September 2nd, 2010
Archive for the Music category
June 21st, 2010
DECIPHERING BEATLES STAMPERS
I’ve had some inquiries on how to decipher the small markings in the vinyl next to the label on UK Beatles LPs. You can deduce the numbering system for early EMI pressings by looking at the label and going to 6 o’clock in the dead wax (run off groove) area of the vinyl. The following holds true for all records pressed by EMI during the 60’s and 70’s. What’s called a lacquer number can be found to the right of the matrix number, which is an indication of the particular album title, side, and whether it is mono or stereo. For example, on Side One of a first pressing mono Rubber Soul LP, there is the machine stamped matrix number XEX 579 followed by the lacquer number –1, which means this LP originated from the 1st lacquer made using the mono master tape with this matrix number (stereo is YEX). At 9 o’clock is the metal mother number which on my LP is 3, indicating that this pressing came from the 3rd metal mother made via a metal master from that lacquer. At 3 o’clock is the code for which particular metal stamper actually produced this pressing (stampers are made from mothers). For UK EMI, the stamper coding works like this: G R A M O P H L T D (Gramophone Ltd), where G=1, R=2, A=3, M=4, O=5, P=6, H=7, L=8, T=9, and D=0. In my example, the stamper code on the pressing is GP. This means that this LP was pressed from the 16th stamper of the 3rd mother of the 1st lacquer. The lower the lacquer number on an LP, the earlier it was made. A common assumption is that the earlier a record is made, the better it should sound. However, this is not always the case as stampers do wear out and other anomalies can occur. It’s all part of the wonderful world of vinyl.
June 3rd, 2010
THE EARLY 911, FILM AND VINYL –PART 3
So why do those who cling to artifacts from the past continue their quest for experiential freedom? Well, for one there is a considerable amount of “feel” connected to these arguably archaic hobbies of vintage sports cars, film and vinyl. The pursuit of these involvements is more art than science. It’s not pure instrumentation and technology that will get you all the way there. Intuition and a willingness to be open to a non-black and white world are often necessary to achieve that elusive bliss these fans strive for. The pay off is a feeling of satisfaction when the visceral pleasure of playing a great LP, using a mechanical rangefinder, or driving an early Porsche 911 well is truly experienced. Even ordinary tasks become part of the appeal of caretaking something so old, unique and inherently valuable.
Some would say that it is in the actual use of the vintage Porsche where the largest differences become apparent. The mechanical fuel injection of a ’72 911S allows for throttle response that a drive-by-wire modern day Porsche can only dream of. Want to rotate the car mid-corner? Simply lift off the accelerator pedal and the back end comes around. Then it’s back on the throttle for a power slide that’s not inhibited by a computer chip that thinks it’s smarter than you are. With the latest offerings from Porsche, there are so many automated drivers aids that the pilot is left with little to do except ponder grand touring and the accompanying modern day conveniences - like GPS systems and cup holders. In reality, these current day “sports cars” are so capable it’s hard to notice that they weigh over 3,000 pounds! In contrast, an Early 911 allows one to revel in its handling limit while still remaining under the speed limit. A new GT3 needs to be taken to the track to experience what is possible with that car, but if the driver’s skill is not up to the task and they run out of grip… well the car will probably be traveling too fast to stop a major off.
In the vinyl world much of the above rings true. A high-end turntable allows for many performance advantages and upgrades over even the best CD players. LPs continue to be the high-res medium of choice for many audiophiles. For them, there is a warmth, richness, and presence to vinyl playback that eludes most 16-bit CD mastering. Feel like tweaking a CD player? Not that easy I’m afraid. How about viewing the album’s artwork? Bring your magnifying glasses out if you want to read a disc’s booklet. In my experience, the visceral experiences of analog are simply lacking in the digital realm. When you consider the focus required to properly set up a table, research the best sounding vinyl and really extract all that’s hidden in the grooves of a well crafted LP, the subtle variations of this hobby are simply amazing.
Extraordinary in their flexibility, simple in design and execution, yet incredibly rich in potential – vintage cars, rangefinder film cameras and analog playback are actually closer to one another than you might imagine. Temporal mediums all, these old-school pursuits have a tangible “in-the-moment” charm that’s undeniable. It’s not surprising then that many developers of the best turntables available today favor older sports cars. These folks believe that retro designs are simply more organic and reward the senses in a way that newer technologies cannot quite approach. Debating whether this viewpoint is right or wrong is missing the point. While exploring these leisure time pleasures can be challenging, it’s hard to argue that the experiences lived along the way can bring a joy and fulfillment that’s unmatched by more convenient paths. For some it still remains the journey that counts. Maybe you too have found that getting there can be half the fun – heck for some it’s the only thing that matters. Enjoy a blast from the past if you can!
