mrrom92

If it's not sealed, I shouldn't have to pay the price that it commanded when it was sealed. Some of the finest pieces of vinyl in my collection have been previously owned, but I would prefer to be the original owner of as many things as possible. OCD? Perhaps, but it's my record and if I'm buying it "new" then you better believe I'm gonna be the one to remove the damn shrinkwrap. Otherwise, it ain't really "new", is it? Not arguing over this.

Actually I asked one of my friends to pick up a clear for me tomorrow. Let's see if he's able to. It should be sealed because there's no reason in 2011 a brand new (hah) and unplayed record shouldn't be sealed.

I'm looking to buy a white if it's sealed, for $20. Anyone? I should've jumped on it the other day when the damn HT page was loaded on my phone and everything. I wanted to do it on my computer instead, was sold out by the time I got home.

There are 3 known pressings of this album. We can't help if you don't specify what you're talking about. The last one was done within the past 3 years, packaged with a t-shirt, part of a series of album and t-shirt packages. There was only one color available. All of the vinyl from that series was god-awful. The 2nd pressing was the one that came in a fuckton of colors. Was pressed sometime in the early 2000's. still a common find. Sounds good. My pressing was a bit noisy, that was my only complaint. I got blue marble.

I know Fucked Up did a very limited release for the last RSD on reel to reel. Any others like this? I've been seriously contemplating doing releases on reel to reel when I get my label started.

I doubt that both labels would be using the same masters... technically one has to be better than the other. I could care less, its a great album but still a shitty recording, and besides I already have the pink/green swirl.

What is so special about this? I personally wouldn't blow $10 on this, let alone $1000. Maybe for a Robert Johnson 78 or a Beatles acetate or something.

People on this board would have a heart attack if they had this record player, it doesn't do colored vinyl. I'm sure it's a step up from the crappy turntables most have here, but I'd rather spend 15 grand on a much better performing turntable. I've had one demoed a few times. The internal electronics are kinda crappy, so the sound is just meh. It's all outdated tech too. The chip is the same one they've been making since the 1980's (yes this has been around for a while) If they put some money into R&D and made the chip smaller, more modern, and less costly to produce, and then offered the technology to a major electronics corporation (Sony), You could expect to see these sell for less than $1500 Maybe in the future. Oh, and the records sound bad if there is even a light speck of dust undetectable to the human eye, so an RCM is a must have with this turntable. It's good for archives, and Stevie Wonder has one. But that's about it.

Be sure to report back with the results. It may just soothe the naysayers' nerves.

Be sure to report back with the results. It may just soothe the naysayers' nerves.

'If I wanted to recommend using a metal I'd say to use something that wouldn't have such a broad surface area, such as a safety pin. But unless you are extremely precise, which is impossible when using such a fine sharp tool by hand on such a microscopic level, you are sure to create a new path through multiple groove walls, the very thing you were trying to fix in the first place. Not such a great idea.

'If I wanted to recommend using a metal I'd say to use something that wouldn't have such a broad surface area, such as a safety pin. But unless you are extremely precise, which is impossible when using such a fine sharp tool by hand on such a microscopic level, you are sure to create a new path through multiple groove walls, the very thing you were trying to fix in the first place. Not such a great idea.

