All of this came at me in a phone call at "high speed" so Mr. Ulyate said he'd read it later and give me corrections if necessary.
I've always said I care more about the results than the sources used, though if there's tape it should be used. In this case much of the source material other than the AAA "Wildflowers" album itself originated in the digital domain and the material sourced for 24 track analog tape would have been impractical and difficult to mix down to analog tape given the 24 track tapes' fragility after baking.
When I checked out these 9 test pressing I found the sound to be as I wrote below "" as long as you take into consideration that the "home stuff" was never intended for release but still sounds great. The 15 song Rick Rubin-Mike Campbell co-produced original released on CD November 1, also saw a vinyl issue cut from the digital master, though the album as well as all unused material was originally recorded to analog tape.
In addition to all of the Deluxe Edition content, the 5th CD and 8th and 9th LP feature alternative takes Finding Wildflowers 16 tracks—one unreleased song; ten unreleased versions. The Ultra Deluxe Edition. Visit The Tom Petty website for more details, to watch video and to order the limited edition boxes. AnalogPlanet Exclusive! All 9 LP Preview! Soon thereafter 9 Record Industry test pressings arrived, and I began listening, stopwatch in hand.
You have to watch the numbers go by and when you hear a blemish you note the time. The process is hardly like listening for pleasure but in this case even listening this way produced nothing but pleasure throughout the 9 LPs.
This was Petty peaking creatively and the band playing live, so locked in. Many stuffed with extras "deluxe sets" being released lately are often forgettable once you get past the actual re-issued album.
The sound is uniformly on the AnalogPlanet sonic scale. In case you are wondering, the original album here is not sourced from the all-analog reissue. They went back and re-mastered it from the original tape for this box.
In fact, after I'd finished my listening I was sent another version of the album because Mr. Ulyate and Bellman felt they could get an even better cut and they did. Like all great analog unlike digitalthe louder you crank it, the better it sounds. If that is indeed the case, you can call me first in line, and my apologies to anyone I run over on the way. Speaking of analog and digital and hi-res Fremer, you never answered my question from the C-Lock thread: Will you accept my hi-res vs.
It was a yes or no question. I already outlined the details of the challenge in the C-Block thread, and as I mentioned there you will be using your own system, doing it at your own pace, so it doesn't matter to me what DAC you use. So do you accept my challenge, whether in the stated form or in a modified form, or not? Judging from this comment and your comments in the C-Lock thread, you seem to be talking to someone else than me in your mind, and you seem to be making a lot of assumptions about how I am as a person and what my intentions are.
I'm neither Stanley Lipshitz, nor Arny Krueger. As I mentioned back then, this challenge is made in good spirits I'm a touch confused by your mention of Warners originally issuing this a single lp. I have the original vinyl release and it's a double album in a single sleeve of 15 tracks. I bought it here in Australia on first release as a standard USA pressing. Great album. Seems to be a rare Fremer 'fail'.
Now if only one of these new AAA releases could simply be the song original album Mikey, I love ya buddy, but only the original album is AAA. Ryan Ulyate confirmed this on the Hoffman Forum twice today. I wasn't referring to the release. I was referring to the first 2 of 9 in this reissue,that represent the original album.
Also, I provided a link to his post. Thought I'd jump in here now that I can talk about this. I don't really follow social media too much, but I always love this thread. McCool has been a big help to me, over the last few years, pointing out things that I didn't know. Apple now tells us that they can accept files, but they were too late in telling us for this project, and, at this time, Apple has no facility for streaming at that rate.
Happy to consider that for the future! There is another big project that I worked on this year that will come out on CD at a lower level as well. This is how I'm going to do things from now on, in large part from all the comments on the Hoffman Forums about dynamic range.
IMO, CD is now it's own ecosystem, and those that are willing to pay for physical media should be rewarded with good packaging and good sound. Tidal and for digital downloads i.
HD Tracks. This was NOT the case inwhere the album was mastered from the 16 bit If you bought the deluxe vinyl set Warner's put out inthat is essentially the same analog source and EQ that we used on the new pressing. The other vinyl discs were mastered from Pro Tools sessions the digital format I transferred from analog multitrack into and mixed the songs or Pro Tools for the Home Recordings, which were transferred from ADAT, a 48K digital recording system that Tom used in the early '90's.
Some great, earlier, more "rock" versions of some of the songs, some with Stan on drums. They fit in well with the sequence on this disc. Most ready-to-use cleaning fluids are at least three-fourths water. Then, in far smaller amounts, a surfactant detergentwhich both breaks down water tension, allowing for easy fluid dispersion, and dissolves emulsifies non—water-soluble dirt, which is held in suspension by the liquid so it can be vacuumed off.
