Post your experience on Reissue Vinyl quality!

Richard 2000,

I hope someone here can share his/her experience with the 'Back to Black' releases.

Looking at their catalogue, unfortunately, I don't own any of them.

FWIW, the original is usually better than reissues.

Many things seem to influence the final product. Not only the source of original tape matters ( I have a feeling they god digital file, tho ) but who's doing the mastering a well as who's doing the actual pressing. I am surprised that the Universal was unable to give you any kind of information on that.

I would also guess that the sound quality depends on the title, too.

If you decide to test the water, do report back.

Kuma,

sorry to hear that.  So it's not just me then...

The off-centre holes can be corrected.  Usually it's easy to see from one of the label sides.  Then  get your drill or file out and start to widen the hole in the direction of where it should have been.  After that it's usually best to give the LP a clean and then find the edge of the hole where it touches the spindle that gives a perfectly concentric rotation.  Mark the spot on the label and you're good to go.  I actually find that a lot of newer LP holes are just a little but tight for the 401s spindle so have to ream them out anyway

Will do Kuma. I started a separate topic on this before seeing this one
https://forums.naimaudio.com/to...lack-vinyl-re-issues

Hi Richard,

Thanks for your email with regards to your back to black
enquiry.

I have asked our e-commerce team to contact the label to try and
find out more information on this for you.

As soon as they reply, I will
contact you straight away

Kind Regards,

Anthony
O'Brien
Universal Music

Hi Anthony,

Thanks for this. I am aware that some record companies are in
the practice
of re-issuing LP's that have been mastered off CD copies.
Although you are
unable to confirm whether the Island reggae re-issues are
sourced from
master tape are you able to confirm whether or not they are mastered off CD
copies? The record label should know and therefore be able
to confirm what
source material they are using.

Thanks
again
Richard

Subject: . Universal Music Issue Resolved: (UMDS-151081) Product
enquiry

Hi Richard,

Thanks for your email with regards to your
back to black enquiry.

I have sent your email over to the label and they
can advise me is that they
use the best source available at the time, but
they are unable to confirm if
it's the original master.

Please accept
my apologies that I couldn't be more definite about this, and
if I can be of
any further assistance, then please let me know and I will be
happy to
help.

Kind Regards,

Anthony O'Brien
Universal Music

I have bought a couple of titles recently from this new UK label specialising in Jazz. They are beautifully pressed and all analogue mastered with care and passion. titles limited to 500 pressings. There not cheap at around £28 but quality engineering rarely is.

GEARBOX RECORDS check them out
http://www.gearboxrecords.com/Site/gearbox.html

Richard2000,

Thanks for the heads up.

I've checked out few of their samples.

There are some good tune there. I've ordered Ronnie Scott Quintet and Joe Harriott. ( according to their site, this is the first commercial release )

I am curious to hear if they would come close to the goodness of old Columbia or Blue Note.

They must be hifi enthusiasts as well since they list Audio Note as a playback system along with Snell E type speakers for monitoring and talk about analogue *warmth and soundstage*.

Hi Kuma,

I would highly recommend Simon Spillett Square One. It is a new recording and sounds reminiscent of classic Blue Note style Jazz Bop but not in a derivative or imitational way. It is a fantastic performance on its own merit. Sound quality, mastering and pressing are exceptional. And yes you are correct in that they have a passionate, musical and Audiophile approach.

Contact Adam Seiff info@gearboxrecords.com and say Richard Jones (Mr B) recommended them via the Naim Audio forum

I too find quite a few new pressings have narrow centre holes and are quite difficult to get off the Orbe. Annoying...

Just received my copy of Nick Drake's Bryter Layter - supposedly excellent for sensible money. Still waiting for Pink Moon - coming from the US apparently.

Recent acquisitions:

Moondance, that's very good, although I haven't compared it with the original - and the centre hole is small.

Curtis - Curtis Mayfield - I think this is on Rhino, very good pressing, small centre hole again and great music.

Barbirolli Conducts English String Music on HiQ (HIQLP2005) is brilliant - very nicely made indeed. Both the Elgar and the Vaughan Williams are very satisfying. Great recording and good vinyl, well worth having.

