Sold Date:
January 15, 2016
Start Date:
August 10, 2015
Final Price:
$34.00
(USD)
Seller Feedback:
3771
Buyer Feedback:
0
BN 4034 MONO - LEE MORGAN Lee-Way - 200G LP Quiex SVP* Classic Records Reissue - Still Sealed with Sticker.
An overlooked gem at the time of release, Lee-Way has rocketed in status among jazz aficionados and is now considered one of Morgan’s finest outings. The stalwart quartet of Jackie McLean-alto, Bobby Timmons-piano, Paul Chambers-bass and the mighty Art Blakey on drums join forces with Lee on four elongated arrangements. Each is a tour-de-force in its own right, with everyone given a chance to really stretch out. The Lion And the Wolff is a playful tribute to two of the founding principals of Blue Note, Alfred Lion and Francis Wolff, with the other highlight being what could be, a definitive version of Cal Massey’s classic “These Are Soulful Days”. As part of the Classic Blue Note Signature LP reissue Series this reissue was mastered and cut from the original analog master tapes on Classic’s ALL TUBE MONO cutting system and featuring authentic tip on jackets with film laminate front covers. Pressed on Classic's 200g Super Vinyl Profile* for maximum fidelity and musicality. Great record – highly recommended!
*Background on Classic 200g Super Vinyl Profile
In 2003, Classic Records launched
its now famous Signature Blue Note Mono reissue series. As part of that
series Classic developed an "authentic" 200 gram LP profile that
replicated that of an original Blue Note record from the 1950's.
Comparing a test pressing on the new profile versus the same title on
the normal 180 gram pressing it was discovered that the 200 gram version
sounded significantly better. The 200 gram pressing sounded louder,
with more definition and solidity of notes across all frequencies and
there was more detail - particularly low level detail like room or hall
sounds, pages being turned, musicians whispering and automobile sounds
outside the studio all became easier to identify. At first it was
speculated inside Classic Records that the extra weight resulted in the
better performance as no one could come up with a better answer given
that the stampers were the same as well as the vinyl pellets used on
both 180g and 200g pressings. One day, Michael Hobson, the founder of
Classic Records was discussing this unexplainable sonic discovery with
the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax
when Doug, without hesitation stated "Ah Michael you've discovered the
difference in a flat versus conventional profile". Puzzled, Hobson
asked for an explanation which Sax described as going all the way back
to 1950's mono pressings and what happened when stereo records came out
in the early 1960's. Sax explained that in the 1950's when mono records
had no vertical modulation (only lateral), pressing PolyVinylChloride
PVC (plastic) records were more easily pressed on "Flat Profile" dies
fitted to the pressing machines since the grooves on the mono stampers
were all the same height (no vertical modulation). The molten vinyl was
able to flow evenly across the stampers and fill properly during the
molding (pressing) of the record. The problems started when stereo
record cutting came into vogue producing stampers that had variable
height grooves sticking up across the diameter of each stamper. Using
the older mono pressing dies resulted in tremendous problems getting the
areas between grooves of different heights to fill properly - a groove
that is in front of another taller one often got passed over by the
flowing molten vinyl resulting in "non-fill" which was audible and thus a
"defective" record. Pressing plants don't like to press defective
records and are always looking for high pressing yields or a s few
rejects as possible.
To solve the problem, the engineers
developed a new pressing die profile which tapers from the center of the
die, flattens in the middle of the diameter and then tapers again
toward the outside of the die. The new profile was "concave" rather than
flat. When you put a flat stampers onto the concave dies the stampers
distort and are no longer flat - the grooves are no longer perpendicular
across the stamper and by association across a finished vinyl
pressing. This new die profile created "back pressure" on the flowing
vinyl and solved the "non-fill" problem with stereo pressings and
resulted in higher yields which was great for pressing plants and good
for record companies who wanted good prices on pressings. The problem
was and still is that the new profile records don't sound as good as
they could because they are not flat across their profile. Using a
micrometer across the diameter of a 1950's mono records reveals that the
thickness is virtually the same across the record's diameter from
center label to outer edge but not so for a newer stereo profile
pressing which is convex across its diameter resulting from the concave
profile dies / distorted stampers. This is the dirty little secret that
Classic had rediscovered was known to old school experts like Doug Sax
who founded Sheffield Labs in the 1970's. After the discovery, Classic
Records never looked back and all of its releases and re-pressings after
2003 were on the new 200 gram Flat Profile dies that were specially
made for Classic. Some years later Classic discovered that the very
same profile was used by JVC in Japan to produce the legendary UHQR
pressings for Mobile Fidelity which are well known to sound better than
the conventional Mobile Fidelity pressings of the same titles - it all
makes sense now. The long and the short of this is that Classic 200g
Super Vinyl Profile (Flat Profile) pressings are as good as it gets for
proper playback without groove distortion from non-flat pressings -
Period.
Check out our Ebay store for more Blue Note Reissue LPs!
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