I learned as a child at elementary school age how to play vinyl and care for it. However I do still buy vinyl on occasion depending on various factors and have accumulated a nice little collection since the 80s. I have always found it questionable the sound of colored vinyl, with picture discs sounding the worst. I always opt for black vinyl when I can. Sitting on the orange shag carpet, gazing at the album jacket.
No color of any kind can match it. Colored variants to me have always seemed like cheap alternatives issued only as cash-grabs. I manufacture vinyl for a living. The notable exception is glow-in-the-dark plastic, which is dreadful stuff. Where you will naturally find playback issues is on discs pressed with multiple colours, either in segments or as splatters, especially mixtures of opaque and transparent plastic.
It took 5 fives minutes to realise it was looping! My only bugbear is the near transparent vinyl with multiple tracks on either side. Back in the days of DJing it could be a bit of a nightmare trying to quickly cue up the track you wanted because the cue point ie start of the track would show on both sides and mistakes could be made when you thought you had cued it up only to find out it was halfway through the desired track because you were literally looking at the track on the other side of the vinyl.
In a dimly lit room, it made for some funnily frustrating times. I am not an audiophile and never have been in all my 46 years of listening to vinyl except classical music which is better on cd! Imo your speaker system, turntable set up and needle!!
When I play them out on a big system nobody ever came to me and complained. We can be fussy or go on with it and make it better for those sensitive audiophile ears who have a great system set up at home. There is more surface noise to colored vinyl as opposed to black vinyl. I own multiple copies of split, tri-colored and quad-colored vinyl and if you listen to those LPs with head phones on you can tell the difference in surface noise.
Especially if one of the sections is black. Also I find it irritating that when some artists release an LP there can be up to 10 different variations of the release! Annoying AF! I always buy the black version for my play copy and leave the other variation just to look at occasionally.
I have found though that there are some really good quality colored vinyl out there and it seems to be the gram and above that sound the best. Also picture discs have improved a lot since the glory days when picture discs were all the rage. I experiencing a lot more warping, rough edges, particles in the grooves and kinked inserts and inner sleeves. Sure there was warping back then too but usually on popular releases that would sell a lot of units and they packed and shipped them quickly before they completely cooled from the pressing process.
Frampton Comes Alive comes to mind. Love all the comments on this informative article. For those that say record companies always punched out label centers before melting down old vinyl to make new vinyl pressing ….. Not sure if anyone out there knows something about this, but i have recently found that colored vinyl and other variants arrive warped FAR more often than black wax. Not blaming the record companies, just the colored vinyls… any thoughts? The labels were punched out before the vinyl was ground up and melted down.
Sometimes a bit of label would get in with the vinyl if the label were originally off-center, for example , but that was pretty rare. Vinyl is the ultimate historical musical artifact. Everything about the vinyl should feel like it represents what the music is about. Not going to lie.. I will sacrifice slighty better sound quality for an artifact that has history ingrained in it ie. The sound difference between black vinyl and colored vinyl is really not that discernible.
Sometimes you would see pieces of the old labels in the vinyl. They could cause clicks, pops, skips, etc. The purer the vinyl virgin yes even black , the more light would show through.
Colored vinyl is nice. Almost exclusively classical music targeting people who wanted high quality sound. Pressing and mastering are much more significant than the color of the vinyl.
I have nothing against colored vinyl as long as these two jobs are done well. I did get it a few times before but it went away with the second play. I also notice sometimes when i finish playing a record and i use the arm to lift the tonearm up and move it across so that i can turn the record over that there is a crackling sound.
Even though the stylus isn't near the record there is still a quick crackling sound, is that static coming from the record? I also notice that even though i hold the record properly the hairs on my forearm stand up a little.
Yes this is mad amounts of static - if you can't budget for the Knosti cleaner for now, at least get hold of some anti-static inner sleeves. These really do work. Also, can I ask what platter mat you're using? I can't remember whether you have a felt one or whether had bought a cork one - I think this also has an affect. Last edited: Jul 20, The thing is Mark I thought about that gadget too I've had my eye on one of those for months! I am using the felt mat currently.
The gun is a lot of money just for that i think. I might get hold of some inner sleeves. Where is the cheapest place to buy them? Even if i get some 7" ones just now for my new singles and later on i can get some 12" ones for my albums. I have never seen anti-static sleeves for 7", strange eh? The Nagaoka sleeves slip inside you current paper inner sleeves - they are very thin and flimsy so you do need that support.
We have written an extensive article about white label promo records; you can read it here. This issue of scarcity comes into play when one looks at whether a particular record was released by a small, regional label or a large national one. Larger labels have national distribution and multiple pressing plants, and popular records might be pressed in the millions. Smaller labels might press only a few hundred or several thousand copies of a particular record.
There are examples of records being initially released on small labels and then later released on larger labels when the small record company negotiated a distribution deal with the larger label in order to sell more records. An example of this would be the surf album Pipeline by the Chantays, which was originally released on the California-based Downey label. When the song became a hit, Downey struck a deal with the nationally distributed Dot records to have them release the album instead.
Today, copies of the album on the Downey label are far harder to find than their Dot counterparts, and sell for higher prices. Sometimes an artist will release records on a small label and then move to a larger one. In these cases, their earlier releases tend to be more collectible than their later ones. As the records by the group issued by RCA sold quite well, they tend to sell for modest prices. Another example, also in the country genre, is the first album by Jim Reeves.