Acadie by Daniel Lanois - the Gold Edition - beautifully produced. If you like the music then this is a fabulous version to have and the extra disc is interesting from an odds and ends point of view. I do play it too. I've compared the pressing with an original and the reissue has a bit more weight and resolution, so I prefer the reissue.

Regards,
Frank.
All opinions are my own and do not reflect the opinion of any organisations I work for, except where this is stated explicitly.

Richard,

Thanks so much for the heads up on this. I've just been to the site and found it very impressive. At last people are taking analogue vinyl reissues seriously. I've ordered the Jazz Couriers LP to try. I'll let you know what it's like. You might want to look at Pure Pleasure Records who also release analogue vinyl reissues.

ATB

Steve

Thanks Steve,

I am aware of Pure Pleasure records and have bought quite a few nice titles over the last few years. Hope you like the jazz couriers, I think you will. If you do like, do try the Simon Spillett

Richard

Gearbox vinyl arrived today. Looking forward to listening to them.

It would be interesting to compare to other 50s mono reissues.

be interested to hear your views

Kuma,

Your pictures never cease to amaze me. That picture should grace Gearbox's website. I'm also looking forward to hearing your review.

Richard,

I'm lucky to have an original Jazz Couriers 'In Concert' on the Tempo label so it will be interesting to compare the SQ of this new issue of the previously unreleased 'Tippin'' which was recorded a year later in 1959. You never know this new release may one day be as valuable as the Tempo LP. Tempo were the Rolls Royce of Jazz labels in the UK during the '50s and collect very high figures in todays collectors market.

Steve

Steve 

Received this from Gearbox Records 2 days ago.

The 180g vinyl is flat, well centred and silent.

The album is a never before released live mono recording from 1959 and the tracks are taken from recordings over 2 nights. SQ for the type of recording is very good indeed and it is really quite obvious that there has been no digital interference. The last track on the album, Cherokee, isn't as good a recording as the others and sounds a little distant in comparison, probably one night was recorded better than the other. The recording does however capture the small concert venue atmosphere, especially on Embers with Tubby Hayed on vibes and Ronnie Scott on sax. The SQ of this LP compares very favourably with The Jazz Couriers In Concert LP that I own which was recorded a year before.

The album comes in a poly lined inner and the outer sleeve is unlaminated card with extensive sleeve notes on the rear. There is an insert with anecdotes of the concerts by Derek Ansell. The album also comes in a polyethylene outer dust cover.

Although not cheap at £28, the the overall package and SQ are good. It's worth it alone for the musical content as I am a fan of Tubby Hayes. I might try the Joe Harriott LP next. What did you think of it Kuma?

Steve

I suppose that technically this is not a vinyl reissue since it is the first ever vinyl version of this album. But it is a reissue in the broader sense so here goes.

The reissue is done by Music on Vinyl. The cover LP is a gatefold on fairly heavy stock with a glossy finish. The photos and liner notes are reproduced very well. The music is spread over 4 sides on 180g vinyl. The black inner sleeves are poly lined. All in all nicely packaged.

The vinyl is superbly quiet and flat. Unlike some of the recent reissues the holes are dead center. The sound is a marked improvement over the cd versions I have. Very open sounding and capturing more subtleties than the cd. Much more fun to listen to. 

Since it is an import on this side of the Atlantic it was not cheap, but I feel the $35.99 paid to be worth it.  If you like this album I highly recommend the LP version.

Not heard of Gearbox before - will investigate...!

Regards,
Frank.
All opinions are my own and do not reflect the opinion of any organisations I work for, except where this is stated explicitly.

I finally had a time to evaluate the aforementioned Gearbox vinyl above.
They are not quite *reissues* because this is the first time commercial release for both titles.

I was curious to hear how theses new mastering fair compared to other current mono reissues from various labels ( Speakers Corner, Analogue Production, Classic Records ) in around the same era ( '53 to '60 ) as well as a few original US pressings.

