Elvis' Hits Spin Sweetly at 45rpm

Listening to Elvis makes clear his indebtedness to Dean Martin and Bryan Ferry’s to Elvis. No doubt Paul McCartney was imitating growing up too. There’s not been a voice like it since, which for detractors is a good thing.  

Elvis has been in and out of fashion numerous times while he was alive and even after he died in 1977 at age 42 his star has risen and fallen. After his initial teen success and his triumphant return after army service, he fell out of favor once the Beatles broke through, though the hard core remained faithful.

Primary Category: 
Category: 
Artist: 
Elvis Presley
Album: 
24 Karat Hits
Cred Label: 
RCA/Analogue Productions APP-2040 3 180g 45rpm LPs
Cred Prod: 
Elvis Presley
Cred Eng: 
Bill Porter, Thorne Nogar, others
Cred Mix: 
Bill Porter, Thorne Nogar, others
Cred Mast: 
George Marino at Sterling Sound, NYC

Listening to Elvis makes clear his indebtedness to Dean Martin and Bryan Ferry’s to Elvis. No doubt Paul McCartney was imitating growing up too. There’s not been a voice like it since, which for detractors is a good thing.  

Elvis's Post Army Return to RCA Produces Classic, Doubly Good at 45rpm

Elvis’s first post-Army album created a sensation when it was released just one month after he entered Nashville Studio B on March 20th, 1960, two week after his release from the Army. Unfortunately, for Presley and RCA Elvis Is Back!  wasn’t a big seller because it didn’t contain any hits. Presley had been away for two years.

Primary Category: 
Category: 
Artist: 
Elvis Presley
Album: 
Elvis Is Back!
Cred Label: 
Analogue Productions/RCA AAPP 2231 2 180g 45rpm LPs
Cred Prod: 
Steve Sholes and Chet Atkins
Cred Eng: 
Bill Porter at RCA Studio B, Nashville
Cred Mix: 
Bill Porter
Cred Mast: 
George Marino at Sterling Sound

Elvis’s first post-Army album created a sensation when it was released just one month after he entered Nashville Studio B on March 20th, 1960, two week after his release from the Army. Unfortunately, for Presley and RCA Elvis Is Back!  wasn’t a big seller because it didn’t contain any hits. Presley had been away for two years.

Exile For the iPod Generation

Making a publicity appearance on the Jimmy Fallon show for the latest reissue of Exile on Main Street, Keith Richards professed a preference for vinyl. The audience applauded. Has an expression of a preference for CD ever gotten such a reaction—at least in the last decade? Not likely.

Making a publicity appearance on the Jimmy Fallon show for the latest reissue of Exile on Main Street, Keith Richards professed a preference for vinyl. The audience applauded. Has an expression of a preference for CD ever gotten such a reaction—at least in the last decade? Not likely.

Primary Category: 
Category: 
Artist: 
The Rolling Stones
Album: 
Exile on Main Street
Cred Label: 
Rolling Stones Records/UMe 2 CDs, 2 180g LPs, 1 DVD box set with book
Cred Prod: 
Jimmy Miller
Cred Eng: 
Andy Johns, Glyn Johns, others
Cred Mix: 
N/A
Cred Mast: 
Stephen Marcussen at Marcussen Mastering

Making a publicity appearance on the Jimmy Fallon show for the latest reissue of Exile on Main Street, Keith Richards professed a preference for vinyl. The audience applauded. Has an expression of a preference for CD ever gotten such a reaction—at least in the last decade? Not likely.

Available Again For a Short Time!: Neil Young's Upcoming Four 180g LP Box Set!

When Buffalo Springfield broke up, Neil Young set about building his solo career. The high-production work with Jack Nitzsche that had created classics like “Expecting to Fly” and “Broken Arrow” brought Neil back to the producer/keyboardist/orchestrator, who gained fame working with Phil Spector but the results on Young’s eponymous debut album were not as memorable. In fact, many critics and fans alike back in 1969 considered the album a disappointment and a misstep. 

Primary Category: 
Category: 
Artist: 
Neil Young
Album: 
Neil Young Official Release Series Discs 1-4 Box Set
Cred Label: 
Warner Brothers/Reprise 4 180g LP, numbered Box Set
Cred Prod: 
Neil Young, Jack Nitzsche, David Briggs, Elliot Mazer, others
Cred Eng: 
various engineers
Cred Mix: 
various mixers
Cred Mast: 
Chris Bellman at Bernie Grundman Mastering
When Buffalo Springfield broke up, Neil Young set about building his solo career. The high-production work with Jack Nitzsche that had created classics like “Expecting to Fly” and “Broken Arrow” brought Neil back to the producer/keyboardist/orchestrator, who gained fame working with Phil Spector but the results on Young’s eponymous debut album were not as memorable. In fact, many critics and fans alike back in 1969 considered the album a disappointment and a misstep. 

