- Omaha, Nebraska
- Joined on June 1, 2016
I started collecting records in the 60's. Every kid remembers when the Beatles came on the Ed Sullivan Show. During the 60’s I amassed a nice collection of Beatles, Beach Boys and Rolling Stones LP’s and singles along with other artists that I still have today. Like almost every other kid I threw away the sleeves of some of the 45’s. I have been replacing sleeves as I can find them. I have a nice collection of 45's with picture sleeves started. In the 80's I switched to CD's as they were the obvious future. Virtually replaced all of my albums with CD’s. Now going full circle I'm back to collecting LP's and 45's
Now I'm going outside to have
An ice cold beer in the shade
I'm going to listen to my 45's
Ain't it wonderful to be alive
When the rock 'n' roll plays.
Goldmine grading standards:
These are perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition. There is no set percentage of the Near Mint value these can bring; it is best negotiated between buyer and seller.
NEAR MINT (NM OR M-)
A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it is nearly perfect. Many dealers will not use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever absolutely perfect.
NM records are shiny, with no visible defects. Writing, stickers, or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must be absent; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)
NM covers are free of creases, ring wear and seam splits of any kind.
NOTE: These are high standards, and they are not on a sliding scale. A record or sleeve from the 1950s must meet the same standards as one from the 1990s or 2000s to be Near Mint! It is estimated that no more than 2 to 4 percent of all records remaining from the 1950s and 1960s are truly Near Mint. Therefore, they fetch such high prices, even for more common items.
Don’t assume your records are Near Mint. They must meet these standards to qualify!
VERY GOOD PLUS (VG+) or EXCELLENT (E)
A good description of a VG+ record is “except for a couple minor things, this would be Near Mint.” Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it toward the high end of the grade (sometimes called VG++ or E+).
VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some noticeably light ring wear or discoloration, but it should be barely noticeable.
VG+ covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.
VERY GOOD (VG)
Many of the imperfections found on a VG+ record is more obvious on a VG record. That said, VG records — which usually sell for no more than 25 percent of a NM record — are among the biggest bargains in record collecting, because most of the “big money” goes for more perfect copies. For many listeners, a VG record or sleeve will be worth the money.VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise.
Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.
VG covers will have many signs of human handling. Ring wear in the middle or along the edges of the cover where the edge of a record would reside, is obvious, though not overwhelming. Some more creases might be visible. Seam splitting will be more obvious; it may appear on all three sides, though it will not be obvious upon looking. Someone might have written or it or stamped a price tag on it, too.
GOOD PLUS (G+)
or VERY GOOD MINUS (VG–)
These records go for 10 to 15 percent of the Near Mint value, if you are lucky.
Good does not mean bad! The record still plays through without skipping, so it can serve as filler until something better comes along. But it has significant surface noise and groove wear, and the label is worn, with significant ring wear, heavy writing, or obvious damage caused by someone trying to remove tape or stickers and failing miserably. A Good to VG– cover has ring wear to the point of distraction, has seam splits obvious on sight and may have even heavier writing, such as, for example, huge radio station letters written across the front to deter theft.
If the item is common, it’s probably better to pass it up. But if you’ve been seeking it for a long time, get it cheap and look to upgrade.
POOR (P) and FAIR (F)
Poor (P) and Fair (F) records go for 0 to 5 percent of the Near Mint value, if they go at all. More likely, they end up going in the trash. Records are cracked, impossibly warped, or skip and/or repeat when an attempt is made to play them. Covers are so heavily damaged that you almost want to cry.
Only the most outrageously rare items ever sell for more than a few cents in this condition — again, if they sell at all.
Still-sealed albums can — and do — bring even higher prices than listed.
However, one must be careful when paying a premium for sealed LPs of any kind for several reasons:
1. It may have been re-sealed.
2. The record might not be in Near Mint condition depending how the record has been stored.
3. The record inside might not be the original pressing or the most desirable pressing.
4. Most bizarre of all, the wrong record might be inside.
The Goldmine® Record Album Price Guide lists only those vinyl LPs manufactured in the United States or, in a few instances, manufactured in other countries, but specifically for release in the United States. Any record that fits the following criteria is an import, and you will not find it in the price guide:
• LPs on the Parlophone label by any artist, at least before 2000. Parlophone, best known as the Beatles’ British label, was not used as a label in the United States until very recently.
• LPs that have the letters “BIEM,” “GEMA” or “MAPL” on them.
• LPs that say anywhere on the label or cover, “Made in Canada,” “Made in the UK,” “Made in Germany,” etc.
Also unfortunately, there are few general rules about the value of an import as compared to an American edition.
Some import albums, especially well-made Japanese imports that still have their “obi strip,” can go for more than the U.S. counterpart. Others seem to attract little interest in the States.
One rule is just as true of imports as it is with U.S. records: Those discs that are originals in the best condition will sell for more than reissues and those in less than top-notch shape.
Basically, a promotional record is any copy of a record not meant for retail sale. Different labels identify these in different ways: The most common method on LPs is to use a white label instead of the regular-color label and/or to add words such as the following:
“Demonstration — Not for Sale”
“For Radio-TV Use Only”
Some labels, of course, used colors other than white; still others used the same labels as their stock copies, but added a promotional disclaimer to the label.
Most promotional albums have the same catalog number as the regular release, except for those differences.
