Bootleg Records – What Are They?

Bootleg records have been sold for decades, but a lot of collectors don’t know much about them, and many have never seen one. In the strictest sense, a bootleg record is an album that has been pressed and sold by a third party who has no relationship with the recording artist or the artist’s record company and which has been released with neither the knowledge or approval of either. Bootleg records may be released as a tribute to the artist by fans, but it’s most common for them to be made with the intention of selling them as for-profit products.

The term ROIR is sometimes used to describe bootleg records with the term meaning, “Records Of Indeterminate Origin.” This is an accurate description, as the records themselves rarely accurately list who manufactured them or where they were made.

There is a good reason for this; bootleg records have long been illegal in most western countries.

In this article, we’ll discuss the definitions and origins of bootleg records, provide examples of some of the better known ones, and explain why bootleg records hold interest for record collectors.

You can browse our selection of unauthorized/live/ROIR records here.

Browse by Category

Click any of the links below to jump to each category:

Definition of Bootleg Records
Bootleg Records History
Types of Bootleg Records
Packaging
Trademark of Quality Label
Other Bootleg Record Labels
Artist and Record Company Responses
Conclusion

You can browse our selection of unauthorized/live/ROIR records here.

Featured Products

What Are Bootleg Records?

Bootleg records are singles or albums that have been pressed and distributed with neither the knowledge or permission of the recording artist or their record company. Bootleg records have traditionally been sold to earn a profit for those who manufacture them and to fill voids in the marketplace by providing recorded material by popular artists that is not available through legitimate, licensed recordings.

While the manufacture of bootleg recordings is illegal in most Western countries, copyright laws in the 1960s and 1970s were less strict than they are today, and at one time, bootleg records were so common as to be found in the bins in chain record stores and major department stores.

Most bootleg records contain either previously unreleased studio material or live, “in concert” recordings. Occasionally, bootleg records have compiled rare or otherwise hard to find legitimately released material, though such compilation albums comprise a small percentage of the bootleg market. Historically, most bootleg records have been live recordings, as those are the easiest type of unreleased material for manufacturers to obtain.

The term “bootleg records” is sometimes applied to any unauthorized record, including counterfeit records, which are copies of legitimate releases that are created to fool the buyer into thinking that they are buying an authorized release, and pirate records, which are unauthorized pressings that contain previously released legitimate recordings.

Strictly speaking, the term “bootleg records” only applies to unauthorized releases of previously unreleased material and not pirate or counterfeit pressings. (new window)

Bootleg Records History

Bootleg records have been sold since at least the 1930s; there are numerous 78 RPM records in existence that are unauthorized. It’s quite possible that there were also bootleg recordings available in the cylinder record era, though record keeping from the early 20th century regarding copyright is a bit vague.

The term “bootleg records” is most commonly used, however, to describe unauthorized pressings issued starting in the late 1960s, when various individuals discovered that the copyright laws then in existence did not prohibit anyone from releasing previously unreleased live or studio recordings by any artists of their choosing.

The first of the modern bootleg records was a two record set of previously unreleased music by Bob Dylan. The album was originally released without a title and issued in a plain white cover. This album became known as “Great White Wonder,” and was soon released under that title, with the title rubber-stamped onto an otherwise plain white cover.

Sales figures are unknown, but the album is believed to have sold upwards of ten thousand copies. Of course, with copyright laws not applying to such releases, Great White Wonder soon became copied by other bootleg manufacturers, and the album has since appeared in a multitude of configurations, on black vinyl and colored vinyl, and with and without properly printed covers.

Shortly thereafter, an album by the Beatles called Kum Back appeared in stores, containing material from the then-unreleased Let It Be recording sessions. At this time, numerous FM radio stations around the country began playing both Kum Back and Great White Wonder on the air, and this helped sales tremendously.

A third title that attracted a lot of attention at that time was a release by the Rolling Stones called Live R Than You’ll Ever Be, which contained recordings from the band’s 1969 American tour. This album, in a rubber stamped white cover, sold so well that it encouraged the Rolling Stones’ record company to release a legitimate live album from the tour in order to take advantage of what was obviously large market demand.

It may seem odd today, but at the time, these three titles and a few others that popped up shortly thereafter were often available in mainstream record stores. We know a collector who bought his copy of Kum Back at a Sears store in Texas when the album was first released.

Over the next few years, hundreds, if not thousands, of bootleg records appeared on the market from a variety of manufacturers.

In the earliest days of bootleg records, most releases had plain covers and plain labels. This was due to the fact that record companies who were pressing these albums were reluctant to put printed labels on the discs, due to their dubious legality. Similarly, print shops that printed album covers for record pressing plants weren’t too eager to manufacture covers for albums which were, even then, technically illegal.

Over the next decade, bootleg records appeared on the market with blank labels, printed labels that correctly listed the name of the artist and song titles, and “fake” labels that listed a nonexistent artist and fabricated song titles. These labels likely came from manufacturing plants that were under contract to major record companies; if someone from a major label happened to stop by the pressing plant, they wouldn’t pay much attention to an album by Bruce Dillon, even though that album might actually play music by Fleetwood Mac!

Types of Bootleg Records

Bootleg records generally fall into three categories:

• Live recordings – Live, “in concert” recordings probably comprise 80% of the market for bootleg records. In the late 1960s and early 1970s, these tapes were usually acquired by individuals who managed to sneak tape recorders into concert halls in order to surreptitiously record the performances. These so-called “audience tapes” are of varying quality, with some being quite good and others bordering on the unlistenable.Many bootleg records from the mid-1970s were sourced from FM broadcasts, as radio stations often had access to live recordings, including those from syndicated radio programs such as the King Biscuit Flour Hour. The quality of these recordings is generally excellent and virtually the equal of authorized live albums.Other live recordings have been obtained from crew members who worked on the mixing console at the concerts, as many artists have long recorded most or all of their performances.These recordings are usually intended for the artists’ own use, but sometimes employees made copies of them and made those available to bootleggers.
• Previously unreleased studio recordings – While previously unreleased studio recordings comprise a relatively small percentage of bootleg albums, they’re highly sought after by collectors, who are often interested in obtaining everything they can by artists they follow. Such recordings are relatively hard to obtain, and usually come from record company employees, either directly or indirectly.The Bob Dylan Great White Wonder set, the Beatles Kum Back and the Beatles Ultra Rare Trax series are good examples of bootleg records that contain unreleased studio material. In the case of the Ultra Rare Trax series, the quality of the recordings was the equal of commercially released Beatles albums, as the source material reportedly came directly from the vaults of their own record company.Another Beatles title, Sessions contained recordings for a planned Beatles album of songs they’d recorded but never released that was to have been released in 1985. For various reasons, the project was canceled, but cassette tapes of the unreleased album, made for internal record company use, found their way into the hands of bootleggers, and shortly thereafter, an unauthorized album called Sessions appeared on the collector market.
• Collections of previously released (but rare) material – While the market for bootleg records usually seeks out previously unreleased material, a few titles have included rare, previously released recordings. These might be singles that were long out of print, obscure B-sides of singles, or recordings that were previously issued only as promotional releases that were not intended for sale to the public.Two examples of such releases would The Complete Christmas Collection by the Beatles, which contained material that was previously only available on records sold through the Beatles Fan Club, and The Paul Simon Solo Album, which was a reissue of a 1965 LP by Paul Simon that was never released in the United States.

