Sound


The mono vs. stereo question confronts anyone dealing with reissues of Rudy Van Gelder's Blue Note masters.

If the goal is getting to the essence of the music, we discovered that you cannot take a dogmatic view of this issue. Rudy Van Gelder first began recording Blue Note sessions in stereo in March of 1957. From then until an October 30, 1958 Art Blakey session, Rudy simultaneously ran both mono and stereo session tapes. After that session, Rudy abandoned the practice of running both mono and stereo session tapes and recorded strictly in stereo. The evidence is there for anyone to see who examines the original master tapes. When Kevin Gray, Ron Rambach and I began our first mastering session with our first six Blue Note masters we couldn't help noticing the clearly marked (by Alfred Lion) notations indicating "monaural masters made 50/50 from stereo master" on the master tape boxes.
Quite frankly, our expectation going into this project was that both mono and stereo masters existed and that the mono masters would probably be preferred. After all, in the LP collector market it is the mono Blue Notes that are most prized. Kevin, Ron and I put up the first tape (Horace Parlan's great "Speakin' My Piece" session) with an open mind. To our collective surprise, when listening to the master tape, the stereo was greatly preferred to the (summed) mono. There was no doubt that the stereo presentation much more clearly presented the quintet performing these six great tunes that July day in 1960 at Rudy Van Gelder's Englewood Cliffs studio. The stereo presentation revealed more air, more detail and more sheer life than the mono. The mono playback was a wonderful remembrance of the old LP we all knew and loved. The stereo playback from the original masters was eerie. It was like going back in time to that day in Rudy's studio. Quite simply, the stereo masters revealed more of what it was like to be there that day.

Listening to tape after tape during that first two-day mastering session revealed the same thing. And every one of those master tape boxes had the same hand written notation "mono master made from 50/50 stereo." For me, and for everyone involved, the great RVG mono/stereo controversy had been solved once and for all.

But then Ron Rambach said, "what about all of those Blue Note collectors (like me and Joe) who have always cherished the mono LPs and WANT the mono LPs?" As good as the mono originals are, after the October 30, 1958 session at Van Gelder Studios the mono masters were made by folding down the original stereo master. Once we heard the actual stereo masters, the decision was made: when a stereo Blue Note master exists, we will use that stereo master to cut our lacquers for this series.

Whichever way you choose to listen to these great Blue Note 45RPM LPs, we hope you enjoy them as much as we do.

Why? Because...Music Matters!

We use 180 gram pressings. Why not 200 gram?


We use 180 gram pressings for the simple reason that we believe 180 gram weight is more than sufficient to provide a near perfect pressing. Forcing presses that were designed for 150 gram and 180 gram weight to press 200 gram vinyl results in a multitude of additional problems including warpage. A check of audiophile vinyl chat rooms reveals many dissatisfied buyers of 200 gram vinyl. When Music Matters asked our friends at Record Technology Inc. for their recommendation to achieve the highest possible quality pressings their answer was unequivocal......
go with 180 gram!


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