Randy Wells
This article appeared in the Spring 2010 issue of the enthusiast magazine ESSES. For more on the early Porsche 911, you can visit their site: http://www.early911sregistry.org/
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June 2nd, 2010
THE EARLY 911, FILM AND VINYL - PART 2
My history with cameras is remarkably similar to that for early 911s. I learned to photograph and develop my own black and white film in 1977 with a German made Leica M3. That first rangefinder camera led to the use of numerous film-based Leica cameras and lenses, which have a smoothness and mechanical precision missing from many other models. I still love using the Leicas for their purity, quiet shutter and silky film advance lever. However I’ve made Canon digital SLRs my choice for most subjects since photography has become my profession.
My audio hobby had taken a similar course. By the mid 80’s, original LPs were occupying my interest - The Beatles, The Who, The Rolling Stones, Pink Floyd, Led Zeppelin, you name it – I was buying whatever LPs the new CD converts were selling. My turntable and audio system continued to improve over time, and eventually I ended up with a top-of-the-line Rega turntable matched to VTL tube electronics and big planar speakers. For everyday listening, CDs fit the bill. But for the times when I really want to savor my audio system, vinyl rules the roost.
Having lived with Early 911s, Leica rangefinders and a vinyl based audio system for over a decade; I can tell you that each of these require more commitment and care than their modern day equivalents. For example, a Porsche 997 demands much less maintenance, and when parts do wear out new factory parts are easily available. Similarly, CD players are essentially plug and play requiring little attention, and digital cameras are inevitably replaced every few years due to rapid advances of technology. Yet for many enthusiasts, especially those from the “baby boom” generation, continuing to use vintage technology has proven more satisfying than living within the confines of a world determined by convenience.
There is a built-in ritual to enjoying these artifacts from the late 60’s that is ultimately engaging. Unlocking the car door by hand, loading a roll of film, and preparing a turntable are just the beginning. Pull up the hand throttle, advance the shutter with your thumb, clean the stylus – then warm up the motor, manually focus the lens, and cue up an LP. These old school pastimes are quick to let you know when you are doing something wrong and are equally ready to reward you when you are doing it right. At times it seems like these “dinosaurs” from the past defy the laws of physics. How does a rear-engined air-cooled sports car stay on the road without oversteering into the bushes in a hot molten mess? How does a shard of diamond trace the grooves of a fragile vinyl record without ruining it? And how does a camera that fits in your jacket pocket take pictures that rival or surpass those made with the best full size 35mm SLRs?
Still, there is no denying that “hassle free” is not an adjective applied to these pursuits. Old Leica cameras need to be exercised and periodically lubricated. Vinyl records have to be cleaned and handled carefully. The turntable you play them on needs to be aligned and leveled, and the phono cartridge needs to be periodically set properly or replaced. Just the right suspension is needed to allow for the fullest performance and experience – as is true for the Early 911, which needs periodic alignment and suspension service. Parts wear out, can be hard to find, and NOS stuff can get expensive. Not to mention non-galvanized metal rusts badly when it gets wet. It sometimes seems like it never ends…
Part 3 to follow
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June 1st, 2010
THE EARLY 911, FILM AND VINYL – PART 1
You’ve probably read enough analogies of sports cars, fine cameras and luxury audio equipment in high-end lifestyle magazines to get the idea that journalists are passionate about these in a big way. I’m not immune and vinyl records, Leica rangefinders and Porsche 911s have been a primary fascination of mine since 1964. That’s when I bought my first LP, was gifted a camera, and was introduced to the early 911. I immediately fell in love with the feel and sound of the long playing record, the shutter advance of the film camera, and the Porsche 911’s hooligan nature with its air-cooled flat six barking a nasty exhaust note. School and financial obligations kept me from fulfilling my dreams of ownership for a long time, but I promised myself that someday I would have a top notch analog stereo system, a Leica M series rangefinder, and a pre-‘74 911.