Packaging of Bootleg Records

While packaging of bootleg records was initially minimalist, with plain white covers and blank labels, competition quickly emerged in the industry and that led to better quality, if still untraditional, packaging. While many covers still had rubber stamped titles, those covers were often available in color. Printed covers soon followed from a few manufacturers, and some manufacturers, notably the Trademark of Quality (TMOQ) label and K&S records, pressed most of their records on colored vinyl.

Printed covers and colored vinyl helped spur sales, especially since few commercially available records in the early 1970s were available on colored vinyl. Albums that had rubber stamped covers began to include printed paper inserts that listed the artist, album title and song titles (and sometimes, the source of the material inside.)

A few titles had somewhat more elaborate packaging. When the company that printed the hardcover tour book for Blind Faith’s only U.S. tour found themselves with thousands of leftover programs at the end of the tour, a bootlegger bought a number of them and packaged them in a box along with a live recording from that tour.

A 10 disc package of Beatles outtakes from the Let It Be sessions was released in the mid-1980s, with every one of the discs on colored vinyl and with the entire set packaged inside a box that resembled those in which theatrical films are shipped. A late 1980s Led Zeppelin set called The Final Option contained 70 records, all on colored vinyl, and was packaged inside a heavy acrylic box.

These sorts of packages are unusual; most of the bootleg records made in the 1970s had simple covers and paper inserts. Most of the titles released in the 1980s had printed covers, though many still included either blank labels or labels with fake information.

Trademark of Quality Label

As the market for bootleg records grew in the early 1970s, a few manufacturers decided that establishing a brand identity might be good for business. While a number of companies attempted to do so, perhaps the most famous of them was the Trademark of Quality label, which is often abbreviated as TMOQ (or less frequently, TMQ.)

The Trademark of Quality label was started by two individuals from California, “Dub” Taylor and Ken Douglas They were the creators of the original Great White Wonder album, and they used their profits from that project to create their own record company.

Trademark of Quality releases included more than 150 titles that included live material, unreleased studio material and a few titles containing previously released (but hard to find) material. The earliest titles in the TMOQ catalog had rubber stamped covers (though most were color covers with stamped titles and paper inserts) and simple labels with either a number (“1” or “2”) or a drawing of a pig on them (either a “sideways” pig on early releases or the face of a pig smoking a cigar on later ones. A few later titles had printed covers with artwork by now-famous artist William Stout and printed labels that included both the name of the artist and song titles.

Most of the titles released by the Trademark of Quality label, which was in business from 1970 to 1976, were released on colored vinyl. Often, the first pressings of a given title were on colored vinyl, with subsequent pressings on regular black vinyl. For a few titles, a handful of copies were pressed on multicolored vinyl. Pressings on the Trademark of Quality label were highly regarded among collectors, as the vinyl itself was of good quality as was the source material of most of their releases.

The latter was an important factor, as the quality control in the overall manufacture of bootleg records was somewhat shoddy. Some companies used poor quality vinyl and often, equally poor quality recordings. Buyers rarely knew what they were going to get when they bought bootleg records, but most of the titles released by the Trademark of Quality label offered good recordings and good sound quality.

Because of this, the Trademark of Quality label is quite collectible today. Most of the material they released over the years has never been made available through legitimate sources, and 40+ years later, most of their titles are quite hard to find. Titles by major artists such as Bob Dylan, the Beatles, the Rolling Stones and Pink Floyd often sell for several hundred dollars, and some titles, particularly those on multicolored vinyl, occasionally sell for more than $1000.

Earlier pressings, with the large “1” or “2” on the labels, tend to sell for more money than the later pressings with either the sideways pig or the still-later “smoking” pig. The two different pig designs came about after Ken and Dub decided to part ways. Each of them continued to press titles under the Trademark of Quality name, but each used their own version of the label.

A label formed in the 1980s that was also known for high quality releases with finely printed color covers and colored vinyl records was a label from Europe called Swinging Pig. This name was an homage to the Trademark of Quality label.

Other Bootleg Record Labels

Ken Douglas of Trademark of Quality fame formed another well-known and highly regarded bootleg records label in the mid-1970s called The Amazing Korneyfone Record Label, or TAKRL, as it is known among collectors. This company released about the same number of titles as the TMOQ label.

TAKRL used printed, black and white covers, along with some that were plain white covers with printed paper inserts. As far as we known, all of the titles on the Korneyfone label were pressed on black vinyl.

Other labels of note in the 1970s were the Rubber Dubber label, which released a few titles with rubber stamped covers, Idle Mind Productions and K&S records. Both Idle Mind and K&S tended to use plain white covers with paper title inserts, though both released many titles on colored vinyl.

Many of the titles on the K&S label were pressed on beautiful, multicolored “splatter” vinyl. As this label was based in Canada, many of their records were reportedly seized by Customs officials during shipment to the United States. As a result, many K&S titles are quite hard to find today, though they’re sought out by collectors due to their attractive multicolored pressings.

Artist and Record Company Responses

Not surprisingly, record companies and the artists themselves were largely not happy about the exploding market for bootleg records, as they weren’t making money from their sales and they had no control over either content or quality. In a few cases, the official response to a bootleg release was to issue a similar legitimate one.

