Agreed Michael... My biggest gripe w/ VMP is that there is a genuine lack of consistency within each of their releases or even within the individual genres...
It all comes down to the cost at the end of the day guys. I was a VMP member for over two years but bowed out last year when they raised their prices to Mofi and AP levels whilst starting to cut a few corners also, for example titles were still being plated at RTI but then pressed over at GZ to save money. If they aren't giving out any details about the mastering then you can be sure that they are not AAA. The Classic titles are generally done very well but you rarely get the same level of quality with the Essential and Rap/HipHop releases I find.
Over here in streaming world, the ’jazz dispensary’ releases are all Craft releases issued at 24/192, whilst the Bethlehem release are 2013 releases mastered at 24/96. Whilst it is obvious that these have all been converted to digital at some point along the line, and I will not encounter any surface noise, I thought it might be quite interesting to make the same comparison and see if there is any significant differences. Obviously the Bethlehem releases are from an older era, which may have some overall effect? I will report back just in case this is of interest to anyone? Thanks Michael for bringing all of these releases to my attention.
Hi Michael, wieder einmal ein sehr interessanter Beitrag. Durch Dich bin ich erstmalig auf VMP aufmerksam geworden. Leider war gleich die erste Bestellung (Anna B Savage) ein Reinfall. Coverartwork ,Vinylaufmachung und Präsentation SUPER! Die Pressqualität indes grauenhaft. Wurde zwischenzeitlich auf discogs mehrfach bestätigt.Egal...Ich habe inzwischen einige Beiträge von Dir verfolgt und auch wenn wir nur eine kleine gemeinsame Schnittmenge haben (Dead Can Dance, Cornelius, Nicolas Jaar, Atom TM, etc.) finde ich Deine Videos immer sehr inspirierend. Ganz toll Deine Leidenschaft für Musik. Dabei vollkommen unpretentiös und der Sache verschrieben. Wunderbar!! Nicht zu vergessen der Tip mit den LP Hüllen von vinylstoragesolution >> Großartig!! Vielen, vielen Dank und mach weiter so!! Gruß aus Mönchengladbach
Watched this one while researching for a video I just did about the 'Swap for Store credit' feature from VMP. The inconsistency has always been an issue with VMP, which is why this feature is so good to me, as it gives more time to wait for the good releases
My first comparison is David Axelrod ‘Heavy Axe’ (1974) vs Dexter Gordon ‘Daddy Plays the Horn’ (1956). I have to say, just comparing music reproduction on music made nearly 20 years apart, is quite difficult and possibly unfair. But possibly I did not pick the right two to compare? Axelrod is deeper, wider, lusher and more cinematic. However the recording technique would have been completely different though wouldn’t they? Dexter Gordon would be live with his ensemble with strategically placed microphones, Axelrod would be recording each instrument separately through a multitrack desk. He would also be using a larger quantity of amplified instruments and a larger quantity of players. Both recordings sounded great in their own right, but honestly it was like comparing apples with oranges. I can only conclude that Michael’s dissatisfaction of the Bethlehem product was a combination of digital mastering on noisy vinyl as I have eliminated both of these from my comparison. Please feel free to correct me if I’m wrong, and thanks again for bringing a great collection of records to my attention 👍🏼
My main gripe with the Bethlehem bundle is that the back covers and center labels are not faithful recreations of the originals like the Jazz Dispensary series titles. I doubt I'd be able to tell any difference in pressing quality on my basic system but I just don't understand why they would bother to put out the records and not take that extra little bit of care to make it as close looking to original as possible (making an exception for the colored vinyl of course, I'm fine with that if they sound fine)
Totally agree. I've liked VMP for their great work, but the inconsistency is frustrating. I wish their consistency had gone up with their price increases, because the value goes down for me as the price goes up without any real improvement.
Ps I notice there is a all analogue pressing of the Dexter Gordon title from 2013 in mono from Pure Pleasure Records from UK that is available and relatively inexpensive if you are interested in making a further comparison Michael
Hey Michael... been watching your channel for quite awhile, and never subscribed until now !! Thanks for the info on the difference between the Bethlehem Vinyl Me Please and the other perfect releases... you are a great source of information, for sure... sometimes I check in with the Steve Hoffman forums , but it tends to be too subjective, it is nice that in my opinion, you are more definitive, and I trust your judgement. I have always liked Bob Bradley's advise on vinyl quality as well ! I am a pretty new channel, out of Reno, Nevada. Cheers ! JT
Just purchased a copy (?re-issue?) of Otis Redding ‘pain in my heart’ 45 Rpm Lp wasn’t expensive £14.99 or thereabouts and the quality sounds amazing released by “alternative fox” ? David 🏴
Yesterday arrived the new and beautiful boxset from Nirvana (UK) in vinil. Perhaps you can check it out (limited to 1000 copies). The two first albuns are a must have, especially the beautiful and superb "All of Us", a lost psicadelic pop classic.