Let’s turn our attention first to the Early 911. Just to review what you undoubtedly already know: These fabled Porsches were hand built by craftsmen in Stuttgart Germany between 1964 and 1973. They are exquisitely formed, simple to work on, very functional and lack the smog regulation of later sports cars. They also have a power to weight ratio that was not surpassed until the 1976 Turbo. At less than 2200 lbs and up to 210 HP available, they are both quick and nimble. Accelerating out of an uphill bend with all that mechanical intake noise behind you is a hoot, and the simple exhaust system’s raspy wail is an added bonus. The pure aesthetics, chrome trim and dainty bumpers of Butzi Porsche’s original design are traditional features that make Early 911s the preference of many enthusiasts. They are arguably among the best of the late 60’s and early 70’s automotive icons - true sports cars, not the civilized grand touring types that many marques would later become.
It wasn’t until 1997 that I purchased my first Early 911 - a 1972 911S coupe in metallic blue. It had 48,000 originals miles and had been well maintained by three previous owners. In the words of another Porsche enthusiast, I wanted a “light, visceral, scary, nasty, feels-like-an-accomplishment-to-drive sports car without anything to interfere with my sensory experience” and that’s what I got. No power steering, no ABS, no stability management, no traction control, and minimal sound deadening. I drove this ‘72S to dozens of track events, competed at numerous autocrosses, and toured from Seattle to California via back roads four times over the next eight years. Along the way I also learned how to repair it and find original parts when they needed replacing.
Part 1 of 3
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May 30th, 2010
THE BEATLES PART 4: Bargain Pressings
The vinyl resurgence has brought many older music fans back to their turntables and a younger generation into the wonderful world of records. Large art work and the visceral experience of listening to vinyl is the payoff for many. If you are on a budget and want to acquire clean LPs of this Beatles title at a reasonable cost – there are some options for you. A 1978 UK stereo reissue of The White Album is similar to a 1968 UK original for almost a tenth the price. Physically, the reissue is on lighter weight vinyl and has lighter colored labels. Sonically it differs from the original just a bit with a slightly flatter soundstage, a little wooliness to the bass, and a bit of grain to the vocals. But this reissue will satisfy all but the audiophile purist and is a best buy for the stereo analog fan on a budget - about $30 in excellent condition. Better yet, buy a complete BC 13 Beatles blue box in great shape for less than $300 and you will have all twelve UK stereo studio Beatles albums, plus the LP of Rarities.
The original US Apple release (SWBO 101) might seem like another choice, but it’s dynamically compressed with edgy vocals - although it sounded pretty good on my Kenwood stereo when I was a teenager! For about $20, a later US purple label reissue sounds better and is cheaper. The Japanese pressing I have on hand (EAS-50039-40) is another option and costs about $40 with obi. It is immaculately pressed and packaged as expected. It provides tons of detail and a solid bass line, but the brightness on this Japanese mastering can become fatiguing on some systems. And while the MFSL half-speed mastered pressings for several of the Beatles titles sound very good, this one (MFSL 2-072) never takes off - even with all the jet noises on “Back in the USSR” urging it to do so. When you turn up the volume to improve dynamics, the treble is too bright and the bass is muddy and indistinct. While not one of MFSL’s best efforts, a mint open copy of this double album still goes for about $75.
In summary, time has deepened my appreciation for the complexities and breadth of The White Album. With songs like “Back In The USSR”, “Dear Prudence”, “Glass Onion”, “Rocky Raccoon”, “Birthday”, “Happiness Is A Warm Gun”, “While My Guitar Gently Weeps”, “Blackbird” and “Mother Nature’s Son” you can’t go wrong. This album and Rubber Soul are worthy bookends to the highly regarded Beatles landmarks of Revolver and Sgt. Pepper. If you feel the compulsion to collect another copy of The Beatles’ groundbreaking double LP, I hope you’ll find one among those I’ve recommended. Happy listening!
Randy Wells
May 29th, 2010
THE BEATLES PART 3: Choosing a STEREO Pressing
The White Album is probably most familiar in stereo, so that’s where I’ll focus most of my attention. The recently re-mastered CD of this seminal album sound very good. It’s a little compressed for my tastes, but successful as a very clean transfer of what it must be like listening to The Beatles in Technicolor. Just be aware that the quieter songs are mastered louder to more closely approximate the dynamics of the rockers, so purists may be a bit shocked by the changes due to limiting. The previous release may be preferred in this instance.