Sometimes, regular stock copies have a “Demonstration — Not for Sale” or “Promo” rubber stamped on the cover; these are known as “designate promos” and are not of the same cachet as true promotional records. Treat these as stock copies that have been defaced. Exceptions are noted in the listings.
All of this is mentioned as a means of identification. As a rule, do not list promotional records separately.
There are exceptions:
Most promotional LPs sell for approximately the same as a stock copy of the same catalog number.
However, there are certain exceptions. These include promos in special numbering series:
Columbia albums with an “AS” or “CAS” prefix.
Warner Bros, albums with a “PRO” or “PRO-A-” prefix.
Capitol albums with a “PRO” or “SPRO” prefix.
Mercury albums with an “MK” prefix.
Promos that are somehow different than the released versions, either because of changes in the cover or changes in the music between the promo LP and the regular-stock LP.
Promos pressed on special high-quality vinyl. These were popular in the 1980s and can bring a premium above stock copies of the same titles.
Colored vinyl promos.
GRADES THAT DON'T EXIST:
They are trying to say the record is better than MINT! No such animal. If you see this grade, avoid the record like the plague. Mint is the highest grade anything can ever be. And 99 out of 100 times the record won't even be mint! Man is not perfect! So how can a man-made product be better than perfect? Answer: Impossible.
Near Mint Minus. Just another way of trying to get top book value for a record that is less than NM.If a seller uses this grade, ask what it means (thoroughly)as opposed to the NM or M- grade. It's your dollars and if they are selling it as less than NM yet for top dollar, you may be out of luck trying to convince them that it was an over grade on their part. If a record is slightly less than NM, then use EX or VG++.
If you read the above the same rule holds true here. No such thing as EX+. It is just another confusing grade that does not have any defined level of agreement among collectors. People who use this grade don't want to lose money on their collectibles. By upping the grade, means upping the price. Just be fair. Use conservative grades. When you grade a record, put yourself in the shoes of the potential buyer. Would you want to get a record with this grade and discover some overlooked flaws? If you sell a record for big $$$ be prepared for criticism. People will examine the record with more than just a quick glance once they receive it. Over grading will only make you look bad. And too many unhappy customers mean very few repeats (or perhaps no customers in the long run).
Come on, 2 plus marks are enough! No such animal!
The grade is just a good selling point. Realistically though it does not exist. Use it seldom, if ever
A "fake" is an unofficial release of an already existing pressing
A "counterfeit" is an unofficial pressing of a release that may, or may not exist, but made to look genuine.
A "bootleg" is an unofficial release of outakes, live performances, etc. that doesn't make any attempt to mimic an official pressing.
All of these are considered "pirate releases”
Capitol pressing plant identifiers
ɑ = Allied
Ѽ = Frankford/Wayne
Ƨ = Santa Maria
Pressed by: MCA Pressing Plant, Pinckneyville ◈-P-◈
Pressed by: MCA Pressing Plant, Gloversville ⧈─G─⧈
Capitol Records-EMI Of Canada Limited (Target Logo)
Capitol Records Pressing Plant, Jacksonville 0
Capitol Records Pressing Plant, Scranton IAM in Triangle. OR An abstract anvil-type symbol is used in the runout, indicating (before 1963) the Scranton pressing plant.
Capitol Records Pressing Plant, Winchester -------◁
Capitol Records Pressing Plant, Los Angeles ✲
A drum with 2 drumsticks Mastered at: Artisan Sound Recorders.
Columbia Records Pressing Plant, Terre Haute = letter "T" etched or stamped into the run-outs. Many times it will be a "T 1", "T 2", etc. or written in the reverse, "1 T", "2 T", etc. In addition the center label may be identified with "CTH" , or "CT" suffix matrix code. (e.g. ST-A-702035CTH) and possibly a "CT
1. IAM in a triangle = Capitol's Scranton factory
2. * in the matrix = Capitol's Los Angeles factory
3. Miniscule-sized, machine stamped matrix numbers and an "I" somewhere = RCA Indianapolis. That "I" is HARD to spot, but the tiny matrix tells you it's an RCA.
4. Hand-etched or machine stamped matrix and a machine stamped "R" = RCA Rockaway
5. Hand-etched matrix, starting or ending with "G" = Decca Gloversville
6. Hand-etched matrix, ending with "P" = Decca Pickneyville.
RIAA Capitol albums
The following is a list of numbers, factories and when the LPs were manufactured. This is from the Perry Cox guide:
Number Probable Factory Probable Period of Manufacture.
None Scranton Up to 1966
2 Scranton Up to 1967 Imperial Paper Box Corp., Inc. of Brooklyn, NY
3 Scranton Up to 1969 Modern Album of Long Island, NY
4 Jacksonville, IL 1965-1968 Imperial Packing Co., Inc. of Indianapolis, IN
5 Los Angeles 1964-1966 Modern Album of Terre Haute, IN
6 LA or Winchester 1964-1971 (original, subsidiary, green or Apple Label) Imperial Packing Co., Inc. of Indianapolis, IN
7 Columbia 1969 (original or subsidiary label)
8 Decca? c. 1966
9 Jacksonville, IL 1968, 1970-1974 (original, or green or Apple Label) Modern Album of Terre Haute, IN
10 Scranton c. 1965
11 Winchester c. 1976
12 Winchester 1971-1976 (Apple or Orange label)
13 Winchester c. 1976-1978
16 Jacksonville, IL 1968-1971 (subsidiary, green or Apple Label)
17 Jacksonville, IL c.1975 (Apple label)
18 Los Angeles 1970-1976 (green, Apple or orange label)
19 Los Angeles c. 1974-1978 (Apple or orange label)
21 Winchester 1969-1971 (green label)
22 Winchester unknown
Lacquers with F numbers (ending in F-1, mastered in Hollywood) pressed by Capitol Records Pressing Plant, Los Angeles with six-star asterisk stamped onto deadwax; lacquers with P and T numbers (i.e. T2, mastered in New York) pressed by Capitol Records Pressing Plant, Scranton with 'IAM' in a triangle stamped onto deadwax - both plants used label typesetting supplied by Los Angeles.
higher lacquer numbers in 'W' and 'X' would have been seen on Jacksonville pressings.