I purchased the Mingus title and was thrilled with the quality of the pressing and the music as well. It's dead quiet with lovely wide soundstage. You stated in the video "This unknown artist "Charles Mingus". Am I missing something? Charles Mingus is pretty well known.
Thank you for another fine video. Regarding the colour of the vinyl, that's an elephant but a small one like the ones in India, not the African type :) .I think they sound the same when they are good. But what I find in my records is this: It seems that it's easier to find a bad and/or noisy record when they coloured… a year ago I liked to buy the "special edition" paying a little more, but after several bad records, return them and sometimes bring home a black, I can say I have more luck with the blacks. So, now when it's possible I chhose the black record version. Someone told me that in the regular editions the coloured are in small batchs and that makes them worst, because the presses don't have time to "warm up" and put outside good pressings.
Do you remember our chat about how often, music collectors need a sort of authority figure to validate their "choice", how that results in much less variety in what actually gets purchased? I suspect that the Kevin Gray mastering seal of approval, is becoming a probleme, and creates a myopic effect : even if you try to bypass that "filter", you condition yourself to expect quality from certain figures (Rashad Becker being another one in other scenes), so much so that the lack of information triggers a mecanism of suspition or something. In reality, some of the masterung and lacquer cut engineers I work with are not hyped, known or famous, and do a stellar job. Using their name would help you as much in your listening experience as not naming them. Naming them would eventually make their going rates go up, which I really want to avoid, as do my customers. Now I'll believe you if you tell me the difference is striking, but I would still play the devil's advocate, and ask you if there's no chance that the name appeal and lack of info doesn't subconsiously affect your appreciation, after having built such strong cognitive bridges between names a and quality, so much so that it's not even up for discussion anymore? Now on another note, I definitively am not the target of this service, but it sounds as a good compromise between the two paradigms I first talked about in this comment, the strong minded digger-customers, and the ones who are less inclined to investigate themselves. Of course, I'm not talking about you there, just trying to understand the marketing niche that makes this service possible and sustainable.
I think you make a fair point, but I suppose channels like this democratise the discernment of quality and gradate the market more, agree people can buy a "brand" more than they might but also they will venture out more later i think too. I certainly do, love combining with discogs info and discovering things . With the actual music easy to listen to ahead of time, is very easy to find reasonable records.
@@TheBirdBrothers yes, but to be even more accurate, I meant I suspect a sort of self fulfilling prophecy there, and in reverse : if it’s not Kevin gray and it’s on the same label, it can’t be as good. Even if there are some hard scientific truths about vinyl mastering, there also is some aesthetic subjectivity,. Most people really look up for Rashad Becker, on the quality of his work, but I seem to remember Michael doesn’t. When I released my music, we tested a few guys, and the best result we got was from a psy trance producer who used almost only software. And yet people celebrated how warm and analogously rich our sound was. This guy was our secret weapon, and for years we didn’t disclose who he was. I’m just saying the audiophile world tends to have a black and white perception of mastering and pressing. Not saying Michael does, but I thought the point was maybe worth making
@@StuntrockConfusion yes interesting, certainly people forever confuse identity with behaviour that is not the reality. I think vinyl had made a resurgence partly because the older inconvenience of having to trawl record shops and guess at what an album might be like have diminished. The constraints set the aesthetic.
the colour of the vinyl does not matter, vinyl in its natural state is actually clear, so black vinyl is also coloured, the stylus does not know what colour it is playing. enjoy the music
The difference is that the dispensary bundle are from the former Fantasy labels now under Craft, who are trying to build a name or reputation for quality. Bethlehem is owned by BMG, probably not a big player in audiophile. Musically, I find the Bethlehem titles more interesting because you have Dexter, Donald Byrd, Pepper Adams, Mingus, etc. but I have all those titles in cd and it’s not like those are must titles for me. The Jazz Dispensary titles are less interesting musically. Glad I didn’t buy any of the Bethlehem titles if they’re noisy. For new records, that’s not acceptable. I don’t know what’s coming for April but from a jazz or blues perspective it better be good because I don’t see a lot in the Classics Track that interests me.
