cool story
One of my favorites is Jeff Lynne. I always wondered why his own records sound so substandard. I always blamed the type of music. Or my equipment
how were copies of vinyl made in "third-party" countries
I have some LPs from the former Yugoslavia, Holland, Hungary, Russia (bought them way back when in bulk) and now I wonder what the process was and how close they are to the original?
I assume they weren't digitized, they were released in the 70s and early 80s. Anyone knows what they would receive from the recording studio/company/warehouse? Tapes, the "negatives"? Are there copies considered better than others?
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Jeff Lynne is well known for his love of extreme levels of compression. I love the early albums of Dave Edmunds, but what Jeff Lynne did to Dave's sound on his productions completely changed Dave's signature sound (1950's Rock 'n' Roll, Traditional/Hard Country), and not for the better. I never cared much for ELO either, but The Traveling Wilbury albums I love. |
well, I love ELO, to me they are in the top 5 influential bands ever (and that's generous, since it was all written by Lynne. He wrote and produced top hits for George Harrison, Tom Petty, Brian Wilson and more. I also love the Birmingham sound, besides ELO: the Spencer Davis group, the Moody Blues, how this bleak little town created so much in the 60s and 70s |
@bdp24 Has mentioned "cooldown time" which is VERY important. The shorter the time, as in most "pop" records back then, the worse the lasting power of the record. Longer times meant better quality, but when an album was popular, it had to be out "right away" to sell the million copies. Remember, they were $4.98 back then...or sometimes less! Cheers! |
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