• Speakers Corner: Lester Young with Oscar Peterson '52  Studio Recording MG N-1054
• Classic Records: Hank Mobley Roll Call  '60 RVG  Studio Recording  BN 4058-MONO-200GR
• Analogue Productions: Hank Mobley Mobley's Message '56  RVG  Studio Recording APRJ 7061 A
• Columbia Original 6-Eye Pressing: Erroll Garner Paris Impressions '58 Studio Recording C2L 9

Than a few Live mono recording form the 50s.

• OJC (Original Jazz Classic ) '83 Reissue: Jazz at Massey Hall: '53 Live Recording OJC 5044
• Columbia Original 6-Eye: Concert by the Sea  '55 Live Recording CL 883

Joe Harriott– Partying With Joe

Label: Gearbox Records
180g Vinyl/ Mono/ UK/GB1506/ 500 only pressing, never released commercially before.
Valve Re-Mastering by: Jeremy Cooper by Soundtrap
Masetered directly from the original analogue tapes using a Manley valve limiter and Neuman VMS80 cutting tool
Pressed at: N/A
Release date: 2011

Sound Quality:

Probably this is not a fair comparison since this recording was done impromptu on Johnny Weed's reel-to reel machine at someone's house party. The entire recording suffers from a terrible mid bass boom and hump. There is no snap to all of the music literally sounding like a bad euphoric valve sound I detest. The first cut 'Blues' has a great walking bass solo except that it's fuzzy and wooly lacking any kind of transients.

Compared to the Hank Mobley's 'Bounding with Bud' (Analogue Productions' Mobley's Message:1956 mono recording APRJ 7061 A ) the walking bass is clearly heard and it has more swings and roundabouts than Gearbox recording. This is a RVG recording so it has all the goodness of his immediate and upfront sonic signatures.

Switching to the Erroll Garner's 'The Concert by the Sea' ( '55 live mono recording Columbia CL 883 ), the noise floor is poorer than any of the RVG production or Gearbox recording. But this legendary live album, done about the same time as the Harriott recording, is miles ahead of Gearbox issue in terms of clarity. Perhaps it is more compressed with the tonality that is nasally and uneven at times but the music is alive and kicking.

Going back to the Harriott pressing, background level is blacker and quieter, but then that unnatural prominent midbass hump returns.  This is a warm, cuddly syrupy mess.

Other live recording done in early 50s is the Jazz at Massey Hall. This is the legendary performance of the Quintet made up of super line up. (Dizzy Gillespie, Charlie Parker, Bud Powell, Charles Mingus, and Max Roach.)

My copy is a '83 reissue from OJC ( Original Jazz Classics OJC-5044 ) Being a live recording, the sound goes in and out some times and the noise floor is high-ish ( meaning the tape hiss present ) but I could hear they did not do an aggressive clean up remastering.

The gig is preserved in much open and immediate even than the Garner's Concert by the Sea. The big bonus is the instrumental colours are nicely preserved unlike the early Columbia mono. Coming off from the Harriott pressing is like a breath of fresh air. In spite it was recorded in mono in  '52, it retains a lot of micro details as well as capturing the macro dynamics. Mingus' bass line stays clean and linear.  There is no technical liner notes on this reissue but it's a great mix at a reasonable cost. ( around 10 bucks! ) Every musicians is well presented on this album.

The production and manufacturing of Gearbox is excellent. The disc is flat and no wobbly off centre hole pressing.

Ronnie Scott Quintet & Phil Seamen Quintet

Label: Gearbox Records
180g Vinyl/ Mono/ UK/GB1508/ 500 only pressing, never released commercially before.
Valve Re-Mastering by: Jeremy Cooper by Soundtrap
Mastered directly from the original analogue tapes using a Manley valve limiter and Neuman VMS80 cutting tool Master tape supplied by Dave Green
Pressed at: N/A
Release date: 2011

Sound Quality:

This release fairs better than amateurish home recording of Harriott above.  This is a live recording of BBC "Jazz Club 45" session in 1956, hosted by David Jacobs, at the BBC Studios in London.