Hollywood: Mono - F/G, H/J (pre-1967); Stereo - A/B, H (after 1967)/J (after 1969) [NOTE: In 1968, J was used for lacquers for The Beatles' "White Album" that were apparently cut at the Sound Recorders Studio where George Harrison supervised the cuttings]
New York: Mono - P/T; Stereo - W/X
© ℗ ©
X = Columbia Records Pressing Plant, Pitman
Y or y = Columbia Records Pressing Plant, Terre Haute
Z = Columbia Records Pressing Plant, Santa Maria
W = Columbia Records Pressing Plant, Carrollton, GA
C = Monarch Record Mfg. Co. (pre-1985), Electrosound Los Angeles (1985-86)
B = Electrosound Group Midwest, Inc.
R = RCA Records Pressing Plant, Indianapolis
(1) ✤ / ◉ = Gloversville
(2) ◆ = Pinckneyville
(3) ◈ = Richmond
(1) ⧈-G-⧈ = Gloversville
(2) ◈-P-◈ = Pinckneyville
PR = Presswell Records Mfg. Co., Ancora, NJ
LY = Shelley Products, Huntington Station, NY
SP = Specialty Records Corp., Olyphant, PA
MO = Monarch Record Mfg. Co., Los Angeles, CA
PL = Plastic Products, Inc., Memphis, TN
RI = PRC Recording Corp., Richmond, IN
AR = Allied Record Co., Inc., Los Angeles, CA
CT or CTH = Columbia, Terra Haute, IN
CP = Columbia (Pitman, NJ)
CS or CSM = Columbia (Santa Maria, CA)
MG = MGM Record Mfg. Division in Bloomfield, NJ
Additional Pressing Plant Information:
❀ flower and bird motifs to the right of AZ = Brian Gardner.
ⓤ = Pressed by United Record Pressing
a, Q, O Check Allied Record Company
@ (DC Interlocked) = Dave Crawford (2)
AL = Allentown Record Co. Inc.
AR or ARC= Allied Record Company
ARP = American Record Pressing Co.
BW = Bestway Products Inc.
CS or CSM = Columbia Records Pressing Plant, Santa Maria
G or G1= Columbia Records Pressing Plant, Carrollton, GA
H (RCA Releases) RCA Records Pressing Plant, Hollywood
HRM = Hauppauge Record Manufacturing Ltd.
I (RCA Releases) RCA Records Pressing Plant, Indianapolis
LY = Shelley Products
MG or MGS = MGM Record Mfg. Division, Bloomfield, NJ
MO = Monarch Record Mfg. Co.
PH = PRC Recording Company, Richmond, IN
P, PIT = Columbia Records Pressing Plant, Pitman
PL or PP= Plastic Products
PR = Presswell
PRC = PRC Recording Company, Richmond, IN
PRC-C or PRC-W = PRC Recording Company, Compton, CA
RI = Philips Recording Co., Richmond, IN
R (RCA Releases) RCA Records Pressing Plant, Rockaway
SO = Sonic Recording Products, Inc.
SP = Specialty Records Corporation
Ƨ, S, SI, S S2, = Columbia Records Pressing Plant, Santa Maria
TI, TII, TII, CT or CTH = Columbia Records Pressing Plant, Terre Haute
T, 1T, T1, 2T, T2 = Columbia Records Pressing Plant, Terre Haute
X = Embosed or S Backwards In or out of circle = Shelley Products
MR = Monarch Record Mfg. Co.
∴ or Λ = CBS Pressing Plant, Aston Clinton
SP = Specialty Records Corp., Olyphant, PA
MO = Monarch Record Mfg. Co., Los Angeles, CA
PL = Plastic Products, Inc., Memphis, TN
RI = Philips Recording Co., Richmond, IN
AR = Allied Record Co., Inc., Los Angeles, CA
CT or CTH = Columbia Records Pressing Plant, Terre Haute
CP = Columbia (Pitman, NJ)
CS or CSM = Columbia (Santa Maria, CA; very infrequently)
BW = Bestway Plastics, Mountainside NJ
SO = Sonic Recording Products, Holbrook, N
MG or MGS = MGM Record Mfg. Division, Bloomfield, NJ
London Records label matrix suffix:
AL - Allentown Record Co.
