The Vinyl Press

The first edition of Precision Aqueous Cleaning of Vinyl Records appeared in The Vinyl Press in May 2020. It was subsequently revised by its author, Neil Antin, in March 2021 to reflect Neil’s experience in working with a range of users all over the world, who were applying his methodologies and formulas to particular situations. Apart from the fact that some of the basic chemistry available in the States was not readily available in other countries, there were myriad challenges presented by users who employed manual cleaning or the use of record cleaning machines, both vacuum and ultrasonic. Neil addressed these user questions in over 1,000 posts on various audio fora -- answering questions about chemical interactions, materials compatibility, mitigation of static, (rinse) water purity and zeroing in the multitude of variables to achieve best results for particular users.   The variety of different challenges presented by users led Neil to assemble what amounts to a definitive version of Precision Aqueous Cleaning of Vinyl Records. This, the 3rd Edition, takes account of different types of chemistry available in different parts of the world, adds an acid wash step that can dramatically improve results for those who are not using ultrasonic cleaning as part of their regimen (hint: this new step helps  remove the small particulate matter than ultrasonic cleaning is so effective in removing), takes account of the commercial demise of The Vinyl Stack™ product and expands on various filtration methods to minimize contamination from the ultrasonic bath. The section on ultrasonic cleaning alone has expanded by 14 pages and now even addresses cooling for those that wish to raise their ultrasonic cleaning process to near full-throttle factory throughput. For ease of reference, Neil has highlighted all new sections of the text in this 3rd Edition so readers can immediately see what has been added, compared to previous editions. What … [Read More...]

Clifford Jordan- Glass Bead Games Shoot-Out  By Ken Golden I’ve been asked by Fearless Leader to do a “shoot out” comparison between an original Strata-East pressing of Clifford Jordan Quartet “Glass Bead Games” (SES 19737/8) and the recent reissue from Pure Pleasure Records out of the UK. Some brief background – Strata-East Records was co-founded by Charles Tolliver and Stanley Cowell.  The name was taken in tribute to the Detroit based Strata Records label.  The exclusive focus of the label was black jazz musicians.  The range of music touched on post-bop, hard bop, modal, and free jazz – typically embedded with a strong ethnic/urban flavor.  Exploration of the artists’ African heritage is a common theme.  The label has become known as the Godhead of the so-called “spiritual jazz” movement.  It wasn’t called that back in the 70s but a look in the rear-view mirror by jazz collectors and musical historians typically points to Strata-East.  Of course, there were many other labels that fit the sub-genre but that’s a story for another day. Many Strata-East albums were recorded at Minot Sound Studio in White Plains, NY.  Strata-East recordings ranged from borderline unlistenable (Music Inc. “Live At Slugs’”) to exceptional (The Heath Brothers “Marchin’ On”).  Mostly they fell right in the middle of the pack, meaning professional well recorded albums that would not deter from the listening experience.  The recordings done at Minot fit right here. As a reissue label, Pure Pleasure does good solid work. However, something seems to have changed over the years. It is not clear what source material they are relying on for these releases.  In fact the label seems to go out of the way to cloud the issue.  They nonetheless caught lightning in a bottle with their reissues of the Strata East catalogue.  With prices of original pressings spiraling out of sight, it’s no wonder.  Pure Pleasure reissues are pressed at Pallas and use Ray Staff for mastering.  You are going to get the … [Read More...]