I found an 1957 OG at a hoarder house few years back. It's mostly VG+ with a couple clicks here and there. When the needle hits the record, you feel the power behind this pressing. It's phenomenal. I don't listen to it often, only special occasions.
Thanks Mike for the comparison. I have changed my philosophy through the years concerning RVG vs audiophile reissues. I think it depends on what your preference is on a given day. More aggressive sax that is right there in ones face or the more lush fullness and detailed presentation with the audiophile. All in all it is nice to have both options to go back in time with the RVG or to step into the studio more so and have the band more present with the modern audiophile presentation. We are lucky to have both options. Enjoyed the hx of the labels and the video!
@@JazzBums It is my understanding that the 2012 and 2017 use the same metal parts. The 2012 jacket is not a tip-on and is direct to board. That is the only difference.
@@juliosanchez95 per Discogs, the deadwax on the 2012 has "KEVIN GRAY QRP KPG@CA" and the 2017 has "KPG@CA" only. The 2017 jacket is tip on and this is noted on the hype sticker as well. -- Mike
Great presentation Mike. I have the 1964 Mono reissue RVG. I cannot hear any hiss or background noise on it. In fact it is a fantastic recording, bright and clear. It sounds like I am in the room with the players. It has the blue label with white lettering and trident btw. Vinyl is VG+ cover is Good. I don't have any other copy to compare it to however.
Great Shootout Mike I had the trident from ‘64 it was clean but the hiss bothered the hell out me when i sold it when I grabbed the KG press from 2012 I’ve been very happy with I still hope one day I find an OG .
Nice info. Thanks. I have the 2012 issue. I subscribed to the whole set when they came out. I like originals but with expensive records I'm happy with a good reissue.
Hi, Thanks for this very informative video on the RVG pressings. I am wondering how many lacquers were cut by RVG during the same time period. I assume there a several, some of them used in US, others shipped to Europe, France, Denmark.... I dont believe there is only one set of original lacquers. RVG may have cut serevral in a row... J from paris.
The DCC heavy vinyl from 1995 is a nice record. But i have sold it, and i have replaced with the DCC Gold CD which is even better ! If i'm not mistaken Tom Port, from Betterrecords, was selling a "Hot Stamper" claiming it was a 60's Gold Label Prestige Mono pressing.
I have a 1964 golden trident label mono, a german OJC and the 2017 mono version. The trident wins, but my copy has some hiss, not much, still a good listen. Mine is in VG+ condition, found it for 50,00 2 month ago from a private dealer.
I recall Kevin’s upgrade was Audioquest cables. I think everything else remained the same (or mostly). And, yes, I think the later 33-1/3 MMJ releases are better than the 45s, with a few exceptions. Thanks for the deep dive!
Nice video, Mike - thanks 👍 I have the 2022 AP/Prestige release - [Discogs r22729826]. This seems to be made from the same lacquers as the AP 2013 release and has the same matrix-#. It sound just GREAT and better than my OJC 1987 release (which I sold). Have no other versions to compare it to. See you 🙂
Hey Mike, I compared the AP (it was one of the 2021-22 copies) with my Craft 2017 copy (using a friend’s high end system), and they sound identical, making the 2017 one a great deal! I guess they use the same metal parts, and it was produced during the time AP had lost the license. Regarding OJCs (the old ones), I’ve been able to compare the US ones vs the Germans, and there’s always a big difference in favor of the US OJCs. Best wishes from Chile
Thanks Felipe! I assumed the 2012 and 2017 were different cuts because they have different deadwax, but maybe not. I reached out to Kevin to see if he can help provide some clarification, stay tuned! - Mike
@@JazzBums great! I’m not saying it’s the same cut, but they sounded almost identical to our ears, both great! The biggest difference was that the AP version had the flat profile (I think)
@@felipeopazomusic okay just wanted to follow up. Kevin Gray got back to me and said he is "pretty sure [the 2017 reissue] was recut for the later release."
@@JazzBums great info Mike, I guess Kevin just didn’t change much between both (it was already awesome). Just to be sure, the newer AP copies (since the re release of the prestige series) use the same metal parts as the originals?
At Hunky Dory Record Shop in Raleigh, NC, there's a Colossus OG on the wall and they want $150 for it. I swear, the sleeve looks literally like somebody rolled it up and put it in their back pocket and worked all day digging ditches. It's terrible. I wouldn't give him $35 for it like that, even if the media is NM, but it is more like a G+. It should be an embarrassment to them, I think, to ask $150 for it.
I found an 1957 OG at a hoarder house few years back. It's mostly VG+ with a couple clicks here and there. When the needle hits the record, you feel the power behind this pressing. It's phenomenal. I don't listen to it often, only special occasions.
@@sjakovics incredible find, thanks for sharing!
Well researched, well presented and entertaining! Enjoyed the video, Mike.
Thanks Mike for the comparison. I have changed my philosophy through the years concerning RVG vs audiophile reissues. I think it depends on what your preference is on a given day. More aggressive sax that is right there in ones face or the more lush fullness and detailed presentation with the audiophile. All in all it is nice to have both options to go back in time with the RVG or to step into the studio more so and have the band more present with the modern audiophile presentation. We are lucky to have both options. Enjoyed the hx of the labels and the video!
