Audiokarma Deadwax Info.Pdf

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libertycaps 08-02-2010, 10:26 PM Found it awhile ago while browsing, but now i can't locate it again! :tears: Any help out there, good people? It was quite long and quite a Deadwax script resource worth printing and filing by the record collection!!!!

Amcrebelfan 08-02-2010, 10:47 PM Found it awhile ago while browsing, but now i can't locate it again! :tears: Any help out there, good people? It was quite long and quite a Deadwax script resource worth printing and filing by the record collection!!!!

Ooohh That sounds cool never ran across it, I would love to have it myself.

cactuscowboy 08-03-2010, 12:15 AM Dunno if this is what you're looking for, but here goes:

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 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 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 andreas@schnittstelle -> Andreas Kauffelt 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.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 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 ) CGB@D&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

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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 DCHARLES -> Dick Charles ( Handwritten signature ) DFI -> Pressed at DFI Djay@ 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 DUDLEY SWABY -> Dudley "Manzie" Swaby EURODISC -> Eurodisk Manufacturing EUROPADISK -> Pressed at Europadisk, NYC. 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 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 GK -> Gilbert Kong Gordon at the Townhouse -> Gordon Vickary GP -> Grammoplast, Sweden Graeme -> Graeme Durham GRAEME – SOUND CLINIC -> Graeme Durham GRAZ – The Exchange -> Graeme Durham Graz@The 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.Y. -> Joe Yannece JA Tape One -> Jack Adams Jacko – Tape One -> Jack Adams JC Masterroom -> Jeremy Cooper JD -> John Dent JD-ASH -> John Dent and Ashley Burchett ( ? ) John D -> John Davis JON2 -> John Dent Jonz -> John Dent Jonz @ Loud Mastering -> John Dent ( Loud Mastering ) K -> Andreas Kauffelt K.P. -> Ken Perry KDISC -> K Disc Mastering Kendun -> Kent Duncan 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 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

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Mastered MIAMI TAPE -> Miami Tape, Hialeah ( (“MIAMI TAPE” is stamped) ) MATT OPTIMUM -> Matt Colton MCR -> Master Cutting Room, NYC. Metropolis Mastering Chicago M.J.R. -> Mark Richardson (3) MIKE @ THE EXCHANGE -> Mike Marsh Mike @ The Exchange -> Mike Marsh Mike’s™ -> Mike Marsh MILES -> Miles Showell MJFX -> Mika Jussila MMMJR -> Mark Richardson (3) ( Metropolis Mastering, Chicago ) MPO -> Moulages et Plastiques de l’Ouest, Averton. MR -> Mark Regan Neil – Masterpiece -> Neil Devine Neil Masterpiece -> Neil Devine Nick -> Nick Webb Abbey Road Studios, London )[/i] 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 ) 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 Øphase@ Curve Pusher -> Ashley Burchett ( Curve Pusher Mastering, London ) 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 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 Primed -> George Peckham R @ D&M -> Rashad Becker ( Squiggly lower case ‘r’; Dubplates & Mastering ,Berlin ) Rashad -> Rashad Becker Ray at The Exchange -> Ray Staff RCE -> Rick Essig ( F/W ) RJ -> Ray Janos ( Sterling ) RL -> Bob Ludwig RV -> Hervé Bordes 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 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” ) 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 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 SRC signature -> Specialty Records Corporation ( (Stamped, Large S with the R and C in the loops) ) SST -> Schallplatten Schneid Technik, Frankfurt STERLING -> Sterling Sound, NYC STRAWBERRY U.K. -> Strawberry Mastering, London STREAKY @ SOUNDMASTERS -> Streaky

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Stu -> Stuart Hawkes Stu. @ Masterpiece -> Stuart Hawkes Tape One JA -> Jack Adams TC -> Tom Coyne THE EXCHANGE -> The Exchange, London The Exchange – GD -> Guy Davie THE EXCHANGE – NILZ -> Nilesh Patel 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 , Hollowood TML-M -> The Mastering Lab , Hollowood ( M=Master ) TML-S -> The Mastering Lab , Hollowood ( S=Slave ) TML-X -> The Mastering Lab , Hollowood ( X=Extra ) TOWN HOUSE -> Town House Studios, London TOWNHOUSE -> Town House Studios, London Townhouse -> Town House Studios, London Townhouse Max -> Max Dingel tph@schnittstelle -> 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 ty -> Tim Young

cactuscowboy 08-03-2010, 12:17 AM Here's another:

DATING RCA VICTOR Records Before 1955 RCA used the first 2 characters of the 4-character master no. prefix of both company issues and custom pressings* to encode the year -- this is either the year of the actual recording, or the year the master disk was cut. The first character is a letter to indicate the decade (since 1900): C = 1930; D = 1940; E = 1950. The second character, a numeral, indicates the year within the decade. For example: D8 = 1948 D9 = 1949 E0 = 1950 E1 = 1951 E2 = 1952 E3 = 1953 E4 = 1954

If the code indicates a date before 1949, we can be reasonably sure it refers to the original recording date.

Beginning in 1955 only the first character of the prefix was reserved for the year. Some letters were skipped, likely to avoid ambiguity. The numbering system was abandoned in 1974. F = 1955 G = 1956 H = 1957 J = 1958 K = 1959 L = 1960 M = 1961 N = 1962 P = 1963 R = 1964 S = 1965 T = 1966 U = 1967 W = 1968 X = 1969 Z = 1970 A = 1971 B = 1972 C = 1973 D = 1974

For further details of the master no. prefix see under the heading, RCA Victor Number-Letter Codes (19501974) toward the bottom of this page: http://www.ronpenndorf.com/labelography4.html

N.B. Many early RCA Victor records from 1949-early '50s do not observe this numbering system, for example RCA Victor 48-0001, "Texarkana Baby"/"Bouquet Of Roses" by Eddy Arnold. This record's sides are numbered 48-0001-A and 48-0001-B, and do not offer a hint to the date.

libertycaps 08-03-2010, 04:13 AM cheers!

4dryhme 08-03-2010, 07:19 AM Thanks cactuscowboy, I'd already stuck this on my desktop and will add your dating code post to it. For completeness' sake your

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repost cuts off at 'ty' here's the rest of your original:

TY1 -> Tim Young 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 Wly -> Wally Traugott WMME Alsdorf -> Warner Music Manufacturing Europe, Alsdorf Yann Dub @ DK -> Yann Dub"

Thanks again.

beatcomber 08-03-2010, 08:08 AM Wow, that's some impressive research! But you overlooked a major one:

RVG -> Rudy Van Gelder VANGELDER -> Rudy Van Gelder

markshan 08-03-2010, 08:25 AM It seems "SH" can be either Steve Hall or Scott Hull, depending on where the record was pressed.

4dryhme 08-03-2010, 10:21 AM Wow, that's some impressive research! But you overlooked a major one:

RVG -> Rudy Van Gelder VANGELDER -> Rudy Van Gelder

Cool, added them in; thanks.

cwall99 08-03-2010, 10:29 AM Clearly an impressive body of research, and one, I'm sure, that, if used wisely, can offer some means to optimizing playback (or something), but I guess that's my question:

How can I use this information?

I hate to sound ignorant, but, frankly, I am.

Thanks.

KeninDC 08-03-2010, 11:37 AM How can I use this information?

If you have an LP that sounds particularly good, take a look at the deadwax.

For example, if you see an "AT/GP" in the deadwax, that means Atlantic/George Piros. A plain "GP" also signifies George Piros. His pressings of Yes albums are fantastic, as is his Led Zep "Houses of the Holy" which is equal to an "RL" for "Robert Ludwig."

In other words, grabbing a "GP" from the used bin for $3.00 is a steal when you know your deadwax. A Led Zep II w/ "RL" in the deadwax is the Led Zep Holy Grail. NM LPs fetch over $200.

To paraphrase the Clash, "Know Your Wax."