P - Columbia, Pitman, NJ
TH - Columbia, Terre Haute, IN
SM - Columbia, Santa Maria, CA
SH - Shelley Products, Ltd., Huntington Station, NY
BW - Bestway Products, Inc., Mountainside, NJ
GL - Decca/MCA, Gloversville, NY
K - Decca/MCA, Pinckneyville, IL
PH - PRC (formerly Philips) Recording Corp., Richmond, IN
W - H.V. Waddell, Burbank, CAl
Deadwax mastering info
G.S.V.) -> Greg Vaughn
(spiral sign) @ D+M -> Robert Henke ( Dubplates-mastering, Berlin )
*-J.T.S.-* -> JTS Studio, London
cul -> Moritz von Oswald
@t GP -> George Piros
“Soundmaster” Lionel @ Translab, Paris -> Lionel Nicod
7AP -> Augustus Pablo
a ( topless lowercase 'ɑ' logo) -> Allied Record Company
A 1ST FOR KEV – TOWNHOUSE -> Kevin Metcalfe ( Townhouse Studios, London )
A Porky ‘Oh yes’ Prime cut -> George Peckham
A Porky Prime Cut -> George Peckham
A PORKY PRIME CUT -> George Peckham
A Porky Prime Er-Er-Er Goldfish I Think -> George Peckham
A Porky Prime sniff sniff cut -> George Peckham
A PORKY PRIME TANGO -> George Peckham
aB -> Al Brown (5)
Allen Zentz -> Allen Zentz
AM -> Andy Mellwig ( The “A” looks like triangle; Dubplates-mastering, Berlin )
an “A with M” sign -> Andy Mellwig ( Dubplates-mastering, Berlin )
andreas at schnittstelle -> Andreas Kauffelt
[email protected] -> Andreas Kauffelt
ARNIE or a closely spaced 'AA' (sometimes looks like an 'M' with a line thru it) on his A&M cuttings as well.
ARP (in script) -> American Record Pressing Co.
ARUN -> Arun Chakraverty
AT-GP -> George Piros
Audiodisc YYMMDD -> Pressed at Audiodisc AB
Az -> Allen Zentz ( note the lower case Z )
AZ -> Allen Zentz Mastering Company
AZ (with birds/flower) -> Brian Gardner ( Allen Zentz Mastering Company )
AZ CB -> Chris Bellman ( Allen Zentz Mastering Company )
B, "BW" or oblique "Bestway" stamped in run-out. "BW" can be found also in the label matrix. Or 19 on Label -> Bestway Products Inc.
B.E C.R -> Björn Engelmann ( Cutting Room, Stockholm )
B.E-C.R -> Björn Engelmann ( Cutting Room, Stockholm )
B.G. -> Bernie Grundman
BA -> Björn Almstedt
BA•CR -> Björn Almstedt ( Cutting Room, Stockholm )
BA-CR -> Björn Almstedt ( Cutting Room, Stockholm )
BA-EF -> Björn Almstedt
BA-GP -> Björn Almstedt
BA-T∞ -> Björn Almstedt
Beau -> Beau Thomas
BEAU -> Beau Thomas
beau -> Beau Thomas
Bell Sound -> Bell Sound Studios
Bell Sound sf -> Sam Feldman ( Bell Sound Studios )
BH -> Bobby Hata
BilBo -> Denis Blackham ( which looks like BiBo )
Bilbo master room -> Denis Blackham
Birds or flower drawing -> @ Specialty records =Brian Gardner
BK -> Bill Kipper
BKG -> Brian Gardner
C.R -> Cutting Room, Stockholm
C.T.S. Wembley -> C.T.S. Studios, Wembley.
CGB -> Christoph Grote-Beverborg
CGB / D+M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
CGB @ D&M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
[email protected]&M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
CHRIS P @ UNITY -> Chris Parmenidis
COPYMASTERS – Miles -> Miles Showell
CR -> Cutting Room, Stockholm
CSB ♪♪ -> Carlton Batts ( followed by two musical notes )
CURVE PUSHER. -> Curve Pusher Mastering, London
D Jay @ Masterpiece -> Danny King ( Masterpiece Mastering, London )
D&m -> Dubplates-mastering, Berlin
D. SWABY -> Dudley Swaby
D.A.S. Disc Mastering -> Digital Audio Solutions
D+M -> Moritz Von Oswald ( (note; M has a hook on the end); Dubplates-mastering, Berlin )
DAMONT -> Pressed at Damont Audio Limited
DAS Disc Mastering -> Digital Audio Solutions
DB -> Denis Blackham
DBH -> David Hancock
DCHARLES -> Dick Charles ( Handwritten signature )
Denny -> Mastered By – Denny Purcell
DFI -> Pressed at DFI
[email protected] Masterpiece -> Danny King ( Masterpiece Mastering, London )
DK -> Dennis King
DMM -> Direct Metal Mastering
DMS C -> The Hit Factory, DMS, NYC
DMS cg -> Chris Gehringer ( The Hit Factory, DMS, NYC )
DMS cg [peace sign] -> Chris Gehringer
DMS Coin -> The Hit Factory, DMS, NYC
Doug -> Doug Sax
DT -> Dave Travis - Mastering Engineer
DUDLEY SWABY -> Dudley "Manzie" Swaby
E A S T embossed around the center hole -> Specialty Records Corporation
EcK -> Ralph Eck
EDP -> Europadisk Sometimes credited as a circled (Oval) "EDP" stamp in the vinyl run-out area.
ERT or "gene" (Capitol) = Gene Thompson
Es -> Eddy Schreyer (in a script, sometimes looks like E ____ or Es or Er
EURODISC -> Eurodisk Manufacturing
EUROPADISK -> Pressed at Europadisk, NYC.
EW -> Eirik W. Wangberg sometimes seen with EW/N or EW/CF
EXCHANGE 2000 – SIMON. -> Simon Davey
F.A. -> Frank Arkwright
F.A. Metropolis -> Frank Arkwright ( Metropolis Studios, London )
F/W -> Frankford Wayne Mastering Labs, NYC.