I agree that’s how I feel. It’s just fun to listen to and talk about these great records. - Mike
@@JazzBums It is my understanding that the 2012 and 2017 use the same metal parts. The 2012 jacket is not a tip-on and is direct to board. That is the only difference.
@@juliosanchez95 per Discogs, the deadwax on the 2012 has "KEVIN GRAY QRP KPG@CA" and the 2017 has "KPG@CA" only. The 2017 jacket is tip on and this is noted on the hype sticker as well. -- Mike
@@juliosanchez95 just wanted to follow up. Kevin Gray got back to me and said he is "pretty sure [the 2017 reissue] was recut for the later release."
Great presentation Mike. I have the 1964 Mono reissue RVG. I cannot hear any hiss or background noise on it. In fact it is a fantastic recording, bright and clear. It sounds like I am in the room with the players. It has the blue label with white lettering and trident btw. Vinyl is VG+ cover is Good. I don't have any other copy to compare it to however.
Thanks for sharing that. Good to know!
Great Shootout Mike I had the trident from ‘64 it was clean but the hiss bothered the hell out me when i sold it when I grabbed the KG press from 2012 I’ve been very happy with I still hope one day I find an OG .
Thanks for the heads up on the 2017 version!
Nice info. Thanks. I have the 2012 issue. I subscribed to the whole set when they came out. I like originals but with expensive records I'm happy with a good reissue.
Great video Mike
Nice one Mike great lp.
Hi, Thanks for this very informative video on the RVG pressings. I am wondering how many lacquers were cut by RVG during the same time period. I assume there a several, some of them used in US, others shipped to Europe, France, Denmark.... I dont believe there is only one set of original lacquers. RVG may have cut serevral in a row... J from paris.
i have a 1976 Japan mono pressing that sounds very nice, it's on a translucent black vinyl as well which i always dig on my japan pressings. \m/ \m/
The DCC heavy vinyl from 1995 is a nice record. But i have sold it, and i have replaced with the DCC Gold CD which is even better ! If i'm not mistaken Tom Port, from Betterrecords, was selling a "Hot Stamper" claiming it was a 60's Gold Label Prestige Mono pressing.
I have a 1964 golden trident label mono, a german OJC and the 2017 mono version. The trident wins, but my copy has some hiss, not much, still a good listen. Mine is in VG+ condition, found it for 50,00 2 month ago from a private dealer.
I recall Kevin’s upgrade was Audioquest cables. I think everything else remained the same (or mostly). And,
yes, I think the later
33-1/3 MMJ releases are better than the 45s, with a few exceptions. Thanks for the deep dive!
Yes, cables were a huge part, but he also some more hardware changes, but cables were surely one of the biggest impacts. F
Great comparison. Need to get you out to DC so you can hear it on 15ips R2R. It’s magnificent.
Do you have The Tape Project copy? I’ve been reluctant to buy it because some of their tapes are not what I would hope for… a little inconsistent.
Nice video, Mike - thanks 👍
I have the 2022 AP/Prestige release - [Discogs r22729826]. This seems to be made from the same lacquers as the AP 2013 release and has the same matrix-#. It sound just GREAT and better than my OJC 1987 release (which I sold). Have no other versions to compare it to.
See you 🙂
Okay, so Kevin Gray got back to me and said he is "pretty sure [the 2017 reissue] was recut for the later release"
Hey Mike, I compared the AP (it was one of the 2021-22 copies) with my Craft 2017 copy (using a friend’s high end system), and they sound identical, making the 2017 one a great deal! I guess they use the same metal parts, and it was produced during the time AP had lost the license.
Regarding OJCs (the old ones), I’ve been able to compare the US ones vs the Germans, and there’s always a big difference in favor of the US OJCs.
Best wishes from Chile
Thanks Felipe! I assumed the 2012 and 2017 were different cuts because they have different deadwax, but maybe not. I reached out to Kevin to see if he can help provide some clarification, stay tuned! - Mike
@@JazzBums great! I’m not saying it’s the same cut, but they sounded almost identical to our ears, both great! The biggest difference was that the AP version had the flat profile (I think)
@@felipeopazomusic okay just wanted to follow up. Kevin Gray got back to me and said he is "pretty sure [the 2017 reissue] was recut for the later release."
@@JazzBums great info Mike, I guess Kevin just didn’t change much between both (it was already awesome). Just to be sure, the newer AP copies (since the re release of the prestige series) use the same metal parts as the originals?
I don’t remember voting on this lol
28 in the cart!!!
Naturally lol
@@JazzBumsDeadwax scratched out on both sides on my OJC copy from 87. Not sure what that is about.
At Hunky Dory Record Shop in Raleigh, NC, there's a Colossus OG on the wall and they want $150 for it. I swear, the sleeve looks literally like somebody rolled it up and put it in their back pocket and worked all day digging ditches. It's terrible. I wouldn't give him $35 for it like that, even if the media is NM, but it is more like a G+. It should be an embarrassment to them, I think, to ask $150 for it.