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Making Vinyl @ Masterdisk
With 30 years of vinyl cutting and mastering experience, Scott Hull tells it like it is. As the Chief Engineer at Masterdisk, Scott has all the information you need to make your own musical vision into a plastic reality. Scott will host a variety of guests from the record making industry, and together they will answer all your burning questions about every aspect of the vinyl-making process. Some of the many high profile artists that Scott has mastered and cut for include Sting, Steely Dan, Dave Matthews, and John Mayer. If you're looking for a place to hear seasoned, expert opinions on all things vinyl, look no further.
Making Vinyl @ Masterdisk
Buying Used Records - What to look out for
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This is Part 2 of Crate Digging. Here you will find more practical information to help you find really great used records. What to avoid - how to spot an expensive piece of junk. Collecting artwork - vs- great-sounding vinyl. Scott and KJ go deep on what can go wrong when buying used
Making a record of your own? Your music deserves the best.
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Mentioned :
Big Jim's Records
Music heard :
Artist - Melany Watson
Song - Why Why Why
http://www.melanywatson.com/home
Hi Dan and welcome to Making Vinyl at Master Disc with Scott Hall. Today I'm joined again by my colleague KJ of the Odyssey.
SPEAKER_00Hello. But I think the word again seemed like you're sick of me. Whereas I would like to hear some joy.
SPEAKER_02Stick around. I mean I I do.
SPEAKER_00I do. I'm hard to get rid of.
SPEAKER_02Yeah, despite the um well, no, but but desp I feel like it should be I'm joined again, isn't that great?
SPEAKER_00KJ! KJ! Yay! There you go. See that's the intro I was looking for.
SPEAKER_02You really need a spot on the uh late night television.
SPEAKER_00Well, I'm working towards it, definitely. I'd love to get my band on there, but you know, apparently there's a ladder you have to climb, and I don't know where the first rung is, but I'll find it eventually.
SPEAKER_02Yeah, yeah. So it's like the 3 a.m. You know, comedy show.
SPEAKER_00Exactly, exactly. I mean, you everybody's gotta start somewhere. Anyway, last week we were chatting about um first editions. I was um bitching uncontrollably about my original Pat Matheny, Brightside Life, and um, you know, we went through all the reasons why it doesn't sound, you know, or feel very good. And uh so uh somebody wrote in um uh you know asking us to sort of further the concept. Uh thank you for that, um, by the way. And this is something that's sort of near and dear to my heart. So today we're gonna talk about um buying used records, um whether it's off of discogs, which I've done many times before, or from a street vendor with a milk crate, which I've done way you know too many times, and with you know, with mixed results, or from a vintage store, something about something like that. So I wonder if you could start by talking about uh, you know, answering a question for me, which is when you're looking at somebody's discarded vinyl and there's no record player in sight, let's say you're on, oh, I don't know, Avenue A, somewhere around East Second Street by my apartment, um, and there's a milk crate full of like amazing stuff, you know, like old Commodores and you know, bee gees and and Coltrane and stuff, you pop the record out of the sleeve. What can you look for to stack the odds in your favor so you're not coming home with a lemon?
SPEAKER_02Well, um, let's talk about the collectible aspects of it first because that's the the sort of the easiest to um to discern without a record player. And of course, that's the quality of the jacket and whether it's got heavy ringware, um, whether it's been in and out of a rack, whether it's been stored properly, whether it looks like it's warped, or if it's still in plastic, if it's uh been smothered by the plastic and you know crushed by the shrink wrap. Um honestly, if if it's been put into a um an openable or removable, like archival sleeve, I feel like somebody, you know, considers this record to be potentially valuable and it wants to maintain the quality of the artwork in the package. So that's something that I would always look for.
SPEAKER_00Um so some somebody taking care with it, uh, you know, and and babying it a little bit. I mean, that's a that's a good first sign, right? Uh you know, if it's if it's destroyed, then you know that maybe uh the vinyl itself wasn't well looked after either.
SPEAKER_02Aaron Powell Yeah. There are some rare exceptions where people have water damage or or smoke damage to uh a record collection and the vinyl actually you know survives perfectly, but the jacket is destroyed. Those are interesting finds because it's real easy to get a plain white jacket and you know scribble a name on that front of it. If you're really collecting the music, you know, but we all we're you know, we're all taken by the um by the artwork and the design and the whole feng shui of the of the package.
SPEAKER_00Uh damn right.
