Well, in that era, everyone grew out their hair, literally and figuratively. If I'm manager of a
cutting place or a cutting department at a major label, at that time, I don't care if a guy writes
his kids' names in perfect penmanship as long as he shows up semi-sober and does a good job.
-- Tom Fine
----- Original Message -----
From: "Frank Wylie" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, July 03, 2007 8:46 PM
Subject: Re: [ARSCLIST] LP pressing question
> Well, from what I remember, and for what it is worth, these were actual phrases like, "Keep on
> Truckin" and "Still Spinning" in a very fluid, almost perfect, penmanship.
> Would have been pretty mainstream stuff in the late 70's and early 80's; Bad Co, Hendrix, Foghat,
> Eagles, The Fixx, etc... Sorry, don' t remember the record labels off hand.
> Tom Fine wrote:
>> I think all sorts of strange stuff took place with cutting guys in the 60's, 70's and at th end
>> of the LP era. Stan Ricker had some quite original stuff in his Mobile Fidelity cuts of the
>> 70's. In earlier times, too much fanciful stuff was frowned on but every cutter had his "maker's
>> mark" that he would inscribe. At Fine Sound in the 50's, most cuts would just have the catalog
>> number stamped in the dead wax like early Mercury MG series. Same for Verve, Kapp and Grand Award
>> cut there. This might have been a practice my father picked up at Reeves in the late 40's or
>> Majestic before that. When Fine Recording opened up, George Piros was dealing with more lathes
>> and more cutter heads -- certain combinations preferred by certain producers -- so he started a
>> code of "PXX" with XX being a number representing a lathe and cutter head. He would hand-scribe
>> his mark plus the catalog number and side a or b into the dead wax. John Johnson would scribe JJ.
>> Once dedicated mastering houses sprung up, you'd see a stamp imprint of, for instance, "Mastered
>> by MasterDisc". I'm not sure if guys at the pressing plant would further scribe the dead wax to
>> indicate a replacement part or later replacement master. I would imagine a major label's
>> mastering department, like Columbia, would some pretty complex codes to follow in the interest of
>> Bob, how many cutters were there at Motown and what was your system?
>> -- Tom Fine
>> ----- Original Message ----- From: "Frank Wylie" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Tuesday, July 03, 2007 6:53 PM
>> Subject: Re: [ARSCLIST] LP pressing question
>>> Roger and Allison Kulp wrote:
>>>> Dead wax is the term for the area in between the label.and the end of the runoff
>>>> groove.Actually non-promo test pressings get out there quite a bit.I own several dozen.At least
>>>> 100 or so,including one of "A Christmas Gift to You From Philles Records".The oldest one I have
>>>> seen,is an early Columbia test pressing of an uncredited recording of "Casey Jones",that I was
>>>> able to date to about 1906.I sold it on eBay last year.This had a blank white label,with the
>>>> title written in pencil,and the label usually found on the backs of Columbia of this period.
>>> Apropos of nothing; I remember as a teen discovering cryptic messages inscribed in the "dead
>>> wax" (thanks for a new term!) area of LPs I purchased. They must have been cut into the
>>> masters and most messages were in the (for lack of a better term) retrace area that parks the
>>> needle at the end of the record.
>>> Can't even remember which albums had these strange tags on the retrace; anyone else know of this
>>> practice and any history behind it?
>>> S. Frank Wylie
>>> Independent Motion Picture Specialist
>>> Dayton, Ohio
> S. Frank Wylie
> Independent Motion Picture Specialist
> Dayton, Ohio