Compared to the remasters, the original 1968 UK PCS 7067-8 stereo release with –1 lacquer numbers has the ability to convey all the excitement of this album without becoming the least bit hard or edgy. The soundstage on the vinyl is richer, deeper and warmer, and there is plenty of extension to the mid bass on tracks like George’s “Savoy Truffle”. The areas where the original vinyl loses out are in bass definition, soundstage width, and inner detail. It’s in these areas where the CD is better, but at the expense of realistic presence. Like the mono, the original 1968 top loading UK stereo album can be costly, although it’s easier to find in good shape. In true excellent condition (US grading) these currently go for around $250, while side loading numbered copies can be much cheaper.
The 1978 UK white vinyl stereo reissue (also PCS 7067-8) has a wonderful overall tonality. The thinner tracks, like Paul’s “Wild Honey Pie”, are provided some welcome relief by this LPs fuller presentation, and smooth tracks like “Blackbird” and “Mother Nature’s Son” sound even sweeter. The piano that’s deep in the mix at the end of “Dear Prudence” is also cleanly reproduced, something not all pressings do well. Bass reproduction is deep with good control, and there is excellent transparency and instrumental separation across a wide soundstage. This pressing has unique hand etched matrix numbers, YEX709/YEX712, with no lacquer number. It’s likely a one-off mastering cut on a solid-state Neumann lathe. Since this was a limited edition export, it’s getting hard to find and sells for about $100. Avoid the US Capitol version of this one – it’s not the same.
The short-lived original German Apple-Electrola release with SMO 2051/2052 labels is also well regarded. Listening to midrange heavy tracks like McCartney’s reggae-like “Ob-La-Di, Ob-La-Da”, this top loading seven-digit serial numbered album has a smooth presentation with excellent overall balance. The only area where it does not match the best UK pressings is midrange detail and presence, which can be helpful on tracks like Lennon’s “Happiness Is A Warm Gun”. It also runs around $100. Later German pressings with 1C 062, 1C 072, or 1C 092 numbers on the Apple label are usually much cheaper. These reissues can either sound similar to the original or dull and grainy, so you really need to listen to find a good one.
Our next contestant, the 1985 German white vinyl direct-metal-mastered/DMM reissue (1C 172-04 173/74), is my current favorite way to listen to the The White Album in stereo. Compared to the 1978 UK white vinyl export, it is more dynamic and has greater clarity and definition. Listening to “Birthday”, the driving bass is phenomenally deep, taut and tuneful. Ambience retrieval is exceptional, with a layered soundstage and a believable presence on even the more difficult to reproduce tracks. The subtle inner details of the guitars on “Back in the USSR” are revealed, and Ringo’s double tracked drum fills are conveyed with powerful energy on “Glass Onion”. The cymbals can sound a little splashy at times, and on some systems this pressing may not be as laid back as you might like. But I believe it’s a mastering that fits the majority of the songs on this recording. Try listening to Lennon’s “Everybody’s Got Something To Hide But Me And My Monkey”. This LP cuts through the confusion, rendering the dueling guitars and brilliantly and the ringing hand-bell distinctly and realistically. Less than $100 and recommended.
May 28th, 2010
THE BEATLES PART 2: Choosing a MONO Pressing
The blank cover of The White Album was perhaps symbolic of the Fab Four’s reluctance to reveal their internal disintegration. Lennon and McCartney still shared songwriting credit, but were being pulled apart by their differing creative and philosophical interests. As a result they were composing almost exclusively on their own. Their songs, along with George Harrison’s, covered a wide variety of emotions - joy, disdain, empathy, boredom, hope, sadness, love, anger, even hysteria. The White Album not only stretched the rules, it broke them.
By 1968, stereo albums were becoming increasingly popular, and this would be the last Beatles album to receive a dedicated mono mix (1969’s Yellow Submarine mono soundtrack is a fold down). The mono mix of The White Album differs from the stereo version on several songs. This makes for interesting listening for those who are intimately familiar with the US LPs - released in stereophonic sound only. One example is Eric Clapton’s guitar solo on “While My Guitar Gently Weeps”, which is more modulated and goes on longer before the fade-out.