When Live R Than You’ll Ever Be was released in December, 1969, the Rolling Stones’ label, Decca Records, responded by releasing the official Get Your Ya-Yas Out not long after. Reportedly, the bootleg recording had sold in excess of 250,000 copies, though exact sales figures remain unknown.

An Elton John concert from November, 1970 that had originally been broadcast on FM radio was released by a number of bootleggers under a variety of titles. The official response was to simply release the concert legitimately, and the resulting album was Elton John’s first “official” live album titled 17-11-70 (or 11-17-70 in the United States.)

After Paul McCartney and Wings toured the United States in 1976 a three record set, pressed on red, white, and blue vinyl appeared with the title Wings From the Wings. This led to the official release of an authorized set, Wings Over America, which featured almost identical content.

The biggest response to the boom in the sales of bootleg records came from the United States Congress, which passed stricter copyright laws in 1976. This greatly reduced the number of bootleg records being produced, and numerous record stores stopped selling them, due to fear of being arrested for copyright violations.

While production of bootleg records declined in the United States in the 1980s, it increased in Europe, where copyright laws differ. A number of companies produced high quality pressings, often with color covers and colored vinyl, throughout the 1980s.

By the end of the decade, most manufacturing of bootleg records had come to a halt, as the industry moved towards compact discs.

Bootleg Records Conclusion

Bootleg records remain popular with collectors today, as they offer a number of things that draw collector interest. Most of them offer recorded material that is otherwise not available via the artists’ legitimate releases, and many of them were pressed on colored vinyl or even as picture discs, which are two features that always draw collector interest.

The Trademark of Quality label is collectible in its own right, and some titles are available from that label in a variety of configurations – black vinyl, colored vinyl, multicolored vinyl, and so on. Prices for bootleg records on that label that sold for as little as $4 when new now approach hundred, and sometimes even thousands, of dollars.

While not all record collectors are interested in bootleg records, and not all artists are represented by them, they remain an interesting area of record collecting.

You can browse our selection of unauthorized/live/ROIR records here.

Audiophile Records – What Are They?

The term “audiophile” has a number of meanings; one definition we found was, “hi-fi enthusiast: somebody who has an enthusiasm for sound reproduction, especially high-fidelity music recordings.” That’s probably a good overall assessment; it’s someone who has an appreciate for how music sounds.

What are audiophile records? Presumably, “audiophile records” would refer to records that were created for the enjoyment of people who like well-recorded sound.

Or, in short, “records that sound good.” In that case, why aren’t all records audiophile records? After all, no one makes records to intentionally sound bad, do they?

No, companies don’t intentionally make records that sound bad, though many records don’t sound as good as they possibly could.

All record companies intend for their product to be enjoyable for the listener. That said, every record company and every artist has different objectives in terms of what they’re trying to accomplish, and who they’re trying to please when they release a record. Is the goal to make money?

To make sure the artist is pleased with the result? Or to give the listener the best possible experience? Sometimes, these objectives are at odds with one another, and the result is often a record that doesn’t sound as good as it could. While all records could be audiophile records, few of them actually are.

Ideally, all recordings would be made under ideal recording conditions, with the greatest care taken to ensure that the recording produced a realistic reproduction of the music played in the studio. The tapes would then be transferred to production stampers with the greatest of care, and the records would be pressed using quiet, high-quality vinyl and packaged in such a way as to protect the finished disc as much as possible.

In a mass-production record company environment, those results rarely occur, though they are becoming more common as the record companies realize that consumers are now more picky than ever before about how they spend their money.

While most record companies today strive to make a quality product, from recording to final pressing, that wasn’t always the case. In the era of stereo records, we had a period where many, if not most, records produced qualified as audiophile records, then a long period where virtually none of them did. Today, as we enjoy the return of vinyl records to the marketplace, fans of well-recorded music are again able to enjoy listening to audiophile records.

Browse by Category

Click any of the links below to jump to each category:

Early Audiophile Records
Audiophile Records by Design
Sheffield Lab
Mobile Fidelity Sound Labs
Other Modern Audiophile Records Labels
Japanese Audiophile Records
Audiophile Records Today

Featured Products

Click here to browse our selection of audiophile records.

Early Audiophile Records

In the late 1950s and early 1960s, a few record companies, such as Columbia and Atlantic, spent a lot of time trying to make sure that their recordings sounded great and that their finished product was of a high quality. Their albums were well-recorded, with a sense of space and depth that truly immersed the listener in the experience.

Both companies were early adopters in acquiring then-expensive stereo and/or multi-track tape recording equipment. In addition, their records were pressed from quality vinyl, with quiet surfaces that reproduced the music well without producing distracting noise or ticks or pops that often comes with records pressed from poor quality or recycled vinyl compounds.

In the late 1950s, those companies, along with RCA, discovered that those consumers who were early adopters in buying stereo playback equipment had larger than average amounts of disposable income and they set out to make a quality product to appeal to those buyers. That’s not surprising; the cost of a stereo record album in 1960 equates to more than $40 today. Buying a new record back then was not an impulse purchase.

RCA in particular was an innovator in stereo recording, particularly in their classical releases, which were recorded using a three track tape recorder to capture the left, right, and center of the orchestra. These techniques were later used for RCA’s popular recordings, as well, and their records, issued under the “Living Stereo” banner, captured a realism that is still revered by audiophiles today. Many RCA stereo albums from that era command prices in the hundreds, and in some cases, thousands of dollars on the collector market.

This early “golden age” of stereo and high quality recordings didn’t last all that long; in fact, it was over in less than a decade. There were various reasons for changes in the industry, but the result was the mass production of records that, for the most part, didn’t sound that great when compared to what had been available just a few years before.

The price of stereo equipment began to drop as the 1960s wore on, and more people started buying stereo records. Their lower-priced equipment didn’t do as good a job of reproducing stereo sound, and RCA compensated for this beginning in 1963 when they introduced their “Dynagroove” process.

Dynagroove attempted to compensate for the deficiencies of consumer-grade equipment by artificially boosting bass frequencies and reducing the overall volume level of the music on the records.

While RCA claimed that the Dyangroove process added “a remarkable degree of musical realism,” the music community disagreed as did many stereo and hi-fi publications of the time.