F/W J -> Frankford Wayne Mastering Labs, NYC.
Finnvox MJ -> Mika Jussila
Flower or birds drawing -> @ Specialty records =Brian Gardner
FOON MASTERING -> Foon Mastering Center
Frankford/Wayne -> Frankford Wayne Mastering Labs, NYC.
Frankford/Wayne Mastering by Michael -> Michael Sarsfield ( Frankford Wayne Mastering Labs, NYC. )
FST @ D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FST D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FST>D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FTS -> Federal Recording Studios, Kingston / Total Sounds
G.K. -> Gilbert Kong
GC -> Greg Calbi ( Sterling )
Gene -> Gene Thompson
GEORGE – COPYMASTERS -> George Peckham
GF is Greg Fulginiti of Artisan
GK -> Gilbert Kong
GOL -> etched in runouts = Goldisc Recording Products, Inc.
Gordon at the Townhouse -> Gordon Vickary
GP -> Grammoplast, Sweden
Graeme -> Graeme Durham
GRAEME – SOUND CLINIC -> Graeme Durham
GRAZ – The Exchange -> Graeme Durham
[email protected] Exchange -> Graeme Durham
greyham the exchange -> Graeme Durham
GSV -> Greg Vaughn ( or “G5V“ )
GUY’S – THE EXCHANGE -> Guy Davie
HEM cg -> Chris Gehringer
Herb :^) -> Herb Powers Jr.
Herbie :^) -> Herb Powers Jr.
Herbie Jr :^) -> Herb Powers Jr.
Herve @ Translab -> Hervé Bordes
HFM ´[number] -> The Hit Factory, DMS, NYC
HFM cg -> Chris Gehringer ( The Hit Factory, DMS, NYC )
HP -> Herb Powers Jr.
HTM -> Harry Moss
HuB -> Frankford Wayne Mastering Labs, NYC. ( ? )
HW -> Howie Weinberg
J. Lemay - John Lemay
J.Y. -> Joe Yannece
JA Tape One -> Jack Adams
Jacko – Tape One -> Jack Adams
Jay or JAM or 'Jay Luck' - Jay Maynard (Capitol)
JC Masterroom -> Jeremy Cooper
JD -> John Dent
JD-ASH -> John Dent and Ashley Burchett ( ? )
Joe -> Joe Brescia (may look like 8 e in runout)
JG - John Golden.
JE -> John Eberle
JL MASTERFONICS -> Jim Loyd
John D -> John Davis
JON2 -> John Dent
Jonz -> John Dent
Jonz @ Loud Mastering -> John Dent ( Loud Mastering )
JS -> Jeff Sanders
K -> Andreas Kauffelt
K.P. -> Ken Perry
KDISC -> K Disc Mastering
Kendun -> Kent Duncan or Kendun Recorders
LAWRIE @ CURVE PUSHER -> Lawrie Immersion
LB -> Larry Boden
LH -> Lee Hulko
Lionel & Hervé @ Translab -> Lionel Nicod & Hervé Bordes
Loop-0 at D&M -> Loop-o ( Dubplates-mastering, Berlin )
Lupo -> Loop-o
LW -> at 90 degrees, indicates that the metalwork was made by Longwear Plating (Longwear Stamper Company)
LY -> Shelley Products .. Identified by suffix/code LY, most notably on Atlantic releases
M3 for 7" and 10", M6 for 12" or LP, M9 for 2xLP. => Pathé Marconi, Chatou
M.M.M.J.R. -> Mark Richardson (3) ( Metropolis Mastering, Chicago )
MANDY @ THE EXCHANGE -> Mandy Parnell
MARTIN @ C.T.S. -> Martin Giles
MASTERDED BY CAPITOL -> Capitol Studio & Mastering , Hollywood
MASTERDISK -> Masterdisk, NYC
MASTERDISK G.K. -> Gilbert Kong
MASTERDISK TD -> Tony Dawsey ( Masterdisk, NYC )
Mastered at Abbey Rd -> Abbey Road Studios, London
mastered at 'Abbey Road' -> Abbey Road Studios, London
MASTERED AT ALLEN ZENTZ L.A., CALIF. -> Allen Zentz Mastering Company
MASTERED BY CAPITOL Wally -> Wally Traugott ( Capitol Studio & Mastering , Hollywood )
Mastered by NIMBUS, England -> Nimbus
Mastered MIAMI TAPE -> Miami Tape, Hialeah ( (“MIAMI TAPE” is stamped) )
MATT OPTIMUM -> Matt Colton
MCR -> Master Cutting Room, NYC.
MELYS or MELYS! -> UK mastering engineer Melvyn Abrahams
Metropolis Mastering Chicago M.J.R. -> Mark Richardson (3)
MF -> Mike Fuller @ Criteria
MG or MGS -> MGM Records Division
MIKE @ THE EXCHANGE -> Mike Marsh
Mike @ The Exchange -> Mike Marsh
Mike’s™ -> Mike Marsh
MILES -> Miles Showell
MJFX -> Mika Jussila
ML -> Maurice Long (2) Capitol Records
MMMJR -> Mark Richardson (3) ( Metropolis Mastering, Chicago )
MPaul -> May look like Maul, = Paul Richmond (2)
MPO -> Moulages et Plastiques de l’Ouest, Averton.