The Beatles Remasters: A Splendid Time is Guaranteed For Some

The Beatles Remasters: A Splendid Time Is Guaranteed For Most

How bad were the original Beatles CDs issued back in 1987? So bad that even the clueless conditioned to believe that CDs represented an automatic sonic step up from vinyl noticed something was terribly wrong.

Amusing to some observers was the nature of the complaints: “they sound tinny,” “they sound flat,” “they sound thin and bright,” “they’re harsh and edgy,” “where’s the warmth?” etc.

Primary Category: 
Category: 
Artist: 
The Beatles
Album: 
The Beatles Boxes: Stereo and Mono
Cred Label: 
Parlophone/Apple stereo and mono box sets
Cred Prod: 
George Martin
Cred Eng: 
Norman Smith, Geoff Emerick
Cred Mix: 
various mixers
Cred Mast: 
various mastering engineers

The Beatles Remasters: A Splendid Time Is Guaranteed For Most

Two Sought After 70's Albums Surface In Box Set

Chris Darrow may not be a name familiar to you, nor might Kaleidoscope, the ‘60s psych/folk band on Epic of which he was part. That band passed me by back then. Maybe I didn’t like the cover art, or thought Epic wasn’t in the same solid A&R league as was Elektra for instance, so I didn’t want to chance it. I never heard them on the radio and Epic probably did a crappy job promoting them.

Primary Category: 
Category: 
Artist: 
Chris Darrow
Album: 
Under My Own Disguise
Cred Label: 
Everloving EVF025 2 180g LPs, 2 CD box set
Cred Prod: 
Chris Darrow & Michael O'Connor
Cred Eng: 
David Hentschel, others
Cred Mix: 
David Hentschel and Chris Darrow
Cred Mast: 
N/A

Chris Darrow may not be a name familiar to you, nor might Kaleidoscope, the ‘60s psych/folk band on Epic of which he was part. That band passed me by back then. Maybe I didn’t like the cover art, or thought Epic wasn’t in the same solid A&R league as was Elektra for instance, so I didn’t want to chance it. I never heard them on the radio and Epic probably did a crappy job promoting them.

Blues Classic Better Than Ever

It was 1965 and Junior Wells was no longer the precocious teenager who had gotten the likes of Muddy Waters, Elmore James and Otis Spann to back him up on his 1953 and 1954 hit singles. Now 30, he was a fixture of that generation of electric Chicago bluesmen. He toured, and worked regularly at Theresa’s on the South Side. And he was about to make an album that has long been a staple of any modern blues collection.

Primary Category: 
Category: 
Artist: 
Junior Wells Chicago Blues Band
Album: 
Hoodoo Man Blues
Cred Label: 
Analogue Productions APB 034-45 2 180g 45rpm LPs
Cred Prod: 
Robert G. Koester
Cred Eng: 
Stu Black
Cred Mix: 
Stu Black
Cred Mast: 
Kevin Gray at AcousTech

It was 1965 and Junior Wells was no longer the precocious teenager who had gotten the likes of Muddy Waters, Elmore James and Otis Spann to back him up on his 1953 and 1954 hit singles. Now 30, he was a fixture of that generation of electric Chicago bluesmen. He toured, and worked regularly at Theresa’s on the South Side. And he was about to make an album that has long been a staple of any modern blues collection.

Drummer Says No to Yes and Rock Stardom

Bill Bruford: The Autobiography (Jawbone Press, Berkeley, CA 352 pages, www.jawbonepress.com) Progressive rock and jazz fans know Bill Bruford as one of the most influential, cerebral and greatest technical players of the last 40 years. Numerous drummers and percussionists working today cite his work as a drummer and electronic percussionist as an influence. And of course for 70’s-90’s rock fans, his name is synonymous with some of the most adventurous music ever to emerge from that era.

A Zip Code With Its Own Playlist!

Your head will spin dizzily with pleasure before you reach the end of the first chapter of "Canyon of Dreams," Harvey Kubernik’s lovingly told history of the unique Hollywood micro-climate known as Laurel Canyon. The supernovas and the dimly lit alike open up to L.A. native, record biz insider and scene maker Kubernik who transmits their stories with an immediacy that will make you feel more like an eavesdropper than a history buff.

Pure Vinyl LP recording & editing software Specifications

COMMENTS
Stoneholme's picture

I read this article with interest as this has been a passion of mine for several years now.  I have no issues with anything said as it's essentially what I've been doing.

