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Does it cost more to reissue AAA pressings?

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  • Does it cost more to reissue AAA pressings?

    Is there a definitive answer to this question? My gut tells me it is more expensive, but I have no facts to support it. Does anyone here?

    I bring this up as I suggested over at the SHForums that budget could possibly be an issue for the PF catalogue to not be AAA. Several members there said I was out of my mind as it doesn't cost more, but they couldn't support their opinion with any facts. Guthrie and company prefer to work in the analogue domain and will always do so when possible. If budget weren't a concern why then would these new reissues not be AAA? I have a difficult time believing that cutting from a digital file would produce a higher quality product, which is why I maintain that budget was an issue due to AAA vinyl costing more to produce.
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  • #2
    Well the easy answer from someone who's never mastered a record is that if the studio/mastering facility is set up for AAA it may not cost much more. If it's a modern facility, AAA might require them to reinvest in equipment which I am not sure is sold any more. Then you have to have the expertise to work totally in the analog domain so you may have to hire someone to come in.

    So if you are interested in AAA your first step would most likely be finding a facility that specilizes in analog mastering. Have no idea how many there are but my WAG is that there aren't many and another WAG would be that they can charge a premium for their services. Then there is probably the discussion of whatever upcharge you can justify that AAA brings will you sell more than the same recording done in say ADD to make it worth it?

    All of this presupposes the availability of a good master to work from in the first place.
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    • #3
      I believe the issue is not cost but risk of loss or damage to the original master tapes. It's safer to just send out a digital safety dub for cutting.
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      • #4
        Originally posted by JCOConnell View Post
        I believe the issue is not cost but risk of loss or damage to the original master tapes. It's safer to just send out a digital safety dub for cutting.
        Yes. But if they can remaster from the original analogue tape, then the tape should be fine.
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        • #5
          Originally posted by Johnny Vinyl View Post

          Yes. But if they can remaster from the original analogue tape, then the tape should be fine.
          Yes, but what if the a/d remastering takes place in the home studio of the analog tapes, then the digital dub gets sent out to the mastering lab? That's the safest way to do it.
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          • #6
            This question would best be answered by someone like Chad who does this for a living.
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            • Johnny Vinyl
              Johnny Vinyl commented
              Editing a comment
              I agree. I understand the variables, the need to protect the tape and all of those things, but it still remains a bit of a mystery to me.

          • #7
            Originally posted by JCOConnell View Post
            I believe the issue is not cost but risk of loss or damage to the original master tapes. It's safer to just send out a digital safety dub for cutting.


            And even so, getting a digital master is easier. You don't have to pay for a courier service, armed guard, insurance, etc.
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            • #8
              Originally posted by Johnny Vinyl View Post

              Yes. But if they can remaster from the original analogue tape, then the tape should be fine.
              Don't forget so many of these tapes have to be baked before you can even play them. I'm sure there are only so many bakings in a tape. Then don't forget, you might have to cut five lacquers to get one good one. That means having to play the fragile master tape five times. Hmmmm......
              Myles B. Astor, PhD, Administrator
              Senior Editor, Positive-Feedback.com
              ________________________________________

              -Zellaton Plural Evo speakers
              -Goldmund Telos 280 stereo amp
              -Goldmund Mimesis 37S Nextgen preamplifier
              -Doshi EVO and Goldmund PH3.8 phonostage
              -VPI Vanquish direct-drive turntable
              -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
              -Lyra Atlas SL Lambda, Fuuga Mk. 2, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
              -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
              -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
              -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

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              • #9
                Originally posted by MylesBAstor View Post

                Don't forget so many of these tapes have to be baked before you can even play them. I'm sure there are only so many bakings in a tape. Then don't forget, you might have to cut five lacquers to get one good one. That means having to play the fragile master tape five times. Hmmmm......
                Yes but these things aren't a piece of art hanging on the wall to be appreciated. To me it does no good to hoard the tape and then say oops we can't play this after 50 years. As long as it's sitting around it can't be appreciated. Only the craziest of audiopile would ooh and aah over a master tape that can't or won't be used!
                Turntable: - 1. Fairchild 750/OMA slate plinth
                2. Analog Engineering AE-2008 MinusK support.
                Tonearm: 1. Schroder Custom
                2. Schick 12"
                3. Abis SA-1
                Cartridge: Miyajima Kansui and Premium BE Mono
                PhonoPre: AprilSound LR, EMIA Strain Gauge, EMIA silver SUT
                CD: Wadia 860x
                Server: Innuos Zen Mini Mk3
                DAC: Computer Audio Design 1543 Mk2
                Preamp: Bent Audio TAP-X w silver autoformers
                Amplifier: AprilSound SET50 monoblocks
                Speaker: Pioneer PAX-30C

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                • #10
                  More importantly, I would think that the recording label would have made some safety copies from their baked copies and use those for making LPs.
                  Micro Seiki SX-8000 table with flywheel, SME 3012R arm, SME 312S arm, Lyra Etna SL and Dynavector XV-1S cartridges, ARC Ref 3 phono stage, Otari MX-55 tape deck, Ampex 350 repros, Roon Nucleus Plus server, PS Audio DSJ DAC, ARC Ref 6 pre, ARC Ref 75 amp, JBL 4345 speakers, and Def Tech Ref subs.

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                  • #11
                    Originally posted by Beaur View Post

                    Yes but these things aren't a piece of art hanging on the wall to be appreciated. To me it does no good to hoard the tape and then say oops we can't play this after 50 years. As long as it's sitting around it can't be appreciated. Only the craziest of audiopile would ooh and aah over a master tape that can't or won't be used!
                    IIRC the original master tapes of DSOTM have only been removed from the vaults four times. Same thing goes for the Beatles. They made what 10, 12 safeties and those are what go out for making CDs, etc. Bruce posted a picture somewhere of the safeties that were sent to him for transfer a while back.
                    Myles B. Astor, PhD, Administrator
                    Senior Editor, Positive-Feedback.com
                    ________________________________________

                    -Zellaton Plural Evo speakers
                    -Goldmund Telos 280 stereo amp
                    -Goldmund Mimesis 37S Nextgen preamplifier
                    -Doshi EVO and Goldmund PH3.8 phonostage
                    -VPI Vanquish direct-drive turntable
                    -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
                    -Lyra Atlas SL Lambda, Fuuga Mk. 2, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
                    -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
                    -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
                    -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

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                    • #12
                      Originally posted by mep View Post
                      More importantly, I would think that the recording label would have made some safety copies from their baked copies and use those for making LPs.
                      That's an interesting question that would love Bruce's input. We know Bruce gets masters in he has to bake before doing transfers (unless they are safeties he has to back?) So is the label sending those masters to everyone who in turn also have to bake?
                      Myles B. Astor, PhD, Administrator
                      Senior Editor, Positive-Feedback.com
                      ________________________________________

                      -Zellaton Plural Evo speakers
                      -Goldmund Telos 280 stereo amp
                      -Goldmund Mimesis 37S Nextgen preamplifier
                      -Doshi EVO and Goldmund PH3.8 phonostage
                      -VPI Vanquish direct-drive turntable
                      -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
                      -Lyra Atlas SL Lambda, Fuuga Mk. 2, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
                      -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
                      -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
                      -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

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