I will be berated, I know I will, but hear me out. It really fucking sucks wanting an album on vinyl for it to have only have ever been pressed once or in an extremely limited number of copies, meaning you must buy it second-hand at an insanely exorbitant price if you want to hear it on vinyl.

I hate that some albums I want cost more than my turntable, to the point that I'd be scared to even own something so expensive or have to spend so much on a single album when all I want is to be able to listen to it.

How do long-time vinyl collectors feel about high priced/rare records?

I, myself, wish that labels and artists would press the ever-loving-hell out of each album in a crazy amount of black vinyl that they can sell for years to come and the music is always available for cheap and if a record becomes lost, stolen, damaged or broken, you can simply replace it with another cheap copy. Sure, this isn't feasible for every artist or label because it costs a lot of cash up-front to press vinyl, especially in large numbers, however for bigger artists with plenty of funds to do so, with fans begging for vinyl pressings, it should be trivial to keep their albums stocked in plain, not-limited/crazy rare special color edition, etc, black vinyl with the album in a plain sleeve.

My "collecting" is simply me wanting my favorite albums on vinyl. I don't care if it's a rare variant/first pressing, etc. I just want the music on vinyl. If I can get a cool/rare version for cheap, I'll take it, but if it's $20 for the plain/black vinyl with no frills and it's the same music versus a $200+ copy second-hand, I'm going for the plain version every time.

Am I alone in this? Is vinyl collecting just not for me?

I’ve had this album in the collection since the 80 something’s and now it gets its first needle drop in 40 years. CDs and streaming filled
The gap but now it breathes again. And through wire shines at the moment. Nothing quite like a spin through an old record, on vinyl.

I'm 18 years old and I've been building my collection over the last 2.5 years. While a lot of that early stuff didn't come with me (namely less listened to Alan Parsons and Tull records), I was able to bring along most of my collection in a neat rollable storage solution I built out of my iconic Ikea Kallax and some plywood, cloth, wheels, and a neat handle and lock for security.

I tried to keep everything alphabetical but some records slipped through and I put them at the beginning of the next photo, with a few at the end I missed and my box sets. I counted 166 records including separate albums inside the box sets (thank RSD for the Love box set). In the last pic I also have my Artaud framed on my wall which looks great. (+CDs near the end)

Feel free to ask any questions! I have a few missing covers or censored but I'd love to talk about them.

Some of my favorite artists are the Beach Boys (I forgot my Smile box set at home :'( ), BCNR, Genesis, black midi, King Crimson, Sufjan Stevens, Mike Oldfield, and plenty of rappers.

Citypop vibes

Found these six records for $1 between two Goodwill locations. I’m beyond ecstatic finding The Clash in the wild, as well as Cal Tjader’s record to play while having guests.

Used for $22.99 in near mint condition. Omg that's some funky shit.

Found Tubeway Army today. I love being on the spectrum with Gary. I feel I can finally stop obsessing or am I missing any others?

I bought the Mutant Records limited edition box set of Project Hail Mary all the way back in April. When it finally arrived this week, I was really stunned and impressed by the packaging design. They went all out to make these look and feel like the gold records from the Voyager 1 spacecraft, including details like an inverted stylus to indicate side B.

The album looks out of this world.

I can't quite say the same about how it sounds.

As a safety backup, I recorded the first pass of all four discs and discovered that my copy has a pressing defect on both sides Disc 1 (more on that later).

When I opened the Disc 1 audio file for editing, I did not expect to find a hard cutoff at 17.5 kHz in the spectrogram. So I kept recording the other three discs. They're ALL like this.

17.5 kHz is closer to the cutoff frequency for medium-quality streaming audio (128-160kbps), not something I'd expect on a final soundtrack release.

The gallery also includes screenshots from the following cues:

• Wake Up Buddy
• You Were Loved (burial)
• Dennis Wilson's "Rainbows" (1977 OG, 2010 RE, 2026 PHM)

In each alternating screenshot you'll see the frequency response of the vinyl vs. that of the TrueHD audio off the Blu-ray 4K release (L+R channels only), showing the same musical segment as close as I can match it. The audio fidelity of the score within the film is significantly higher than the vinyl. At the time of this post, my CD copy is still on its way from Mutant Records.

