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point

Agree, O'M, on the central 'mostly used vinyl' emphasis.
I'd even add that with the exception of some seriously carefully-crafted releases, new vinyl is very often pretty bad, generated from digital recordings that were made, monitored, mastered and produced to be :: all-digital efforts,

Record mastering and production in the Era was a specific "how does it sound played back from the groove" proposition. Not a bedroom-tascam-straight-to-protools-then-pressed-on-the-nightshift kinda thing. Geoff Emerick talks in his book about having to fly down to EMI/Abbey Rd on a call from Paul or John in the middle of the night in order to warm up the preamps and transports in time to get a new track on tape. All heavy machinery and tubes. No plastic, no fcking around.

Which gets to the main point. One aspect of the "increase in the availability of new releases", is that the new releases, the good ones, whether new or reissue material --- are very limited release and few in actual number overall. Which means that unlike the Era of a few million pressed of one title, there's now a built-in Collector's Market -- read 'snooty, picky, overpriced and over-impressed with the wrong things'...... That will disallow later record listeners relatively easy access or reasonable pricing once these boutique-styled puppies hit the "used" market.

Never again the incredible buyer's market we've had in the last few years --- superior sound at two or three dollars a throw --- for those future record collectors.

Future Record Collector A
"Ha ! Just picked up the #0456 limited edition copy of Hotel California for only two hundred bucks ! Beat that, smartypants future record collector B !"
Future Record Collector B
" That's nothing ! I just found the #0321 limited edition Frampton Comes Alive ... only three hundred bucks, and it's a double Lp !"

brrrrrffff

*
groove


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  • point - J.D. 12:08:38 04/16/07 (2)


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