SPEAKER_02So that's the first step. And and really that comes down to uh assessing how how much of a collector the seller is. And uh whether or not they just found a crate of records on the on the road, or you know, on garbage day and they picked them up and are trying to sell 'em. Or whether they're curated the collection. So other things. Um no sleeve. That's a bad sign. Uh if there's no inner sleeve, it means the record's been kind of worked pretty heavily up against the cardboard. It probably has a higher surface noise than something that's got a poly sleeve or a really good condition paper sleeve inside. Um I prefer the polys. I think most people do. You have some static issues, but that can be resolved by putting the record in your own new sleeve when you get at home. Um some paper sleeves just disintegrate and you know make the record really dirty. I don't know if it's the right time to mention, but it's a or you know, if you're really going to get serious about it, it's a really good idea to have a good uh record cleaning operation. There's your basic spray and wipe, and then there's more um elaborate clean and vacuum type things, and then there's even sort of a top-of-the-line uh ultrasonic tank cleaning process. You vacuum your records? Oh, yeah. Shit yeah. Well, I mean, it it's a vacuum cleaner, but it's not a vacuum cleaner. It's um uh it's a vacuum suction system. The most popular one um is the one we use, made by VPI. It's relatively expensive, but considering the cost of a record collection, it's probably not out of reach for for a lot of collectors. Very simple system, uh a lot of information about it online. Uh a VPI record cleaner, you'll find tons of information. You put your record on, tremble a little bit of liquid on, use a fairly stiff brush, work the liquid into the um into the grooves a little bit, then vacuum uh the solution off. If you don't douse the record too much in liquid, it protects the label. And um it makes a tremendous difference uh in the playback of a a dirty old record. Um if I were a collector or a record store used record service, I would certainly clean my records before I put them up for sale. So if the if you're buying something that looks physically dirty, uh it probably hasn't been cleaned and it may really need to get them cleaned completely. As an aside, that's a service we can offer um uh in bulk, but if you get past about 20 records or so, it probably makes sense to uh consider buying a record cleaner.
SPEAKER_00Yeah, indeed. Which I'm I'm considering right now. So how how many sins can you absolve with a record cleaner? I mean, how you know how you know some of the stuff that comes off the off the street or from vintage stores is it's pretty banged up.
SPEAKER_02Scratches, scuffs, bad handling, bad playback from a stylist, none of those things can be improved at all with a record cleaner. There is one exceptional technique that's come in vogue, and that's using an ultrasonic tank. And there's uh a couple of different thoughts and methods on this, and there's some interesting chemistry. One company that uh I spoke to at the making vinyl conference last year, I'll put the link in the um description because the name of their product doesn't uh strike me at the moment. But they um are claiming, and uh I I by the research, I by the their explanation, there are some dust particles that actually get welded into the surface of the disc uh as you play the record. And it's their claim that this is the reason why um a record that's been played, you know, 40 times um sounds something like 40 times worse than a virgin record. Um every time you play the record, uh whatever dust happens to be on it kind of gets warmed up microscopically by the stylus sliding over the the record, and that heat kind of fuses the dust into the record and it won't come out. So there's some really good uh advice is to clean your record before each plane, either with an air dust off or with a a broom, um, conventional kind of cleaning system solution and cleaning. But they they have gone a step further and in combination with uh ultrasonic tank, they provide a chemical that they claim loosens these particles back up and that can actually restore quite quite a bit of the original playability of these used records. Like I said, uh I'll either mention it as an overdub at the end um or I'll put it in the uh meta uh on this uh podcast so you can find them. But I don't want to misquote them, but um they looked pretty serious as far as really determined collectors wanting to be able to restore the records. And and as far as I can tell, if it's done properly, there's absolutely no downside to it. It's not like over polishing a vintage car. You know, you're you're trust trying to remove dust and crud that's built up over the years.
SPEAKER_00Huh. That some sounds like something I need, actually.
SPEAKER_02It's pretty pricey, so that's that's something we may we might get involved in, and and um I'm looking into it as doing it as a service. Um that box is um I think it's over a thousand dollars with the including the ultrasonic tank.
SPEAKER_00Uh right, like I said, I'm not interested.