Holy balls, my brain just exploded a little bit. Fast forward one week to legions of VC-ers crying about how they ruined their records by stabbing them with toothpicks. First of all, repairing groove walls is theoretically possible. I actually know a guy in Charlotte who is trying to perfect a particular method right now. Of course, he's developing his own super-precise DIY tools and he has a surgical microscope (like you'd see in a dentist's office) that he scored off of Craigslist. This will probably bore the crap out of everyone, but check it out here: http://www.audiokarma.org/forums/showthread.php?t=392181 Now what about you or I trying to repair a ding in a record with a toothpick? I'm not going to get too deep into a discussion of why that's a terrible idea, but let's consider two things... First, look at the grooves of a 33 1/3 rpm record. Now look at a toothpick. Now look at the record. Now look at a toothpick. And one more time, look at the record. Raise your hand if you think that a toothpick will fit between the grooves. Anyone? Second, pretend that you do have a precision instrument that will fit between the grooves. Do you think that you'd really be able to expertly place it in the correct spot and repair as necessary without the aid of some sort of magnification? I can't believe I even took the time to respond to this. And if that was a joke post, ha ha - you got me ... I fell for it! Hey man, try it, it works. You wouldn't want the toothpick to fit in the groove. that would just distort the sound. The toothpick is relatively soft, compared to say, a pin, so that it would not further scratch the record, assuming you aren't running against the grooves. You want to rotate the turntable slowly back and forth over the skip, after finding the precise spot where the skip is. The toothpick should move with the grooves. Of course this trick doesn't work all the time, some are just irreparable, but it does work more often than not. The theory is that a scratch breaks the groove walls, leaving burrs on the ridges that the stylus cannot pass through. By smoothing out the edges, you are essentially clearing a path through the groove's original path that the stylus can track through more easily. This is less of a terrible idea than destroying the entire record AND your system by taping shit to the headshell or increasing your VTF. If the record has a skip, it can only get better anyway, right? Seriously, get a beat up thrift store record you don't care about, and try it. Running over the spot with your cart back and forth, essentially like a DJ, usually has the same effect, except I wouldn't do this since it is not as effective and would fuck up your cart anyway. You could always just buy a mint copy of the record too.... but some records are rare, and I've salvaged many a rarity this way. One notable failure of this method I suffered was this original mono prestige Jazz record from the 50's, it was a Red Garland Trio record recorded by Rudy Van Gelder.... The pressing was nice and thick, but clearly recycled vinyl. Had a chunk of recycled record label through one track. It was thin and untrackable, but not thin enough that I could clear a path through it and still be able to track the groove. Shame. Btw, interesting link.

Holy balls, my brain just exploded a little bit. Fast forward one week to legions of VC-ers crying about how they ruined their records by stabbing them with toothpicks. First of all, repairing groove walls is theoretically possible. I actually know a guy in Charlotte who is trying to perfect a particular method right now. Of course, he's developing his own super-precise DIY tools and he has a surgical microscope (like you'd see in a dentist's office) that he scored off of Craigslist. This will probably bore the crap out of everyone, but check it out here: http://www.audiokarma.org/forums/showthread.php?t=392181 Now what about you or I trying to repair a ding in a record with a toothpick? I'm not going to get too deep into a discussion of why that's a terrible idea, but let's consider two things... First, look at the grooves of a 33 1/3 rpm record. Now look at a toothpick. Now look at the record. Now look at a toothpick. And one more time, look at the record. Raise your hand if you think that a toothpick will fit between the grooves. Anyone? Second, pretend that you do have a precision instrument that will fit between the grooves. Do you think that you'd really be able to expertly place it in the correct spot and repair as necessary without the aid of some sort of magnification? I can't believe I even took the time to respond to this. And if that was a joke post, ha ha - you got me ... I fell for it! Hey man, try it, it works. You wouldn't want the toothpick to fit in the groove. that would just distort the sound. The toothpick is relatively soft, compared to say, a pin, so that it would not further scratch the record, assuming you aren't running against the grooves. You want to rotate the turntable slowly back and forth over the skip, after finding the precise spot where the skip is. The toothpick should move with the grooves. Of course this trick doesn't work all the time, some are just irreparable, but it does work more often than not. The theory is that a scratch breaks the groove walls, leaving burrs on the ridges that the stylus cannot pass through. By smoothing out the edges, you are essentially clearing a path through the groove's original path that the stylus can track through more easily. This is less of a terrible idea than destroying the entire record AND your system by taping shit to the headshell or increasing your VTF. If the record has a skip, it can only get better anyway, right? Seriously, get a beat up thrift store record you don't care about, and try it. Running over the spot with your cart back and forth, essentially like a DJ, usually has the same effect, except I wouldn't do this since it is not as effective and would fuck up your cart anyway. You could always just buy a mint copy of the record too.... but some records are rare, and I've salvaged many a rarity this way. One notable failure of this method I suffered was this original mono prestige Jazz record from the 50's, it was a Red Garland Trio record recorded by Rudy Van Gelder.... The pressing was nice and thick, but clearly recycled vinyl. Had a chunk of recycled record label through one track. It was thin and untrackable, but not thin enough that I could clear a path through it and still be able to track the groove. Shame. Btw, interesting link.

