British Record Label 3 Letters

British Record Label 3 Letters – This overview is primarily about the vinyl pressing plants of the 50’s and 60’s that were key players in the production of jazz records. (Beatles, Northern Soul, Rock and other genres are fully covered by other authorities in the collection)

Some of the American push plants have clear stamps. Others can only be identified by a combination of authentication details and unique letters on the facility’s label, depending on the different makes of typewriters used by the local supplier.

British Record Label 3 Letters

The collection, which is not currently available on-line, is preserved here, and offers a good number of non-alphabetic symbols. It’s not as compact as I’d like, but it does provide a quick view point from the big push plants. Other resources are needed to guide/cut engineers.

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The best resource for engineers. Detailed, comprehensive technique – 40 pages of alphabetical etchings, including many hidden images not listed elsewhere. Covering rock and pop engineers, jazz among them, links to some images.

A long-press factory for Prestige Records and some other labels. AB is usually engraved at or near the 12 o’clock position, sometimes near or below the edge of the dial.

AB first appears as a pressed or punched stamp, but later found as hand-rolled letters. Other features of the early Abbey pressure probe are a deep notch, and a small circular push ring that surrounds the thread hole often though not always on the Second Side.

An independent New Jersey factory until it was bought by Liberty Records in 1966. All Discs had no official identification at the end of its pressing, so the identification was rooted in the history and setting of the central label type. They pressed a significant number of Liberty Blue Notes after 1966, generally using Van Gelder metal stampers. Paper labels were issued for both the original Blue Note Plastylite and Liberty All Disc Records by the same publisher, Keystone Specialties Printed, Scranton PA., which had long held Blue Note’s central logo charts, and provided a continuation of the paper labels. quality and lines. Those tags have the artwork and album name set

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(“Side 1” in upper and lower case, 1 vertical sans serif) and the registration mark ® is well done.

These labels distinguish East Coast presses from those made on the West Coast, published by Bert-Co and pressed by Craft Research LA.

Bell Sound was an exceptional end-to-end complete service, from studio recording, mastering and pressing. Often includes engineer Sam Feldman’s initials “sf”.

WB says: stationery used by Brooklyn, NY-based Progressive Label Co., a specialty discount label manufacturer that operated in Brooklyn, New York from the 1920s to the 1980s.

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In use from 1949 to 1963. Note: for ten weeks,  from late June to early September 1959, Capitol’s Scranton plant was on strike, and under pressure Capitol planted other plants.

The push stamp looks like a [Hollywood] star that evolved from a five-pointed star (☆) to a six-pointed star (✲) around 1965 began to appear as a basic symbol.

Capitol also prepared the metal for other plants, which made the actual pressing, such as RCA Hollywood, so it is possible to find different union marks in the same register.

Columbia Bridgeport Conn. 1473 Barnum Avenue, Bridgeport, CT 06610 Founded in 1934 and operated until 1964, replaced by Pitman.

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WB: It was late in March, 1964, when Columbia closed its Bridgeport plant, transferring all East Coast heavy duty operations to their new Pitman, NJ plant that first went into operation in May 1961, and closed in March 1981;

The Bridgeport label type would also go to Pitman, and despite Columbia, Epic and the following releases, Linotype letters wouldn’t really appear regularly again until the summer of 1965. Pitman stopped producing vinyl in 1986-87.

Comparable by comparison). The typeface is different from the Bridgeport/Pitman presses and other Columbia plants, where other typefaces were used.

WB: “Many mistakenly cite the code “CT” as referring to the Bridgeport plant when, in fact, it was the code for Columbia’s Terre Haute, IN plant (as ‘CTH’). Back when Columbia was pushing records.” In Bridgeport, the common state abbreviation was ‘Conn.’; ‘CT’ was not used as a state abbreviation until the late 1970s;

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After that, all East Coast pressing was moved to Pitman, NJ and began some pressing in late 1960 and was fully operational by May 1961. A Billboard article from September 1963 noted that Columbia was ceasing pressing operations in Bridgeport. When the plant was finally closed, the wind down took six months.

