Yes I have that one and it's one of my cherished pressings. But yes same, I kept the least noisy. They all were pressed pretty terribly.@Mather do you have the KPG cut of Jeff Buckely - Grace? I had the same issue with that one. Tried multiple noisey copies because the master is just so amazing, ended up keeping the one with least noise but it's still not perfect. I believe that was a MRP press as well
Definitive Audiophile pressings
- Thread starter Mrjay07
- Start date
TenderLovingKiller®
Well-Known Member
I had a KPG pressing of Grace but PIF’d it in favor of my much less noisy MOV pressing. As good as the KPG was cut that album is too delicate to withstand so much static.@Mather do you have the KPG cut of Jeff Buckley - Grace? I had the same issue with that one. Tried multiple noisey copies because the master is just so amazing, ended up keeping the one with least noise but it's still not perfect. I believe that was a MRP press as well
Agreed. Thankfully after... MANY copies I was able to get a pretty much clean KPG, it's got a few pops but nothing egregious. The real Buckley gem pressing is that "Live at Sin-é" box. immaculate master and pressing.
Do you guys know which version you had of Grace? There was one pressed at RTI - and one pressed at Record Industry.
I have the Record Industry and don't remember having issues with it, but it's been a while.
Record Industry
www.discogs.com
RTI
I have the Record Industry and don't remember having issues with it, but it's been a while.
Record Industry
Jeff Buckley - Grace
View credits, reviews, tracks and shop for the 2010 Vinyl release of "Grace" on Discogs.
www.discogs.com
RTI
I have the record industry, but I went through like 4 of them and they were all pressed badly, pops and noise throughout. Not the norm for that plant.Do you guys know which version you had of Grace? There was one pressed at RTI - and one pressed at Record Industry.
I have the Record Industry and don't remember having issues with it, but it's been a while.
Record Industry
Jeff Buckley - Grace
View credits, reviews, tracks and shop for the 2010 Vinyl release of "Grace" on Discogs.
RTI
TenderLovingKiller®
Well-Known Member
I have the 2015 “Legacy Vinyl” that was pressed at Record Industry. It’s not cut by Kevin Gray. They reuse the MOV plates and it’s pressed really well but it’s not as dynamic as the KPG cut.Do you guys know which version you had of Grace? There was one pressed at RTI - and one pressed at Record Industry.
I have the Record Industry and don't remember having issues with it, but it's been a while.
Record Industry
Jeff Buckley - Grace
View credits, reviews, tracks and shop for the 2010 Vinyl release of "Grace" on Discogs.
RTI
TrainFan73
Frothy
See, I'm glad that Buckley isn't my thing. I can appreciate how a less than ideal pressing would ruin it.
Looking at various reissues of Grace on Discogs I noticed that Record Industry pressed 14 different variants over the years - seems they may have had issues with this title. Some are the KPG cut - others are represses of their first release in 2009 - some others are new 'unknown cutter' cuts.
Yeah like I have no idea what the problems were but it was by far the most inconsistent pressing job I've ever had from them. They're usually very solid.
I agree. I figured you both would have said you had the RTI versions.
In my attempts to find a clean one I think I only ever came across the RI. But also at the time the RI was still in wide release so it was easier to find. I didn't buy anything though cogs. But with the barcode being shared by like 7 different pressings from all different plates and plants I'm willing to bet most of those listed on cogs as KPG RTI actually aren't.
Jbraswell
Well-Known Member
Someone dug up this interview on the Marquee Moon recording.
www.blankforms.org
Pushed me to order it now.
I am jelly on cool music stories I guess
*****************************
AL: You produced all your own records, right?
