Value of a large record collection?

premiumplus

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Stuck in the 70's
#1
Hey guys,
I am going to look at a large collection of vinyl this afternoon. A friend of a friend's dad passed, and they have some thousand records that they want to sell as one collection. I don't know what the genre is, no idea of what type of music it is, they said there was all types of music...and it was said that the man took very good care of his stuff. Also there is some stereo gear there up for bids.
So my question is this...I don't have any idea how much money to offer.
I don't want to insult him, and I don't want to spend too much either.
Can you guys help me figure out what a fair offer would be for a collection, in terms of per-album price?
I'm thinking maybe $.25 each, but I am concerned that I am way off. I am out of my league on this one!
Thoughts?
 

BubbaH

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#2
Depends on what it is. Most of what im about to say is my opinion. So I hope no one takes it the wrong way.

If its a bunch of Englebert Humperdink type stuff, or polka, and country stuff, .25cents a piece is too much. Main reason I havent taken in any collections in a long time is because a lot of it is stuff like that. You can only see so many Ronnie Milsap LPs before you just dont bother anymore.

If he's got good 70's 80's 90's stuff, your offer might be offensive. If in which case you may have to do a bit of digging and determine for yourself what you'd be willing to pay. There may be a few treasures in there worth a decent chunk of change. Anyways, that would be something that would need to be mutually agreed upon.

The shop I stop in to when im visiting my brother had taken in a large lot the last time I was down visiting. Some 500 picture disc's. Consisting of lots of Maiden Guns N Roses, ACDC and many others, I can imagine a collection like that would be worth significantly more.

Take a look. See what they have. Make an offer you think is fair.
 

nobody

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#3
Really, nearly impossible to tell sight unseen. He could have 1,000 carefully curated, collectible mint condition records worth several thousand dollars or he could have a bunch of well-cared for but completely common records that would be over priced at a couple hundred. There's simply no one size fits all answer since you have individual records that regularly go for a couple hundred bucks or more and others that you practically can't give away, regardless of how good the condition. Just remember, that they are only worth to you what they are worth to you. If you plan on reselling, take into account your time, listing fees, paypal fees, etc... It is a lot of work to sell a collection of any size one by one. Dig in there a bit and estimate how much you think you can realistically get. If you are wanting to purchase to keep, you either like what's available and can afford an agreed upon price or not. I will say selling the whole lot as a big group means they can't expect to get anything near full retail for 'em, most record stores would give between a quarter and half of retail value at best.
 

Northwinds

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#4
Without seeing what is there I would not venture any guess. If it's what I think it is, it's probably not going to be worth your time. Most older people's collections consist of Dean Martin, Sinatra, Bing Crosby, Herb Alpert, Slim Whitman, Boxcar Willy, Mitch Miller and tons of movie soundtracks are not going to be worth much. Some titles can command a decent dollar but if I was buying a collection that large, I would not pay more then $.10 to $.25 each as most likely 80% or more would hit the curb when I got home or would be dropped off at Goodwill

The other thng you need to take in consideration is the TT these were played on. Groove damage does not show it's ugly head until you play them. You may get lucky and find that the original owner was into better music but enjoy yourself flipping through the titles, you never know what you might find
 

premiumplus

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#5
Without seeing what is there I would not venture any guess. If it's what I think it is, it's probably not going to be worth your time. Most older people's collections consist of Dean Martin, Sinatra, Bing Crosby, Herb Alpert, Slim Whitman, Boxcar Willy, Mitch Miller and tons of movie soundtracks are not going to be worth much. Some titles can command a decent dollar but if I was buying a collection that large, I would not pay more then $.10 to $.25 each as most likely 80% or more would hit the curb when I got home or would be dropped off at Goodwill