I wonder if the Jazz Dispensary library is cheaper to license than the likes of Mingus and Gordon. If they can pay less for the music, maybe they can put that money toward packaging? I also imagine they have contracts with all of these jacket and pressing plants. At some point, some of the titles need to be pressed at GZ. RTI and QRP can’t do everything! (Though I sincerely wish that were not the case).
I suspect that licencing comes into the equation with the Bethlehem issues, however, the lack of any source information raises alarm bells. Pressing capacity at top tier plants is no doubt limited, but these Bethlehem titles undoubtedly deserve better. Unlikely I know, but it would be nice to hear the VMP angle on the discrepancy between these two sets.
I told you to pick up the Jazz Dispensary titles. I got Heavy Axe first, when I heard that I picked up the others. Great sounding records. I think the difference in quality and standards will have something to do with the partnership & label, the Jazz dispensary issued some KG RTI releases previously. But I suppose the big thing is that KG (the busiest man in the record industry), can only master so much vinyl & RTI, QRP etc. can only press so much vinyl. I've noticed that they started doing some titles plated at RTI & pressed at GZ. I don't know if the likes of KG, RKS & BG are able to share the knowledge so there is a broader pool of mastering talent & how likely it is that other pressing plants could up their game to compete with the likes of Pallas & RTI
my best friend has that bethlehem bundle too and the biggest issues for me with those records is a) the back covers and the labels which look very much like waxtime or other similar grey market label design and b) because of the very thin and fragile grooves, they look like DMM pressings, what gz media often does.. so maybe we have a waxtime pressings with a licensed logo sold by vmp here? 😜 because i really fell in love with the music on the dexter gordon i immediately ordered a pure pleasure reissue of that.. and tomorrow its A/B comparison time when my best friend visits me...... so.... my comment is... to be continued 😁 cheers und gute nacht fürs erste 😉
so.. today was comparison day.. there is another thing i'd like to add to my issues with the VMP issue.. it has the name dexter gordon on the front cover, which the original (and the pute pleasure) does not have. the image quality / printing of the pure pleasure cover is waay better (colore and sharpness), its heavier and also wins in terms of sound quality. it's is a bit brighter, more detailed but also has a tight bass.. overall a really beautiful pressing! 🙂
I have the 5 Jazz Dispensary, they are all very good. really vinyl jewels. I was wondering, why the AXE LP, did not have an OBI. did you order The Story Of Tribe Records , too? mine stucks in custom. I asked them a few days ago. first I got a broken tracking link, and now it says since days it is still in the US. The Tribe Records Box is going to be huge. This will be a Killer Box Set for 2021. I have heard there are some issues with this box as well. but this are tape issues, same as on some Tone Poet for example on the Andrew Hill - Black Fire...I cant wait to hear the Tribe Records. btw..to your Question, why they did not all the same treatment. the answer is: money. this company tries to get their profits, too. for the record, if a Jazz record is pressed at GZ, do not buy it. There is some good output of this pressing plant, but for a Jazz record, it is a "No buy" from my side. 80% or more is noisy in any way and a good 30% have non fill issues from GZ.
Great video but I think you might be mistaken regarding the price of the bundles. I’m looking on the VMP website and the difference in price is nearly $120. Jazz D - $250 Beth - $132
@@Michael45RPM Member price for JD is $225 for five LPs and $120 for the Bethlehem four LP collection. So each album is $5 more for the JD titles. Not a huge difference, but still not the same.
When you got to the end, it was one of the nails in the coffin for me. The overall inconsistency with the label. You set a bar with the Prestige titles and then you turn out the crap with the Bethlehem records. The music deserves better.
Thanks for updating us so when we make our purchases We will have more information
Agreed Michael... My biggest gripe w/ VMP is that there is a genuine lack of consistency within each of their releases or even within the individual genres...
It all comes down to the cost at the end of the day guys. I was a VMP member for over two years but bowed out last year when they raised their prices to Mofi and AP levels whilst starting to cut a few corners also, for example titles were still being plated at RTI but then pressed over at GZ to save money. If they aren't giving out any details about the mastering then you can be sure that they are not AAA. The Classic titles are generally done very well but you rarely get the same level of quality with the Essential and Rap/HipHop releases I find.
