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Thread: The Abbey Road Studios RIP OFF

  1. #21
    Join Date: Mar 2017

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    Quote Originally Posted by forsell View Post
    All reissue records are mastered from digital files unless you buy BN -Jazz from Analogue Productions or Music Matters. In fact what you buy is only a CD pressed in vinyl. People want to get ripped off so the industry produces scams they crave...
    There is no doubt that the Analogue Production or Music Matters are good products
    It does not give me any pleasure to say that the Abbey issue's are rip off as they state that they used original master tapes and quite same effort in to making the best product possible which is not the case
    I was hoping to find decent prints off a more various genere
    There is a company that cut Classical that is pretty good but a £300 a pop for a limited ,just a few hundred each issue, those are out of my reach.

    Abbey could have also used an old mint A1 vinyl record and made a master from that and maybe made a better job of it.
    Still it does not explain why the run off is so large.

  2. #22
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    I faulty press does not mean they RIP people off have you tried it on another turntable it could be your set up thats making poor use of the recording? I'm guessing the original master tapes were used otherwise why would they state this master cuts are different could be a number of issues with this and not the company...and putting a marker on them is a bit unfair..
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  3. #23
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    The one ive got is a nice press. John Martyn
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  4. #24
    Join Date: Mar 2008

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    Yes I’ve that one too and it’s very good.
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  5. #25
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    There's a question here about what to expect from new vinyl - especially reissues. Original stampers will be worn, if they have even been kept. The analogue master tapes may not be in such a good state - they may be too fragile to handle depending on the age of the recording. Using a digital master (not the mastered for CD version) is a very sensible compromise to everyone but the most ardent digiphobes.

    I believe there is more to an LP than the master tape used. The skill and artistry of the cutting (mastering?) engineer in getting the signal into the grooves and the care taken in manufacture are the critical elements - much more so that whether the source is analogue or digital. The quality of the recent (Abbey Road mastered) Sgt. Pepper's is a case in point. This version doesn't exist in analogue as they created new multi-tracks in digital for the new stereo mix. This new digital master was cut at half-speed, and the end result is phenomenal. (Second LP should have had Strawberry Fields and Penny Lane on though!) Sweeping statements and accusations that Abbey Road are ripping people are unhelpful and untrue.

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  6. #26
    Join Date: Feb 2010

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    Quote Originally Posted by m10 View Post
    There's a question here about what to expect from new vinyl - especially reissues. Original stampers will be worn, if they have even been kept. The analogue master tapes may not be in such a good state - they may be too fragile to handle depending on the age of the recording. Using a digital master (not the mastered for CD version) is a very sensible compromise to everyone but the most ardent digiphobes.

    I believe there is more to an LP than the master tape used. The skill and artistry of the cutting (mastering?) engineer in getting the signal into the grooves and the care taken in manufacture are the critical elements - much more so that whether the source is analogue or digital. The quality of the recent (Abbey Road mastered) Sgt. Pepper's is a case in point. This version doesn't exist in analogue as they created new multi-tracks in digital for the new stereo mix. This new digital master was cut at half-speed, and the end result is phenomenal. (Second LP should have had Strawberry Fields and Penny Lane on though!) Sweeping statements and accusations that Abbey Road are ripping people are unhelpful and untrue.
    Well said.
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  7. #27
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    Quote Originally Posted by m10 View Post
    There's a question here about what to expect from new vinyl - especially reissues. Original stampers will be worn, if they have even been kept. The analogue master tapes may not be in such a good state - they may be too fragile to handle depending on the age of the recording. Using a digital master (not the mastered for CD version) is a very sensible compromise to everyone but the most ardent digiphobes.

