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Rolling Stones-"Paint It, Black"

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jimct View Drop Down
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    Posted: 22 April 2010 at 1:07pm
My commercial 45, confirmed as London 901, has a listed time of (3:19), but an actual time of (3:24). My 45 is styrene, with deadwax of "DR 38032-BW". Pat's current database notations seem to infer a 45 run time of (3:21) - perahps he owns a different commercial 45 pressing than mine.
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edtop40 View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote edtop40 Quote  Post ReplyReply Direct Link To This Post Posted: 28 April 2013 at 7:08pm
my commercial 45 is on blue swirl label with a listed run
time of 3:19, but mine actually runs 3:21....my run out
groove info is 'DR38032-1J'......then further around the
groove it has a triangle shape then '61543'....if you fade
out the 'singles' cd box set version for 0:13 from 3:08 to
3:21, you can effectively re-create the vinyl 45
version.....maybe mine and pat's 45 are the same and jim
has a different issue....jim, could you re-time your 45
when time permits....jim are you by chance counting the
bleed through that runs about 0:02 on the 45 before the
song starts?
edtop40
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Post Options Post Options   Thanks (0) Thanks(0)   Quote aaronk Quote  Post ReplyReply Direct Link To This Post Posted: 28 April 2013 at 7:54pm
Ed, since yours has different deadwax than Jim's, I'm betting that both of you have properly timed your 45s. They are simply different pressings with slightly different run times.
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jimct View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote jimct Quote  Post ReplyReply Direct Link To This Post Posted: 28 April 2013 at 8:04pm
Ed, as far as me possibly counting "first note bleed through" in my
timings, the answer is absolutely not, old buddy! (You weren't really
serious with that question, were you?) Our 45 deadwax info, for both "As
Tears Go By" and "Paint It, Black" is clearly different. And, as Pat's recent
"Bobby's Girl" examination has again just revealed, actual 45 time
differences of :03 seconds or less are extremely common, due to press
run variations. That's why Pat has always requested that we *not* report
differences of :02 or less to him, on his Board. I never have. But I've long
noticed that you continue to report your one or two second listed/actual
time differences, anyway.

I just figured that, by now, Pat's given up on mentioning it to you
anymore, since we all know you're just our "lovable, nutty, timing
professor!" :)

(And thanks for your kind reply while I was typing, Aaron!)

Edited by jimct
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Post Options Post Options   Thanks (0) Thanks(0)   Quote MMathews Quote  Post ReplyReply Direct Link To This Post Posted: 29 April 2013 at 1:40am
Jim, i too am learning how common this was.

I can verify too that i've been running into slight timimg and pitch differences on original pressings .. small variances were apparently commonplace between different pressing locations.
Besides Bobby's Girl and possibly this one,
i've compared several "original pressings" from different owners where the pitch difference can change the time as much as 1-2 seconds...as well as slightly different fade cut-off points.
I try to get pitch and time exact for example, if we are working on a cd release, using a pressing matching what charted.
But then after comparing several of same label and number, i have to tell Bill "uh, well, i got 3 reference dubs and they all are at different speeds...draw straws, take an average...what's your pleasure?"
At times the decision is to "use whatever was on the promo, if possible"....theory being its the earliest reference.
MM
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Post Options Post Options   Thanks (0) Thanks(0)   Quote edtop40 Quote  Post ReplyReply Direct Link To This Post Posted: 29 April 2013 at 9:48am
I didn’t mean to insult your integrity with regard to the bleed through question, Jim, I apologize. You have probably forgotten more in your life than I will ever know regarding top 40 music and the radio business.

Since most of my A/B analysis and reviewing of songs in the past has been of the newer variety, 70's, 80's & 90's, I was not aware of the great number of anomalies, although slight by others standards, of vinyl 45’s from the 50’s and 60’s. I didn’t realize that the issuance of 45’s during this period was so haphazard and inconsistent with regard to content and quality control. It’s not my intent to be overbearing in my review of these 45's, but in the future I will need to be more acute to the concerns of some on the board and will be more selective in what I post with regard to these irregularities. I hope those, in the past, who have welcomed this detailed analysis will understand.

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Post Options Post Options   Thanks (0) Thanks(0)   Quote aaronk Quote  Post ReplyReply Direct Link To This Post Posted: 29 April 2013 at 10:39am
Ed, I hope you continue to post run time and deadwax information on your pressings. Even if they are slight and Pat chooses not to include :02 differences, it's nice to be able to reference them here.
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Yah Shure Quote  Post ReplyReply Direct Link To This Post Posted: 29 April 2013 at 12:14pm
I like the fact that Ed's (or anybody else's) timing postings often spark or rekindle further discussion, leading to findings that may not even be related to the actual timings. The knowledge shared through these exchanges is what makes this place unique.
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jimct View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote jimct Quote  Post ReplyReply Direct Link To This Post Posted: 29 April 2013 at 12:35pm
It's all good, Ed! We're both longtime "Downey Board Teammates," and, for
both as long and as deeply as both of us have been into 45s, guys like Mark
Mathews, you and I are all *still* learning new particulars about 50-year-
old+ 45s. Incredible. (And Mark, I absolutely *love* your suggestion about
using the promo 45's timings as the "definitive" time, when several
commercial pressings existed.) I mean, Yah Shure alone has increased my
knowledge of "pressing plant particulars" 1000-fold. That whole subject is
just so interesting to me! And also how some reprint 45s look 99% like the
originals did! I also agree with Yah Shure's last point, about one of your
"added detail" posts rekindling further song discussions. So Ed, if it ain't
broke, don't fix it, I say!   :)
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Yah Shure Quote  Post ReplyReply Direct Link To This Post Posted: 29 April 2013 at 8:31pm
Originally posted by jimct jimct wrote:

It's all good, Ed! We're both longtime "Downey Board Teammates"


Are you sure about that, Jim? ESPN is reporting that you've been traded to BSN for a first round draft beer pick and a 25-count box of Head East's "Never Been Any Reason" DJ 45s (A&M 1718, vinyl Columbia Santa Maria pressing, deadwax A&M 11834 (STEREO) -S2.)    ;)

Thanks for the kind words, although there are others who know far more about this stuff than I do. You're absolutely right about how fascinating it all can be. I'd seen differences between pressings within the singles bins even as a kid, but it was in my college radio days when I began to notice that the postmarks of the DJ 45 packages were seldom the same as the city of the labels' home offices. Working in the distribution end of the business was a great education in learning exactly where the records were made.

College radio was also when I noticed that the Atlantic DJ 45s that came in the mail had different color schemes on the stereo labels than the ones obtained from the local WEA branch office. And no wonder: the regionally-contracted plants such as Specialty, Monarch and Plastic Products (and PRC, after PP closed) all pressed Atlantic DJ 45s in addition to stock copies. So much for making the DJ 45 the de facto 45! :) Fortunately, the Atlantic lacquers were all cut in New York back then, rather than at each manufacturing plant.

And I'm not going to even mention Columbia. :)

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