45 rpm vinyl records japan

But if you are into smaller, specialty shops, Tokyo seems to have a shop for every genre and style. I really love this area. I would love to hear about your favorite shops!

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There is something for any style of music. A lot of Japanese editions also never […]. Flower in Nakano?! RiffnRalk Ha, it was tempting to just dump all of my other luggage and just fill up my suitcase with vinyl! I was very surprised to see they have a Tower Records…I recognize the logo, but is it related to the Tower Records we used to have in the US? Dipped my big toe in the Tokyo record buying experience in January. There are four branches across the city; this particular one seems to have built a reputation with local DJs for having a steady supply of interesting and undiscovered records.

For a moment I had the feeling of being at a flea market, there was a lot to listen to and the prices were tempting. Friends Eiji and Norio run respective record shops in the Shinsaibashi area of Osaka. The first stop was Revelation Time , run by Eiji Tanaguchi. We sat down over a coffee and began listening through his shop system.

Again a very personal service here, Norio keeps his website and Instagram feed up to date with recommendations, selling the majority of his records online. In order to give you the best experience, we use cookies and similar technologies for performance, analytics, personalization, advertising, and to help our site function. The Vinyl Factory Group, trading as: The Vinyl Factory, Vinyl Factory Manufacturing, Phonica Records, FACT Magazine, FACT TV, Spaces Magazine, Vinyl Space, and The Store X, uses cookies and similar technologies to give you a better experience, enabling things like: - basic site functions - ensuring secure, safe transactions - secure account login - remembering account, browser, and regional preferences - remembering privacy and security settings - analyzing site traffic and usage - personalized search, content, and recommendations - helping us understand the audience - showing relevant, targeted ads on and off our web properties Detailed information can be found on our Privacy Policy page.

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Saying no will not stop you from seeing our ads, but it may make them less relevant or more repetitive. Your wishlist is empty. View Wishlist. Cart 0. Digging in Japan — a journey through the record shops of Tokyo and Osaka.

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Written by Anton Spice. Anton Spice. They shared a high ethos concerning the method of recording, mixing and releasing records.

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Greensleevees , they mainly released records on analogue discs and, occasionally, on tape. Each of these record labels also had its own group of performers. In order to explain this, it is worth looking closer at, at least for a moment, the methods of recording that were used at that time. From a historical perspective, the first records were mechanical and monophonic, and since the s they were electrical, but still monophonic. The first stereophonic records come from the s, but they have been sold only since , when EMI presented stereophonic tape for consumers. In , the stereo era really kicked off as the first two-channel LPs entered the market.

Each record released by Audio Lab. In some cases, they also feature an explanatory figure showing the arrangement of musicians and microphones.


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The first records were made in the following way: a single microphone was placed at the centre and musicians were situated around it. The next step was to use a few microphones — signal was mixed live and recorded monophonically, and in reality , since the second half of the s, also stereophonically. The world changed when the first multitrack tape recorders appeared — first 4 and then 8, 16 and track ones. Since that time, sound engineers have been able to record each instrument — or a group of instruments — separately, correct chosen fragments by recording them again and combining them with other tracks, etc.


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The technique reached its peak in the s when it was thought that the more tracks, the better. It is commonly thought that although such recordings artistically contributed something new and fresh to music, they almost caused a catastrophe because of their sound quality. It is no coincidence that mono recordings from the years and stereophonic recordings from the late s and early s are so highly valued.

The thing is that signal went through a minimum number of devices and the master tape was ready straight away. The more microphones, tape generations and devices, the worse the sound was. And so we return to Mr Sugano. As he was not the main sound engineer working on the records that he released, he recorded directly onto a stereophonic tape recorder. These were multi-microphone recordings, but mixed live instantly onto two channels. The owner of Audio Lab. Record did not use a classic mixing table, but two eight-channel devices used for mixing outside the studio — first the Ampex AM and then the Quad Eight LM So, such a method would resemble direct-to-disc recording of music onto a LP.

The advantage of such a method was that one tape generation was skipped — signal was instantly recorded on a stereophonic master tape. Until today, this has remained the most difficult method of recording that is only used by few, as it reveals all shortcomings of the musical technique and requires special skills from the person who mixes signal from microphones.


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Recordings released by Audio Lab. Records were made using two types of tape recorders: until it was mainly the Ampex AG B that the owner of the record label had already used at the times of Takt and Trio, while since it was mainly the Scully , but not only. Choosing the Ampex tape recorder in the early s was perfectly clear — it was a well-known brand in Japan and the tape recorder itself was really very good. However, it was the Scully that Mr Sugano finally chose for recording and that he has remained faithful to. Why such a change?

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I am not sure, but perhaps it was because of some specific features of the machine, its special sound. Mr Sugano used the basic stereophonic model for recording music and the model to cut acetate. However, it is necessary to mention a few exceptions. His flagship project, the Side by Side album, was recorded using the Ampex AG B tape recorder that he had already dealt with while working for Trio Records.

But why not yet faster? So, Audio Lab. Record went all the way and made a very difficult pressing with a yet faster-turning turntable plate. There was only one track on each side. Since , Mr Sugano was involved in quadraphonic records that he then enhanced by adding QS coding, compatible with stereo systems — e. It is one of a few cases when the main tape recorder was a four-track Ampex machine. However, it is commonly regarded that versions mixed by Mr Sugano to stereo without using the QS coder are much better. It is worth writing a separate chapter on using the dbx noise reductor creatively.

It is a device which intelligently reduced dynamics when signal was recorded onto a tape recorder and increased it during playback. Thanks to it, much lower noise was obtained. It was designed to be used at recording studios with tape recorders, but a few dozen LPs coded in this way were also released — including a few from the Audio Lab. Record label. One needs a dbx decoder to ensure their proper playback. They are also the most expensive and offered for USD each on eBay. Another innovation that the Audio Lab.

Record used in its own way — LPs encoded in the dbx system. One needs a special decoder to play them, but they offer much lower noise and less crackling than standard discs, at the cost of slightly changed dynamics of a recording; photo: ebay. From among discs released by the record label, it is worth paying special attention to a few titles, especially highly regarded by Japanese collectors, but also by Mr Sugano himself.

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Let me add that the title was proposed by Mr Sugano. Contemporary times have given rise to creating a few equally important re-editions.

sembsuthelpcu.tk The first one is the Beethoven Overtures album with the performance of Symponieorchester des Bayerischen Rundfunks under the baton of Sir Colin Davis, digitally recorded for Sony.

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