The other thng you need to take in consideration is the TT these were played on. Groove damage does not show it's ugly head until you play them. You may get lucky and find that the original owner was into better music but enjoy yourself flipping through the titles, you never know what you might find
The groove damage thing is a big concern for me. I'll know better when I see if they've got aftermarket sleeves in them, and what kind of equipment is there for sale too. The guy said there was no turntable which could mean that it was the best of the group and already gone, or it could mean that they were all played on a Packard Bell console...Like it's been said, no way to tell until I can evaluate it. I'm meeting him at 5:00 this afternoon so it should be a fun evening at least.
I am concerned that it's gonna be a bunch of Mary Poppins soundtrack stuff too, but ya never know...I've been very lucky lately so we'll see if that trend continues.
I'm curious...if this is a great collection, 60's,70's, 80's classic rock stuff with MF titles, half speed mastered stuff, etc...would it be fair to pay half of what they're worth each, considering it's a group buy? And more importantly, what is the value of, say Led Zeppelin 1? Stones Sticky Fingers? I see stuff like this for $3 to $5 apiece in used record stores around the mid Michigan area, but is that realistic?
 

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#6
Easy on the Slim Whitman bashing, heard him every day for the first 6 years of my life, Mom loved the guy!!:bootyshake::bootyshake:...... I however grew a wee bit tired of him...
 

BubbaH

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#7
For Zeppelin stuff, if you were a serious collector, you'd need to check the run out area and matrix codes to see if you have originals and who they were mastered by. Sticky Fingers with the zipper cover can command a decent price even though it will trash albums its next to.
 

Northwinds

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#8
The groove damage thing is a big concern for me. I'll know better when I see if they've got aftermarket sleeves in them, and what kind of equipment is there for sale too. The guy said there was no turntable which could mean that it was the best of the group and already gone, or it could mean that they were all played on a Packard Bell console...Like it's been said, no way to tell until I can evaluate it. I'm meeting him at 5:00 this afternoon so it should be a fun evening at least.
I am concerned that it's gonna be a bunch of Mary Poppins soundtrack stuff too, but ya never know...I've been very lucky lately so we'll see if that trend continues.
I'm curious...if this is a great collection, 60's,70's, 80's classic rock stuff with MF titles, half speed mastered stuff, etc...would it be fair to pay half of what they're worth each, considering it's a group buy? And more importantly, what is the value of, say Led Zeppelin 1? Stones Sticky Fingers? I see stuff like this for $3 to $5 apiece in used record stores around the mid Michigan area, but is that realistic?
In all the years I have been buying collections, I only came across MFSL and other hlfspeed mastered stuff twice. Good luck with that... people know what that stuff is worth. As for your other question, the albums you mentioned have been reissued MANY times. Value depends on the pressing

Your comment about aftermarket slleves also is a bit suspect. There is nothing wrong with the stock paper sleeves and you should not base your decision on something like that. Yeah, it shows a little more care BUT if the guy was using a crappy console stereo or some cheapass turntable without the cart setup right or using it with a worn stylus, aftermarket sleeves are an afterthought

IF the records are clean (you need a bright light source to determine this, don't rely on them looking shiney in a crap light situation), I would still have to be cheap. They want you to take them all and a lot of it will be junk or stuff you don't listen to. If they let you cherrypick and you find clean stuff then I don't see why you can't up what you pay as long as your comfortable with the price. I have seen deadmint clean looking Blue Note original lps that sound horrendous due to groove damage. Buying a collection is a crapshoot, the cheaper you can buy, the better it is for you in the longrun. Selling records is a tough job, you have to know your shit and that includes understanding master marks, being able to decipher matrix numbers to determine what pressing it is, pressing plant etc... I have to do this for a living right now unfortunately but if you have any questions, feel free to ask and I will help you however I can. I know a little about the hobby LOL
 

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#9
In all the years I have been buying collections, I only came across MFSL and other hlfspeed mastered stuff twice. Good luck with that... people know what that stuff is worth. As for your other question, the albums you mentioned have been reissued MANY times. Value depends on the pressing

Your comment about aftermarket slleves also is a bit suspect. There is nothing wrong with the stock paper sleeves and you should not base your decision on something like that. Yeah, it shows a little more care BUT if the guy was using a crappy console stereo or some cheapass turntable without the cart setup right or using it with a worn stylus, aftermarket sleeves are an afterthought