SPEAKER_02Uh well, it's the other one's about half that price. So three or three or two or two or three four hundred dollars for uh still not interested? Yeah, it's a lot of though. Is there something for 20? Uh that's the broom that you that you're currently using, or something like the um the spray on solution, the disc washer kind of thing. The purpose for the spray and wipe is to get the current days just dust and handling off of the record before you play it. These other cleaners are intended to go much deeper into the groove and pull up cried and leftovers. One of the interesting things is I'm often asked to do transcriptions of recordings, maybe one-offs, uh, lacquers, uh records that were only produced in very small quantities. Somebody who owns the record wants to um make an archival copy, etc. etc. And um it's really interesting how different it is uh to have a um first time you take a record out of the sleeve and play it back and listen to it and capture it into the computer, and then clean it and then do the same thing. And then interestingly enough, um you play it a second time after cleaning it, or possibly even a whole full double cycle, clean play, clean play, and you've pulled out even more crud. Um it's such a microscopic thing that we can't really interact with where uh everyone's come up with a a plan or a suggestion.
SPEAKER_00I mean, for what it's worth for our listeners, uh, you know, I I when I first started, you know, on the path down vinyl obsession, I I just put the record on and played it, and eventually I learned to start, you know, at least just running the broom over top of it, you know, while it's spinning before I put the needle down. And it makes a huge difference the next time that buildup of gunk, if it comes at all, it comes a lot slower. The whole vinyl experience at home seems to be a lot better with uh just a couple seconds before you put that needle down.
SPEAKER_02It's big, and um, the actual liquid that you're using, there are hundreds of uh recipes online for different ways of doing it, but uh honestly, a reputable company that's putting that liquid together usually goes a little further than just baking up something in the kitchen. VPI solution is what I recommend. It's high quality, it's consistent, and it's not overloaded with um with soap. You really only need the tiniest little drop, tiniest little droplet of soap and just a touch of alcohol in the solution. And I'm afraid most times when you mix this up at home, you're just not sensitive enough to how small a quantity of of these emollients and and alcohol that you need in the thing. It's easy to get too fancy. If you put too much soap in the solution, it actually stays in the groove just like over like too much shampoo in your hair.
SPEAKER_00Yeah, been there.
SPEAKER_02Uh I don't have that problem.
SPEAKER_00No, not anymore, I guess. You know, we talked about the cover and the sleeve on the inside. So when you get down to actually looking at the vinyl itself and you're considering taking this thing home without having tested it out first, what are some things that you can look for to stack the odds in your favor and get home something that's worth actually worth listening to?
SPEAKER_02Well, um get in a good light and capture the light as a reflection off the surface of the disc. So you're not just looking at the disc, you need to um look at it like a jeweler looks at a you know looks at a rock in a in a setting. You need to catch the reflection of a bright light. Sun works great, indoor fluorescent lights are fine, spotlights are fine, but you need to have a fairly bright light on you. This if this is a dark area where you're looking at discs, you're absolutely guessing. You you won't see, you won't see anything. Now, the unfortunate part is not everything that you see you're gonna hear. The disc could actually be scuffed up pretty badly right on the surface of the disc, and you might not hear that at all. But a scratch, uh a little bit deeper above a gouge, uh is gonna be completely audible and could potentially ruin the playback. It could be uh such a bad scratch that it actually causes the needle to jump. Gotcha. Usually what you'll see is a combination of a bunch of hazy swirly marks from going in and out of a of the jacket, and then you're you're looking for more significant playback arcs or scratches where the needle was raked across the the surface of the of the disc. Or if something else heavy was put on the disc while they were stacked up, or even worse, if the discs were slid while they were stacked up and there was some a little piece of debris in there, it would that would cause a radial scratch. One that kind of goes along the whole side of the record, but not the direction that the toner would travel. That's sort of tangential, but something that comes from the center of the record out. Those are usually handling scratches and they're usually pretty audible. It's really hard to tell with the naked eye whether it's going to be audible or not. We're talking about just a few mils, a few thousandths of an inch make up the groove itself. Two miles wide and deep are about all we're talking about. So it's it doesn't take much to interrupt the playback.
SPEAKER_00Once there's a scratch on there that's interrupting the playback, that's that's forever, right? Is that that track is done for?
SPEAKER_02Well, that scratch will always be there. There's some digital methods of removing it, but your experience from the vinyl will include that scratch um if for forever. Yeah, there's some theories about being able to liquid fill and things like that, but I I don't know any of them that work. The stuff that's not scratches are is is a much finer resolution than the scratches. So if you were gonna fill the scratch, you'd completely obliterate all the top end. Um and so it the fix is much worse than just leaving a scratch there. I I haven't experienced anything that's that uh that improves on on physical scratches. Like I said, other than digital processes. If you had a once-in-a-lifetime you know performance of something something that was made to um a lacquer or an acetate or a piece of plastic or polycarbonate, there are a lot of things that can be done in the digital realm, but that doesn't help your you're you're saving the musical content and keeping it in an analog form on the record. Yeah. Um I'm not trying to be a purist here, I'm just I'm just drawing the line. We can't really restore the record, but we can restore the audio, make it considerably better in many cases.