Some makers of cleaning fluids claim that only an enzymatic cleaner can break down proteins and other organics that can grow in and on fingerprint oils, mold-release compounds, and the like.
But, according to Goldman, while the various alcohols are very effective as wetting agents, for removing mold-release compounds, and helping the detergent component do its job, their efficacy as cleane- is minimal. Quality counts Supermarket Steam Distilled Water is heavy. Water can be purified by deionization or distillation. Of the manufacturers who use alcohol, most use isopropyl, of which there are various grades of purity. Audio Intelligent for instance, uses laboratory-grade isopropyl for its Record Cleaning Formula.
Now what do I do? Some last longer than others; a year or so is a safe bet. I felt honored. Then I listened. What did that prove? You could reverse the process on the other side, but each side of a record is different.
And you know what? Press 10 copies of a record from the same stamper and each can sound slightly different. Still, I cleaned and listened—I wanted to hear the album a few times anyway.
There was definitely greater focus and clarity, probably because most of the dirt and mold-release compound had been removed. Cleaning it again, with another fluid, made no difference that I could hear. Nor did playing the 10 cleaned sides back to back reveal any sonic differences.
All 10 sides had occasional pops and ticks that no amount of follow-up Misty - Various - Hi-Fi Stereo Explosion 1 (Vinyl could eliminate. Do all of these fluids remove mold-release compound with equal effectiveness? But I used each fluid to clean a different brand-new LP that I played once before cleaning, and every disc sounded better after being cleaned: quieter and better focused. Machine-cleaning new records is as important as cleaning old ones. I applied all of these fluids, as directed, to many other records over a period of two months, using inexpensive nylon brushes to avoid cross-contamination whenever a cleaning fluid did Misty - Various - Hi-Fi Stereo Explosion 1 (Vinyl come with its own applicator.
Otherwise, all of them left cosmetically attractive surfaces, though some did a better job of removing mold, as well as those stubborn fingerprints that seem to be applied with white paint. When I began this survey, I planned to rate each fluid in terms of its spreadability, LP), odor, ease of use, cost, packaging, stylus residue after play, etc.
But when I smelled the first one and almost passed out, I canceled the stink test. I killed off enough brain cells during the s and s, and s, and. I divided the cleaners into two categories: Everyday and Heavy-Duty. I will report on the Heavy-Duty cleaners next month. All of the Everyday fluids did satisfactory jobs of cleaning new records, as well as used ones that were moderately dusty and marred only by oily fingerprints.
The differences were in packaging, ease of use, and price. Yes, the wrong kind of alcohol can damage an LP, just as the wrong fluid of any type can. That said, all four of these proved that dusty, dirty records can be cleaned and, as best I could determine, mold-release compound be removed—all without alcohol.
Vinyl1 spread easily and worked as promised. Still, enough apparently manages to get down where it belongs—Super Wash did a good job of cleaning new and moderately dusty old records and left no residue on the stylus. It spread easily and was effective at cleaning new and moderately dusty used LPs. The fluid is said to clean as well as lubricate, which means that, like the Torumat fluid, it must leave a residue of something in the grooves.
I can understand why a cartridge maker would want to lubricate the grooves to reduce stylus and groove wear, but it seems to me that cleaning and lubricating are different tasks best accomplished by separate products. Quick Wash was easy to apply and remove and worked well. Nitty Gritty Pure 2 contains a degreaser, a static neutralizer, a mild detergent-surfactant, and an unspecified alcohol. It was as effective cleaning regular dirt and greasy fingerprints from records as any of the fluids I tried.
Next time: Heavy Duty Solutions, cleaning and storing tips, conclusions, glaring omissions. My friend and I had an 'old' gallon bottle of TM7 for years and years which we swore by using his Nitty Gritty. Somehow the bottle got a hole in it with probably half of it left! It can be rather overwhelming with the amount of cleaning solutions out there, which one is right for me?
It's a good thing we have people like you Michael who work with lots of equipment to tell us what you found worked the best. By the way, what's your process for stylus and dry record cleaning cleaning before playing? What products do you use? They returned in a far worse state than they were sent.
I complained and they were re-cleaned with no improvement. When I got to the Massachusetts I found there were no CDs to be found but a local record store was able to replace many of the LPs, very inexpensively, the record companies must have realized the end was nigh. Funny how circumstances change.
