This is the common terminology in the US music/recording business that I was exposed to, most of the
people I know having practiced their craft in the 50's thru the 70's, ie the prime LP years. In the
US, the thing that stamped LPs in a hot press was commonly called a stamper. "Son" seems to be a
European term primarily. But it does make sense as far the "mother" and "father" analogy.
Here's a question for the disk-cutting experts -- how does it work with a direct-metal master? Do
you save two generations of plating or is it the same number of plating to get to the pressing
-- Tom Fine
----- Original Message -----
From: "Michael Shoshani" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, January 11, 2010 10:42 PM
Subject: Re: [ARSCLIST] Cataloging of metal parts
> On Tue, 2010-01-12 at 01:49 +0100, George Brock-Nannestad wrote:
>> p. 182: 'The obverse impressions of the original matrix are called "mothers"
>> in the trade, in view of their office in reproducing matrices from the
>> There is no word about "father", nor "son"; the tool parts are called
>> "stampers" or "working matrices". It would seem that Seymour and the trade
>> are very logical; there never was any 'father' or 'son' function as such, but
>> the 'mother' indeed reproduces.
> I've heard "father" from some but never "son". I first learned the
> terminology over 30 years ago reading Roland Gelatt's "The Fabulous
> Phonograph", and in both his and Oliver Read's nomenclature it was:
> 1. Original wax (or lacquer) recording is the master
> 2. The metal negative plated from the master is the matrix
> 3. The metal positive pulled from the matrix is the mother
> 4. The metal negative made from the matrix is the stamper
> And these are the terms I have been using since about 1974, when as a
> lad of nine years old I was first bitten by that wheezy apparatus that
> sounded like a parrot with a cold in the head.