Ken

Jay Pemberton 08-03-2010, 12:25 PM On records mastered at Fine Recording, a P in the dead wax (ex: on 1950s/1960s stereo Mercury Living Presence or Command LPs, you'll see 'P 13' or 'P 17' or such like, the number referring IIRC to which lathe was used [correct me if the number meant which cutting head instead]) indicates George Piros did the cutting; if you see 'JJ' (often on later mono Mercury Living Presence and Command albums and some of the Command stereos as well) John Johnson did the cutting.

Initials DM looking like ∆M on Frankford-Wayne masterings: David Moyssiadis.

cwall99 08-03-2010, 12:36 PM If you have an LP that sounds particularly good, take a look at the deadwax.

In other words, grabbing a "GP" from the used bin for $3.00 is a steal when you know your deadwax. A Led Zep II w/ "RL" in the deadwax is the Led Zep Holy Grail. NM LPs fetch over $200.

To paraphrase the Clash, "Know Your Wax."

Ken

Ahhhh... so this is particularly useful if I'm perusing the used bin and can actually look at the dead wax!!! That's what I was missing. Unless you know someone who has an LP and you can observe that content on their record, you may not necessarily

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know who you're getting when buying a new recording (though, I suspect in this day and age, that information may be available on the internet).

It's all coming together for me now.

This is your wax!!! (to continue the homage...)

Jay Pemberton 08-03-2010, 01:21 PM The RCA Victor letter-number-letter-letter-XXXX system was instituted originally in 1942. Those retro renumberings hinted at above (e.g. A for 1910s, B for 1920s, C for 1930s) were only rarely used, for later (generally microgroove era) reissues of earlier material that most likely never went out of print.

Victor's previous matrix numbering system was instituted on 24th April 1903, when they began use of what they called the 'Victor Master Disc' (we know it as the five-step pressing process: wax original produces metal negative which yields several mother parts, each of which can make numerous stampers which can press many records). Previously, the basic matrix number and a record's catalogue number were one and the same, and the one metal part derived from a wax original cut was actually used as the stamper until it broke or wore out, at which time an artiste was called back to the studio to re-record the piece to make another metal part!

In the acoustic period, the matrix numbers had a prefix and a suffix. The prefix was a letter that indicated the size of the record: A for 7", B for 10", C for 12", D for the very short-lived 60 rpm 14" disc (1903/1904), E for the 8" record (1906--c. 1909) they thought would replace the 7" disc. But by then the 10" record was most popular and the shorter records were flops even at the 35 cent selling price. M for 16" discs was later added with the development of talkies and later electrical transcriptions.

Some recordings made in California in the 1920s added P to the prefix, so would be PB or PC, etc.

The suffix was the take digit. So a matrix number would be something like C 4317-1. (That's 'Vesti la giubba' by Enrico Caruso, recorded 17 March 1907, originally released on Victor Red Seal 88061.)

With the coming of electric recording the prefix added the letters VE: BVE 47539-3 ('I wanna be loved by you' by Helen Kane, recorded 20 September 1928, originally released on Victor 21684). Records made with Western Electric equipment show the letters VE inside an oval in the dead wax.*

Starting in 1931, introduction of RCA or RCA-modified equipment gave rise to other prefixes such as S or SHQ (BS 80149-1, 'Solitude', Duke Ellington, originally on Victor 24755, recorded 10 January 1934). The VE symbol is inside a diamond shape; use of the symbol disappeared after late 1938.* Around 1933 S seems to have become the standard.

(Note that in August 1936, with the numbers approaching 103000, Victor began numbering anew from 01. This reached 075904 with the onset of the infamous recording ban of 1942, at which time this numbering system was discontinued.)

*The VE symbols will only be seen on Victor products (never on Bluebirds) if they were pressed from original metal matrices or dubs thereof made before late 1938.

beatcomber 08-03-2010, 01:55 PM It's also worth noting that many of the 1940s 78RPM reissues of 1920s jazz were pressed from the exact same metal parts as the 1920s originals! These can easily be identified by the lack of lead-in groove. I have some 1940s Bix Beiderbecke reissue 78s pressed using 1920s stampers that sound incredibly good - and can still be had CHEAP! Many of these '40s repressings were packaged in actual multi-pocket books or 'albums.'

cactuscowboy 08-03-2010, 02:11 PM Wow, that's some impressive research! But you overlooked a major one:

RVG -> Rudy Van Gelder VANGELDER -> Rudy Van Gelder

I can't take credit for that mastering info list.