Unfortunately, RCA continued using this process for all of their recordings for nearly a decade. By the time they stopped using it, they’d already adopted something far worse – Dynaflex, which we’ll cover shortly.

Another mid-1960s process that hurt the sound of records was the Haeco-CSG process, which attempted to correct a problem caused when consumers played stereo records on mono phonographs.

Between 1957, when stereo records were first introduced and sold alongside their mono counterparts, and 1968, when mono records were finally phased out, consumers had to choose either mono or stereo records when they made a purchase. Early mono phonographs could not play stereo records without damaging them, but by the late 1960s, manufacturers were using needles that were compatible with both formats.

The problem during playback was that a stereo record played on mono equipment would artificially boost the sound of any information that was present in both channels of the stereo disc. This resulted in recordings that didn’t sound right, as part of the music, usually the vocals, would play back at a higher sound level than intended.

The Haeco-CSG (“compatible stereo groove”) process attempted to correct this and allowed record companies to produce a record in one format only – stereo, which would play back at the same level regardless of the type of phonograph used to play it.

While this was great for record companies, as it allowed them to dramatically reduce manufacturing costs, it was terrible for consumers who appreciated high-quality sound, as the phase-cancellation process used by CSG resulted in “tinny” sounding records with relatively little bass.

Although the CSG process was used for only two or three years, it was often used at the master tape mixing stage, leaving master tapes of albums released during this time by several major record companies (the Warner-Elektra-Atlantic group among them) forever sounding artificially wrong.

While there are now processes available to remove the CSG artifacts from recordings from the 1968-1970 era when it was primarily used, most copies of albums released during that era suffer from poor sound quality due to its use.

By the early 1970s, various record company mergers with other labels and acquisitions by companies with no prior interest in music (such as Kinney’s buyout of Warner Brothers in the late 1960s – Kinney’s primary business to that point was managing parking garages and janitorial services) led to an increased interest in the bottom line and an emphasis on producing greater profits over producing a good-sounding, quality product.

These mergers, combined with a global oil crisis and a relative shortage of vinyl, led to cutbacks in quality across the industry. Many records were lighter in weight and indifferently manufactured, resulting in records with lots of surface noise and a tendency to warp. Making matters worse was the tendency of the record companies to press their records from noisy, recycled vinyl. With new vinyl (and the oil needed to make it) being scarce, companies would grind down their unsold product and reuse it for new releases.

Perhaps the worst example of this were the records RCA pressed at this time. These were extraordinarily thin pressings were so thin that you could almost fold them in half.

RCA knew these records were of poor quality, but they attempted to sell this obvious step back in quality as a feature, which they even chose to name – Dynaflex. These records were quite flexible, and weighed about half as much as a regular LP.

Dynaflex records sounded terrible and were prone to warping, but RCA actually advertised these pressings as an improvement, going so far as to claim that they were less likely to warp than traditional pressings from heavier vinyl.

While Dynaflex records were less prone to actual breakage than their predecessors, they were more prone to warpage, leading to the derisive nickname, “Dynawarp.” If you were unfortunate enough to buy albums from RCA artists around 1970 or so, you had the double problem of purchasing records by likes of the Guess Who, Elvis Presley or Jose Feliciano that were plagued by the problems of both Dynagroove and Dynaflex. You spent the same money that you used to, but now you received a product with thin, compressed sound on a disc that was more likely then ever to warp.

Adjusted for inflation, records were far more affordable in the early 1970s than they had been a decade earlier. This led to increased sales. Record companies expanded and opened more pressing plants, but this led to yet another decrease in quality. Ideally, to get the best-sounding record, you want to use the two-track master tape to make it.

This isn’t possible, of course, as record companies don’t want to use their only two track master to produce millions of records. The tape would wear out if they did that. So they’d use copies of that tape instead. Sometimes, they’d use copies of copies, with each copy sounding worse than the tape from which it was made. The product was widely available at an affordable price, but the finished product sounded worse than ever.

As a side note, there was a small label in operation from the late 1940s through the 1970s that called itself “Audiophile Records.” This label specialized in jazz recordings, and took great care in making sure their records sounded as good as possible.

As far as we know, all of their releases were pressed on red vinyl, and many of their early titles were cut at 78 RPM, as the company felt that speed offered better fidelity. Despite the label’s attention to quality, they were never overly successful, with their records being seen as a niche market.

The 1960s and early 1970s were not a good time for audiophiles, as the mass-produced product of that decade largely resulted in poor quality pressings made from noisy vinyl. It didn’t matter if the albums were well-recorded or not, as they playback was likely to sound terrible regardless of what kind of equipment you were using to listen to it.

Audiophile Records by Design

Sheffield Lab

In the early 1970s, a record mastering engineer named Doug Sax and a musician named Lincoln Mayorga discovered that many of their old 78 RPM singles sounded better than newer recordings. This led to the formation of one of the earliest companies to intentionally produce audiophile records – Sheffield Lab.

Sheffield specialized in “direct-to-disc” recordings, which sent the signals from the artists’ microphones directly to the cutting lathe, bypassing the tape deck (though a tape deck was used as a backup.) These recordings produced records of astonishing depth and clarity and the label’s occasional releases became quite popular in the hi-fi and audiophile community.

There are several problems with the direct-to-disc process, however. Because the music is recorded live to the acetate, an entire album side had to be played and recorded at once, with no opportunity to make corrections later or overdub instruments or additional voices at a later time.

What was played live was what went on the record. Another problem was that the lack of a master tape meant that when the stampers wore out, production of a particular title must come to a stop forever.

Since most artists were, by that time, accustomed to recording in a studio with 8, 16 or even 32 track tape recorders and were more comfortable with a recording process that allowed them to record, and overdub or make corrections at leisure, direct-to-disc recordings were somewhat of a niche product that worked best with small jazz groups, who were accustomed to performing live with limited overdubbing.

A few other labels attempted to produce records using similar direct-to-disc methods, including Century, Direct Disk Labs, Crystal Clear and M&K Realtime, but most of them were out of business by the early 1980s.

Mobile Fidelity Sound Labs Audiophile Records

In the late 1970s, a company called Mobile Fidelity Sound Labs, founded by Brad Miller, decided that it was time to produce audiophile records, meaning records that manufactured to sound good as the music on them, and records intended for people who actually care how their music sounds.