Over here in streaming world, the ’jazz dispensary’ releases are all Craft releases issued at 24/192, whilst the Bethlehem release are 2013 releases mastered at 24/96. Whilst it is obvious that these have all been converted to digital at some point along the line, and I will not encounter any surface noise, I thought it might be quite interesting to make the same comparison and see if there is any significant differences. Obviously the Bethlehem releases are from an older era, which may have some overall effect? I will report back just in case this is of interest to anyone? Thanks Michael for bringing all of these releases to my attention.
The age of a recording is not the most important point, at least jot when you have vinyls
Great Video Michael. All of these on my want list. I bet all sold out by now.
No i think you can get them still
“Jazzy loves you and I love your channel 👍
You are the king of the vinyl community. Always very interesting and informative videos. Thank you for all you do and keep them coming.
Agreed, Michael is always passionate, friendly and informative 👍🏼
Thanks for this nice comment Ride
Hi Michael, wieder einmal ein sehr interessanter Beitrag. Durch Dich bin ich erstmalig auf VMP aufmerksam geworden. Leider war gleich die erste Bestellung (Anna B Savage) ein Reinfall. Coverartwork ,Vinylaufmachung und Präsentation SUPER! Die Pressqualität indes grauenhaft. Wurde zwischenzeitlich auf discogs mehrfach bestätigt.Egal...Ich habe inzwischen einige Beiträge von Dir verfolgt und auch wenn wir nur eine kleine gemeinsame Schnittmenge haben (Dead Can Dance, Cornelius, Nicolas Jaar, Atom TM, etc.) finde ich Deine Videos immer sehr inspirierend. Ganz toll Deine Leidenschaft für Musik. Dabei vollkommen unpretentiös und der Sache verschrieben. Wunderbar!! Nicht zu vergessen der Tip mit den LP Hüllen von vinylstoragesolution >> Großartig!!
Vielen, vielen Dank und mach weiter so!!
Gruß aus Mönchengladbach
Dann werden dir die heutigen Needledrops gefallen :-)
Watched this one while researching for a video I just did about the 'Swap for Store credit' feature from VMP. The inconsistency has always been an issue with VMP, which is why this feature is so good to me, as it gives more time to wait for the good releases
Watching and learning from the UK.
My first comparison is David Axelrod ‘Heavy Axe’ (1974) vs Dexter Gordon ‘Daddy Plays the Horn’ (1956). I have to say, just comparing music reproduction on music made nearly 20 years apart, is quite difficult and possibly unfair. But possibly I did not pick the right two to compare? Axelrod is deeper, wider, lusher and more cinematic. However the recording technique would have been completely different though wouldn’t they? Dexter Gordon would be live with his ensemble with strategically placed microphones, Axelrod would be recording each instrument separately through a multitrack desk. He would also be using a larger quantity of amplified instruments and a larger quantity of players. Both recordings sounded great in their own right, but honestly it was like comparing apples with oranges. I can only conclude that Michael’s dissatisfaction of the Bethlehem product was a combination of digital mastering on noisy vinyl as I have eliminated both of these from my comparison. Please feel free to correct me if I’m wrong, and thanks again for bringing a great collection of records to my attention 👍🏼
My main gripe with the Bethlehem bundle is that the back covers and center labels are not faithful recreations of the originals like the Jazz Dispensary series titles. I doubt I'd be able to tell any difference in pressing quality on my basic system but I just don't understand why they would bother to put out the records and not take that extra little bit of care to make it as close looking to original as possible (making an exception for the colored vinyl of course, I'm fine with that if they sound fine)
Totally agree. I've liked VMP for their great work, but the inconsistency is frustrating. I wish their consistency had gone up with their price increases, because the value goes down for me as the price goes up without any real improvement.
Ps I notice there is a all analogue pressing of the Dexter Gordon title from 2013 in mono from Pure Pleasure Records from UK that is available and relatively inexpensive if you are interested in making a further comparison Michael
Hey Michael... been watching your channel for quite awhile, and never subscribed until now !! Thanks for the info on the difference between the Bethlehem Vinyl Me Please and the other perfect releases... you are a great source of information, for sure... sometimes I check in with the Steve Hoffman forums , but it tends to be too subjective, it is nice that in my opinion, you are more definitive, and I trust your judgement. I have always liked Bob Bradley's advise on vinyl quality as well ! I am a pretty new channel, out of Reno, Nevada. Cheers ! JT
Just purchased a copy (?re-issue?) of Otis Redding ‘pain in my heart’ 45 Rpm Lp wasn’t expensive £14.99 or thereabouts and the quality sounds amazing released by “alternative fox” ? David 🏴
Yesterday arrived the new and beautiful boxset from Nirvana (UK) in vinil. Perhaps you can check it out (limited to 1000 copies). The two first albuns are a must have, especially the beautiful and superb "All of Us", a lost psicadelic pop classic.