IIRC, it was posted on a thread in the RCG forums a few years ago and was unattributed. I merely cut & pasted it to a Word file which I saved on my computer.

libertycaps 08-03-2010, 02:19 PM If you have an LP that sounds particularly good, take a look at the deadwax.

In other words, grabbing a "GP" from the used bin for $3.00 is a steal when you know your deadwax. A Led Zep II w/ "RL" in the deadwax is the Led Zep Holy Grail. NM LPs fetch over $200.

To paraphrase the Clash, "Know Your Wax."

Ken

Great post! Anything else noteworthy we should be looking for in the DEADWAX?

KeninDC 08-03-2010, 02:28 PM Great post! Anything else noteworthy we should be looking for in the DEADWAX?

The Artisan symbol (looks like an elliptical LP) usually signifies a great pressing. For example, the best pressings of the Stones' "Exile on Main Street" have this symbol.

Goofy phrases like "Do what thou wilt" (Crowley quote) on a Led Zep III LP means it is likely an original pressing. In theory, earlier pressings are better.

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You also need to know your labels (addresses, pressing plants, etc.).

Ken

markshan 08-14-2010, 02:32 PM This should get stickied. I keep coming back to it.

Spellbinder 08-14-2010, 02:33 PM Perhaps a thread re-title and a sticky in in order.

Ed in Tx 08-14-2010, 03:44 PM A Led Zep II w/ "RL" in the deadwax is the Led Zep Holy Grail. NM LPs fetch over $200.

To paraphrase the Clash, "Know Your Wax."

Ken Cool to know that! My Zep II that I bought when it first came out has "RL" so I reckon I have a good one! It's in as "mint" condition as one can be, too. Not even any ring wear on the jacket. :D

markshan 08-24-2010, 11:08 PM I have a green label Warner Bros Mud Slide Slim by James Taylor. In the deadwax is an oval with a smaller oval inside and what looks like two drumsticks. Any idea if this indicates a particular plant or mastering engineer?

Thanks.

dodog 08-25-2010, 12:25 AM That's the Artisan symbol, Mark.

Don't know if it's allowed, but here's a link to a Hoffman thread discussing symbols and whatnot (need to log in to see pics):

http://www.stevehoffman.tv/forums/showthread.php?t=120633&highlight=deadwax

markshan 08-25-2010, 12:48 AM Thanks for the link. That Artisan symbol is indeed the one on my album, but I don't have a GF or any other initials.

dodog 08-25-2010, 12:51 AM I always thought the symbol was a UFO on it's legs or an alien's head with antennae! :smoke:

KentTeffeteller 08-25-2010, 11:14 AM Some Nashville information!

Denny/Georgetown Masters. Denny Purcell (late owner of Georgetown Masters) dp woodland- Denny Purcell Masterfonics- Can be either Glenn Meadows or Mack Evans ZSSB or handwritten matrix on Columbia/Epic records- Columbia Bradley Studios initials sometimes found on deadwax is JMW. Many Columbia Bradley Studios lacquers were mastered by M.C. Rather. Who later went on to found Custom Mastering. Many RCA Nashville lacquers were mastered by Randy Kling who later bought out the RCA Nashville Studios and renamed it the Music City Music Hall. Mr. Kling formerly worked for RCA Victor's mastering department in Chicago, Illinois until it was closed and later became Curtom Studios and owned by Curtis Mayfield. Randy Kling last mastered lacquers at Disc Mastering, Incorporated in Nashville.

KeninDC 08-25-2010, 11:55 AM I just stumbled upon an Artisan pressing of the Doors' "LA Woman" for $6. It had the cellophane die-cut cover, but the real treat was the deadwax.

The difference between this LP and the later pressing is incredibly detailed highs.

Ken

libertycaps 08-25-2010, 01:48 PM Damn. Now i'm gonna have to keep a notepad next to my TT to jot down an/all Deadwax notes i find to include in my vinyl collection list. I know i've seen that Artisan UFO looking thing in the run out grooves before! My copy of Boston-s/t is a "Wly" too.