DO NOT MESS WITH YOUR TURNTABLE OR ARM OR CART SETTINGS. UGH. Do not tape anything to the headshell. Get a sturdy wooden toothpick that wont snap under pressure. find the EXACT spot where the skip is, and use some pressure with the tip of the toothpick to "remove" the skip This just smooths down the groove wall, removing any sharp ridges in a scratched or marred plastic, making it easier to track the area. The woodglue method is great too but not so much for skips. Only use titebond II.

Dammit. Didn't even know there was a tour edition. I was at the show where they debuted their Parallax material live. Only had cds at the merch table, no vinyl. RSD was the morning after, and I was able to pick up one on yellow vinyl. Only played it twice, the mastering is shit, just needledropped it and play that from now on. I also cut my needledrop so the segue between the first two tracks is intact.

People, I think you're all experts, compared to me especially, and I appreciate all your advice. I can assure you I have planned this out quite thoroughly and did alot of research, I just had a few questions regarding the legal side of things, of which the answers aren't so easy to find. That's why a peer with prior experience is the best person to look to for advice. It's not like one can just google these things and get the answers. How would I know the proper way to conduct a label? Not all business classifications are necessarily appropriate for a record label. Now I know that I have to register for a sole proprietorship. So I'll do that! It's better than having not done that and ended up selling records in an illegal manner, so thanks again. My releases probably will not be of the genres most admired here. I could care less for pop-punk and most alternative. So I can get if you don't dig my releases. That's okay though. Back to the studio for me!

Thanks for the advice this isn't about not having the money though, this is about minimizing the risk for all whom are involved, for just a first release! If people don't wanna buy a full LP on colored vinyl, recorded mixed and mastered all analog the entire way, for less than $10 because I'm some unknown, then hey, sure, maybe I will drop the idea. Nobody lost any money, nobody got burned. But maybe people will like it and I won't have a problem fronting up cash for my next LP or single. This here thread was started to gain advice, let's stick to fact and not make wildly incorrect assumptions based on irrelevant side-notes.

What's wrong with going through kickstarter? I could really care less if it's looked down upon by some holier-than-thou poster in an online forum about vinyl, who probably listens to their vinyl on a crosley or some other plastic piece of crap. Or better yet, a White Stripes branded crosley with a red and white slipmat. I care about the music, and that I can get my record out. Kickstarter is what makes it possible for someone like me to actually raise enough funds to realize a dream. If you don't like the fact that likeminded people who care about the music, cared enough to help fund the project, rather than have every expense come out of my own pocket with a product that I'm not 100% sure that I can sell every last copy of, then DON'T BUY MY FUCKING RECORD.

I've also been thinking of just contacting different indie record shops around the country, besides selling through kick starter and my own website. Just submitted a proposal to kickstarter. Exciting!

Have either of you (any of you) ever encountered any legal problems or setbacks? Issues with pressing plants or distribution? How do you distribute?

So if I'm self distributing these records, i don't need a tax ID and everything is perfectly legal? Trust me, I've done a ton of reading, and haven't stopped. I'd love to read more if you have any recommendations, but this is the one aspect that confuses me. Thats why I asked on a message board. There really isn't anywhere else to ask such a question.

I suppose this also relates to the legalities of starting an indie label. this is my second post here (technically the first was the same, but in another thread) Anyhow, I'm looking to start my own label. But I'm confused in regards to physical distro. I see on United's distro form, I need a tax ID. for my business? What is this and how do I get it? Is a independent label really considered a business? and does that mean I have to pay taxes on this label every year too? Is it not as simple legally as recording music, paying to have it pressed and selling it?

Hey, my first post here. Anyhow, I'm looking to start my own label. But I'm confused in regards to physical distro. I see on United's distro form, I need a tax ID. for my business? What is this and how do I get it? Is a independent label really considered a business? and does that mean I have to pay taxes on this label every year too? Is it not as simple legally as recording music, paying to have it pressed and selling it?