MR within a circle, plus the triangle/5 digit matrix -> Monarch Record Mfg. Co.
MR -> Marc Regan or Mark Regan
MR -> Small hand etched = Mercury Record Manufacturing Company
Neil – Masterpiece -> Neil Devine
Neil Masterpiece -> Neil Devine
Nick -> Nick Webb Abbey Road Studios, London )[/i]
NICK W. -> Nick Webb Abbey Road Studios, London
Nick's cut! -> Nick Webb Abbey Road Studios, London )[/i]
NILZ – THE EXCHANGE -> Nilesh Patel
NIX MIX TOWNHOUSE -> Larry Nix
Noel @ Transfermation -> Noel Summerville
NOMIS -> Simon Davey ( “Simon” backwards )
NRP -> Nashville Record Productions
NSC -> National Sound Corporation, Detroit ( used to be solely Ron Murphy (except some very early stuff), now also Heath Brunner )
Ø(Phase) -> Ashley Burchett
Ø(Phase) @ Whitfield London -> Ashley Burchett
ø@CURVE PUSHER -> Ashley Burchett
Ø[Phase] -> Ashley Burchett
Øphase -> Ashley Burchett
øPHASE -> Ashley Burchett
øPHASE @ WHITFIELD ST -> Ashley Burchett
Ø[email protected] Curve Pusher -> Ashley Burchett ( Curve Pusher Mastering, London )
o -> Customatrix was a division of Columbia's pressing operations that handled the making of metal parts
ORLAKE -> Orlake Records, Dagenham
P.A. -> Phil Austin ( Trutone )
P.O.R.K.Y. -> George Peckham
PAUL S @ PORKY’S -> Paul Solomons
Paul S @ Porky’s -> Paul Solomons
PAUL’S @ PORKYS -> Paul Solomons
Paul’s @ Porkys -> Paul Solomons
PAUL’S THE EXCHANGE -> Paul Solomons
Pauls’ The Exchange -> Paul Solomons
PCMJR -> Mark Richardson (3) ( Prairie Cat Mastering, Belvidere )
PD -> Peter Dahl
PD-CR -> Peter Dahl ( Cutting Room, Stockholm )
PECKO -> George Peckham
PECKO DUCK -> George Peckham
Pete @ Tape To Tape -> Pete Norman
PIPO NYC -> Alberto Roges
PL suffix appearing in matrix numbers on labels, and/or "PP" etched in runout -> Plastic Products
Pogo with the heart belongs to Keith Olson of Pogoland Productions.
POLAR -> Polar Mastering, Stockholm (defunct, now Masters of Audio, Stockholm)
Pole -> Pole
POM TR -> Pompon Finkelstein ( Translab, Paris )
porkeys prime cut -> George Peckham
Porky -> George Peckham
Porky Prime Cut -> George Peckham
Porky Primed -> George Peckham
Porkys -> George Peckham
PP etched in runout -> Plastic Products
PRC was a pressing plant. Initially based out of Richmond, IN, they later opened another plant in Compton, CA
Primed -> George Peckham
R @ D&M -> Rashad Becker ( Squiggly lower case ‘r’; Dubplates & Mastering ,Berlin )
⁄|⁄ǀ⁄|⁄ǀ⁄|⁄K -> Randy Kling, Motown etc.
Rashad -> Rashad Becker
Ray at The Exchange -> Ray Staff
RC code within deadwax = RCA Records Pressing Plant, Indianapolis
RCE -> Rick Essig ( F/W )
RCK -> Robin C. Kruse
RFS -> Bob Sowell (Robert F. Sowell)
RJ -> Ray Janos ( Sterling )
RL -> Bob Ludwig or Robert
RV -> Hervé Bordes
RVG -> Rudy Van Gelder
VANGELDER -> Rudy Van Gelder
S ,block-shaped "S" -> MGM Records Division
S -> backwards "S" within a circle = Shelley Products (Shelley Products Ltd - Huntingdon Station, N.Y.)
S.D -> Simon Davey
S.M. M.J.R. -> Mark Richardson (3) ( Session Masters, Carol Stream )
SD -> Simon Davey
Sean Abbey rd i...i -> Sean Magee ( Abbey Road Studios, London )
sf -> Sam Feldman
SG -> Steve Guy
SH -> Steve Hall
SHANE -> Shane McEnhill
Shane – the cutteR -> Shane McEnhill ( Graffiti Style; The “h” looks more like a “t” )
Shane @ Heathman’s -> Shane McEnhill ( Graffiti Style; The “h” looks more like a “t” )
Sol -> Sol Kessler (Bell Sound Studios) never signed work, may be Joe Brescia
SI MASTERPIECE -> Simon Francis
SI Masterpiece -> Simon Francis
SIMON – THE EXCHANGE -> Simon Davey
SIMON „HOOVER POWER“ DAVEY -> Simon Davey
SIMON „NEW SHOOS“ DAVEY -> Simon Davey
SIMON „NIGHT NURSE“ DAVEY -> Simon Davey
simon the exchange -> Simon Davey
SIMON. -> Simon Davey
SLM -> Sheffield Lab Matrix Usually denoted by "SLM △ 00000" / "SLM △ 00000-X" etchings in the matrix/runout area or sometimes just "△ 00000" / "△ 00000-X" along with a "-SH#" in (at the end of) the matrix number string (# being a number).