At the same time Bridgeport ended its pressing operations, it also closed a West Coast plant in Hollywood, CA (Alden Drive) after a new plant in Santa Maria, CA (which opened sometime in late 1963 and would close in 1981) reached 100 % online rate in terms of pressure.

Terre Haute presses usually have the letter “T” hand stamped or stamped at the end, and in some cases the mother’s code (A B and C are seen) and here the stamper is counting the five-bar door.

Although the subject is controversial, Columbia cut many lacquers “at the same time” – some say “the same day”, and distributed these products to plants nationally, which used these to produce metal parts. which is internal (Customatrix Division) which ensures the same quality of pressure between production sites. In this sense, it is not particularly important the tree that pushed the Columbia recording.

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Columbia’s presence of plant etchings is inconsistent. About half of the Columbia records in my collection have no visible indicator, just a matrix code, and mostly a five-part door pattern count.

The Vinyl Press Factory was founded by Horace V. Waddell and is located in Burbank, California. They started operations in 1953 and closed in the mid-80s.

A factory associated with MGM and Verve, Waddell was also used among others to press some of the United Artists Blue Note artists in a special series between 1972-3. Unique two-step compression rings were found on many Waddell presses over the years.

It is believed to be the source of the released pressings, although the evidence is circumstantial, based on just one Discogs.

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Keel was associated with the merchant giant Pickwick International, but he had a large number of printers and some spare time that was used to take advantage of the pressure surge of the mid to late 60’s.

Atlantic push contract, 1960s. MGM’s signature is the Rune-like symbol, the ghostly rising spirit, or if you prefer, the iconic snowy helmet. It is often associated with the hand-drawn letter “M”, which can also be the signature “W” used by H, V, Waddell, Burbank California,

WB: MGM logo by New York City publisher Pace Press, Inc., which was affiliated with the MGM film studio in the 1930s. a year after the closure of the Bloomfield, NJ factory.

Pressing the Blue Note (and other brands) since 1966. The Plastylite stamp is applied during the press, and is found at a random location, angle and depth, without any consistency. Paper marks are printed

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Some variations of the Vogue font use a regular “W” instead of the double V above. The font is usually easily recognized by the long horizontal of the letter “G”, the “1” has no serif, just a simple vertical.

This west coast factory didn’t have an official finish stamp or scratch, but for a time probably in the early 60’s, it had a Gruve-guard thin/thick type rim for the patent reference that registers.

The research technique that presses the Blue Note is best recognized by the letters used to print the labels. The technical paper labels for the research were sourced from the Hollywood giant Bert Co., which used Linotype casting line machines, with artwork and album titles set in mostly Linotype Spartan Medium capitals, easily recognizable by its number ‘1 ‘ and “HOW” in capitals. (note, later in the 60’s some font design changes replaced the Bert-Co 1 serif number)

, which they reworked from a duplicate tape, without using Van Gelder’s original metal. As always with a few exceptions. New Liberty Blue Note names however were generally pressed on Craft with Van Gelder metal, however as time passed Liberty’s operations increasingly focused on the West Coast, using engineers and other studios. Lisa Fancher wasn’t planning a legacy when she started Frontier Records. She released the Flyboys’ EP back in 1980 and it failed to chart (no pun intended). She loved the experience, but that was two years of her life that had just gone “splat” when all was said and done. She may release a few singles, but it looks like her future in the record business will be as a record store clerk.

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Then she heard that one of her favorite bands, the Circle Jerks, wanted to produce an album. Fancher thought they planned to continue working with Posh Boy Records, which released the band’s first recording.

So she cold-called Circle Jerks drummer Lucky Lehrer, a prominent figure in the L.A. punk scene (“he was always at the Whiskey [a Go Go]”) and asked, pointedly, if they had an album label. . She wasn’t sure, but Lehrer wasn’t sure he wanted to work with Fancher. It was disgusting