    I believe there is more to an LP than the master tape used. The skill and artistry of the cutting (mastering?) engineer in getting the signal into the grooves and the care taken in manufacture are the critical elements - much more so that whether the source is analogue or digital. The quality of the recent (Abbey Road mastered) Sgt. Pepper's is a case in point. This version doesn't exist in analogue as they created new multi-tracks in digital for the new stereo mix. This new digital master was cut at half-speed, and the end result is phenomenal. (Second LP should have had Strawberry Fields and Penny Lane on though!) Sweeping statements and accusations that Abbey Road are ripping people are unhelpful and untrue.
    +1 Malcolm.. with Bells on. There has been some ridiculous nonsense written and really out of order accusations on this particular thread.
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  8. #28
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    Quote Originally Posted by Bksabath View Post
    There is no doubt that the Analogue Production or Music Matters are good products
    It does not give me any pleasure to say that the Abbey issue's are rip off as they state that they used original master tapes and quite same effort in to making the best product possible which is not the case
    I was hoping to find decent prints off a more various genere
    There is a company that cut Classical that is pretty good but a £300 a pop for a limited ,just a few hundred each issue, those are out of my reach.

    Abbey could have also used an old mint A1 vinyl record and made a master from that and maybe made a better job of it.
    Still it does not explain why the run off is so large.
    Sorry to say, but your statement is based on your EXPECTATIONS as a "customer". From the perspective of music industry the term: "From original master tape" means: digital backs up were made form a tape (which generation master tape by the way, 1.st, 2.nd...? nobody knows) and then those digital files used for mastering purposes.

    Do you remember the early days of CD, when "AAD" and "ADD" -codes were printed on to show the manufacturing process...? For example: "AAD": 1st "A": analogue source (tape) 2nd "A": analogue mastering equipment throughout 3rd "D": digital storage medium (CD)

    As of modern reissues we speak of "ADDA"-system: 1st "A": analogue source (tape) 2nd "D": digital file (back up) made from an analogue source,, so the source for mastering is pure digital 3rd "D": digital mastering studio equipment used 4 th "A": anlalogue storage medium (vinyl)

    That's why all this highly priced reissue rubbish out there is nothing but scam only...

  9. #29
    Join Date: Aug 2009

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    Quote Originally Posted by montesquieu View Post
    That’s utter nonsense. There’s a VAST difference between a 24 bit digital studio master, which is then used to master an LP that will then be cut, and a collection of 16 bit 44.1 AIF CD files.
    Actually there isn't. The only thing it will have is greater dynamic range and frequencies over 22 KHz that you can't hear. And the extra dynamic range doesn't matter since you are going to lose it in the pressing for vinyl anyway. A lot of digital studio masters are 18/48 at best since that was state of the art 20 years ago. In the case of an analogue master it will not have the frequency response or dynamic range of 16/44,1 because even 3.5 inch tape at 15 ips is not that good. So whether you press your vinyl from the analogue master or a digital copy of it, providing its resolution is over about 14/44.1 it will make no difference to end product.

    Of all the things that can make a recording on a vinyl LP sound good I can't think of anything that makes less difference.
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  10. #30
    Join Date: Feb 2010

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    I'm Tom.

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    Quote Originally Posted by Macca View Post
    Actually there isn't. The only thing it will have is greater dynamic range and frequencies over 22 KHz that you can't hear. And the extra dynamic range doesn't matter since you are going to lose it in the pressing for vinyl anyway. A lot of digital studio masters are 18/48 at best since that was state of the art 20 years ago. In the case of an analogue master it will not have the frequency response or dynamic range of 16/44,1 because even 3.5 inch tape at 15 ips is not that good. So whether you master your vinyl from the analogue master or a digital copy of it, providing its resolution is over about 14/44.1 it will make no difference to end product.

    Of all the things that can make a recording on a vinyl LP sound good I can't think of anything that makes less difference.

    **Some** of it will be thrown away but for sure you want it all available for mastering of the LP.

    It's not simply about feeding a CD to a cutting lathe as was being claimed.
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    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; tube preamp - Gate Audio tube; Vinyl: Garrard 401 with AT1503 Mk I tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage from Gate Audio preamp; Digital - Trichord Genesis III CDP + Arcam rBlink.

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