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WARNING: DOL Records Jazz and Blues Reissues

Discussion in 'music' started by Natara, Sep 13, 2016.

  1. Natara

    Natara pfm Member

    I was in two record shops today cannot remember the name of one a trendy new affair but the other was HMV who really should no better because they were both still stocking this company DOL's bad reissues Bieng relatively new to buying Jazz I was unlucky enough to buy a copy of Nina Simone live at Newport a few years ago you will recognise them by the big sticker on the front that says 180 gram turn it over and somewhere you will see DOL written somewhere if you do put it back save your money they truly are terrible.
     
  2. daytona600

    daytona600 Registered User

    180 gram / 180 gram audiophile used to mean quality product from audiophile labels
    but now used as marketing BS for any old bit of crap
     
  3. GaryT

    GaryT pfm Member

    And breathe (punctuation is your friend).
     
  4. Tony L

    Tony L Administrator

    They are EU copyright loophole pirates, i.e. have never been anywhere near a master tape or artist/artist estate approval. Always look for the original record label on the cover (Blue Note, Verve, Riverside etc) and a music group/holding company on the rear e.g. Universal, CBS Sony etc. If these are missing chances are it is public domain crap and is valueless.
     
  5. Natara

    Natara pfm Member

    Thanks Tony for the record buying advice and GaryT for the English Language lesson.
     
  6. GaryT

    GaryT pfm Member

    Any time.
     
  7. Fulci

    Fulci pfm Member

    Learned my lesson the hard way. But there are other companies pressing from CDs or if we're lucky, hi-res files. Waxtime is one of them. As Tony said, always get one from the original record label, and if possible an used older edition.
     
  8. daytona600

    daytona600 Registered User

    Blurb from speakers corner Jazz done right

    Are your records completely analogue?
    Yes! This we guarantee!
    As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time

    Are your records cut from the original masters?
    In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.

    Who cuts the records?
    In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
    At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes.

    Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s.

    Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive.

    So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source!

    Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers.

    In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers.

    In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
     
  9. Seanm

    Seanm pfm Member

    Any chance of a sticky for reputable re-issue labels, or even re-issues themselves? There are a lot of great labels out there doing a better job, much of the time, than the original companies of curating catalogue stuff, but it's hard to keep track.
     

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