TV: Yeah—I mean, in the early days, on Marquee Moon, I didn’t even know what a producer did. I started listening to records and I didn’t know what an engineer did as opposed to this or that, and Fred Smith again played me some Rolling Stones and Led Zeppelin—there was this key pile of records that all seemed to be done by Andy Johns. I thought, “Well, we don’t sound like any of these people, but I guess these are good-sounding records” [laughs], “so let’s get that guy.” We somehow found him in his apartment, he was living in LA, and he was a real riot—“How the hell did you find me? What do you want me to do?” [Laughs.] He said, “Well, OK, I’m not doing anything around Christmas—I’ll come to New York.” He had no clue what we were doing. He also had an enormous appetite for alcohol; the first night it was two large bottles of wine and a case of beer. He came in with this under his arm, a shopping bag with wine and a huge case of beer [laughs]. We were playing within two hours—he was really fast. And he would pull me out in the hall: “What kind of music is this? Is this a Velvet Underground trip? What is this, is this New York subway music?” So that went on for about ten days, and then he said, “Well, I guess you don’t really need me, I’m going back to LA tomorrow.” So we did the overdubs with the tape-op guy, who was actually a decent engineer, and then we had to beg him to come back to mix it. He came back right around New Year’s to mix it, and suddenly, I guess, he heard what we were doing or he had an ear for it, and he said, “Ah, I see what this is, I see what this is.” He became really enthusiastic in mixing it. It turned out well. It was probably one of the five oldest studios still working in New York at the time. It had a board with tubes, with the valves, which gave it a kind of sound. And there was no equalization on the board, and there were no compressors, so it was this very basic kind of thing, which he was really mad about when he saw it—he thought, “What are you working on here, a World War II recording desk?” [Laughs.] “This is crazy.” It was at A & R, a room that Phil Ramone had built for himself, so they didn’t rent it out much. I think Dionne Warwick records were made there. It wasn’t a giant, spacious place but it did have a nice sound. The reason I liked it was that it looked like our rehearsal loft—it was a bit sloppy and not gigantic, but easy to work in
Tom Verlaine: Recording and Other Things
From Alan Licht’s Common Tones: Selected Interviews with Artists and Musicians 1995–2020 (2021).
I am jelly on cool music stories I guess
*****************************
AL: You produced all your own records, right?
TV: Yeah—I mean, in the early days, on Marquee Moon, I didn’t even know what a producer did. I started listening to records and I didn’t know what an engineer did as opposed to this or that, and Fred Smith again played me some Rolling Stones and Led Zeppelin—there was this key pile of records that all seemed to be done by Andy Johns. I thought, “Well, we don’t sound like any of these people, but I guess these are good-sounding records” [laughs], “so let’s get that guy.” We somehow found him in his apartment, he was living in LA, and he was a real riot—“How the hell did you find me? What do you want me to do?” [Laughs.] He said, “Well, OK, I’m not doing anything around Christmas—I’ll come to New York.” He had no clue what we were doing. He also had an enormous appetite for alcohol; the first night it was two large bottles of wine and a case of beer. He came in with this under his arm, a shopping bag with wine and a huge case of beer [laughs]. We were playing within two hours—he was really fast. And he would pull me out in the hall: “What kind of music is this? Is this a Velvet Underground trip? What is this, is this New York subway music?” So that went on for about ten days, and then he said, “Well, I guess you don’t really need me, I’m going back to LA tomorrow.” So we did the overdubs with the tape-op guy, who was actually a decent engineer, and then we had to beg him to come back to mix it. He came back right around New Year’s to mix it, and suddenly, I guess, he heard what we were doing or he had an ear for it, and he said, “Ah, I see what this is, I see what this is.” He became really enthusiastic in mixing it. It turned out well. It was probably one of the five oldest studios still working in New York at the time. It had a board with tubes, with the valves, which gave it a kind of sound. And there was no equalization on the board, and there were no compressors, so it was this very basic kind of thing, which he was really mad about when he saw it—he thought, “What are you working on here, a World War II recording desk?” [Laughs.] “This is crazy.” It was at A & R, a room that Phil Ramone had built for himself, so they didn’t rent it out much. I think Dionne Warwick records were made there. It wasn’t a giant, spacious place but it did have a nice sound. The reason I liked it was that it looked like our rehearsal loft—it was a bit sloppy and not gigantic, but easy to work in
jamieanderson1968
Well-Known Member
Great interview. Alan Licht who interviewed Verlaine is a musician as well. I highly recommend his band Run On. They had a couple of records on MatadorSomeone dug up this interview on the Marquee Moon recording.
Pushed me to order it now.Tom Verlaine: Recording and Other Things
From Alan Licht’s Common Tones: Selected Interviews with Artists and Musicians 1995–2020 (2021).
I am jelly on cool music stories I guess
*****************************
AL: You produced all your own records, right?