SPEAKER_00Basically you you're eyeballing this thing, and I I'm assuming that it's really a matter of experience. You know, if you look at enough records and then listen to, you know, listen to them and and uh correlate what you see to what you later on hear, perhaps you get better at eyeballing these things in the moment.
SPEAKER_02Aaron Powell That's absolutely the right thing to do. Um take note of a noisy record and after you're you're playing it and going, wow, that kind of wasn't what I was expecting. And then look at that record in in a good light and see if you can spot the the the types of defects that are on there that you're hearing. It will correlate. I mean, a really clean looking record won't have physical defects. You can't see them, you just need to learn what to look for.
SPEAKER_00Is there anything that could happen to a record that would adversely affect how it sounds, but you wouldn't be able to see it with the naked eye?
SPEAKER_02Well, from a production standpoint, out of round is one of the things that I I hate more than anything because my ear can hear the the pitch change as the record kind of swings where the hole's not quite in the center. Um and it microscopically speeds up and slows down every revolution. It sounds kind of like now it's can be very subtle. Um all records do it very slightly, but some poor pressings do it a lot, and it's absolutely invisible to the naked eye. Uh we have to put it on a on a microscope to even see it. Um we hear it before we see it. So that's not going to be notable until you play the record. Other things having to do with things we've touched on in earlier episodes about the matrix or the scribe numbers, how that record was produced. I wanted to add that when you're searching for records in a used bin, you need to be a bit of a historian, because I would personally search for things that were made in very limited quantities, so that by default the one you found would be uh somewhat rare. But that changes if it's something that you're really interested in. So if you're really interested in a Barry Manilow record and they made several million of them, well, you'll have some options to find, probably inexpensively, until you find one that that plays well and meets your expectations. But if you're looking for something that was only there was only an initial run and it was a small initial run, and it was kind of rediscovered years later, you might want to take that one even if you weren't so sure about the quality, because uh it's just it's just rare um on the face, uh just on the surface.
SPEAKER_00Well, I mean to go ahead and take a Barry Manilo record over my own dead body, um, but I uh I am your point is taken just the same.
SPEAKER_02I I figured it would uh that would help illustrate the point.
SPEAKER_00Um what about uh what about the intro groove? I forget what you call it on the outside and the locked groove at the end. Uh is there anything about that that bears looking at? Uh is there anything there could screw you up a little?
SPEAKER_02No, other than studying the actual scribe numbers in the lockout area, if you've got multiple versions of the same record, you'd want to catalog the scribe numbers and see if you can discern some part of a pattern. In other words, if the scribe numbers were absolutely identical and every mark in the lockout was exactly the same, those are two pressings from exactly the same press run. They used exactly the same stamper. Now, but it's uh not unusual. This wasn't even unusual back when the records were brand new. It was not unusual to find in one record store two copies of the same record that had, once you got them opened, you'd find that they had different scribe numbers or different different different inscriptions that might be the same number, but you can tell by looking at them closely that they were done by if they were done by hand, they might be different. They have to be a hundred percent identical for them to come from the same stamper. So if there's any difference whatsoever in the shape of the letters or in the order or the actual number itself or any other markings on it, then it was done by a different stamper and it could have a different playback characteristic. It could be better or worse. The challenge is to try to document that and find out which ones are the are the cool ones, which ones are the the ones that were really produced the best. And this is one I'd like to add that um the reputable independent plants back in the day, such as MasterDisc, would put our stamp on the discs to signify that we had actually cut them. Uh, they were cut by the initial master and engineer with the supervision of the producer under the authority of the label and everything else. And those tend to have a little higher value. So what I do when I'm looking for a record uh that I know was something that was made at Master Disc initially is I really want to look for that stamp. Right. Because that means it was done, you know, by our engineers and technicians, and it wasn't uh it wasn't replicated, you know, at some other plant with some other uh lathe.