W.B. 03-09-2011, 05:55 AM The RCA Victor letter-number-letter-letter-XXXX system was instituted originally in 1942. Those retro renumberings hinted at above (e.g. A for 1910s, B for 1920s, C for 1930s) were only rarely used, for later (generally microgroove era) reissues of earlier material that most likely never went out of print.

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the stamper until it broke or wore out, at which time an artiste was called back to the studio to re-record the piece to make another metal part!

Some recordings made in California in the 1920s added P to the prefix, so would be PB or PC, etc.

The suffix was the take digit. So a matrix number would be something like C 4317-1. (That's 'Vesti la giubba' by Enrico Caruso, recorded 17 March 1907, originally released on Victor Red Seal 88061.)

*The VE symbols will only be seen on Victor products (never on Bluebirds) if they were pressed from original metal matrices or dubs thereof made before late 1938. The 'A', 'B', 'C' etc. codes indicating re-releases of vintage recordings only lasted up to c.1953 or so. In later years, RCA re- releases of old recordings signified the year the masters were transferred, rather than originally recorded, which is why many post-1955 reissues of 1940's vintage material had "F2PW" or later codes. The post-1942 codes were revamped three times over: August 1951, after LP's and 45's became a permanent part of the record industry; December 1954, for the "New Orthophonic" era (with a few added letters in different positions in 1958 with the advent of stereo); and December 1962 (taking effect 1 January 1963), after the infamous "Dynagroove" system of cutting records was instituted.

On 45's and LP's (and, prior to 1958, 78's), the "letter-number-letter-letter-XXXX system" was seen on RCA releases between summer 1951 and spring 1973; such were called "serial numbers" in RCA terminology. After 1973, RCA began emphasizing "part numbers" (catalogue #-A / catalogue #-B; i.e. APB0-0232-A or PB-10562-A) for all their labels.

Meanwhile, over at Masterdisk, in its early years there was another cutting engineer (one and the same as who later went to Trutone Mastering): MASTERDISK p@ -> Phil Austin And others: SJR - Stuart J. Romaine (was the first and, for years, only mastering engineer at Columbia's New York studios to sign his initials on the deadwax, in 1971-72; among those records bearing his initials were first lacquers of the Looking Glass' "Brandy (You're a Fine Girl)," Epic 5-10874; later went to Frankford/Wayne, NYC) (script)Joe - Joe Brescio (for years at Bell Sound Studios, he later went to Master Cutting Room) Jay Luck - Jay Maynard (mastering engineer for Capitol in Hollywood; worked on H/J Scully lathe) (script)Gene - Gene Thompson (mastering engineer for Capitol in Hollywood; worked on G Neumann lathe) ML - Maurice Long (Capitol Hollywood mastering engineer; signed his initials to lacquers for "Weird Al" Yankovic's "My Bologna" on Capitol in 1979) RCK - Robin C. Kruse (another Bell Sound mastering engineer) F/W NS - Nimitr Sarikananda, Frankford/Wayne (Philadelphia) MBG - Mastered by George (Marino, at Master Cutting Room) (scribble connected w/)K - Randy Kling, RCA Studios, Chicago (later to RCA Nashville)

And some record pressing deadwax info: U.S.PAT.# RE 23,946 G B PAT.# 713,418 - stamped on deadwax of mid-to-late 1950's LP pressings by Research Craft, Hollywood, CA (its president, Allan R. "Al" Ellsworth, held those patents; RE 23,946 was a reissue of 2,631,859 which was on the rim print of many a Capitol LP or 45 in the 1956-73 period; the dates on which each patent was granted was: 2,631,859 - March 17, 1953; Re.23,946 - Feb. 15, 1955; GB 713,418 - Aug. 11, 1954) []-G-[] - MCA Records, Gloversville, NY (post-1973; stick "1" if pre-1972) <>-P-<> - MCA Records, Pickneyville, IL (post-1973; "2" if pre-1972) IAM in a triangle - International Association of Machinists, whose members worked at the Capitol Records plant in Scranton, PA * (post-1964) - Capitol Records, Los Angeles, CA (pre-1964, an outlined star) 0 or O - Capitol Records, Jacksonville, IL |>— - Capitol Records, Winchester, VA (supposed to be a Winchester rifle, but as drawn looked like a tipped wineglass to many collectors) MR in a circle - Monarch Record Mfg., Los Angeles, CA SON - Sonic Recording Products, Holbrook, NY; name of plant later changed to Goldisc Record Corp., at which the deadwax code became GOL

