One would think that test pressings would be valuable because of their
scarcity - only a few were pressed for most releases, and those were
distributed mostly to in-house production people, and maybe a few given to
the talent. But if you follow them in various auctions, you find that they
don't bring much in the collector market. The exception would be a test
pressing that did NOT get commercially produced. But you have to be pretty
savvy to know which pairings and/or takes in test pressings did not get
commercial approval. So a commercially unreleased take from Elvis or Louis
Armstrong might be worth something, but generally test pressings are not
highly valuable.
Greg Bogantz
----- Original Message -----
From: "Vinyl Visions" <[email protected]>
To: <[email protected]>
Sent: Monday, August 06, 2012 10:39 PM
Subject: Re: [Phono-L] Capitol Master recording question...
Hi Greg,Thanks for the info... it is a vinyl record with handwritten
entries on a printed Capitol label that appears to be made for these type
of recordings. If it is, in fact a test pressing, do these records have
any particular value or is it just an oddity? I have had some of the
aluminum based reference recordings before - they seemed to be similar to
the type that you recorded yourself. I am just not very familiar with the
test pressings and couldn't find anything about them.Curt
From: [email protected]
To: [email protected]
Date: Mon, 6 Aug 2012 21:49:02 -0400
Subject: Re: [Phono-L] Capitol Master recording question...
If the record is vinyl (Gisele MacKensie recorded mostly in the
postwar
era), with an unusual handwritten label it is probably a test pressing.
The
word "master" probably referred to the master tape number(s). If the
record
is a nitrocellulose "lacquer" (thin plastic coatings on an aluminum
substrate), it was probably a "reference recording". These were test
cuts
made on lacquer and submitted for approval by the A&R department before
the
pairing and final sound was released for commercial production. Cutting
reference lacquers was standard procedure at most of the major record
labels. They were especially common in later days when post-production
"mastering" (meaning EQ tweaking and level setting) was routinely done
after
the "final" master tape mix was OKd by the producer. Which means the
sound
of the disc was routinely modified from the "final" mix and needed to be
re-approved by the producer.
Greg Bogantz
----- Original Message -----
From: "Vinyl Visions" <[email protected]>
To: <[email protected]>
Sent: Monday, August 06, 2012 8:38 PM
Subject: [Phono-L] Capitol Master recording question...
>
> I discovered a record that I am not sure about and wondered if anyone
> might enlighten me on it. It is a Capitol Master #7623-10 "Wishin" by
> Gisele MacKensie / Flip side is Master #9624 "Good Bye Sweetheart" by
> Gisele MacKensieAll of the numbers and titles are hand written. The
> label
> has a date of 1/52 on the bottom and a sticker with "M2111" written on
> it.This was apparently published in 1983, as I found a record with
> these
> titles and that date on Capitol, but I can't find any info on it as far
> as
> being a Master copy... any ideas???Curt
>
> _______________________________________________
> Phono-L mailing list
> http://phono-l.org
_______________________________________________
Phono-L mailing list
http://phono-l.org
_______________________________________________
Phono-L mailing list
http://phono-l.org
_______________________________________________
Phono-L mailing list
http://phono-l.org