SPEAKER_00So um there's a certain type of person who goes after this sort of historical data and um and you know, more power to them. I'm I don't happen to be one of them, but I certainly do respect it. You know, which kind of leads me over to Discogs, which we you know we we mentioned before. I feel like that's a uh a place where you can find um people who who do that kind of thing and and take note of uh you know of the finities of um you know the scribe numbers and that kind of thing. I wonder if you have experience with discogs and if you have an opinion about it.
SPEAKER_02Not a lot of direct experience other than I've browsed the uh infinite stacks of uh of records, um oftentimes surprised to find what I find there. I I think it's a good thing. I think the more information you have about the purchase gives you more confidence. I would be way more interested in buying something off of Discogs than something I found in a crate, um, you know, on the street, just because I would know that there's somebody I could go back to and say, hey, you you you call this a a a near mint, and it was hardly even close to good, let alone mint. An online merchant that has a good reputation is likely to give you some concession for something that was mislabeled or or you know, wants you to be happy so you come back and buy more. Uh that leads me to talk about the um the really reputable resellers. We have one right up here in our neighborhood that I'm gonna do a uh an interview with very soon on an upcoming podcast. Uh Big Jim's Records is in in Westchester County, New York, just outside of New York City. I just really like his attitude, his way of going about it, his attitude towards towards vinyl. He's a huge fan. He loves to put music in people's hands. He loves to to have people come back and go, like, man, that thing you that thing I bought from you, I can't stop listening. I just love it. It makes my day. I mean, he lives, just absolutely lives for that.
SPEAKER_00I love people like that. Yeah. People who care, you know, actually care.
SPEAKER_02I want to share I want to share him with the uh with our listeners in a future podcast. And um I might even invite you to come along and uh and and talk to Big Jim.
SPEAKER_00Great. That sounded sarcastic. It wasn't. I actually want to meet him.
SPEAKER_02It was yes, that was sarcastic. But it was um great Scott, thanks a lot. But um he he and the and the people that work for him um really create a lot of value um and and bring a lot of expertise to it. Um he buys up huge collections and weeds through them, figures out what each one of them is and what it's worth and posts online. A lot of people are doing this, but um there's a group of people about my age that have been doing it their whole life. And um uh those those people have some really great information and stories to tell and some the perspective on uh on the music business from a consumer standpoint is really valuable. So I really suggest you you hook up with somebody like that in your name in in your region. And he sells internationally, he he would sell to uh um Big Jim's records with would sell to anyone, but if you have somebody locally that you can actually go and hang with and talk and and browse through their racks, you pick something out of the rack and he goes, Oh yeah, I'll tell you where I got that one. And that's a really cool story. I mean, come on, that's that's some really cool stuff.
SPEAKER_00No, it's it's absolutely brilliant. And the kind of people that you're talking about, those are the people who carry out these anecdotes and stories and information throughout the years of this thing. It's it's invaluable. I mean, it's how we used to it's the only way we had to pass information, you know, uh back in the you know, the beginning of of communication. It you know, it was it was carrying these stories down from one person to another. I love that music is such a part of that, and that it's not just about the music, but somebody like Big Jim can tell you, oh, this was, you know, um, you know, recorded at Atlantic Studios, but this was happening and the janitor fell on the tape, but they repaired it, and then um, you know, and then it was, you know, cancelled and then re-released and blah, blah, blah. It's it's all such an interesting part of the fabric. And um it just makes the the the whole process of this thing, especially with vinyl, that much more enjoyable.
SPEAKER_02I agree. I agree. And I think while there are people that can take advantage of of that to some extent, I think those are really the exception. I think most people that are bothering to warehouse and catalog and price and sell vinyl in this day and age are are really doing it because they they love to. I'm hearing a f a little bit about counterfeits coming back into the market. Now, this used to be a big thing back in the day. What I'm told, um, I haven't seen this personally, but what a couple labels have told me is they'll find records for sale on the internet of their artists that were never produced for vinyl. Um so someone discovered that uh a particular record is either out of print or was never on vinyl, and they downloaded a copy of the song and they took it to a rogue studio or rogue manufacturing plant. And I say the word rogue because it it takes it doesn't take five minutes to figure out that the person you're talking to is is not the copyright holder. So if someone's willing to produce counterfeit records, it's because they have no integrity whatsoever. So anytime I question anytime I have a question about the ownership of the project, I ask them ask the person to uh to show me some proof that they have authority from XYZ label to uh to produce that record. And if they balk at that, then I I know immediately that they don't have the authority. I don't waste my reputation on making a record that uh for someone who who was um trying to take advantage of not only take advantage of, but steal the production from the owner.