Mobile Fidelity wasn’t new; the company had been founded around 1960 as an outlet for recordings of locomotives for train buffs. The company later expanded to include a few race car recordings, but through the 1960s, they were mostly a company that produced high-quality, but little-noticed, sound effects records.

In the mid-1970s, the owners of the label had noticed that the records issued by the major labels were of relatively poor quality and that they sounded a lot worse than what had been available ten or fifteen years earlier.

They came up with what was then a novel idea to produce higher-quality records than what was then available, allowing listeners to experience well-recorded albums, such as Pink Floyd’s The Dark Side of the Moon or John Klemmer’s Touch, as they were meant to be heard.

Miller’s plan was to approach the major labels and license recordings to some of their albums from major artists. They would negotiate, for example, with Capitol Records to release Pink Floyd’s The Dark Side of the Moon themselves. They would insist on using only the master two-track tape, rather than a copy, or a copy of a copy.

The acetate from which the stampers were made was cut on the lathe using a process known as half speed mastering. Half speed mastering was a process where both the tape recorder playing back the album during mastering and the cutting lathe that cut the acetate from which stampers were made were both run at half of the normal speed, thus creating a more accurate groove in the record. This process, which required special equipment and a lot of extra time, was also thought to improve spatial imaging and bass response in the finished product.

The company also made the decision to use only new, high-quality, “virgin” vinyl, as opposed to the recycled vinyl that was then in use by nearly every major record company.

The vinyl that Mobile Fidelity used was a proprietary compound made by JVC in Japan called Supervinyl and had JVC manufacture the records in Japan. It was translucent, with a brownish-gray color when held to the light, had exceptional wear properties for repeated play, and had dead-quiet surfaces that allowed you to hear just the music, rather than a combination of music and record surface noise.

Mobile Fidelity sold their records for nearly double the price of that of the major record companies, but enjoyed considerable success in the days prior to the invention of the compact disc. Their records were available in specialty record shops and at hi-fi stores, which often used their albums as demonstration discs.

Mobile Fidelity also declared up front that all of their titles were to be limited editions, claiming that fewer than 200,000 copies of any of their titles would ever be pressed. While this appeared to be an appeal to scarcity to encourage sales, it actually had more to do with requirements from the record companies from whom they were licensing the recordings. Most, if not all, of their contracts had time limitations on them; Mobile Fidelity could only sell a particular title for a specified period of time before they were contractually required to discontinue their sales of that title.

By licensing titles that were already big sellers, such as the Pink Floyd LP, Supertramp’s Crime of the Century, and the Grateful Dead’s American Beauty, Mobile Fidelity became quite successful, though not all record companies were interested in licensing their product to the label, nor were they interested in having it demonstrated to the public that the records they were selling themselves didn’t sound very good.

In 1982, Mobile Fidelity went a step further in producing audiophile records by creating the Ultra High Quality Record, or UHQR. These records used heavier, 200 gram vinyl, than the regular 140 gram releases from the company. The records were truly flat, unlike regular records, which tended to be thicker in the middle than at the edge. The records were kept in the presses longer than their regular releases in order to produce a better-defined disc. Only eight of these UHQR releases were ever issued, and they were limited to 5000 copies per title and were sold at a then-outrageous retail price of $50.

Other Modern Audiophile Records Labels

With the success of Mobile Fidelity, other companies soon joined the trend of releasing mass-produced audiophile records. Some of the early competitors were California-based Nautilus and Nashville’s Direct Disk Labs.

Nautilus produced about 50 titles through the early 1980s, before going out of business due to financial issues with their owner. They did, however, produce noteworthy titles by The Allman Brothers Band, Elton John, and John Lennon, among others.

Direct Disk Labs had best been known for their direct-to-disc releases, but they ventured into the same territory as Mobile Fidelity and Nautilus by licensing titles by Derek & the Dominoes, Elton John and Peter Gabriel, among others.

They only issued a handful of titles, but were noteworthy in that they released titles by artists who recorded for Columbia Records, a label whose products Mobile Fidelity didn’t release. Those titles included albums by Neil Diamond, Blood Sweat & Tears, and Loggins & Messina.

As they were then the largest record company, Columbia Records didn’t see that it made sense to license their titles to other companies who would then try to sell them by suggesting that their products were better than what Columbia was producing, even though that was exactly the case.

So in 1981, Columbia Records decided to make their own audiophile records, releasing both half speed mastered pressings of titles recorded on analog tape and albums using the then-new digital recording process, though the digital titles were mostly classical. These pressings were made entirely in-house, and used a higher quality vinyl than what Columbia used for their regular pressings.

Columbia’s audiophile records consisted of an odd mix of older, classic titles combined with then-new releases.

While Columbia’s titles, which included albums by Bob Dylan, Boston, Pink Floyd, Barbra Streisand, Willie Nelson, Earth Wind & Fire and others were quite good, many buyers and audiophiles were annoyed by the combination of prices that were double those of Columbia’s regular pressings and by the fact Columbia was effectively choosing to improve a small selection of their products, when they had the ability to improve the quality of their entire product line.

Instead, the more expensive, higher quality audiophile records sat in the same bins as the noisy, indifferently manufactured regular pressings, with both produced by the same company.

In Canada, A&M records started their own line of half speed mastered audiophile records, and had them pressed by JVC in Japan using their proprietary “Super Vinyl.” Many of these titles, by artists such as Supertramp, Styx, the Carpenters, and The Police, were widely available for sale in the United States.

While these records looked a lot like those from Mobile Fidelity and used a similar half speed mastering process, the tapes used to make these audiophile records were at least one generation down in the duplication chain from those used to produce Mobile Fidelity records, resulting in a product with a quiet playing surface but sometimes spotty sound.

With the increased number of companies producing audiophile records, consumers were confused and frustrated by the experience of seeing the same titles sometimes offered in multiple versions at a wide variety of price ranges with little information offered as to what, exactly, they were buying. By the mid-1980s, a glut in the market and the introduction of the compact disc put all of these companies except Mobile Fidelity out of business.

Japanese Audiophile Records

While all of this was going on, a few people quietly noticed that records imported from Japan tended to always sound better than their American counterparts.

Part of that had to do with the fact that the Japanese record companies always used premium materials in their product manufacturing – the vinyl was of high quality, their cover printing was of high quality and they took great care in the mastering of their acetates and plating of their stampers.