Clarity improves drastically and this is much livelier set than the Harriott pressing. But the kick drum still is dynamically muted sounding too soft. In the drum solo on 'My Heart belongs to Daddy', all the notes are rounded off. The guitar  also lacking the transients and tension of finger plucking strings. All the edges on notes seem to be smoothed out. There is a bit of timing lag and the whole tunes feel slow.

Trumpet and Sax fair better than percussive instruments. The tone is nice and immediate and there are no peaky highs and clearer than the rest. On balance this is a soft, warm and romantic mastering.

Ironically tho, the voice of announcer sounds most alive and natural. I had my hope till the drum into entered. The kick drum has no kick! Dynamic on this record is severely compromised compared to other commercial reissues and original pressing.

Packaging Quality:

Nicely designed cover reminiscent of 50s jazz records. Printed on a heavy card stock. Paper inner with parchment liner. Recording info is well documented on the back cover. My copies came with poly outer sleeves.

So, my first Gearbox vinyl experience did not turn out as good as I hoped but the rest are all done nicely. Who needs stereo!

Another mono record arrived today. 2007 Classic Reissue of Blue Lights. Mastered and cut from the original full-track mono master tapes using a full-track mono tape head and all-tube tape electronics.

I might have spoken too soon about stereo.:/

Ray Charles– Genius+Soul=Jazz

Label: Analogue Productions
200g Vinyl/ Stereo/ US/AAPP 2
Mastering by: Kevin Gray by Cohearent Audio
Cut From The Original Analog Masters
Pressed at: Quality Record Pressings US
Release date: 2011

Sound Quality:
Compared to my original Impulse! mono pressing, this Kevin Gray mastered reissue is so much more open and spacious. No peakiness in brass yet it still retains sufficient bite for the instruments preserving the intensity and energy.

I was leery of this stereo reissue because from the same era, I normally prefer Charles' mono issues over stereo. ( ABC-Paramount pressings ) But this stereo reissue is well done both in sound and manufacturing. The record is flat, hole is on dead centre and extremely low noise. The resolution is much improved from the original pressing. I feel that the timing is improved because of better impact and dynamics.

Trumpet is beautifully extended and soars with ease. Drums have the kicks and snaps. Ray's voice is natural and has a rock solid imagery.

Now I can happily retire my mono original because this is the only pressing I need.

Packaging Quality:

They preserved the original sturdy cardboard gate fold jacket but the printing is slightly faded and no heavy gloss laminate.  The album came in a sealed poly bag but there are many scuff marks on the back. Rice paper inner with Quality Record Pressings logo. Label is 2 colour as original but the Impulse! orange is darker and dirtier orange throughout.

The back cover on the left is the new reissue with darker orange.

All and all, this is well worth the 30$USD for both the fidelity and the manufacturing.  I will look into the companion pressing 'Ray Charles and Betty Carter' reissue.

Miles Davis - In A Silent Way - Mobile Fidelity MFSL 1-377.

This is an excellent reissue. Well pressed, well mastered, nicely printed cover on 'solid' stock. Although In A Silent Way is never going to be considered 'audiophile', this issue beats all the other copies I have...i.e the late 80s CBS issue, 00's CD from the Complete In A Silent Way box set, the 00's LP from the Mosaic In A Silent Way LP box set.

The CBS is pretty horrible. Murky and agressive. Murky is OK, but the album should not be agressive. Mark Wilder did an excellent job on 'The Complete Sets' adding clarity, removing agression while preserving the 'murk' which, I think, is a part of the atmosphere of the music.

The Mo-Fi is far more balanced and 'analogue' sounding than all these. Tony Williams cymbal work 'fits' into the music far better. Miles cuts through the band far better. John McLaughlin's guitar has 'skin' on the strings. More importantly, the band's ensemble playing is captured better and the songs dynamics are followed clearly. Of course, the music is sublime. Recommended!

Bill Withers - Just As I Am (Speakers Corner) and Still Bill (Music on Vinyl). I had a problem with Bill Withers. I had viewed his music as slightly saccharine. Then I watched a BBC documentary on him and saw his early 70s set for the Old Grey Whistle Test. That showed that he is wonderful compassionate chap, that his songs were brilliantly crafted - full of pointed social commented and that he and his band could play their asses off....