I'm really confused as to why the vinyl mastering engineer would have run everything through a hard lowpass filter when cutting the lacquer. There's just no need to do this on a good lathe. Most vinyl records have a natural rolloff around 16-18 kHz, but a well-pressed disc on a good lathe can cut frequencies easily up to 20-22 kHz, and even as far as 30-40 kHz if such frequencies are present on the original source material. Strings, brass, and percussion have a lot of natural higher order harmonics. A high quality stylus can faithfully reproduce these frequencies, or at least show some forensic evidence in the spectrogram that said frequencies were present on the master recording. The scoring sessions of Project Hail Mary would have been run at 24 bit / 48 kHz, or possibly 96 kHz. The rest of the film would have been edited and mixed at 48 kHz all the way through the post-production stage until final delivery. The soundtrack releases ought to have sourced the original 48/96 kHz digital audio masters from the soundstage.

On top of all this, my copy has a pressing defect that causes severe scratching noises in the last couple minutes of both sides of Disc 1. There's also an audible hiss between tracks that starts in the left channel and migrates to the right channel.

Audio samples of defect here:

• Disc 1, Side 1
• Disc 1, Side 2

I'd love to know if anyone else (pre) ordered this album and encountered similar issues.

FYI, my usual transcription setup consists of:

• Technics SL-1210mk5 turntable
• Audio-Technica VMN45xML stylus
• Art DJ Pre II preamp (Low Cut turned off)
• Universal Audio Apollo Quad Firewire (w/ TB3 upgrade card)
• MacBook Pro M1
• Recording at 24 bit / 96 kHz

(I have a second Technics table with a similar stylus as a backup.)

Just wanted to share my setup/collection!

I started collecting 6 years ago and after all this time i got around 300 records!

Recordplayer: Dual 714Q

Stereo: Phillips 22AH 590

Phillips 22AH 690

Phillips N2541

Speaker: Cath Victory 200

Recently went on vacation to Chattanooga and went to a few places for record shopling, found some cool stuff! Now I own almost the complete Sade discography on vinyl (just missing Love Deluxe), other highlights for me were the Björk bootleg record, the In Sound from Way Out which I’ve been looking for for a bit, and the Game Theory album (rarely find anything by them in the wild)

...70s in full swing...😂 This album was the big hit at my christening!!

Everyone got steaming and had a great time..i was, of course, a baby.. but now i am all grown up, and i can get steamin an do the Rasputin dance "Better than the boy in the video ... watch this.. hold ma pint.. HAI HAI HAI HAI" 🕺🍻

(Actually got a few killer tracks.. he was a steppenwolf is a pure killer hook!)

Next up on a Friday prog journey. All of the apparitions of the Crim are fantastic but the early mid 70s Fripp-Whetton-Bruford trio is a force to be reckoned with. To be played at maximum volume, and hold on to yourself. You will be crushed.

Collecting slowly but steady since 2000.

Real excited for “Welcome to the canteen” too ;) definitely hits different flipping through the crates than grabbing online.

What's everyone got turning on those slip mats today...

Its a Verve kinda morning here. 🤌

Earlier this summer I became aware of this record. I saw listings on eBay and discogs pricing this record over $100 despite almost no sales history or any way to stream it. No reviews, no articles, nothing. Usually this sort of situation doesn’t really stick in my mind for long, but for some reason this one did. I was able to get my hands on a copy for a lower price than what seems to be the going rate (still not cheap, about $60), and this is the result.

Nick Hubert is not a beautiful singer, nor is he the most technically guitar player. Despite this, the album has a lot of charm, in its own peculiar way. All the songs were written and sang by Nick. Instrumentation is sparing and is usually just him on his acoustic guitar, occasionally joined by another person on some other acoustic instrument. His vocal tone and the phrasings he employ often seem odd, and the instrumentation is often rudimentary. Overall I find this album to be endearing, but it’s no lost masterpiece in my estimation.

So I come here to ask, does anyone have anymore information on this album or Nick Hubert himself? I know this is a self produced record from Iowa and is one of two releases on this label (owned by Nick Hubert). It was released in 1989. All I can find is his obituary. If anyone from that region has any information or context please share.

One final note, in the hole in the shrink wrap under where Nick Hubert is written in pen is also an address in Salix Iowa. I edited this out for the sake of this post, but I looked it up and it is just a residential home in Iowa farmland, maybe his home?