That sounds interesting how much do you have to pay?
@@Michael45RPM , about 160 Eur. I've bought mine from JPC (Germany) :)
I purchased the Mingus title and was thrilled with the quality of the pressing and the music as well. It's dead quiet with lovely wide soundstage. You stated in the video "This unknown artist "Charles Mingus". Am I missing something? Charles Mingus is pretty well known.
He's joking. Of course, Mingus is not just well known, but among the most famous jazz musicians of all time.
Thank you for another fine video. Regarding the colour of the vinyl, that's an elephant but a small one like the ones in India, not the African type :) .I think they sound the same when they are good. But what I find in my records is this: It seems that it's easier to find a bad and/or noisy record when they coloured… a year ago I liked to buy the "special edition" paying a little more, but after several bad records, return them and sometimes bring home a black, I can say I have more luck with the blacks. So, now when it's possible I chhose the black record version.
Someone told me that in the regular editions the coloured are in small batchs and that makes them worst, because the presses don't have time to "warm up" and put outside good pressings.
Right Jardi
Do you remember our chat about how often, music collectors need a sort of authority figure to validate their "choice", how that results in much less variety in what actually gets purchased? I suspect that the Kevin Gray mastering seal of approval, is becoming a probleme, and creates a myopic effect : even if you try to bypass that "filter", you condition yourself to expect quality from certain figures (Rashad Becker being another one in other scenes), so much so that the lack of information triggers a mecanism of suspition or something.
In reality, some of the masterung and lacquer cut engineers I work with are not hyped, known or famous, and do a stellar job. Using their name would help you as much in your listening experience as not naming them.
Naming them would eventually make their going rates go up, which I really want to avoid, as do my customers.
Now I'll believe you if you tell me the difference is striking, but I would still play the devil's advocate, and ask you if there's no chance that the name appeal and lack of info doesn't subconsiously affect your appreciation, after having built such strong cognitive bridges between names a and quality, so much so that it's not even up for discussion anymore?
Now on another note, I definitively am not the target of this service, but it sounds as a good compromise between the two paradigms I first talked about in this comment, the strong minded digger-customers, and the ones who are less inclined to investigate themselves. Of course, I'm not talking about you there, just trying to understand the marketing niche that makes this service possible and sustainable.
I think you make a fair point, but I suppose channels like this democratise the discernment of quality and gradate the market more, agree people can buy a "brand" more than they might but also they will venture out more later i think too. I certainly do, love combining with discogs info and discovering things . With the actual music easy to listen to ahead of time, is very easy to find reasonable records.
@@TheBirdBrothers yes, but to be even more accurate, I meant I suspect a sort of self fulfilling prophecy there, and in reverse : if it’s not Kevin gray and it’s on the same label, it can’t be as good. Even if there are some hard scientific truths about vinyl mastering, there also is some aesthetic subjectivity,. Most people really look up for Rashad Becker, on the quality of his work, but I seem to remember Michael doesn’t. When I released my music, we tested a few guys, and the best result we got was from a psy trance producer who used almost only software. And yet people celebrated how warm and analogously rich our sound was. This guy was our secret weapon, and for years we didn’t disclose who he was. I’m just saying the audiophile world tends to have a black and white perception of mastering and pressing. Not saying Michael does, but I thought the point was maybe worth making
@@StuntrockConfusion yes interesting, certainly people forever confuse identity with behaviour that is not the reality. I think vinyl had made a resurgence partly because the older inconvenience of having to trawl record shops and guess at what an album might be like have diminished. The constraints set the aesthetic.
the colour of the vinyl does not matter, vinyl in its natural state is actually clear, so black vinyl is also coloured, the stylus does not know what colour it is playing. enjoy the music
As far as I know carbon pigment is added to the vinyl to increase overall conductivity in order to reduce static.
@@szecek that is possible, i have not seen any difference in static between different colors of vinyl..........
The difference is that the dispensary bundle are from the former Fantasy labels now under Craft, who are trying to build a name or reputation for quality. Bethlehem is owned by BMG, probably not a big player in audiophile. Musically, I find the Bethlehem titles more interesting because you have Dexter, Donald Byrd, Pepper Adams, Mingus, etc. but I have all those titles in cd and it’s not like those are must titles for me. The Jazz Dispensary titles are less interesting musically. Glad I didn’t buy any of the Bethlehem titles if they’re noisy. For new records, that’s not acceptable. I don’t know what’s coming for April but from a jazz or blues perspective it better be good because I don’t see a lot in the Classics Track that interests me.