SPEAKER_00No, indeed, and rightly so. Yeah, no, absolutely.
SPEAKER_02So these these counterfeits get into the market when the prices of certain rare and collectibles get so high that it makes it worthwhile.
SPEAKER_00Yeah, somebody finds out they can make a buck and you know there's there's always somebody who wants to cheat the system and figures out a good way to do it.
SPEAKER_02Yeah, it's it's it's really hard to um copy an artist that's only made, you know, five paintings in their lifetime, you know, because those are studied and everybody knows where those five paintings are. But if a an artist is very prolific, I mean talking about a painter, then it becomes quite easy for counterfeiters to create works that look like they could have been those works, but you know, maybe they were never catalogued or whatever. So the same thing kind of goes with music. If the if the artist was well distributed, the fraud copies are are easy to hide or easy to s to s to pass off as as real. Artwork changes over the years. But in fact, when I'm doing restorations of a project, that they'll send me multiple pressings, maybe some that were done in Europe, some that were done in New Jersey, some that were done in California, and some done in Chicago. There is a lot of variation in the print quality and the print color matching. Um, you know, I could have four or five uh records in front of me and the artwork looks completely different. And you'll see that on discogs when you see people who are actually taking photos of the actual records that they're selling, uh you'll see differences in the the colors of the printing. That's not necessarily any indication of it being a um of a bootleg or being a fraudulently made copy. Um it's just differences in the printing process. Um records were covered with uh a sealant or a shellac on the outside so that they retained their colors better. Others weren't. Not everybody had uh their presses aligned the same and dyes fade and all that stuff. So yeah, you'll you'll s I don't really think there's any correlation between the quality of the artwork and the quality of the disc inside, but it would make me a little suspicious if I was looking um at what was supposedly a rare copy of of a a 30-year-old record, and the print quality looked very modern.
SPEAKER_00Too good to be true, yeah. Yeah, so that's yeah, that makes sense.
SPEAKER_02Probably the only thing to really look out for. Um I don't think um piracy is really widespread uh in the US, but it's it's being talked about, and the labels are really having to um uh spend some time going through the internet and looking for fraudulent copies and trying to take them down.
SPEAKER_00Yeah, fair enough. All right, well, that was I mean that was a great topic. And I want to say uh you know thank you to um you know to the person who who asked that question. Um, you know, it was great. If you have any questions about this or any other topic having to do with uh vinyl records or um you know uh Barry Manilo uh or anything else, um you should uh hit us up, um uh you know, hit up Scott and the team at MasterDisc on Twitter, on Instagram, on Facebook, um go to masterdisc.com and uh you know write in your question and if you if we answer it um you know on the air, so to speak, then Barry Manilo will come to your house and give you a big kiss on the cheek.
SPEAKER_02Isn't that something?
SPEAKER_00Wouldn't that be amazing? And you can run your fingers through his curly, curly hair. Anyway, there you go.
SPEAKER_02If you've if you're stuck around this long to the podcast, you'll notice that there's some music playing um at the opening and end of of each of the podcasts. Those are all records that were mastered at MasterDisc that I I personally enjoyed working on and um uh I wanted to share with our listeners. So if you've got any comments about the uh about the music selection, uh blame me. Uh but also look in the uh metadata for the um podcast, you'll find links uh to get to the actual legitimate copies of those records, and please support the uh the people that make uh great fun and and uh interesting music.
SPEAKER_00Seriously, yeah. If you hear something you like, support, you know, support music, support great music, you know, keep it, you know, keep it going so that the the artist can you know can can bring you some more. It's it's a it's a great thing to do, and it's uh it's sort of a lost art these days.
SPEAKER_02Uh uh make note we want to talk about uh uh uh Bandcamp versus Spotify at some point in the future, even though it has almost nothing to do with vinyl, it has a lot to do with how artists are are are compensated for the work.
SPEAKER_00Well, actually, I heard I read um that uh Bandcamp is talking about doing limited runs of vinyl that you can sort of buy into over time. So maybe that's maybe if that's happened yet or is about to happen, that'd probably be something good to talk about. And if you guys want to you know hear something or have a specific question about it, you know, write in and tell us what you want us to chat about.
SPEAKER_02Well, thanks, KJ. Uh this is again another uh spellbinding episode of vinyl at Master Disc. I'm Scott Hall, Chief Owner and Engineer Chief Engineer and Owner of Master Disc in New York, and thanks for listening. And I'm Barry Manilo. Good night.