The original UK mono double LP (PMC 7067-8) with –1 lacquer numbers, now 40 years old, has a warmth and naturalness to the vocals that’s very appealing. In particular, the handclaps on Paul’s Beach Boys inspired “Back In The USSR” and John’s mocking “Dear Prudence” vocals sound very realistic. The ambience surrounding the drum kit and tambourine is also convincingly reproduced. Unfortunately, obtaining a really clean copy of this rare top-loader can be difficult and expensive. A truly excellent condition example (US grading) with a clean cover and all the right inners, poster and prints could cost over $400, and true near mint copies can go for double that.
A 1982 UK mono reissue, on thinner vinyl with –2 lacquer numbers, is slightly more punchy and detailed. It has a greater midrange presence, but is slightly bright and less tonally convincing. The only other LP option for The White Album in mono is the 1982/1986 limited edition Japanese release (EAS-67157-5). On these pressings the vocals are warm and slightly recessed. This actually works pretty well on several tracks like Paul’s raucous “Rocky Raccoon”. Beautifully pressed on red wax, the Japanese mono has fantastic bass reproduction - even if it does come off sounding a bit processed compared to UK copies. An excellent condition copy of the 1982 UK mono reissue runs about $150, and the Japanese red vinyl mono with obi goes for around $200. Since these reissues are usually in better shape than the 1968 original they are considered a good value. Makes you want to own a time machine, doesn’t it?
Of important note are the recently released re-mastered CDs from The Beatles Mono Box. The White Album on mono CD is one of the best sounding albums from that collection. It is very detailed and incredibly revealing of what must be on the master tape. It will be interesting to hear what the recently announced re-mastered Beatles mono box vinyl collection from EMI will sound like – especially The White Album. It may just turn out to be the one to own.
Part 3 and 4 to follow.
May 27th, 2010
THE BEATLES - THE WHITE ALBUM
After Rubber Soul and the artistic heights of Revolver and Sgt. Pepper, The Beatles followed up in 1968 by forming Apple Records and releasing a double LP that would go on to become their biggest seller and perhaps the favorite Beatles album for younger listeners. Sporting a clean white cover featuring only their embossed name and a serial number printed in gray ink, The Beatles (a.k.a. The White Album) was a strong departure from what had come before. Many of the songs were written in India where the group had attended a spiritual meditation retreat with the Maharishi Yogi. Recording the songs in England was a less than blissful experience however. John was bringing Yoko into the studio every day, Ringo temporarily quit the band in frustration, and producer George Martin was unable to end the bickering or edit the band’s output. The result was an album of thirty songs that bordered on the self-indulgent.
Tracking down a preferred pressing for The White Album can be challenging. Several of the songs sound somewhat brittle or compressed, perhaps because the engineers were being asked to “turn up the treble and bass” in the Trident and Abbey Road recording studios. Geoff Emerick served as balance engineer (as he had since Revolver) but he abruptly left after nine songs. So Ken Scott and others took over, enlisting a brand new 8-track recording machine that EMI was reluctant to use. The result was a fascinating sequence of linked tracks that couldn’t have been more different. Consequently, the best pressings are those that strike a balance between lightly smoothing over the upper midrange and providing additional dynamics to the mix.
The first UK LP pressings of The White Album, both mono and stereo, feature heavily laminated top loading cover sleeves, seven digit serial numbers, black paper inner sleeves, and a –1 lacquer number on all four sides. The album sold in the millions so quickly that many top loading copies ended up with –2 lacquer numbers as well. The mono release was short-lived, and the stereo top loading cover was subsequently changed to a numbered side loading second pressing. The copies that were reissued in the 1978 BC-13 stereo box and the 1982 UK mono box have unnumbered side loading covers, white inner sleeves, and later Apple labels. All of these releases include a photo collage poster and four high–quality portraits of The Beatles.
Part 1 of 4
May 12th, 2010
GENE CLARK : NO OTHER
Backed by Lee Sklar on bass, Russ Kunkle and Butch Trucks on drums, Michael Utley on keyboards, Chris Hillman on mandolin, and influenced by Sly Stone and Brian Wilson… well you get the picture. No Other was the fourth solo studio album by ex-Byrds Gene Clark, now widely regarded as a lost masterpiece of ’70’s folk rock. Although it was largely dismissed upon its release as having too little songs (David Geffen) and being overly indulgent due to its advanced production, many critics now recognize its true standing. Asylum Records, showed little interest in supporting the release due to its experimental nature, and the record became a commercial failure when it was released in late 1974. Now a sought after collectble, the LP is a sublime listen. It’s the one I put on when I need some soul soothing.