SNB -> Sabin Brunet
Sound Clinic -> The Sound Clinic, London
Sound Clinic, Graeme -> Graeme Durham ( The Sound Clinic, London )
Sound Clinic/Jonz -> John Dent ( The Sound Clinic, London )
SR -> Stan Ricker
SR/2 -> Stan Ricker
SR2 -> Stan Ricker
SJR -> Stuart J. Romaine
SP, SR or SRC signature -> Specialty Records Corporation ( (Stamped, Large S with the R and C in the loops) or (SP or SR on label after matrix) )
SST -> Schallplatten Schneid Technik, Frankfurt
STERLING -> Sterling Sound, NYC
STRAWBERRY U.K. -> Strawberry Mastering, London
STREAKY @ SOUNDMASTERS -> Streaky
Stu -> Stuart Hawkes
Stu. @ Masterpiece -> Stuart Hawkes
Tape One JA -> Jack Adams
TC or ¢ -> Tom Coyne
THE EXCHANGE -> The Exchange, London
The Exchange – GD -> Guy Davie
THE EXCHANGE – NILZ -> Nilesh Patel
THM -> Terry More - Mastering Engineer
Tim D. -> Tim Dennen
Tim D. Masterpiece -> Tim Dennen
tim dixon masterpiece -> Tony Dixon
TIMTOM -> Tim Young
Timtom -> Tim Young
TJ -> Ted Jensen ( Sterling )
TLC -> The Lacquer Channel Mastering, Toronto
TML -> The Mastering Lab (The Mastering Lab, Hollywood)
TML-M -> The Mastering Lab , Hollywood ( M=Master )
TML-S -> The Mastering Lab , Hollywood ( S=Slave )
TML-X -> The Mastering Lab , Hollywood ( X=Extra )
TOWN HOUSE -> Town House Studios, London
TOWNHOUSE -> Town House Studios, London
Townhouse -> Town House Studios, London
Townhouse Max -> Max Dingel
[email protected] -> Thomas P. Heckmann
TR -> Translab Mastering, Paris
Transfermation -> Transfermation Mastering, London
TRANSITION -> Transition Mastering Studios, London
Transition -> Transition Mastering Studios, London
Truetone Mastering NYC Carl -> Carl Rowatti ( “Truetone” or “Trutone”? )
Trutone -> Trutone Inc, NYC
Trutone NY – PA -> Phil Austin
Trutone NYC Carl -> Carl Rowatti
TVC -> Tracy-Val Corporation
ty -> Tim Young
TY1 -> Tim Young
Union Jack stamping in the deadwax may signify a pressing by Keel Mfg. in Hauppauge, NY (the future Hauppauge Record Mfg.).
URJ -> Universal Recording Studio
Utopia -> Utopia Studios ( With vertical bar(s) in the “U” / Harp )
Village Mastering NYC CR -> Carl Rowatti
Wally -> Wally Traugott
Wally C. @ Masterpiece -> Walter Coelho
Wally C. @ Masterpiece Mastering -> Walter Coelho
WCW -> Bill Wysock - Mastering engineer
Wly -> Wally Traugott
WG -> Wes Garland
Wayne = Wayne Watkins, Capitol
WMME Alsdorf -> Warner Music Manufacturing Europe, Alsdorf
Woodland -> Mastered At – Woodland Studios
Yann Dub @ DK -> Yann Dub"
AT = Mastered by Atlantic Studios
AT/GP (handwritten) = mastered by George Piros at Atlantic
AT/DK (handwritten) = mastered by Dennis King at Atlantic
ATLANTIC STUDIOS DK (stamped) = mastered by Dennis King at Atlantic
ABS = Alex Sadkin
ab = Abbey Record Mfg. Co. (? we still don't know the exact meaning)
EDP [in oval] = Europadisk Pressing
PR or PRC or (PR) = Philips Recording Co. (maker of metal parts from lacquers)
LW or LWP = LongWear Plating (maker of metal parts from lacquers) Enter as "Mastered At"
♡POGO = Keith Olsen's Pogologo Productions
Porky or Porky Prime Cut = George Peckham
Pecko Duck = George Peckham
sƒ = Sam Feldman
RL = Bob Ludwig
LH = Lee Hulko
ɑ = Allied Record Company (usually followed by B-XXXXX)
MG = MGM Record Mfg. Division in Bloomfield, NJ
AMP = ABC-Paramount
M = Mercury
RCA = RCA Victor
◈-P-◈ = MCA Pressing Plant, Pinckneyville
回-G-回 = MCA Pressing Plant, Gloversville
G or G1= Columbia Pressing Plant, Carrollton, GA
✲ = Capitol Records Pressing Plant, Los Angeles
—◁ = Capitol Records Pressing Plant, Winchester
RG = Rob Grennell
GK = Gilbert Kong (GK)
"cg" + "☮" = Chris Gehringer
GF = Greg Fulginiti, of Artisan
R3 or R4 = Mastered at Rainbo Records (on Capitol Pressing)
︵︵〰 (birds) or メ or ❀、= Brian Gardner
DT = Dave Travis
RJ = Ray Janos
AZ CB = Chris Bellman at Allen Zentz
JG = John Golden
JJ = John Johnson (3)
SM = Stephen Marcussen
MF = Mike Fuller
BK = Bill Kipper
McM = Ron McMaster at EMI NY
SH = Steve Hall
H.W. = Howie Weinberg
TJ = Ted Jensen
RB = Ron Boustead (Precision)
SG = Steve Guy
Chet = Chet Bennett
RAYS = Ray Staff at Trident Studios, London
TLC = The Lacquer Channel, Toronto
FW Ѽ or FWNY = Frankford/Wayne Mastering Labs
GOL = Goldisc Recording Products, Inc.