And so, I bought his greatest hits CD...which proved that he was recorded by people who knew their way around studio equipment. Excellent sound. However, these LPs are even better. Excellent 'in-the-room' sound, lots of bass weight and clarity. Wonderful music - songs like Who is He and What is He to You? and Gradma's Hands are the standard, very high quality here. Both are highly recommended. And if you don't have any Bill, just a cheapy CD and try it!

Thanks Martin.

I do not have the original burt have the Sussex 2003 reissue 'Still Bill'. (SXBS 7014) and I swear it sounds like they used a poor stamper or used a CD to master it. Too much congestions with spitty sibilance and recessed midrange.

So it's good that the MOV offers a better pressing. 'Still Bill' is worth owning even just for the 'Lean on me'.

I love his 'Lovely Day'  from an original pressing of 'Menagerie' ( Columbia '77 release ) which it's groovy and has an immediate balance albeit it can be improved in hands of a capable engineer.

Hi Kuma,

the MoV Still Bill is anything but recessed. So perhaps worth a go. I hope you like it if you do. And yes Lovely Day is lovely!

Martin

None but the Lonely Heart: Charlie Haden/Chris Anderson

Label: Naim
180g Vinyl/ Stereo/ UK?/LP079/
Re-Mastering by: N/A
Pressed at: N/A
Release date: 2004

Sound Quality:
I have the excellent original '97 release CD so how much more the vinyl could enhance this lovely performance? I was expecting a nice usual *vinyl* goodness as I have experienced on the 'Meet me in London' vinyl pressing which vinyl easily surpassed the original CD release. And I even prefer this over the newer hi res. remastering of the ping pong stereo balance.

I also borrowed earlier reissue done by Image Hifi in Germany with an impeccable production credential: Remastered at the Emil Berliner Studio and pressed at the famous Pallas pressing plant. ( shown on right )
For the 2004 Naim pressing, oddly the original Mastering Engineer's name ( Julian ) has been omitted.

On the CD release he is listed as the mastering engineer along with Ken Christianson as a recording engineer.

The first the good bits. The vinyl itself is flat, has a dead center hole, and quiet. But straight away I noticed that the immediacy I expect from the vinyl is missing. The presentation is distant and laid back particularly the piano.

Comparatively, tho, the 2004 reissue vinyl is a lot cleaner and linear than the German Image Hifi pressing which the bass overpowers covering up Anderson's subtle piano phrasing. Too much of upper bass rise ruining the midrange clarity. This is a similar to the Gearbox Joe Harriott shortcoming. It sounds as if someone deliberately added an extra oomph to warm up the tonality and give that so-called 'vinyl romance'. Which can be good but the balance is all off.

A friend I borrowed this Pallas pressing from complained to me that this record never sounded right in his house stating it rattles all the windows in the listening room.

Well, now I know why. It has some boomy resonance in certain audio band which I can clearly hear that when I listened to the bass solo. So rather than focus on Haden's excellent music making, an alarm goes off inside my brain letting me know there is an extra hump that doesn't belong there. The deep seismic bass is welcome but this is not. This is a car stereo mid bass hump!

So anyways, the Naim pressing, compared to the *phat* Image Hifi pressing, it's hell of a lot better in terms of overall balance between Haden and Anderson and actually I can hear all the details burried in the groove. It isn't terrible and it is nicely manufactured till I put on a CD.

Overall the dynamics and transients are still muted on the vinyl compared to my '97 CD.
With the original CD, I get the sense of strings being plucked and there is a note decay afterwards. There are definite stops and starts of the note.
The timing and interplay between Anderson and Haden are much more in tune. Particularly evident on the 'CC Blues'. With vinyl, it's a bit vague. The CD does better on micro dynamics than either pressings. ( which is odd cuz usually vinyl excels in this area )

This is a bit disappointing because I expected a better but Naim does not make analogue playback so makes sense that their digital software offerings are superior. I see that there is a newly remastered by Ken Christianson in a super high res. file. ( 24/192 ). I would assume this latest super hires. remaster will better all of their past releases when played on a maxed out NDS.

