Item Description
SS: Still Sealed Product Condition: NEW Label: Atlantic Catalog Number: See below EXTREMELY RARE HIGHLY COLLECTIBLE ITEM This auction is for STILL SEALED, NUMBERED 4 of 5 Classic Records Led Zeppelin Test Pressing Boxed Sets only 5 ever made that were produced at the same time as the now legendary and collectible Classic Records Led Zeppelin 45 rpm Road Case.
This set includes 8 Led Zeppelin titles listed below and consists of a total of 40 single sided 12 test pressing records.
SD 8216-45 Led Zeppelin I Four Discs Set SD 8236-45 Led Zeppelin II Four Discs Set SD 7201-45 Led Zeppelin III Four Discs Set SS 2200-45 Zeppelin Physical Graffiti Eight Discs Set SS 2201-45 Zeppelin Song Remains the Same Eight Discs Set SS 8416-45 Zeppelin Presence Four Discs Set SS 16002-45 Zeppelin In Through the Out Door Four Discs Set SS 90051-45 Zeppelin Coda Four Discs Set Each title is packaged in a sealed white box with a silver limited edition sticker on the back and is spread out over either four or eight sides depending on whether the original LP was a single or double.
These 45rpm sides were cut at the same time as the 33 rpm discs and as such DO NOT represent a remastering that is different from the 33 rpm LPs approved by the band.
Further, there is no additional artwork or extra-recorded material of any kind.
Each 45rpm disc is packaged in a white jacket.
All records have test pressing labels and are pressed on Classic s proprietary 200g Super Vinyl Profile for maximum playback fidelity.
Since the mastering is exactly the same as the 33 rpms, why would anyone need the same material on 45rpm discs? The answer is simple - you should be more kind to your cartridge by letting it play 45rpm discs and reveal all the nuances that are nearly impossible to retrieve from a 33rpm disc.
The information in the grooves of these 45 rpms is EXACTLY the same as in their 33rpm counterparts.
To prove it is very easy - think of the lathe as it is cutting a lacquer, the cutter head doesn t know what speed the platter is spinning as the cutter blindly moves up and down back and forth carving the grooves.
The difference is that at 45rpm the same signal is imprinted over a longer distance and hence the stretched out groove is easier for a cartridge to traverse which allows the cartridge to give a better read on what is carved.
The sonic difference can be quite remarkable, especially if the music is complex as with Classical music or dense as is often the case with Rock.
This is as close to the master tape as we are able to get with an LP and as such is extremely special although requires you to change sides more often than with a 33rpm disc.
This set represents the ultimate in collectibles given that only five NUMBERED sets were produced assuring that it will likely skyrocket in price over the years to come If you are a Led Zeppelin nut you know who you are then this set is essential - if not then go listen to some Barry Manilow With only 5 copies of this definitive reissue, don t hesitate before the price on the secondary market skyrockets 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.
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Happy shopping On Dec-18-17 at 16:38:40 PST, seller added the following information: IMPORTANT ADDENDUM PLEASE NOTE MISTAKE ABOVE IN DESCRIPTION THIS IS NOT NUMBER 4 of 5 .
THIS SET IS ACTUALLY NUMBER 1 of 5 AND IT IS THE VERY LAST SET WE HAVE.