IF the records are clean (you need a bright light source to determine this, don't rely on them looking shiney in a crap light situation), I would still have to be cheap. They want you to take them all and a lot of it will be junk or stuff you don't listen to. If they let you cherrypick and you find clean stuff then I don't see why you can't up what you pay as long as your comfortable with the price. I have seen deadmint clean looking Blue Note original lps that sound horrendous due to groove damage. Buying a collection is a crapshoot, the cheaper you can buy, the better it is for you in the longrun. Selling records is a tough job, you have to know your shit and that includes understanding master marks, being able to decipher matrix numbers to determine what pressing it is, pressing plant etc... I have to do this for a living right now unfortunately but if you have any questions, feel free to ask and I will help you however I can. I know a little about the hobby LOL
That's very generous of you, because when it comes to master marks, matrix numbers and the like, I'm in deeeeep water. I know my way around a schematic a whole, whole lot better than I understand this. I have no idea what the preferred mastering plants would be, or how to determine (if it's even possible) how many pressings have been made from a particular master, and so on.
The thing that's going to be difficult is that there isn't a turntable there to try them on, so if it turns out to be something I'm interested in, I'm going to see if he'll let me take some of them home and audition them.
I know this is like asking for a crash course in record evaluation, but are there any specific things I should look for in terms of runout groove marks, or particular manufacturers that do a great job? I'm suspecting this will be a case by case, individual thing, but I remember for instance, a Blue Note pressing of Earl Klugh's stuff that was really good, and my hazy recollection of the 70's/80's is that RCA and Columbia were good. But I'm totally in the dark about the markings that are etched in the runout grooves.
Thanks!
 

BubbaH

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#10
Pretty sure for the zeppelin an RL stamp in the runout would indicate its Bob Ludwig, and if memory serves me correct those are the ones to look for. Ron can you confirm this or am I way off base altogether with RL and zep?
 

Northwinds

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#11
Ludwig pressings all sound good. The Zeppelin your referring is to II. He did a limited number of these. They stopped production because the bass would upset cheap cartridges causing skips. For Houses of the Holy, I believed he mastered all of 8000 series pressings and probably the 19000 series Zeppelin's of that title, I don't have a reissue to compare to. Usually George Piros or George Peckham mastered most Zeppelin releases


This will get you started on the Mastering info, enjoy:


G.S.V.) -> Greg Vaughn
(spiral sign) @ D+M -> Robert Henke ( Dubplates-mastering, Berlin )
*-J.T.S.-* -> JTS Studio, London
@cul -> Moritz von Oswald
@t GP -> George Piros
“Soundmaster†Lionel @ Translab, Paris -> Lionel Nicod
7AP -> Augustus Pablo
A 1ST FOR KEV – TOWNHOUSE -> Kevin Metcalfe ( Townhouse Studios, London )
A Porky ‘Oh yes’ Prime cut -> George Peckham
A Porky Prime Cut -> George Peckham
A PORKY PRIME CUT -> George Peckham
A Porky Prime Er-Er-Er Goldfish I Think -> George Peckham
A Porky Prime sniff sniff cut -> George Peckham
A PORKY PRIME TANGO -> George Peckham
Allen Zentz -> Allen Zentz
AM -> Andy Mellwig ( The “A†looks like triangle; Dubplates-mastering, Berlin )
an “A with M†sign -> Andy Mellwig ( Dubplates-mastering, Berlin )
andreas at schnittstelle -> Andreas Kauffelt
andreas@schnittstelle -> Andreas Kauffelt
ARUN -> Arun Chakraverty
AT-GP -> George Piros
Audiodisc YYMMDD -> Pressed at Audiodisc AB
Az -> Allen Zentz ( note the lower case Z )
AZ -> Allen Zentz Mastering Company
AZ (with birds/flower) -> Brian Gardner ( Allen Zentz Mastering Company )
AZ CB -> Chris Bellman ( Allen Zentz Mastering Company )
B.E C.R -> Björn Engelmann ( Cutting Room, Stockholm )
B.E-C.R -> Björn Engelmann ( Cutting Room, Stockholm )
B.G. -> Bernie Grundman
BA -> Björn Almstedt
BA•CR -> Björn Almstedt ( Cutting Room, Stockholm )
BA-CR -> Björn Almstedt ( Cutting Room, Stockholm )
BA-EF -> Björn Almstedt
BA-GP -> Björn Almstedt
BA-T∞ -> Björn Almstedt
Beau -> Beau Thomas
BEAU -> Beau Thomas
beau -> Beau Thomas
Bell Sound -> Bell Sound Studios
Bell Sound sf -> Sam Feldman ( Bell Sound Studios )
BH -> Bobby Hata
BilBo -> Denis Blackham ( which looks like BiBo )
Bilbo master room -> Denis Blackham
BK -> Bill Kipper
BKG -> Brian Gardner
C.R -> Cutting Room, Stockholm
C.T.S. Wembley -> C.T.S. Studios, Wembley.
CGB -> Christoph Grote-Beverborg
CGB / D+M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
CGB @ D&M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
CGB@D&M -> Christoph Grote-Beverborg ( Dubplates-mastering, Berlin )
CHRIS P @ UNITY -> Chris Parmenidis
COPYMASTERS – Miles -> Miles Showell
CR -> Cutting Room, Stockholm
CSB ♪♪ -> Carlton Batts ( followed by two musical notes )
CURVE PUSHER. -> Curve Pusher Mastering, London
D Jay @ Masterpiece -> Danny King ( Masterpiece Mastering, London )
D&m -> Dubplates-mastering, Berlin
D. SWABY -> Dudley Swaby
D.A.S. Disc Mastering -> Digital Audio Solutions
D+M -> Moritz Von Oswald ( (note; M has a hook on the end); Dubplates-mastering, Berlin )
DAMONT -> Pressed at Damont Audio Limited
DAS Disc Mastering -> Digital Audio Solutions
DB -> Denis Blackham
DCHARLES -> Dick Charles ( Handwritten signature )
DFI -> Pressed at DFI
Djay@ Masterpiece -> Danny King ( Masterpiece Mastering, London )
DK -> Dennis King
DMM -> Direct Metal Mastering
DMS C -> The Hit Factory, DMS, NYC
DMS cg -> Chris Gehringer ( The Hit Factory, DMS, NYC )
DMS cg [peace sign] -> Chris Gehringer
DMS Coin -> The Hit Factory, DMS, NYC
Doug -> Doug Sax
DUDLEY SWABY -> Dudley “Manzie†Swaby
EURODISC -> Eurodisk Manufacturing
EUROPADISK -> Pressed at Europadisk, NYC.
EXCHANGE 2000 – SIMON. -> Simon Davey
F.A. -> Frank Arkwright
F.A. Metropolis -> Frank Arkwright ( Metropolis Studios, London )
F/W -> Frankford Wayne Mastering Labs, NYC.
F/W J -> Frankford Wayne Mastering Labs, NYC.
Finnvox MJ -> Mika Jussila
FOON MASTERING -> Foon Mastering Center
Frankford/Wayne -> Frankford Wayne Mastering Labs, NYC.
Frankford/Wayne Mastering by Michael -> Michael Sarsfield ( Frankford Wayne Mastering Labs, NYC. )
FST @ D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FST D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FST>D+M -> Frederic Stader ( Dubplates-mastering, Berlin )
FTS -> Federal Recording Studios, Kingston / Total Sounds
G.K. -> Gilbert Kong
GC -> Greg Calbi ( Sterling )
Gene -> Gene Thompson
GEORGE – COPYMASTERS -> George Peckham
GK -> Gilbert Kong
Gordon at the Townhouse -> Gordon Vickary
GP -> Grammoplast, Sweden
Graeme -> Graeme Durham
GRAEME – SOUND CLINIC -> Graeme Durham
GRAZ – The Exchange -> Graeme Durham
Graz@The Exchange -> Graeme Durham
greyham the exchange -> Graeme Durham
GSV -> Greg Vaughn ( or “G5V“ )
GUY’S – THE EXCHANGE -> Guy Davie
HEM cg -> Chris Gehringer
Herb :^) -> Herb Powers Jr.
Herbie :^) -> Herb Powers Jr.
Herbie Jr :^) -> Herb Powers Jr.
Herve @ Translab -> Hervé Bordes
HFM ´[number] -> The Hit Factory, DMS, NYC
HFM cg -> Chris Gehringer ( The Hit Factory, DMS, NYC )
HP -> Herb Powers Jr.
HTM -> Harry Moss
HuB -> Frankford Wayne Mastering Labs, NYC. ( ? )
HW -> Howie Weinberg
J.Y. -> Joe Yannece
JA Tape One -> Jack Adams
Jacko – Tape One -> Jack Adams
JC Masterroom -> Jeremy Cooper
JD -> John Dent
JD-ASH -> John Dent and Ashley Burchett ( ? )
John D -> John Davis
JON2 -> John Dent
Jonz -> John Dent
Jonz @ Loud Mastering -> John Dent ( Loud Mastering )
K -> Andreas Kauffelt
KG -> Kevin Gray
K.P. -> Ken Perry
KDISC -> K Disc Mastering
Kendun -> Kent Duncan
LAWRIE @ CURVE PUSHER -> Lawrie Immersion
LB -> Larry Boden
LH -> Lee Hulko
Lionel & Hervé @ Translab -> Lionel Nicod & Hervé Bordes
Loop-0 at D&M -> Loop-o ( Dubplates-mastering, Berlin )
Lupo -> Loop-o
M.M.M.J.R. -> Mark Richardson (3) ( Metropolis Mastering, Chicago )
MANDY @ THE EXCHANGE -> Mandy Parnell
MARTIN @ C.T.S. -> Martin Giles
 