The Japanese record companies even packaged their records using non-abrasive rice paper inner sleeves, instead of the heavy paper used by American record companies that often damaged the discs after repeated play.

In the early 1980s, tens of thousands of Japanese LPs were imported into the United States and sold as high quality “audiophile records.” Many of these titles were pressed in Japan by JVC, the same company that was pressing records for Mobile Fidelity, often using the same vinyl, though rarely the same master tapes.

The importation of Japanese audiophile records was halted in the mid-1980s when the American record companies realized that they were losing money on sales of imported records. Royalty payments to artists are negotiated on a country-by-country basis, with higher rates in the United States and Great Britain than in other countries, such as Japan.

If an American buyer purchased an imported Japanese album of a title that was also available as a domestic pressing, the royalty payment to the artist and likely the profit to the record company itself, would be less.

With the record companies putting an end to the importation of Japanese audiophile records, they then set out to try to get rid of the record altogether, instead promoting the digital compact disc, which had significantly higher profit margins. Unfortunately, audiophiles didn’t care for the sound of compact discs, and many simply stopped buying music altogether as records became scarce in the late 1980s and early 1990s.

Audiophile Records Today

After forcing records from the market in the early 1990s, the record companies found themselves with little product to sell after consumers balked at paying high prices for compact discs and resorted instead to illegally downloading low-quality mp3 files from the Internet.

Realizing that they could still sell physical product if they made something that people felt was worth buying, the major record labels started selling a high-quality product that has long been popular with the public – records.

The public has responded, and today, every pressing plant in the world is running at full capacity.

Today, with the resurgence in sales of vinyl, lots of companies are again making audiophile records. After a brief period of bankruptcy, Mobile Fidelity is back in business, and Warner Brothers Records is selling albums on a Website with the title Because Sound Matters.

Often, these are limited edition pressings cut at 45 RPM (on twice as many discs) to produce even better sound quality than the standard 33 1/3 pressings. Mobile Fidelity is back in business again after a short period of bankruptcy, and other companies such as Classic Records and Acoustic Sounds have stepped in to add to the quality pressings available on the market. Newer labels include names such as Equinox, Analogue Productions and the Electric Recording Company.

The latter company produces painstakingly detailed reproductions of obscure classical titles that are limited to 300 copies only. The titles they choose to release may be obscure, but they’re albums that often sell for upwards of $1000 on the collector market.

Analogue Productions has been producing audiophile records in two versions – a regular pressing that plays at 33 1/3 RPM and a pressing that plays at 45 RPM. The 45 RPM pressings require that a single album be spread over two discs, but the higher speed allows for less distortion and better sound quality. The company is doing so well that they have built their own pressing plant.

Across the board, the overall quality of the records available today is the best it’s ever been. Record companies today are making a determined effort to make their product as good as possible, with careful attention paid to the quality of the mastering process, the quality of the vinyl used in pressing the records themselves and the tapes used in the mastering process.

While sales of vinyl records are the highest they’ve been in twenty five years, the sale of records is still a niche industry, as most consumers purchase digital downloads. As records represent a premium product that sells at a premium price, the companies making records today realize that quality matters more than ever, and if they don’t make a good product, consumers are going to take their business elsewhere.

The term “audiophile records” is really rather vague, and can encompass a wide variety of recordings, both those intended to be of high quality, such as those from Mobile Fidelity, as well as vintage titles that sounded great because that’s how the record companies at that time made all of their products. Nevertheless, if there’s a record out there that sounds great, with a wide soundstage and a sense of three dimensional depth to it, you can rest assured that people will be lining up to buy it.

Records today sound better than ever. If you like quiet vinyl and good representation of the recorded music on it, you may find audiophile records to be to your liking.

Click here to browse our selection of audiophile records.

Share this:

Acetates and Test Pressings – What Are They?

Example of an acetate label[/caption]

Most record collectors, like any other buyers of phonograph records, are primarily interested in commercial releases; that is, copies of records that were manufactured with the intention that they be sold at retail to the public. These are the kinds of records that are likely to comprise the bulk of anyone’s record collections

Serious collectors are usually interested in owning just about anything and everything produced by artists that they admire, and unusual items such as acetate pressings (also known as “acetates” or “lacquers”) or test pressings. These are records or components of record production that were manufactured not for sale, but to evaluate the process of making the commercial record itself.

As both acetates and test pressings are fairly rare, they tend to command a lot of interest in the collector market. While such pressings by any artist are rare, there is generally a lot of interest in acetates and test pressings by artists who are themselves popular with collectors, such as the Beatles, the Rolling Stones, Bob Dylan and so on.

In this article, we’ll discuss the nature of acetates and test pressings, how they are made, why they are made, and what makes them of interest to collectors.

Browse by Category

Click any of the links below to jump to each category:

Acetates and Lacquers
Uses for Acetates
Collector Interest in Acetates
Counterfeit Acetates
Test Pressings
Collector Interest in Test Pressings
Counterfeit Test Pressings
Conclusion

Featured Products

Click here to see our selection of acetates
Click here to see our selection of test pressings

Acetates and Lacquers

While acetate pressings are usually referred to by record sellers and collectors as “acetates,” the term used to describe them within the industry is “lacquers.” That term makes more sense, as there isn’t any acetate used in the production of these records. For purposes of this article, however, we’ll call them “acetates,” as that’s the popular term used in the record collecting world.

Acetates represent the first step in the physical manufacture of a record, be it a single or an album. While acetates are technically “records” in the sense that they can be played on a turntable or phonograph, they are not pressed out of plastic using mechanical stampers, as are commercial records.

Instead, acetates are individually created using a cutting lathe, which is a device that loosely resembles a turntable. Acetates are lacquer-coated aluminum discs that are entirely smooth when first manufactured. They are “cut” by placing them on a cutting lathe that has a signal fed to the cutting head from either a live audio source or a performance recorded on magnetic tape. As the music plays, the cutting head cuts a groove in the soft lacquer surface.

The lacquer-coated disc rotates while the music plays, and the recording engineer controls the lathe, which must be periodically adjusted to compensate for changes in volume during the performance and to allow for gaps in between tracks.

In the early days of recording, music was played live in the studio and recorded directly to acetate discs. Since the 1940s, most performances are recorded first to magnetic tape and then transferred to acetates at the convenience of the record company.