pbda 03-09-2011, 07:46 AM We should consider making this a sticky thread. Very useful information here.

pbda 03-09-2011, 07:49 AM It seems "SH" can be either Steve Hall or Scott Hull, depending on where the record was pressed.

Or Steve Hoffman.

The list should also contain KG: Kevin Gray.

spaceman 10-04-2011, 03:20 AM A friendly bump, to share the knowledge with other vinyl newbies like me. There's some great info in this thread, thanks contributors. :thmbsp:

KentTeffeteller 10-04-2011, 11:18 AM

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KPG also is another Kevin Gray signature found on deadwax.

gmku 10-30-2011, 12:59 PM Just stumbled on this thread. Makes me want to go and look at all my deadwax. I know my copy of Exile and of LA Woman have the Artisan symbol. I know I've got a bunch of RL in the collection too.

I'm feeling the pride for my copy of Exile. I've had this since 1972 and even as a youngster knew that I should take pains to preserve it. It still has the original cover stickers (the LP title and the song listing, 2 stickers, cut from the shrinkwrap and kept in the poly bag with the LP) and the postcards (intact, not torn apart). The cover is superb, hardly any wear.

Ledbetter 08-21-2012, 11:15 AM Clearly an impressive body of research, and one, I'm sure, that, if used wisely, can offer some means to optimizing playback (or something), but I guess that's my question:

How can I use this information?

I hate to sound ignorant, but, frankly, I am.

Thanks.

You can use it to tell you what mastering house or engineer cut the lacquer. Other letters and numbers can tell you what number lacquer it was and that's about it, also letters and stamps in wax or on label can tell you what plant the record was pressed at- the initials, letters and numbers tell you nothing about the surface condition of the records or the sound quality. I got caught up in "wax inscriptions" for awhile and still refer to the list here sometimes. For example I just had an Lp sent from the UK today and it had "Tape One JA on it", now from the list I know who cut the record but the JA in the wax tells me nothing about whether the record will have good surfaces and sound quality....to do that I have to go home and play it. Most all records have some kind of wax stamping which are just that, I don't know about you but I can't tell what a record sounds like by looking at a wax stamping.

Kico 08-21-2012, 08:04 PM We should make this thread a "Sticky"

KentTeffeteller 08-21-2012, 08:44 PM Yes, as it provides useful information to record collectors and audiophiles.

Ledbetter 08-22-2012, 11:22 AM This list is pretty complete. Never seen a stamping/inscription that is'nt on it. Well I played the "JA tape one" last night, which was a UK pressing of Bowies station to station (late 70's or early 80's black RCA label), this had a nice full dynamic sound with decent clarity especially on the vocals. The other pressing I had of it was a tan RCA US with Sterling in wax. The sterling sounds thinner across the board, it does have a cleaner bass, whereas the UK bass was a little muddy, other than that I easily prefer the UK copy since it lets me know station to station is actually a better sounding recording than I previously thought.

W.B. 12-04-2012, 01:50 PM ZSSB or handwritten matrix on Columbia/Epic records- Columbia Bradley Studios initials sometimes found on deadwax is JMW. Many Columbia Bradley Studios lacquers were mastered by M.C. Rather. Who later went on to found Custom Mastering. JMW would be Columbia Nashville's (ex Bradley Studio) other known mastering engineer, Jerry Watson. There were at least two or three other mastering engineers who worked at Columbia / Bradley, based on the variances of handwriting on the deadwax.

KentTeffeteller 12-05-2012, 12:12 PM W.B. Thanks! Jerry Watson cut some really nice sounding records.

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