Northwinds

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#12
Sorry, have to do the list in two posts, too many charachters LOL


MASTERDED BY CAPITOL -> Capitol Studio & Mastering , Hollywood
MASTERDISK -> Masterdisk, NYC
MASTERDISK G.K. -> Gilbert Kong
MASTERDISK TD -> Tony Dawsey ( Masterdisk, NYC )
Mastered at Abbey Rd -> Abbey Road Studios, London
mastered at ‘Abbey Road’ -> Abbey Road Studios, London
MASTERED AT ALLEN ZENTZ L.A., CALIF. -> Allen Zentz Mastering Company
MASTERED BY CAPITOL Wally -> Wally Traugott ( Capitol Studio & Mastering , Hollywood )
Mastered by NIMBUS, England -> Nimbus
Mastered MIAMI TAPE -> Miami Tape, Hialeah ( (“MIAMI TAPE” is stamped) )
MATT OPTIMUM -> Matt Colton
MCR -> Master Cutting Room, NYC.
Metropolis Mastering Chicago M.J.R. -> Mark Richardson (3)
MIKE @ THE EXCHANGE -> Mike Marsh
Mike @ The Exchange -> Mike Marsh
Mike’s™ -> Mike Marsh
MILES -> Miles Showell
MJFX -> Mika Jussila
MMMJR -> Mark Richardson (3) ( Metropolis Mastering, Chicago )
MPO -> Moulages et Plastiques de l’Ouest, Averton.
MR -> Mark Regan
Neil – Masterpiece -> Neil Devine
Neil Masterpiece -> Neil Devine
Nick -> Nick Webb Abbey Road Studios, London )[/i]
Nick’s cut! -> Nick Webb Abbey Road Studios, London )[/i]
NILZ – THE EXCHANGE -> Nilesh Patel
NIX MIX TOWNHOUSE -> Larry Nix
Noel @ Transfermation -> Noel Summerville
NOMIS -> Simon Davey ( “Simon” backwards )
NSC -> National Sound Corporation, Detroit ( used to be solely Ron Murphy (except some very early stuff), now also Heath Brunner )
Ø(Phase) -> Ashley Burchett
Ø(Phase) @ Whitfield London -> Ashley Burchett
ø@CURVE PUSHER -> Ashley Burchett
Ø[Phase] -> Ashley Burchett
Øphase -> Ashley Burchett
øPHASE -> Ashley Burchett
øPHASE @ WHITFIELD ST -> Ashley Burchett
Øphase@ Curve Pusher -> Ashley Burchett ( Curve Pusher Mastering, London )
ORLAKE -> Orlake Records, Dagenham
P.A. -> Phil Austin ( Trutone )
P.O.R.K.Y. -> George Peckham
PAUL S @ PORKY’S -> Paul Solomons
Paul S @ Porky’s -> Paul Solomons
PAUL’S @ PORKYS -> Paul Solomons
Paul’s @ Porkys -> Paul Solomons
PAUL’S THE EXCHANGE -> Paul Solomons
Pauls’ The Exchange -> Paul Solomons
PCMJR -> Mark Richardson (3) ( Prairie Cat Mastering, Belvidere )
PD -> Peter Dahl
PD-CR -> Peter Dahl ( Cutting Room, Stockholm )
PECKO -> George Peckham
PECKO DUCK -> George Peckham
Pete @ Tape To Tape -> Pete Norman
PIPO NYC -> Alberto Roges
POLAR -> Polar Mastering, Stockholm (defunct, now Masters of Audio, Stockholm)
Pole -> Pole
POM TR -> Pompon Finkelstein ( Translab, Paris )
porkeys prime cut -> George Peckham
Porky -> George Peckham
Porky Prime Cut -> George Peckham
Porky Primed -> George Peckham
Porkys -> George Peckham
