truncated version as is commonly done on the KTel releases.
 
Fopp said:
I think what's been mentioned is true. The master tapes degrade, and so originals have the most genuine audio info, and reissues try to remaster to make up for what was lost by degradation. Sometimes it works out, sometimes it doesn't.
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This may be a dumb question, but. . . .

When a record is pressed, and the production run is over, don't they typically put the "mother" disc back into long-term storage somewhere? So if you really wanted to do a proper reissue, it seems like it would make sense to go dig one of those mother discs out of the archives and use it.
 
The general consensus as I can see it could be summed up:

Which pressing is better,the Original Pressing or the Reissue,depends entirely upon the circumstances and the actual pressings being compared(because as some have pointed-out,some records have been reissued countless times).


Technically,I wonder whether the first batch of vinyl pressings,mastered by the originally credited mastering engineer,should be the only pressing to be regarded as 'Original Pressings'.In many,many instances these pressings are the creme de la creme.In truth,some of this type of first-run pressings are unbelievably good(especially in comparison to the later pressing runs)Some would have no equal in subsequent reissues.

Would you think from the above that I don't like reissues?No chance.I've bought a lot of them.Some are superb :thmbsp:.With others,there are no glaring imbalances,but it is like hearing a very poor master tape as the source material.There is an entire layer of subtlety removed.That problem manifests anywhere along the line of possibility as either noticeable but not severe,right out to a travesty/butchering of the job. :tears::thumbsdn:

Is there really any way to know for certain without having the pressings in question in one's own hands?If there is,I can't see how.

This is the criteria I use when I am weighing-up the prospect of purchasing a reissue:

How good does the pressing I already have,sound?

Also:

Is this a reissue of a vary hard to find record?

I'll explain.If the pressing I have(in most instances I will already have the first-run original mastering)is sonically(and musically;Who wants to listen to perfectly recorded crap) ****ing mind-blowing,then I'll take a risk on a reissue.Because,you just don't know.They might have nailed-it.

They might have nailed-it.There's only one way I feel that I will know for certain.

The other criterion,of rarity matters because,if I have only seen one of something I adore in 35 years of hunting for good pressings and it has been re-pressed,I naturally want to know whether the conclusion is,a better result.I am extremely unlikely to find another original pressing or reissue to compare it to,so if I hold-out for an improved pressing of a rarity(or any pressing at all with some discs)I may be waiting beyond my life's limits.

Thus,I like both,with a big nod to the first-run original pressing.That's the one to have when comparing with reissues.When we are no longer in possession of a first-run pressing,all bets are off.It then becomes anyone's guess,and the reissue may or may not be one found to be favoured.
 
I own a lot of mighty sweet sounding reissues from MFSL, Classic Records, Analogue Productions, and other labels. Then again I own some sweet sounding originals from Apple, RCA, Capricorn, and other labels. I really don't care as long as the record sounds great and my ears are happy.
 
tonybelding said:
This may be a dumb question, but. . . .

When a record is pressed, and the production run is over, don't they typically put the "mother" disc back into long-term storage somewhere? So if you really wanted to do a proper reissue, it seems like it would make sense to go dig one of those mother discs out of the archives and use it.
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A "Master" is made from the original acetate cutting, then a "Mother" is plated from the "Master", from this "Mother" several "Stampers" are made which are put on the press, and these have a limited life, so multiples are made for albums that are destined to be very popular, so multiple presses can be run at one time. In general I would think the "Master" would be stored, but even then it can become damaged. It is possible for mega-hits that several acetates could be cut, and several "Masters" made for the huge volume of stampers ultimately needed. Each element (Master, Mother, Stamper) has a finite life in regards to how many copies can be plated.
 
Most of the audiophile reissues that are pure analog (Why buy a digitally mastered LP?) are too expensive for my blood. In addition many of them are digitized - i.e. remastered digitally. If a CD is also available chances are the LP is digitized. Unless the reissue gives a clear indication that the LP is pure analogue I stear clear. Had an interesting talk with someone at Acoustic Sounds a couple years ago and even they don't know if many of the reissued LPs they are offering (not Analogue Productions) are pure analog.
 
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Breakdown Records

JonL said:
There's also a used record store in Bayside, Queens though I've not yet been there. A small bit farther out on LI is Mr. Cheapo's used records, CDs, DVDs, games, etc. Good store, everything I've bought from them has been perfect and they have a satisfaction guarantee.
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That used record store in Bayside, Queens is Breakdown Records.
Great selection, even greater prices, & great owners.
 
Nailer said:
Most of the audiophile reissues that are pure analog (Why buy a digitally mastered LP) are too expensive for my blood. In addition many of them are digitized - i.e. remastered digitally. If a CD is also available chances are the LP is digitized.
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Err. . . Forgive my ignorance, but why would this matter? If it's mastered digitally, I'd assume they're using professional high-sample-rate equipment, so the sound ought to come out at least as good -- if not better -- than analog gear.
 
Fopp said:
Yeah, tell me about it.


I've found a few good, old pressings for cheap, but in most cases, I've found original pressings to be more expensive than $20 reissues.
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This is why I usally buy reissues, if you find an original that's in great shape they want a mint for it.
 
Also consider that vintage records were cut for the limitations of older typical record players on many records. Also, tape machines, disc cutting systems, and other aspects of cutting records have been improved over say 50 years. And even control room monitors have improved. Our present record playback hardware is much better than what we had 50 years ago.
 
I picked up a reissue of Queensryche's Operation Mindcrime on 180g vinyl "from the Capitol vaults - audiophile quality - faithfully restored" and it totally sounds like ****. No bass or punch to it at all.

So now I'm looking for an original first issue because I know it's not going to sound this bad.
 
beatcomber said:
Spend some time on the Steve Hoffman Forum and read about the care and dedication that the top mastering engineers like Steve use to locate the earliest possible generation tapes, the pure signal chain used for mastering, and the skills and good taste that goes into producing the best possible reissue.

Not all reissues are good, but not all original masterings are good either.

You might find this interesting:
http://www.stevehoffman.tv/dhinterviews/Tape Op Magazine.htm
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You mean the site where they want you to list all your equipment before you review anything, but no one has to publish the results of a hearing test? I'll pass. Too many of the things I see described as trash an unlistenable there sound almost identical to what they're being compared to.
 
Classic records are no more

Thankfully, Classic has finally went out of business. Now some of the titles that they would have massacred have a chance with other reissue labels.
 
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