I wonder if the Jazz Dispensary library is cheaper to license than the likes of Mingus and Gordon. If they can pay less for the music, maybe they can put that money toward packaging? I also imagine they have contracts with all of these jacket and pressing plants. At some point, some of the titles need to be pressed at GZ. RTI and QRP can’t do everything! (Though I sincerely wish that were not the case).
I suspect that licencing comes into the equation with the Bethlehem issues, however, the lack of any source information raises alarm bells. Pressing capacity at top tier plants is no doubt limited, but these Bethlehem titles undoubtedly deserve better. Unlikely I know, but it would be nice to hear the VMP angle on the discrepancy between these two sets.
If they don't tell you the source they are from digital.
Is that an Eames lounge Chair you are sitting in.I am unsure about VMP,I joined to get The Doors debut LP,which in Mono is wonderful.
Yes it is
I told you to pick up the Jazz Dispensary titles. I got Heavy Axe first, when I heard that I picked up the others. Great sounding records.
I think the difference in quality and standards will have something to do with the partnership & label, the Jazz dispensary issued some KG RTI releases previously. But I suppose the big thing is that KG (the busiest man in the record industry), can only master so much vinyl & RTI, QRP etc. can only press so much vinyl. I've noticed that they started doing some titles plated at RTI & pressed at GZ.
I don't know if the likes of KG, RKS & BG are able to share the knowledge so there is a broader pool of mastering talent & how likely it is that other pressing plants could up their game to compete with the likes of Pallas & RTI
my best friend has that bethlehem bundle too and the biggest issues for me with those records is a) the back covers and the labels which look very much like waxtime or other similar grey market label design and b) because of the very thin and fragile grooves, they look like DMM pressings, what gz media often does.. so maybe we have a waxtime pressings with a licensed logo sold by vmp here? 😜 because i really fell in love with the music on the dexter gordon i immediately ordered a pure pleasure reissue of that.. and tomorrow its A/B comparison time when my best friend visits me...... so.... my comment is... to be continued 😁 cheers und gute nacht fürs erste 😉
Great Points here thx ToenS
so.. today was comparison day.. there is another thing i'd like to add to my issues with the VMP issue.. it has the name dexter gordon on the front cover, which the original (and the pute pleasure) does not have. the image quality / printing of the pure pleasure cover is waay better (colore and sharpness), its heavier and also wins in terms of sound quality. it's is a bit brighter, more detailed but also has a tight bass.. overall a really beautiful pressing! 🙂
I have the 5 Jazz Dispensary, they are all very good. really vinyl jewels.
I was wondering, why the AXE LP, did not have an OBI. did you order The Story Of Tribe Records
, too? mine stucks in custom. I asked them a few days ago. first I got a broken tracking link, and now it says since days it is still in the US. The Tribe Records Box is going to be huge. This will be a Killer Box Set for 2021. I have heard there are some issues with this box as well. but this are tape issues, same as on some Tone Poet for example on the Andrew Hill - Black Fire...I cant wait to hear the Tribe Records.
btw..to your Question, why they did not all the same treatment. the answer is: money. this company tries to get their profits, too. for the record, if a Jazz record is pressed at GZ, do not buy it. There is some good output of this pressing plant, but for a Jazz record, it is a "No buy" from my side. 80% or more is noisy in any way and a good 30% have non fill issues from GZ.
That's what we want Michael ✊😉💖
Hi Michael, do you know ACT music from Munich. Just discovered Janne Mark. Cheers, Koen
man you are a busy man !! Michael did you ever tell us what you do or did in our life...
Marketing I think?
Yes something in that area Korben
@@Michael45RPM it would good to know, who, what, when, and why .)
Or a producer for electronic music. :-)
Mazzy loves you
What is OB?
Great video but I think you might be mistaken regarding the price of the bundles. I’m looking on the VMP website and the difference in price is nearly $120.
Jazz D - $250
Beth - $132
My Price is the Memberprice
@@Michael45RPM Member price for JD is $225 for five LPs and $120 for the Bethlehem four LP collection. So each album is $5 more for the JD titles. Not a huge difference, but still not the same.
When you got to the end, it was one of the nails in the coffin for me. The overall inconsistency with the label. You set a bar with the Prestige titles and then you turn out the crap with the Bethlehem records. The music deserves better.