Primed -> George Peckham
R @ D&M -> Rashad Becker ( Squiggly lower case ‘r’; Dubplates & Mastering ,Berlin )
Rashad -> Rashad Becker
Ray at The Exchange -> Ray Staff
RCE -> Rick Essig ( F/W )
RJ -> Ray Janos ( Sterling )
RL -> Bob Ludwig
RV -> Hervé Bordes
RVG -> Rudy Van Gelder (look for "ear" etching)
S.D -> Simon Davey
S.M. M.J.R. -> Mark Richardson (3) ( Session Masters, Carol Stream )
SD -> Simon Davey
Sean Abbey rd i…i -> Sean Magee ( Abbey Road Studios, London )
sf -> Sam Feldman
SH -> Steve Hall
SH | KG -> Steve Hoffman and Kevin Gray
SHANE -> Shane McEnhill
Shane – the cutteR -> Shane McEnhill ( Graffiti Style; The “h” looks more like a “t” )
Shane @ Heathman’s -> Shane McEnhill ( Graffiti Style; The “h” looks more like a “t” )
SI MASTERPIECE -> Simon Francis
SI Masterpiece -> Simon Francis
SIMON – THE EXCHANGE -> Simon Davey
SIMON „HOOVER POWER“ DAVEY -> Simon Davey
SIMON „NEW SHOOS“ DAVEY -> Simon Davey
SIMON „NIGHT NURSE“ DAVEY -> Simon Davey
simon the exchange -> Simon Davey
SIMON. -> Simon Davey
SNB -> Sabin Brunet
Sound Clinic -> The Sound Clinic, London
Sound Clinic, Graeme -> Graeme Durham ( The Sound Clinic, London )
Sound Clinic/Jonz -> John Dent ( The Sound Clinic, London )
SR -> Stan Ricker
SR/2 -> Stan Ricker
SR2 -> Stan Ricker
SRC signature -> Specialty Records Corporation ( (Stamped, Large S with the R and C in the loops) )
SST -> Schallplatten Schneid Technik, Frankfurt
STERLING -> Sterling Sound, NYC
STRAWBERRY U.K. -> Strawberry Mastering, London
STREAKY @ SOUNDMASTERS -> Streaky
Stu -> Stuart Hawkes
Stu. @ Masterpiece -> Stuart Hawkes
Tape One JA -> Jack Adams
TC -> Tom Coyne
THE EXCHANGE -> The Exchange, London
The Exchange – GD -> Guy Davie
THE EXCHANGE – NILZ -> Nilesh Patel
Tim D. -> Tim Dennen
Tim D. Masterpiece -> Tim Dennen
tim dixon masterpiece -> Tony Dixon
TIMTOM -> Tim Young
Timtom -> Tim Young
TJ -> Ted Jensen ( Sterling )
TLC -> The Lacquer Channel Mastering, Toronto
TML -> The Mastering Lab , Hollowood
TML-M -> The Mastering Lab , Hollowood ( M=Master )
TML-S -> The Mastering Lab , Hollowood ( S=Slave )
TML-X -> The Mastering Lab , Hollowood ( X=Extra )
TOWN HOUSE -> Town House Studios, London
TOWNHOUSE -> Town House Studios, London
Townhouse -> Town House Studios, London
Townhouse Max -> Max Dingel
tph@schnittstelle -> Thomas P. Heckmann
TR -> Translab Mastering, Paris
Transfermation -> Transfermation Mastering, London
TRANSITION -> Transition Mastering Studios, London
Transition -> Transition Mastering Studios, London
Truetone Mastering NYC Carl -> Carl Rowatti ( “Truetone” or “Trutone”? )
Trutone -> Trutone Inc, NYC
Trutone NY – PA -> Phil Austin
Trutone NYC Carl -> Carl Rowatti
ty -> Tim Young.
 