Once the cutting process is complete, the disc is playable on any turntable to evaluate the performance, if necessary. Due to the softness of the lacquer coating, acetates are not particularly durable and will wear out and become noisy with repeated play. Acetates that are used for evaluation purposes are not generally used for production. Other discs will be cut for that purpose and then will be nickel-plated as part of the process to produce the stampers that will be used to make test pressings and later, records for sale to the public.

Uses for Acetates

Acetates are made for two purposes – to evaluate a recording and its suitability for pressing records and to use in the production of the finished product itself. For production, an acetate is first nickel plated and the plating is removed to create a negative image known as a father.

This process can be repeated by plating the father to produce a positive image known as a mother. The mother can be duplicated to create stampers. Typically, a father can be used to create about ten mothers and each mother can create ten stampers. A stamper can be used to press anywhere from 300-1000 finished records.

If all of the mothers and stampers are exhausted due to high production, another acetate must be cut and the process repeated.

Acetates are considerably heavier than records of a comparable size and usually weigh two to three times as much. While most acetates do have a label, these are generally generic labels with blank lines intended to be filled in by hand. Information found on the labels of acetate pressings usually consist of the name of the artist, the title(s) of the song(s) and perhaps the date the disc was cut and the timing of the song(s) on the disc.

Lacquer-coated blanks used to cut acetates used to have more than one hole near the center. One was the usual centering hole for the cutting lathe and/or turntable spindle; the other was a drive hole that fit a pin on the lathe to ensure that the disc wouldn’t slip on the lathe. More modern cutting lathes use a vacuum pump to hold the disc in place, making the drive hole unnecessary.

On rare occasions, there is a third purpose for acetates – sometimes, when a record company is in a hurry to get their album or single to radio stations, they will send acetates directly to radio. These are usually supplemented with regular vinyl pressings as soon as it can be arranged, as acetates are entirely unsuited to repeated play, as might be warranted by having them played on the radio.

Collector Interest in Acetates

What is the appeal of lacquers and acetates to collectors? There are a few reasons that collectors might be interested in owning acetates by the artists whom they collect:

They’re rare. Obviously, as acetates must be cut on a lathe, one at a time, they are going to be extremely limited in production. In general, there are probably fewer than a half dozen acetates cut of any single or album title. Most will be used for record production, and the process of plating them to produce a father destroys them.

A few others will be used for evaluation or promotional purposes, though it’s relatively rare for acetates to find their way out of the hands of record company personnel and into the public market. Their rarity alone makes them desirable. A popular album may sell in the millions, but only a couple of people are likely to ever have the opportunity to own an acetate copy of that album.

Good sound – Acetates sound terrific. While acetates are not suitable for repeated play on a turntable, they are playable and they usually sound better than the finished records sold at retail. Acetates are cut directly from the tape, where records are made from stampers that are made using multiple plating processes. Each step on the process to create a stamper creates a slight loss in quality, so acetates that haven’t been worn out from too much play will almost always sound better than finished records.

Unique content – Sometimes, artists have acetates prepared of songs just to hear how they sound as a record, though they may not have any intention of releasing them commercially. These may be working versions of songs that are later changed before release or songs that aren’t intended to be released at all.

On other occasions, acetates may be cut of “working” versions of albums, where the order of the songs may not be final. In other cases, one or more songs may appear on an acetate made early in the production process of an album but the final version of that album may not include them, making the acetate a rare collectible. We recently saw an acetate of the 1977 album The Beatles at the Hollywood Bowl that was a working version of the album that contained two songs that were not on the finished LP. Those two songs have never been commercially released, making that particular acetate a desirable Beatles rarity.

About two years ago, someone found a box containing nearly 150 Bob Dylan acetates in a building in New York. Many of these acetates contained unreleased songs and/or different versions of songs from the versions that have been commercially released. Several of these discs have been sold publicly at prices in the several-thousand-dollar range.

A few bootleg albums have been released in acetate form over the years, simply as a gimmick. The only titles we have seen like this originated in Japan, usually in limited editions of no more than twenty five copies. As producing discs one at at time is both expensive and labor intensive, product of bootleg acetates as a commercial product is not a very common practice.

Prices for acetates can vary widely, depending on the artist and the content. Obviously, the more collectible the artist, the greater the interest from the collecting community. While all acetates are rare, collectors will be more interested in (and pay higher prices for) examples that feature unreleased material or versions of songs that are not otherwise available.

An acetate of an album by an artist that isn’t particularly collectible might sell for $10 or even less. On the other hand, an acetate containing unreleased material by a well-known artist might sell for thousands of dollars. About ten years ago, an acetate containing rough versions of the material that became the first album by the Velvet Underground sold for more than $25,000. That material has since been released commercially.

An acetate of Elvis Presley’s first recording sold for $300,000 in 2015 to musician Jack White of White Stripes fame.

Counterfeit Acetates

Unfortunately, in the collecting world, nearly anything of value has been counterfeited, and that includes test pressings and acetates. They’re rare, they’re in demand, and they can sell for a lot of money, and that has led unscrupulous individuals to create acetates that appear to be original, record company-produced products but are actually homemade items that have no inherent value.

While counterfeit acetates exist for a number of artists, the most common artist represented by these discs is the Beatles. Many of these fake discs have labels that say either “EMIDISC” or have a representation of the Beatles’ own Apple label.

Since legitimate Beatles acetates turn up infrequently, few potential buyers have enough experience to be able to determine if an item offered for sale is a legitimate item or a counterfeit.

Many of these counterfeits have been artificially aged to give them a look of authenticity, and a number of them have sold for three and four figure prices at auction. The best advice we can offer to potential buyer is to know your seller and to get a guarantee when you make your purchase.

Test Pressings

Along with acetates, collector also have a lot of interest in records known as test pressings. It’s not a clever name; a test pressing is exactly what the name suggests – a record manufactured for the express purpose of evaluating the finished product.

Test pressings might be manufactured for the purpose of listening to material that is being considered for commercial release or they might be made as a test of production stampers for a finished commercial record.

Unlike acetates, test pressings are vinyl records pressed from stampers and are physically virtually identical to commercially available records. The only difference is that test pressings usually have custom labels similar to those found on acetates. These labels might have the words “test pressing” pre-printed on them and may include blank lines that can be filled in by hand to indicate the name of the artist, the title of the album, the catalog number and perhaps the date of manufacture.