His first album, Jim Reeves Sings , was issued in on the small Abbott label. When that album began to sell well, Reeves moved to major label RCA. A given album or single might have been released with several different labels on the disc itself, even among releases by the same record company. Record companies often change the appearance of the labels used on their records. While it has happened less often in recent decades, changes in label art an appearance were quite common among the major labels during the s and s.
Records by the Beatles, for instance, were released by Capitol Records on a black label with a rainbow colored perimeter, a green label, a red label, a custom Apple label, an orange label, a purple label, and a new version of the original black label, all over a period of about 20 years.
As a rule, collectors tend to favor original pressings, so for a given title, the most desirable label variation would be whichever one was in use on the day the record was originally release for sale to the public. There are exceptions to this, however. The red Capitol label mentioned above was commonly used in the early s for a number of titles, but was never intended to be used for records by the Beatles.
Sometimes, minor differences on labels can make a difference, as well. The first copies of Meet the Beatles to be sold in America were rushed to the stores without including publishing information for the songs on the record. Until , records were sold only in mono. Between and , records were usually sold in both mono and stereo, and between about and , a few records were available in 4 channel quadraphonic sound.
During the time when records were sold in more than one format simultaneously, one of the formats was usually pressed in smaller quantities than the other. Mono records were more common than their stereo counterparts in the early s, for instance, but were the harder variation to find by Quadraphonic pressings were always intended for a niche market, and never sold in large quantities, except in the few cases where all copies of a particular title were encoded in quadraphonic sound.
While the value of a mono record in relation to its stereo counterpart will depend on when the record was released, quadraphonic copies are almost always worth more money than the same album in stereo. The topic of mono vs. While most records are pressed from black vinyl, sometimes other colors are used. With few exceptions, colored vinyl and picture disc pressings are limited editions, and are usually far harder to find than their black vinyl counterparts.
Both colored vinyl pressings and picture discs have been issued as commercial releases and as promo-only releases. In the late s, picture discs were often pressed as promotional items and became quite popular among collectors. Most of these were pressed in quantities of only a few hundred copies. More often, colored vinyl and picture disc records are issued as limited edition pressings, created to spur interest among buyers.
Most of these titles are also available on regular and more common black vinyl. As with everything else on this list, there are occasional exceptions to the rule. A couple of months later, RCA Records decided to press the album on black vinyl as a cost-cutting move, which would have made the blue pressings rare and desirable. Modern recording equipment and techniques allow for crystal clear high definition audio to be captured at the highest standard.
That database really is deceiving especially for releases in the 80's. One example is the Presto CD by Rush which has one of the highest scores on the site for its original CD release in It has tons of dynamics however there is literally no bass on the recording.
Almost like it was left out. For a shoddy production, the score is amongst the highest for a metal album in the database. How such a thing can be achieved is truly puzzling considering the original recording is admitted to Metallica's most raw and unpolished to date, Death Magnetic aside. Hi thanks for that insight — some great points. It's not always full proof, but a great guide when looking at re-mastered CD's etc.
At the end of the day, an album can have great dynamics and still be poorly recorded. Our hearing is simply not as sensitive to low freq. Typically, heaps and gobs of compression, multi-band style, are needed to get the bass content up to that level, and the result is simply not natural. Taking this into consideration, I thought it was worth highlighting the technical differences […].
I get tired of digitalheads claiming that CDs have higher fidelity and dynamic range than vinyl. While that may be true in theory, it's not true in practice, and the loudness war is the reason. I have listened to a number of vinyl records that sounded so natural that it almost not quite sounded like a live performance in the room. I hear details that I often miss on digital recordings, and I don't have to change the volume as much to hear them because the quality is so good.
For example, I was listening to an old LP of gospel music this past weekend, and it almost gave me chills when I heard how pure and natural the vocals sounded. All this isn't to say that vinyl will always sound better, but as long as the loudness war is compressing digital music, vinyl will maintain superior fidelity and dynamic range despite its inherent technical weaknesses.
A CD recording of a track could have as much, if not more, dynamics than a vinyl record if the monkeys at the mastering controls left the thing alone!! You might even have heard about the increased dynamic range with which many records are mastered when compared to their digital counterparts. As far as what you must take into consideration when figuring out the value of a record, we've broken it down for you into three easy-to-remember categories: condition, edition, and derivation.
Also, we've recommended some Web sites where you can go to find out more information. Condition Let's be honest: no one wants to listen to a broken record.
The better condition your record's in, the more it might possibly be worth. This includes not only how many scuffs or scratches are on the vinyl, but how well preserved the cover is and whether or not you have the original inner sleeve.
What are my records worth? My experience with the Kirmuss restoration system proved that for me -Ed. Of course, I did not take into consideration outer vs. Hi-Fi Stereo Speakers. I also notice that even though i hold the record properly the hairs on my forearm stand up a little. On other occasions, record companies in other countries may choose to press albums on colored vinyl. I agree with Phlog: the description sounds more like dust, dirt and grime, for which the LP) is clean, clean and clean. What are they worth?
What Is - Richie Kotzen - What Is ... (CD, Album), O Fortuna - Carl Orff - Berliner Philharmoniker / Seiji Ozawa - Carmina Burana (Cassette, Album), Walking The Tightrope, Lachender Buddha - Mai Cocopelli - Sing, Kleiner Yogi (CD)