Last edited:

BubbaH

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#13
Shit Ron. That's awesome. Thanks for posting that. And also thanks for the correction on the Zeppelin stuff.
 

orange

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#14
Without seeing what is there I would not venture any guess. If it's what I think it is, it's probably not going to be worth your time. Most older people's collections consist of Dean Martin, Sinatra, Bing Crosby, Herb Alpert, Slim Whitman, Boxcar Willy, Mitch Miller and tons of movie soundtracks are not going to be worth much. Some titles can command a decent dollar but if I was buying a collection that large, I would not pay more then $.10 to $.25 each as most likely 80% or more would hit the curb when I got home or would be dropped off at Goodwill

The other thng you need to take in consideration is the TT these were played on. Groove damage does not show it's ugly head until you play them. You may get lucky and find that the original owner was into better music but enjoy yourself flipping through the titles, you never know what you might find
I don't know why people don't think much of Herb Alpert. He's just as good a trumpeter as Harry James and built a billion-dollar enterprise starting from selling Mexican jazz records from the back of a station wagon from gig to gig...Bing Crosby took wartime German tape recorders and revolutionized the recording and radio industries when he tried them out taping a show and if you weren't aware his company produced Hogan's Heroes (Bing Crosby Enterprises). Dean Martin could actually SING and had one of the best variety shows on television PERIOD.

If you wonder why they have the records, they wondered why you owned RATT. :bootyshake:
 

Northwinds

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#15
I don't know why people don't think much of Herb Alpert. He's just as good a trumpeter as Harry James and built a billion-dollar enterprise starting from selling Mexican jazz records from the back of a station wagon from gig to gig...Bing Crosby took wartime German tape recorders and revolutionized the recording and radio industries when he tried them out taping a show and if you weren't aware his company produced Hogan's Heroes (Bing Crosby Enterprises). Dean Martin could actually SING and had one of the best variety shows on television PERIOD.

