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to see how the the ERC Prestige releases will stack up against the (most excellent) Acoustic Sounds releases.

... but way too rich for my blood.

Remember the term "peak oil? "

We are seeing "peak vinyl," right now.

Pre-fabricated rarity is the first sign of a down market.

Short the market.

I say that as a lifelong vinyl-phile.

I will not be able to resist. No way. Don't tell my wife. I will lie to her, saying that one record cost only $50... Put the blame on ERC's price policy, not on me.

Thanks for the heads-up Michael.

It would be great if you could follow-up with a review of these

records to let us know how they sound and how well they are

pressed. Vinyl is getting pretty damned expensive these days.

$50 is as far as I would go-
If they did Sgt.Pepper -Love Supreme-Miles Ahead........
Maybe if the sound was unfu**ing believable maybe, maybe,
maybe,maybe??

https://electricrecordingco.com/releases/violin-concerto-2

Brahms violin concerto = 300 copies sold at GBP 450 = GBP 135,000 in revenues
The printing alone must be horribly expensive, but what beauty, what class!!!
Same with those vintage mastering machines and lathes!
Beautiful

These look very interesting as do The Rolling Stones and Beatles mono. In hopes of enjoyong these with my existing stereo setup (without a separate tone arm, mono cartridge, preamp/phono with mono button) I found this-anyone have any experience with it?
https://www.kabusa.com/msx1.htm

It's great what ERC does, it would have been nice if they could get access to other sessions. I'm sure it will be amazing. Though the Acoustic Sounds/Analogue productions mono and stereo issues have done me well and well served the jazz aficionados out there. I would vote for Tadd Dameron w/ or w/o coltrane release or Mal Waldron Mal-1, Teddy charles, Sonny Stitt or lee konitz or even Curtis Fuller's New Trombone. Though I am not sure the condition or even if the original tapes exist. For me we have a treasure of tapes from the classic era that haven't heard the light of day as they should. I'd rather see 2 or 3 reissues ala acoustic sounds or intervention or ORG than 1 from ERC

Better than Kevin Gray´s APO ?
Can´t imagine.

These are way too rich for my budget, but it's interesting none-the-less that this kind of thing exists. I guess if you have the cash, it's better than spending it on hookers and blow. (debatable?)

I have no idea if we're at "Peak Vinyl" or if people will still be wearing their hair in those funny "top knot" configurations with beards in a few years, but i do know the record labels will run out of titles to reissue that haven't already been reissued.

The thing about western consumers is they tend to buy a lot when they're new releases. I read that 80% of dvd sales for a title happen within the first two weeks. Is this true with vinyl too? All i know is that the major selling artists seem to have their box sets lined up, and if these bands are selling good numbers, it's going to get harder to sustain that kind of momentum when the pool of new reissues dries up.

Where does ERC get its records pressed?
We've seen this fascinating documentary on the sleeves, but, unless I'm mistaken, nothing on the pressing plant.

Rock perhaps???

Prestige was established in 1949 by Bob Weinstock and the majority
of the recordings in the early years were mostly blowing sessions.
These were organized with written arrangements and solid direction.
These were not jam sessions and the musicians were the top young new lions of jazz. But these titles when I owned a record store and I was the buyer would mostly not move from the bins even though
these are very good music. If ERC were able to obtain Miles Davis's
Workin-Steamin-Relaxin-Cookin or some of the John Coltrane with Red
Garland's trio recordings or Eric Dolphy-Oliver Nelson-MJQ-etc
It would seem that getting certain titles and shipping original
tapes is not as easy to negotiate. I'm just saying even if the price of these re-issues is really high I would think certain titles could possibly fly off the shelf.

I don't object to the high prices, per se, but it is hard to escape the feeling of manufactured scarcity. Mobile Fidelity just introduced its UltraDisc One-Step, featuring better packaging. They aren't mastering on restored vintage equipment, but the Gain 2 console isn't off-the-shelf, either. These are limited to 2500 copies and sell for about $100. The goal is different, as the MoFi isn't a meticulous reproduction of the original, but my point is the process is equally fanatical in its own way, involved several years of testing, and they are putting out about 8 times the volume of ERC at 20% the cost.

Although I do get tired of all these 45s - twice the cleaning for the same amount of music. ;-)

Did anyone just see that Music Matters is releasing their last series, then closing up shop? Breaks the heart.....

How you can write about this obviously bespoken project and as of now there has been zero coverage about Rhino's John Coltrane's Mono Collection. Perhaps one of the best box sets released in recent years. A beautifully produced set with tip-on covers that accurately mimic the originals, superbly pressed and cut from original masters. Comprised of six lp's and a 45 it can be purchased for $130.
Most of the ERC titles were already done by other companies equally well.

So I've never heard an ERC pressing and will never buy one given my budget, but let's be clear about one thing. A reissue can only be as good as the original source. Unlike the classical stuff that ERC has focused on, these Prestige records were not exactly recorded with the best fidelity even available at the time. Prestige was essentially a budget label--and the sound of the records shows compares to lps recorded by Columbia at the time in their studios. Rudy Van Gelder records on Prestige from the 1950's make the best of what the budget would allow, but having heard pristine originals of Mobley's message (and to me, the Analogue Production sounds better--because of the better vinyl quality), I don't think ERC can really do so much better given the source material to work with. Granted, I have not heard the master tape myself--but I'm well aware of how these were recorded and the equipment used, and I can't imagine ERC can do anything more to these records that Analogue Production did.

An article like this, leading to angry comments, with audiophiles insulting each other and getting personal reminded me of a recent passage in the NYT:

"...he was hired anyway by The Daily Telegraph and sent to Brussels in 1989 to cover the European Union.

It was a boring assignment, but Mr. Johnson found a way of livening it: His great talent was to take tiny grains of information in reports and proposals, repackage them as official European policy and present them as part of a broad narrative about Brussels’s risibility. His stories were full of wrong-sized condoms, fishermen forced to wear hairnets and international disputes over cheese policy.

“I was just chucking these rocks over the garden wall and listening to this amazing crash from the greenhouse next door over in England,” he told an interviewer."

There are repros of Rembrandts using the original plates that go for serious money and were pressed several hundred years ago, but not by Rembrandt himself (same for Picasso reissues). These are traded by people that have serious money and ERC recordings will be bought by people with serious money and may well continue to appreciate, so some fads are preposterous and others are worthy - I suggest these are worthy and worth investing in (if you are young!).

I've never understood people bashing stuff like this. If you don't like it, don't buy it. If you feel like ERC charges too much, don't buy it. Why the need to criticize those who value it?

Personally, if what ERC is doing results in these priceless titles sounding better than they ever have, it's worth it.