Did I miss it in this thread, but of all the ones mentioned, have they all been cut to correct what was supposed to be a speed error in the original capture?
From what Iāve read, all reissues since 1992 are speed corrected. The stereo releases from 1959 to 1992 had the songs on side-A slightly sharp in pitch. The original mono LPs did not have this problem because they were cut from a different tape from a different recorder.
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Great to know, thanks
Is the KG the One i see in your second Picture?
All 3 dead wax pictures are from the first KG release
I understand but is the KG signature on your photos?
Yes, on the second: KPG&MZ@CA
Not sure what the P means, but thatās Kevinās engraving just as mentioned at the one Discogs link you provided.
You can see his various optional engraving shortcuts here:
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The 2nd KG remastering on Cohearents new mastering chain just has his engraving KPG@CA. It has a little lower leveled top end as he was asked for this for that release.
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Regarding the Classic Records releases:
what MF wrote here is once more exactly what I hear. The 45 RPM sounds the most ambient/holographic, more than the 33 RPM. Somewhere else he wrote about colored vinyl probably sounding better than black due to less magnetizable ingredientsā¦also this matches my experience that the Classic Records Blue vinyl sounds closer to the 45RPM than does the 33RPM.
This whole thread is probably the prove to non vinyl listeners to stay away from it due to all the hassle with various pressings 
ā¦but we must remember that every of those releases discussed sounds better than the digital versionsā¦and some of them are quite easy to get.
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I now found the comment of Fremer mentioning that the absolute analog release also sounds quite good (although itās from second generation master). But I guess itās not worth hunting for compared to the others.
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I agreed whit you, and you can not find nowdayds the absolute analogue one.
So the First KG was still pressed in 2011? Didnāt know, as mine is from 2010.
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Hey jazznutš
No you had right;
Mind that itās the mastering engineerās engraving that matters, not the barcode
Om going to think about it, anyway i like this albums just like many Early albums of Miles in mono.
Ps. Many these Old albums were mastered in 3 tracks ( not real stereo) i Wonder what are your thoughs? Would you jazznut like to have, a new remaster made from the original 3 tracks master tape to a direct mono vinyl transfers?
Having a reissue made directly from the three track mainly makes sense, when all other reissues were made from the two track that also had its origin in the three track (like in this case with the Grundman vinyl and the multichannel SACD only). Thatās the main reason in this case. Otherwise I didnāt think about it yet.
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I belive so too !
Here some add. Info on the absolute analogue vs. Classic 33:
āThe Classic reissue was quieter, perhaps more dynamic, and did a very good job of conveying the originalās message, but there was more of the outline and less of the fill. Itās a fact of life: 40-year-old tapes lose highs. Still, if you canāt find an original pressing, the Classic does the music and the recording justice. The Absolute Analogue version just glared, and the secondhand source (they used the original UK production master) was painfully apparent.ā
Read more at https://www.stereophile.com/content/hovland-hp-100-preamplifier-page-3#RtvKPht3Yy44crxm.99
I believe there were 2 mono recorders and 2 three-track recorders at the KOB sessions. The main three-track was running slow during the first session which is why the early stereo mixes have a sharp side-A. They realized this in 1992 and retrieved the backup three-track tapes for all subsequent releases - including mono mix-downs. The original mono-tapes have been missing since the 1960s. Iām no expert but this is what Iāve read from various sources on the internet where, by law, you canāt write anything that isnāt trueā¦
Yes I think this is the story. And the stereos (except the Grundman) were made from a 2 track mixdown that was made from the 3 track tape.
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