I would like to share a couple of alternatives, however:

The Graham Slee Project "Jazz Club" pre-amp (www.gspaudio.co.uk) allows you to select from a variety of different equalisation curves or just pass the signal through without equalisation.  It's got pretty good performance specs as well.

Sound Studio from Felt Tip Software is a pretty versatile but easy to use program. Support is excellent and the product has never failed to perform to my expectations.  I do high-res transcription at 24-bit, 192kHz and this works a treat.

For post-processing I use wonderful suite of products from Brian Davies called ClickRepair and DeNoise.  The beauty of this product is that it is NOT a set of filters but a sophisticated yet easy-to-use digital signal processing program.  It also has built-in equalisation capability if you wish to use it.  It's also very very affordable.

For storage of the raw files I use the DroboPro.  I mention this simply because I have terabytes of raw files and although I've had some serious HDD problems, this system has not lost a "bit" of any of my recordings.

BTW, really enjoying the site although suffering from technology envy when I read about some of the systems.

Oh, although I haven't done any work in this space, I've heard great things about the OPPO BDP-95 universal optical disc player.  If you have the capability of producing DVD-Audio discs at 24-bit 192kHz, and your mates have an OPPO, it's a great way to share new music.

rl1856's picture

Not everyone owns a Mac computer....indeed approximately 90% of the computing world is non Mac and I suspect the majority of those reading this blog or Stereophile in general are PC users.  So what are the viable NON MAC alternatives for converting vinyl to digital?  For many, the use of Audacity software (free download) and ones's own internal sound card or inexpensive secondary card provides a good starting point, but what are better alternatives?

Joe Crowe's picture

I noticed that the nifty Lynx soundcard mentioned (rally interested in that) requires an adapter to be used in a Mac.

audiot's picture

I'd love to use the Pure Music software but first I have some serious hardware upgrades to consider, mainly a new turntable and cartridge. Mine is just too old and has spent too many thousands of miles in moving vans to be viable for such a huge undertaking. But someday . . . yes!

southroad3's picture

I'm a PC user so the Pure Vinyl is of no use to me. I have been digitising analog sources for a few years now using a Denon DN F650R digital recorder which transfers onto an SD card. I then plug the card into my PC. Using Nero software I chop up the files into the individual tracks, I can also edit any unwanted noise at this stage. The process is somewhat laborious but once you get used to it you can create a digital version of your vinyl/tape etc fairly quickly. The Denon records at 24/96 so SQ is acceptable. During this time I have been upgrading my vinyl playback so I suppose I would need to go back and re-record the early transfers, but I think life is too short !

See Why Audio's picture

...not all of them are equal.

Recording from vinyl is what I do for a living so forgive me if I feel I know more about it than others... but I have also found that I know less and less when it comes to the bewildering selection of software available.
I can't enjoy the 'Pure Vinyl' experience because I am a PC user... but I have been for many years using a venerable and now quite free version of Adobe Audition 3.01

The strengths of this program are difficult to nail down but amount to a great flexibility in choice. Automation of tasks is achieved through scripting and the interface is relatively easy to learn. Frankly I don't know what I'll do if it ever becomes unusable on modern computers!

Irrespective of software, I should stress that you are always going to get better results from a better turntable/arm/cart/pre/sound card than from any software. You can get a decent rip - if that's all you need, from free software such as Audacity.
As always, there is no easy way to make a bad rip sound good in software.

gbougard's picture

I've used this gentleman's services and he is one of the best in the world
I sometimes release content that's often restored from vinyl and See Why Audio is my go to guy. What he did on Bunny Wailer's "Struggle" album is simply stellar

pessoist's picture

I shared the thought of a digital high-resolution rip.
On a very second thought:
- I waste a lot of time to create a copy, that I could use to read a book, ride a motorcycle, or bicycle, meet family and friends, travel. Recording what I listen to, while I listen to? Ok, doable.
- I record what actually has been digital information before? To save some bucks or what? To listen in a compromised environment (mobile)?
- Can I really capture all of it? All information, all emotion?
Result:
I decided to buy a second turntable instead for my second location I frequently stay and chose to listen to records I buy there, or move over. I had a good second chain of equipment already (not high high end, but good classic) that I moved there.
I listen to music and feel the emotion.

What do I rip?
CDs, because they're crap, don't age well, less well than my digital files.
Do I listen to them? Yes, in the car and on the train. (.wav)
I'll be deleting all MP3 files, soon, even the ones without a .wav copy.

Nothing against the software approach above, it's really a great idea, just not one that I consider using.

thank you.
Carlos.

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