Like acetates, test pressings are occasionally sent out to radio stations for promotional use if the production discs aren’t yet ready, but most of the time, they’re simply used to evaluate the finished product. This would include making sure that the record contains the correct and intended versions of the songs on it, that the sound quality is acceptable and that the playing order is correct.

Test pressings are usually found without printed covers. They are usually packaged in plain white covers. Often they will be accompanied by a “label copy sheet,” which is a sheet of paper that contains the information that would ordinarily be printed on the label of a finished album – the album title and catalog number, the name of the artist, song titles and running times, the name of the record company and publishing information for the songs themselves.

Collector Interest in Test Pressings

Collectors like test pressings for many of the same reasons that they like acetates. While they are made further along in the manufacturing process than acetates, test pressings are usually the first discs made from production stampers, so they will likely sound better than commercially available, or “stock” copies of the records sold in stores.

Scarcity – Test pressings, like acetates, are also relatively rare. While acetates may be unique or limited to just a couple of discs, test pressings are usually manufactured in larger, though still limited, quantities. Unless test pressings are made to be issued as promotional copies, they are generally limited to no more than twenty copies, though the number of discs manufactured can vary widely.

Alternate or unreleased material – Like acetates, test pressings sometimes contain either unreleased material or songs that are different in some way from the commercially available versions of that particular album. The 1972 Beach Boys album Holland was originally intended to include a song called “We Got Love,” but the record company was unhappy with the song selection. The group recorded a song called “Sail On, Sailor” that was used in the place of “We Got Love” on the commercial release. A few test pressings of the earlier version exist and are of great interest to Beach Boys collectors.

A few test pressings of Bob Dylan’s 1975 LP Blood on the Tracks exist with different songs from the released version. The album was close to its release date when Dylan decided to rerecord a large portion of the album. Reportedly, only five copies of the test pressing of the original recording are known to exist. One of them recently sold for $12,000.

Test pressings of Bruce Springsteen’s 1975 album Born to Run were sent to radio stations in a printed gatefold cover that was blank on the inside and which featured the name of the artist and the title of the album in a font that looked like handwriting, rather than the block print used on the final version. Several hundred of these “script cover” test pressings were sent out to radio stations and are quite sought after today, usually selling for upwards of $1500 when they’re offered for sale.

The first live album by Genesis, 1974’s Genesis Live, was briefly intended to be a two record set but was ultimately released as a single album. A few test pressings of the two record set were made in the Netherlands. This set includes material that has otherwise never been released, and the few copies that have turned up over the years have sold for as much as $4000 at auction.

The audiophile label Mobile Fidelity Sound Labs released eight titles in the early 1980s as Ultra High Quality Recordings, or UHQR, as they are known. These titles were made using a then-uncommon heavy-weight 200 gram vinyl pressed with a special “flat” profile that the company did not use for their regular pressings. All eight titles were limited to 5000 copies for commercial sale. The company also made test pressings of a handful of titles that they were considering releasing in the UHQR format, but which they ultimately decided not to release.

These titles included all thirteen of the UK Beatles albums, along with A Trick of the Tail by Genesis, Rickie Lee Jones’s first album, and The Grand Illusion by Styx, among others. These rarely-seen test pressings usually sell for upwards of $1000 each on the rare occasions when they are offered for sale.

Unreleased albums – Occasionally, artists will complete an album with the intention of commercial release, only to have the release canceled for any one of a number of reasons. These unreleased albums usually exist in the form of test pressings, and sometimes they turn up for sale.

One good example would be Läther, by Frank Zappa. The album, intended as a four-record set, was recorded in 1977. Zappa’s record company rejected the finished album, though test pressings exist. The album was finally released officially in 1996.

Another unreleased Zappa album, Crush All Boxes, was intended for release in 1980, but was scrapped in favor of releasing You Are What You Is instead. At least one test pressing is known to exist of that title.

Counterfeit Test Pressings

While counterfeit acetates are fairly common, counterfeit test pressings are not. We have seen a few examples over the years, including the original version of Bob Dylan’s Blood on the Tracks. The most common counterfeit test pressings would be for titles that were otherwise unreleased. Buyers should exercise due diligence when considering a purchase, but as a rule, counterfeit test pressings are relatively uncommon.

The nice thing about test pressings is that they are physically no different from a commercially available album, which means that they can be played as often as any other record. Most collectors don’t buy them to play them, however; instead they tend to buy them as a collectible item in addition to the regular version of the album.

Acetates and Test Pressings Conclusion

While acetates and test pressings could hardly be regarded as something that every collector might find essential, they are unusual and interesting items to add to one’s collection. They’re relatively rare, they usually offer superior sound, and they occasionally offer access to material that otherwise might not be commercially available.

Click here to see our selection of acetates
Click here to see our selection of test pressings

We have written a number of articles about various aspects of record collecting. We hope you find them to be helpful.

Why do people collect vinyl records? – An explanation about record collecting.

Acetates and Test Pressings – What are they?

Audiophile Records – Albums made to sound better than regular pressings

Beatles Albums – Information about Beatles albums from around the world

Beatles Colored Vinyl Albums – Beatles albums from around the world that were issued on colored vinyl

Bootleg Records – Unauthorized pressings including live albums and ROIR pressings

Butcher cover – The story of the Beatles’ most notorious album – Yesterday and Today

Colored Vinyl – Information about records pressed on some color of vinyl other than black

Counterfeit Records and Pirate Pressings – Information about fake rare records

Japanese albums – Why collectors seek out records from Japan

Lesley Gore records – We have a large collection of albums, singles and more by the singer.

Most Valuable Vinyl Records – The Top 10 Rarest Albums That Were Sold in Stores

Picture Discs – Information about picture discs and their history

Pink Floyd Albums – An overview of unusual records by one of the world’s most collectible artists

Stereo Records and Mono Records – Why collectors prefer one or the other

Vintage Vinyl Records – 9 Reasons Why Collectors Like Them – The reasons collectors might prefer vintage records over new ones

Vinyl Record Collecting Glossary – A collection of useful terms related to records and record collecting

Vinyl Record Storage and Care – Taking Care of Your Investment

Vinyl Records Value – What determines what your records are worth?

White Label Promo – Information about promotional releases