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August 13, 2021
This record I just purchased a day ago because I finally wanted a copy where I could peel off the banana stick it back on and have the suing asshole who's hanging upside down above the band performing .... Plus I wanted a newer sounding vinyl from the original tapes even if they were digital for this recording or WLWH what difference does it make ... Probably be able to hear it more clearer... But I noticed this DC guy did many of these in 2000 vs 2019 which was when this was released.. I heard the BTB are bad not sure if that's true or not... But what I want to know ... Ah screw it I bought it I 'll find out either way ... It just took me so long to choose one because since 2000 they been reissuing these titles like COKE ...
March 6, 2021
I've seen this inscription in deadwax of some of the better Scorpio reissues I've had (most recently, Nubians of Plutonia by Sun Ra).
I wonder what the source material is for some of these reissues. I can't imagine it would often be the original masters, but I don't buy the "Scorpio just copies cds onto records" thing either.
Either way, I usually can rest assured if I pick up a Scorpio and see the DC BQS signature in the deadwax.
See 1 reply
March 7, 2021
7 months ago
There used to be a website called "vinyl.com" that sold all of the Scorpio pressings and seemed to be associated with them. It looks like the website has changed into some kind of music licensing agency now. However, at the time they had a blurb in the "frequently asked questions", and regarding the sources used for the LP's they had this to say:
Are these LP's audiophile recordings?
No. Though some of our albums have been remastered from original analog tapes and could be considered audiophile quality, most are not. Unless stated otherwise, it should be assumed that our reissues have been digitally remastered (usually) from a digital audio tape/D.A.T. provided to us by the label."
So it would seem most are likely taken from DAT. I don't believe they were taken from CD's either, especially since a lot of the stuff they released didn't have a CD release at the time (and many of them still don't).
November 3, 2017
From my experience with releases he mastered, they all suffer from the same problem:
The bass and highs are cranked up and the mids are suffering from it. Whether it's an LP or a 12" - it's the same issue.
Not necessarily noticeable directly, but if you compare his cuts to other people's cuts (be it an original vs reissue pressing or e.g. a song from 12" he cut vs. the same song on the LP, which he did not cut), you will definitely hear it. I have several samples here, if anyone wants to hear it.
See 2 replies
December 6, 2017
Thank you for taking the time to reply to my comment. I appreciate it and you sound like a pretty decent guy.
I can see how the source which is sent to you for the cutting might be the culprit for the "phenomenon" I have noticed. However I can show you at least 3 cases, where this explanation might be coming too short (as the source more than likely is the same for the CD as for the LP):
The Death Row Records reissues are my prime example for this: For example: I own the Reissue of Snoop Dogg's "Doggystyle" on CD and on Vinyl (which you cut), and the original German pressing from 1993. I must assume that the CD and the Vinyl of the reissue came from the same source (a digital remaster). So in theory, they should sound very similar (as you also mentioned in your comment above). However they sound *nothing* alike - the reissue LP is showing exactly the flaws I described in my initial comment. It also sound a bit less "spacial" and dynamic than its CD and original LP counterpart. If you are interested, I can show you some comparison audio clips. The German original LP pressing sounds a lot closer to the CD reissue than the LP reissue. And this is the case with a lot of other releases I own as well (4 other Death Row reissues, several other albums - I will gladly send you comparison clips (original LP vs. Reissue CD vs. Reissue LP), if you want me to do so).
Your offer of creating a reference lacquer sounds very interesting, and I am considering taking it up - I will look out for a mastering engineer to master one of my own tracks for this - however as I am in Germany and not the US, shipping costs might be too expensive for this.
Anyway, again, thank you for commenting back.
Looking forward to your reply.
December 4, 2017
Thank you for your observations. I have heard similar comment from time to time.
The vinyl end user rarely has the experience of playing a source master against finished vinyl.
My goal is to maintain the integrity of the source material; the spirit and intent of the artist/producer
(as much as it is possible).
I freely admit to little or no use of compression, or of adding EQ, if the source is fully mastered.
On our cutting systems, the source master (analog or digital) should match the 'cut', reasonably well.
Basically, the bandwidth of a well-mastered source is left intact. This means the full bottom and top
are not tailored, limited or controlled.
In the end, it is the artist and/ or producer who sign off. After all I do the work for them.
Vinyl is capable of a bit more overall dynamic than is generally thought, and cutters more
often err to caution of possible skipping (bass), and/ or sibilant playback response (high end track-ability)
If you like this can be demonstrated if you will supply a mastered source of your choice,
it will be cut to a reference lacquer, and sent to you for comparison.
It will be my great pleasure to do so.
Thank you, again for commenting here.
Best, always, DC
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