I don't encounter too many occasions that I prefer CD replay but this is just one of those occasions.
Plus the vinyl only has 5 tunes instead of 9 so if you are looking for an excellent copy and the value, the digital issues make more sense.

P.S. I had to tell my friend that his copy was the worst of the bunch. I'm sure he paid a pretty penny for that audiophile pressing. :/


Packaging Quality:
Laminated sturdy card board jacket. Paper inner with velum liner. No liner notes. No technical info.

This is a very impressive box as far as SQ is concerned . All four albums are beautifully pressed, with no surface noise, flat, & nicely produced. All four covers are well printed on thick card with well reproduced inners where appropriate. Unfortunately I cannot say the same about the music...

Think I would give it a 7 out of 10, its worth the money only if like me you don't have any of the originals. 

This post from Steve J on the ' What are you listening to and Why' link,,,,, "I think Then Play On is pretty good but the rest are patchy at best"...  Pretty much sums it up IMO.

Regards Graham.

The latest from the US Impex label is the E, W & F's classic album. I only have a poor Quadraphonic reissue from the 80s.  The distortion label on it is so high, I suspect this might have been done from a CD! I haven't been able to source a mint original, so when I found out Impex is reissuing this album with Kevin Gray and Robert Pinkus (formerly at Cisco Label ), I jumped on it.

That's the way of the World: Earth, Wind & Fire

Label: Impex
180g Vinyl/ Stereo/ US/IMP6015/Limited to Only 2500 Copies ( my copy: S/N 110)
Re-Mastering by: Cut from the Original Analog Master Tapes by Kevin Gray and Robert Pincus
Pressed at: RTI
Release date: July 2013

Sound Quality: 
Record is flat and the spindle hole is dead centre. Ultra low surface noise throughout.
I do not have the original US pressing to compare but right off the gate, this reissue has a lot less distortion compared to the Quad reissue.

No more bright distorted sibilants on 'Shining Star'. Brass has enough bites but retaining the textures without going completely opaque.

I can hear Verdin'e bass line much better than ever as well as each instrument is well separated with excellent stereo imaging. Better presence in vocals and richer instrumental tonal colours. The chorus at the end of the 'Shining Star' is spooky as the voices are so realistic, I felt the presence of the musicians in the room!

Philip Baily's falsetto is completely distortion free and well-extended and remains natural even at upper registers. On 'That's the Way of the World', Verdine's linear walking bass stays all the way through giving the tune an extra groovy vibe. Ambient air around the notes is felt and tremendously improved dynamics gives a tighter and more intuned performance.

Percussive instruments also come alive with stronger impact and low end reach. Kick drums and rim shots are better defined and really showcase E, W&F's rhythm section.

The best bits for me, tho, is its natural tactile midrange. It has that analogue intimacy and closeness that I just don't hear or feel from digital recording. Kevin Gray/Robert Pinkus have done a great job restoring it. These days everything is recorded digitally, we just dont have this kind of midrange any more. ( or at least I haven't heard one )

German Label Speakers Corner also offer the reissue on this album but I have a sneaking suspicion the Impex reissue might have a home turf advantage of having an access to the original master tape. And having a good mastering engineer like Kevin Gray work on it over whomever at Speakers Corner. ( plus, the Impex issue is cheaper in the US making it a no-brainer for E,W&F fans. )

Well done Impex!

I hope they'll come up with more titles from E,W&F in the future.


Packaging Quality: 
Heavy weight cardboard gatefold jacket with excellent bright sharp printing. My Quad reissue looks washed out in comparison. medium weight poly jacket cover with Impex pressure sensitive label and pink anti-static inner. Reproduced lyric insert. Record label is faithfully reproduced to the original orange/red label.

Impex always provide with a quality packaging both the inside and outside and this is no exception.

 Steve Wilson remix, vinyl on DGM

House trained.