I have no clue, I can't even remember the retailer's name. This was just a cautionary tale fromto be extremely careful with your records and who touches them. Just as a point of personal input, I find that most of the noise I run into is because my stylus is dirty. Often I've thought that the "pops and clicks" I was hearing meant the LP needed a cleaning. Careful inspection of the stylus usually reveals some particle of debris. Nobody sprays on mold release.
That does not happen never did. It would be a disaster. The records would be aweful. Spray on mold releases have waaaaaaaaay too much dimensionality to not destroy the physical detail of a record stamper to the point that the distortion would be unlistenable.
Always is, always has been. You will not find one person involved in the actual pressing of records or in formulating vinyl Misty - Various - Hi-Fi Stereo Explosion 1 (Vinyl records Misty - Various - Hi-Fi Stereo Explosion 1 (Vinyl will say otherwise. Now the last thing you want from any record cleaning is to leach out any physical content from the vinyl.
The vinyl physically makes up the form of the record groove. You take some of the phyeical content out of the record then you are literally physically changing the shape of the record. That is basic physics. To remove the mold release component from the vinyl you would literally shrink and distort the vinyl. That also would obviously be bad. It is also extremely unlikely that alcohol or any of the other ingredients being used in these cleaning solutions are actually leaching out the mold release agent from the vinyl.
If they were it would damage the vinyl as I desribed above and the damage would be pretty obvious. I also use nitty gritty P2 to clean records. Why does everything today have to have political overtones. I clean my records with an ultrasonic cleaner and I don't use alcohol. I tried using it a couple of times and ended up with harsh sounding records.
Obtuse lyrical references aside, my philosophy has always been to use the fluid made by creator of my cleaning gear. I may also be a heretic. After a thorough cleaning when I acquire an LP, no more wet washes. I don't smoke, shoot semen unto, pee on, bleed on, roll joints, nor rub my body on any cleaned record. I bet the people who do are a hoot,so I do not mean this as criticism of how they prefer to enjoy their records!
After the wet introduction, I use an Ursa Major carbon fiber brush and that's it. Reissued as LPS in electronic stereo. It was reissued four years later with a new cover and the title More Chuck Berry see below.
Reissued in electronic stereo as LPS with the light blue lates label. LP - On Stage - Chuck Berry 29 Although this purports to be a live recording, it is actually studio recordings with audience noise overdubbed. Originally issued in mono only. Reissued in electronic stereo as LPS, with the orange and blue label.
Side 1 of the reissue is in "Duophonic"-type rechanneling, but side 2 is not. Reissue has no banding on side 2. Cover and announcer advertises "Surfin' U. At about this point, label changes to the black "crest" label. Some copies of this album were pressed with the old blue Chess label. LP - Mr. At about this point, label changes to the blue "fade" label.
Some copies of LP used an aqua transition label. Some copies of LP may still have used the old label. Jacket logo is a stylized wheel.
Jacket logo is the later knight chess-piece horse head. At this point, logo on the record jackets changes to the stylized chess knight horse head logo. The retitled version had an identical cover photo, with the title changed, a slightly bigger Chess logo, and a list of song titles added.
The label inside still had Unbelievable as the title. LP - This'll Kill Ya! LP - One More Time The announcer notes the artists for these interludes are "Minnie and Chuck," possibly the Rotary Connection with Minnie Riperton. The voice sure sounds like her. We've called this group the Petal Pushers for want of a better name, and we've made LP) names for the interludes, although they aren't listed on the LP.
It has a special label with hands reaching for each other as the famous hands painted by Michaelangelo in the Sistine Chapel, but the cover art takes a few liberties with the painting to make it look "hip.
LP - Little Walter [Unissued]. After this point, releases are in stereo only. First label used in this series is the blue "fade" label.
8/3/78 … Pgm. 89 … Part 2 - Lorne Greene - Lorne Greenes ;World Of Amazing Animals; (Vinyl, LP), Paris JAi Pris Perpète - Emilie Simon - Mue (Vinyl, LP, Album), On & On, Smoke On The Water - Deep Purple - Live At Long Beach 76 (CD, Album), Haunted - Live Ones - Yer Quite Welcome (Vinyl, LP, Album), Dollar Sign - Various - G-Hop Classique (CD), This Yellow - TOS - Home (CD, Album), The Sophomores - Everybody Loves Me / Is There A Someone For Me? (Vinyl), Venom8888 - Jokr8888 (CDr), Santa Fe Blues - Alexis Korner - Me (Vinyl, LP, Album), Thugs (Noisecontrollers Edit) - Zany* - Remix Pack (File, MP3), Token Of My Love - T. Rex - Bolans Zip Gun (CD, Album)