SS: Still Sealed
Label: RCA Living Stereo
Catalog Number: LDS 6065-45
Product Con
dition: M/ Mint
ULTRA COLLECTIBLE
This auction is for a STILL SEALED, NUMBERED
29 of 29 9-disc 45rpm Test Pressing box set marked A1, A2, A3,
B1, B2, C1, C2, D1, D2 pressed on CLARITY Vinyl from the Classic
Records 200gram reissue of The Royal Ballet Gala Performances with
Ernest Ansermet conducting the Royal Opera House Orchestra. These highly
collectible test pressings are from the first stamper and approximately
20 - 40 exist depending on the title. Test pressings reflect the
closest you can get to the lacquers and hence have a special collectible
value and store of value.
As a bonus, this set is packaged in the box from the original
Classic Records release. Also included is the original gatefold jacket
and booklet of the same title with artwork. Each test pressing comes
STILL SEALED in a white jacket. All records have test pressing labels
and are pressed on Classic s proprietary 200g SV-P II CLARITY Vinyl.
This is truly a rare offering... Good luck
Background on Classic 200g Super Vinyl Profile
In 2003, Classic Records launched its now famous Signature Blue Note Mono reissue series.
As part of that series Classic developed an authentic 200 gram LP
profile that replicated that of an original Blue Note record from the
1950 s. Comparing a test pressing on the new profile versus the same
title on the normal 180 gram pressing it was discovered that the 200
gram version sounded significantly better. The 200 gram pressing
sounded louder, with more definition and solidity of notes across all
frequencies and there was more detail - particularly low level detail
like room or hall sounds, pages being turned, musicians whispering and
automobile sounds outside the studio all became easier to identify. At
first it was speculated inside Classic Records that the extra weight
resulted in the better performance as no one could come up with a better
answer given that the stampers were the same as well as the vinyl
pellets used on both 180g and 200g pressings. One day, Michael Hobson,
the founder of Classic Records was discussing this unexplainable sonic
discovery with the Legendary Mastering Engineer and Sheffield Records
founder, Doug Sax when Doug, without hesitation stated Ah Michael
you ve discovered the difference in a flat versus conventional profile .
Puzzled, Hobson asked for an explanation which Sax described as going
all the way back to 1950 s mono pressings and what happened when stereo
records came out in the early 1960 s. Sax explained that in the 1950 s
when mono records had no vertical modulation only lateral , pressing
PolyVinylChloride PVC plastic records were more easily pressed on
Flat Profile dies fitted to the pressing machines since the grooves on
the mono stampers were all the same height no vertical modulation .
The molten vinyl was able to flow evenly across the stampers and fill
properly during the molding pressing of the record. The problems
started when stereo record cutting came into vogue producing stampers
that had variable height grooves sticking up across the diameter of each
stamper. Using the older mono pressing dies resulted in tremendous
problems getting the areas between grooves of different heights to fill
properly - a groove that is in front of another taller one often got
passed over by the flowing molten vinyl resulting in non-fill which
was audible and thus a defective record. Pressing plants don t like
to press defective records and are always looking for high pressing
yields or a s few rejects as possible.
To solve the problem, the engineers developed a new pressing die
profile which tapers from the center of the die, flattens in the middle
of the diameter and then tapers again toward the outside of the die. The
new profile was concave rather than flat. When you put a flat
stampers onto the concave dies the stampers distort and are no longer
flat - the grooves are no longer perpendicular across the stamper and by
association across a finished vinyl pressing. This new die profile
created back pressure on the flowing vinyl and solved the non-fill
problem with stereo pressings and resulted in higher yields which was
great for pressing plants and good for record companies who wanted good
prices on pressings. The problem was and still is that the new profile
records don t sound as good as they could because they are not flat
across their profile. Using a micrometer across the diameter of a
1950 s mono records reveals that the thickness is virtually the same
across the record s diameter from center label to outer edge but not so
for a newer stereo profile pressing which is convex across its diameter
resulting from the concave profile dies / distorted stampers. This is
the dirty little secret that Classic had rediscovered was known to old
school experts like Doug Sax who founded Sheffield Labs in the 1970 s.
After the discovery, Classic Records never looked back and all of its
releases and re-pressings after 2003 were on the new 200 gram Flat
Profile dies that were specially made for Classic. Some years later
Classic discovered that the very same profile was used by JVC in Japan
to produce the legendary UHQR pressings for Mobile Fidelity which are
well known to sound better than the conventional Mobile Fidelity
pressings of the same titles - it all makes sense now. The long and the
short of this is that Classic 200g Super Vinyl Profile Flat Profile
pressings are as good as it gets for proper playback without groove
distortion from non-flat pressings - Period.
Background on Clarity Vinyl Pressings
In 2008, Classic discovered that de-magnitizing black vinyl records
leads to better sound in playback. The engineers at Furutech in Japan,
makers of a commercial record demag machine, explained that the carbon
black that was added to PVC record pellets contained trace metal that
became randomly magnetized and while spinning below an
electro-mechanical transducer phono cartridge caused electrical
distortion inside a cartridge during LP playback. Hence, demagnetizing a
black vinyl record dramatically reduces the electrical distortion and
leads to more Clarity in playback. Michael Hobson, founder of Classic
Records reasoned that if the carbon black were removed then the result
should be more Clarity in playback. Working closely with the PVC
manufacturer Kenan, Classic developed its own proprietary Clarity
Vinyl devoid of the problems with trace magnetic particles contained in
black vinyl formulas. A Clarity vinyl pressing on a flat profile die
is the absolute ultimate pressing possible and even a step above the JVC
UHQR black vinyl pressings. Not to be missed - you can hear the
difference
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