CSB ♪♪ = Carlton Batts
PP = Plastic Products
TD = Terry Dunavan
ESR = Elektra Sound Recorders
GC or Baseball looking symbol next to Sterling = Greg Calbi
Ƨ = Columbia, Santa Maria
Identification of Other Pressing Plant Locations from CD Matrices and Hub Info:
M/YY #"DA"# or MM/YY #"DA"# = Denon Digital Industries - Madison, GA (USA)
"ARC" and "SRC" = pressed by Allied Record Company - Los Angeles, CA (USA); glass mastered at Specialty Records Corporation - Olyphant, PA (USA)
"CAPITOL JAX" = Capitol Records Pressing Plant - Jacksonville, IL (USA)
"CMU P" = Columbia Records Pressing Plant - Pitman, NJ (USA)
"DISC MFG, INC. (A)" = successor to Disctronics - Anaheim, CA (USA) in 1990
"DISC MFG, INC. (H)" = successor to Disctronics - Huntsville, AL (USA) in 1990
"DISCTRONICS (A)" = Disctronics - Anaheim, CA (USA)
"DISCTRONICS (H)" = Disctronics - Huntsville, AL (USA)
"DISCTRONICS USA" = successor to Memory Tech Inc. - Plano, TX (USA) in 1990
"EMI JAX" = successor to Capitol Records Pressing Plant - Jacksonville, IL (USA) in 1993
"MADE IN USA BY PDO" = Philips DuPont Optical - Grover, NC (USA)
"MADE IN W. GERMANY BY PDO" = successor to PolyGram Hanover plant - Langenhagen (Germany) in 1986
"RSA" = Record Service Alsdorf - Alsdorf (Germany)
"SRC" = Specialty Records Corporation - Olyphant, PA (USA)
Often used symbols:
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ᵃ ᵇ ᶜ ᵈ ᵉ ᶠ ᵍ ʰ ⁱ ʲ ᵏ ˡ ᵐ ⁿ ᵒ ᵖ ʳ ˢ ᵗ ᵘ ᵛ ʷ ˣ ʸ ᶻ
©℗•〄 ℗ & © ® • “” »« „“ ✔
№ ™ Ⓐ Ⓑ Ⓒ Ⓓ Ⓔ Ⓕ Ⓖ Ⓗ Ⓘ Ⓙ Ⓚ Ⓛ Ⓜ Ⓝ Ⓞ Ⓟ Ⓠ Ⓡ Ⓢ ✓✔Ⓣ Ⓤ Ⓥ Ⓦ Ⓧ Ⓨ Ⓩ ✔33⅓ Ɣ ∂
◈-P-◈ < > ≏ ∴
♂♀ Ω ♠ ♣ ♥ ♦ ☢△ Ø ≠ ❀ M Λ N
èé ñ ó á ç
© ™ ℠ ® • € £ $ ¢ ¿ ¡ ¼ ¾ ½ µ ³ ² 1 1
¢ § ° º × † ♥ ♦ ← ↑ → ↓ ¦ | ± ‒ – № ≠ ٭ ✳ ✶ « » ▷ △ ◁ ∇ ◊ ∆ Λ • ☂ ⁂ ☃ ☼ ☆♪ ♫ ★
℗ & © ® TM™ ☮ Ⓟ Ⓒ♥ ♀♂ ≏♡ ½ 2222
℗ © ® ∆ TM™ ☮ Ⓟ Ƨ º ☮
☑ ☐ ----◄ èé • –––◁
♭¾ƒ♪♫♯♬♮☯☻☼☺✔❤★✌☆✓*☂⁂☃☮○◯◌ⓔ☐Ω♫ ♪ ¤☢☒٩Øø℅§‡ ¶ ⓤ µ ✳ Ω ♪ ♫ ♀ ♂ ◙ ۞
©+℗®™→€£☹$¢←℠№ A₁ B₁ A₂ B₂⦿ ♂⌾ ◎ ⊝⊜⊗⊖∞∟∠ †~ • ¤¿¤ ◙ ◈-P-◈↔↓↑↗⇒⇔⇐⇑⇓〄,,
℗ ® © ™ ★ ° ∆ §Ⅲ
3 q ƒ ꜘ ./ ·/ ·⁄ •/ •⁄ ˙/ ˙⁄
℗ © ™ ® ℠ ® ▷ △ ◁ ∇ ◊ ∆ Λ ◈-P-◈ – — • ~ | ¦ §
† ‡ ¿ ♦ ∘ Δ ☆ ★ ⍟ ⋆ ✯ ■ □ ∎ ▮ ⇒ → ⊃ ⇔ ↔ ∧ ∨ ↔
Ñ ñ ß ø ∀ ∃ ∞ ∑ π
✧✯ ✱✳❃❂✽✼✻✺✹✸✷ ✶✵✴❄❅❆❉❖【 】┱ ┲ ☭ ➸ ✕ ✖ ◢ ◣ ◥ ◤ 凸 ‧o ❆ べò⊹⋋ ◦ ❊❋❖ ︷╅ ╊ ÷—▂⊙✖ ³￣づ o ๏︶︹︺ ✙✚✛✜✝✞✟† † ‡
№ ™ ∞
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