If you wonder why they have the records, they wondered why you owned RATT. :bootyshake:
Steve, you missed the boat. Nobody said those artists sucked. There is just millions of them out there. Go to any Goodwill and I bet you put complete collections together of some artists. The market is saturated and a lot of people who enjoyed that stuff are taking dirt naps already which is usually why Goodwill is usually full. There is not enough fans out there to create a real market

Do you know how many copies of Herb Alpert and the Tijuana Brass's Whipped Cream I have picked up? I have sealed original Herb Alpert lps too LOL
 

Northwinds

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#16
Shit Ron. That's awesome. Thanks for posting that. And also thanks for the correction on the Zeppelin stuff.
That is by no means a complete list but it's the one I use and I don't mind sharing. Knowledge is power. Many of those are masters for obscure releases. A lot of time and effort went into compiling that list
 

premiumplus

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#17
Thanks, Ron...I'm going to save that list and use it in the future.
Well, I went to look at the albums and I've never seen such a collection of Partridge Family, Montivanni (sp?), Reader's Digest compilations, and yes, Tijuana Brass...by the way, I love the old Herb Alpert stuff, I played trumpet for years and he was great...but nothing was there that I could use, much less sell to recoup my investment. He wouldn't budge on selling a couple (there were a couple of Alan Parsons LPs, and some other 80's rock, but mostly junk. Bummer.
HOWEVER, I did pick up a mint condition 1960's JVC Nivico stereo reverb unit. Tubes. $20. Really clean, but it's got a shorted capacitor in it that needs to be fixed. I brought it up slowly on a variac and dim bulb tester, and it was running ok for a bit, then the bulb went bright. So I think it's a cap. The tubes check ok.
Anybody ever hear of these old JVC units? It's not something I am going to put in my system, but I bought it just because it looked cool. And it does have a couple of Mitsubishi 12AX7A tubes in it that may just find their way into one of my Marshall guitar amps!
 

Northwinds

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#18
I do highly recommend keeping an eye out for copies of Led Zeppelin II with RL in the deadwax. There is 5 different versions. Some have RL SS on one or both sides. SS stands for Sterling Sound. In VG or better condition, they can command some nice coin depending on which version you have
 

orange

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#19
Steve, you missed the boat. Nobody said those artists sucked. There is just millions of them out there. Go to any Goodwill and I bet you put complete collections together of some artists. The market is saturated and a lot of people who enjoyed that stuff are taking dirt naps already which is usually why Goodwill is usually full. There is not enough fans out there to create a real market

Do you know how many copies of Herb Alpert and the Tijuana Brass's Whipped Cream I have picked up? I have sealed original Herb Alpert lps too LOL
You been hoggin' the TJB...

BTW We should all worry as classic rock is making it's way to the thrifts where I live...:shock:
 

stuwee

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#20
Thanks, Ron...I'm going to save that list and use it in the future.
Well, I went to look at the albums and I've never seen such a collection of Partridge Family, Montivanni (sp?), Reader's Digest compilations, and yes, Tijuana Brass...by the way, I love the old Herb Alpert stuff, I played trumpet for years and he was great...but nothing was there that I could use, much less sell to recoup my investment. He wouldn't budge on selling a couple (there were a couple of Alan Parsons LPs, and some other 80's rock, but mostly junk. Bummer.
HOWEVER, I did pick up a mint condition 1960's JVC Nivico stereo reverb unit. Tubes. $20. Really clean, but it's got a shorted capacitor in it that needs to be fixed. I brought it up slowly on a variac and dim bulb tester, and it was running ok for a bit, then the bulb went bright. So I think it's a cap. The tubes check ok.
Anybody ever hear of these old JVC units? It's not something I am going to put in my system, but I bought it just because it looked cool. And it does have a couple of Mitsubishi 12AX7A tubes in it that may just find their way into one of my Marshall guitar amps!
Hey pre, nice to hear from a fellow Lp fiend!! :happy6:

I had a collection close to 8,000+, and got that down to a more manigable 4,000+. I got so many for free it's not funny. I used to put want ads in the local grocery stores "Got Lp's? Let me take them off your hands" one of my favorite scores was a couple in their 60's with Mint rock from the 60's and 70's I opened the gatefold of a Yes album and stems and seeds and very nice bud fell out...she said "Oh dear", hugged her man and said "didn't we have fun?"...ahhh I just about lost it!! So freakin' sweet!!
 
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