I manufacture vinyl for a living. The notable exception is glow-in-the-dark plastic, which is dreadful stuff. Where you will naturally find playback issues is on discs pressed with multiple colours, either in segments or as splatters, especially mixtures of opaque and transparent plastic.
It took 5 fives minutes to realise it was looping! My only bugbear is the near transparent vinyl with multiple tracks on either side. Back in the days of DJing it could be a bit of a nightmare trying to quickly cue up the track you wanted because the cue point ie start of the track would show on both sides and mistakes could be made when you thought you had cued it up only to find out it was halfway through the desired track because you were literally looking at the track on the other side of the vinyl.
In a dimly lit room, it made for some funnily frustrating times. I am not an audiophile and never have been in all my 46 years of listening to vinyl except classical music which is better on cd!
Imo your speaker system, turntable set up and needle!! When I play them out on a big system nobody ever came to me and complained.
We can be fussy or go on with it and make it better for those sensitive audiophile ears who have a great system set up at home. There is more surface noise to colored vinyl as opposed to black vinyl.
I own multiple copies of split, tri-colored and quad-colored vinyl and if you listen to those LPs with head phones on you can tell the difference in surface noise. Especially if one of the sections is black. Also I find it irritating that when some artists release an LP there can be up to 10 different variations of the release! Annoying AF! I always buy the black version for my play copy and leave the other variation just to look at occasionally.
I have found though that there are some really good quality colored vinyl out there and it seems to be the gram and above that sound the best.
Also picture discs have improved a lot since the glory days when picture discs were all the rage. I experiencing a lot more warping, rough edges, particles in the grooves and kinked inserts and inner sleeves.
Sure there was warping back then too but usually on popular releases that would sell a lot of units and they packed and shipped them quickly before they completely cooled from the pressing process. Frampton Comes Alive comes to mind. Love all the comments on this informative article. For those that say record companies always punched out label centers before melting down old vinyl to make new vinyl pressing ….. Not sure if anyone out there knows something about this, but i have recently found that colored vinyl and other variants arrive warped FAR more often than black wax.
Not blaming the record companies, just the colored vinyls… any thoughts? The labels were punched out before the vinyl was ground up and melted down. Sometimes a bit of label would get in with the vinyl if the label were originally off-center, for example , but that was pretty rare.
Vinyl is the ultimate historical musical artifact. Everything about the vinyl should feel like it represents what the music is about. Not going to lie.. I will sacrifice slighty better sound quality for an artifact that has history ingrained in it ie. The sound difference between black vinyl and colored vinyl is really not that discernible.
Sometimes you would see pieces of the old labels in the vinyl. They could cause clicks, pops, skips, etc. The purer the vinyl virgin yes even black , the more light would show through. Colored vinyl is nice. Almost exclusively classical music targeting people who wanted high quality sound. Pressing and mastering are much more significant than the color of the vinyl. I have nothing against colored vinyl as long as these two jobs are done well.
When buying a second hand record, colored vinyls are a minefield. You cannot reflect light and see the possible defects as well as black vinyl. The worst in this case are the clear vinyls. Even the sleeves were better quality. Flip back garrod and loft house for example.
After that they charged a premium for deluxe. It really just depends on the particular pressing. And on a side note: nothing beats the look of a well made splatter vinyl! Just my two cents :. Anyway, has it been proven that colored vinyl has inferior fidelity compared to black?
Has it been established that the carbon black makes for a better pressing substrate? Go colored vinyl, go picture discs! Having worked in multiple pressing plants and for multiple record labels, I can say that colored vinyl can sound just the same as black. Most all colored vinyl is pressed after the full run of black vinyl and occur on worn-out stampers. The current backlogs for every step in the vinyl record process makes for sloppy or non-existent quality control — these problems of haste equally afflict all vinyl colors.
I just go for a version with the best price. For example, you can find a barely-played 60s pressing of the soundtrack for a couple bucks…and often in dollar bins. Why do I need an expensive colored repress?!
Plus the latter offers greater consistency — the beginning of a side of vinyl always sounds better than the end because its velocity increases as it approaches the centre, diminishing the ability to cleanly cover each and every micro groove. So is wax better? Decisions, decisions: should you shell out for that vintage copy of Back In Black or pick up the pristine new reissue?
Well, the sound quality depends on the audio source — an LP pressed from a compressed digital audio format will never match the sonic expanse of a vinyl copy pressed from an analogue master.
The Chicago Tribune recently played a bunch of Beatles fans Fabs songs from versions of the same LPs cut in the 70s, 80s and the current decade. To visually grade a record, inspect the sleeve and any inserts lyric sheets, posters, etc. You will also need to inspect the vinyl surface for scratches and other imperfections.
Visually inspecting a record is best done under a bright light positioned close to the vinyl surface. To play grade, you need to put the needle down and give it a spin. Do you hear clicks, pops, or skipping? Read ahead to see what that means for the condition of the vinyl record. Inspect the vinyl and sleeve and compare it to the notes for each step in the Goldmine Standard to determine the condition of a record. The sleeve and cover are absolutely perfect in every way.
To qualify as Mint, the record must never have been played and is possibly still sealed. Mint should be used sparingly as a grade, if at all. Note that a record can be sealed and not Mint. There could be sleeve discoloration, ring wear, or a vinyl warp from if guidelines on how to store vinyl were not followed. Being graded as Mint means the record was not playtested. A Near Mint record has more than likely never been played, and the vinyl will play perfectly, with no imperfections during playback.
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