TV: Yeah—I mean, in the early days, on Marquee Moon, I didn’t even know what a producer did. I started listening to records and I didn’t know what an engineer did as opposed to this or that, and Fred Smith again played me some Rolling Stones and Led Zeppelin—there was this key pile of records that all seemed to be done by Andy Johns. I thought, “Well, we don’t sound like any of these people, but I guess these are good-sounding records” [laughs], “so let’s get that guy.” We somehow found him in his apartment, he was living in LA, and he was a real riot—“How the hell did you find me? What do you want me to do?” [Laughs.] He said, “Well, OK, I’m not doing anything around Christmas—I’ll come to New York.” He had no clue what we were doing. He also had an enormous appetite for alcohol; the first night it was two large bottles of wine and a case of beer. He came in with this under his arm, a shopping bag with wine and a huge case of beer [laughs]. We were playing within two hours—he was really fast. And he would pull me out in the hall: “What kind of music is this? Is this a Velvet Underground trip? What is this, is this New York subway music?” So that went on for about ten days, and then he said, “Well, I guess you don’t really need me, I’m going back to LA tomorrow.” So we did the overdubs with the tape-op guy, who was actually a decent engineer, and then we had to beg him to come back to mix it. He came back right around New Year’s to mix it, and suddenly, I guess, he heard what we were doing or he had an ear for it, and he said, “Ah, I see what this is, I see what this is.” He became really enthusiastic in mixing it. It turned out well. It was probably one of the five oldest studios still working in New York at the time. It had a board with tubes, with the valves, which gave it a kind of sound. And there was no equalization on the board, and there were no compressors, so it was this very basic kind of thing, which he was really mad about when he saw it—he thought, “What are you working on here, a World War II recording desk?” [Laughs.] “This is crazy.” It was at A & R, a room that Phil Ramone had built for himself, so they didn’t rent it out much. I think Dionne Warwick records were made there. It wasn’t a giant, spacious place but it did have a nice sound. The reason I liked it was that it looked like our rehearsal loft—it was a bit sloppy and not gigantic, but easy to work in
Holdsworthian
Active Member
Quick Report on my Rhinos. Love the Television and it easy beats the 4MWB pressing. No issues other than a hairline that thankfully DNAP. My Ornette is dished pretty badly (thanks Optimal!) but is a killer. Been listening to this music for a long time and never heard it sound better. Finally, Crossings is unreal. If you have any interest in this title, I'd say grab it. It's blowing my mind like never before. I will keep my CD set with all of the Mwandishi stuff as I'm a Herbie nut but I don't see myself ever listening to the CD again except if I am feeling lazy. Holy cow! NOTE: no shipping damage so I was shocked.
I wonder how that Rhino Crossings compares to the Speakers Corner KPG Pallas pressing.
Holdsworthian
Active Member
Add me to this list. I'll say I am happily finished seeking the best version at this point. I am playing it at maximum volume (my poor neighbors but I get to hear their kids at all hours so I don't care
)
Turbo
Well-Known Member
Ok, so this is not really audiophile, but I don't know where else to talk about it. So I picked up the VMP Madlib Shades of Blue although I already have the Blue Notes Classics. Figured why not while I'm subscribed (I won't renew after this month). All the talk about the mastering being different and VMP's sounding "more hip-hop" was intriguing.
I'll definitely agree on the VMP being more "hip-hop". Anyway, I'm completely torn. I don't know what I expected, but I think I prefer the Blue Note Classics. I played the VMP first and really liked it. Then I tossed the Classics back on and it's so much more open. It's a bit of a toss-up because they're essentially both good, but the extra separation and crispiness in the highs on the Classics, I really like. I also expected the VMP to be more bassy, but I can barely tell a difference between the two on my system. Maybe the bass is more pronounced on the VMP, but the Classics is no slouch and the bass is definitely tighter. Oh, the vinyl pressing is better on the Classics too. The groove noise is more silent, and yes I know there are tons of crackle in the samples, but the Optimal pressing is quieter.
Anyway, upshot both good. Probably matter of preference. I think I like the Classics more, but I'm still debating. Definitely different though.
I'll definitely agree on the VMP being more "hip-hop". Anyway, I'm completely torn. I don't know what I expected, but I think I prefer the Blue Note Classics. I played the VMP first and really liked it. Then I tossed the Classics back on and it's so much more open. It's a bit of a toss-up because they're essentially both good, but the extra separation and crispiness in the highs on the Classics, I really like. I also expected the VMP to be more bassy, but I can barely tell a difference between the two on my system. Maybe the bass is more pronounced on the VMP, but the Classics is no slouch and the bass is definitely tighter. Oh, the vinyl pressing is better on the Classics too. The groove noise is more silent, and yes I know there are tons of crackle in the samples, but the Optimal pressing is quieter.
Anyway, upshot both good. Probably matter of preference. I think I like the Classics more, but I'm still debating. Definitely different though.
zdkaiser
Well-Known Member
And the Classics was $20 cheaper?
Turbo
Well-Known Member
Probably around the same price for me. Everything is more expensive up here.
