On the fantastic SoulDisco website you will find lots of useful information on topics such as pressing plants, mastering engineers and much more.
Why Japanese pressings enjoy a legendary reputation among audiophile fans
Anyone who delves deeper into vinyl will eventually stumble upon a phenomenon:Japanese pressingsIn forums, collector groups, and hi-fi circles, they are accorded an almost mystical status. But why? What makes a pressing from Japan so special in terms of sound? And what lies behind it culturally, technically, and historically?
1.
Vinyl quality at the highest level
As early as the late 1960s, Japanese presses placed exceptional importance on theRaw material quality. It was used almost exclusively“Virgin Vinyl”– pure, non-recycled PVC. This material is not only more durable, but alsoless susceptible to surface noisewhich could occur in many European or US pressings due to impurities in the plastic.
Example:
The workVictor Company of Japan (JVC)produced its own vinyl mixture calledSuper Vinylwhich is not only darker, but alsoless odorous and particularly quietIn combination with precise groove guidance, this resulted in an almost clinical calm in the empty grooves.
2.
Precision in mastering and cutting
While Western labels in the 1970s and 1980s often mastered for high loudness – driven by radio suitability and mass market – Japanese sound engineers often pursued a different goal:maximum transparency, clean separation of instruments and as little loss of dynamics as possible.
Some international albums were released for the Japanese marketremastered, often directly fromCopies of the original master tapes, in some cases even from the original tape itself, if it was possible through the label network.
The cutting process (lacquer cutting) was particularly careful:
- Hardly any overdrive levels
- Very symmetrical groove geometry
- Tight tolerances on the cutting head
- Often carried out with specially tempered lacquer films
3.
Excellent pressing plants and quality control
Well-known Japanese pressing plants such as:
- Toshiba EMI
- CBS/Sony Shizuoka
- JVC Yokohama
- King Records
ledmanual visual and auditory checksin almost every batch.
Off-center cuts,warpingormislabeling– almost unknown in Japan. Storage and packaging (often inRice plastic inner sleeves) was designed to make the platesin perfect conditionto keep.
4.
Obi strips, lyric inserts and collector's charm
Another reason for the popularity of Japanese pressings is theCareful packaging:
- Each LP had aInsertwith Japanese and often English lyrics at
- The famousObi strips(Paper strips with information in Japanese) provide additional information on price, publication, artist and catalogue number
- Many records wereavailable exclusively in Japan, often with exclusive cover versions (e.g. Queen, Led Zeppelin, Miles Davis)
5.
Cultural HiFi worship and collector mentality
In Japan, HiFi has had ahighly respected statusMany buyers owned high-quality systems with precisely adjusted tonearms and sensitive moving-coil cartridges. The records weretreated with the utmost care, which explains why even 40-year-old Japanese pressings oftenalmost like neware preserved.
6.
Marginal phenomenon: Japanese bootlegs and unofficial pressings
Not everything that comes from Japan is official – this is especially true for:
- “Ever Clean Vinyl” bootlegsfrom the 70s/80s
- Unofficial jazz and rock releases with incorrect matrix numbers
- Repressed “live” recordings, for example by Led Zeppelin, Pink Floyd, Miles Davis or the Rolling Stones
ThisBootlegsSome sound excellent – but areproblematic under copyright lawand only of limited interest to collectors.
👉 Such pressings are often recognizable by:
- Lack of an Obi strip
- Unusual label designs (e.g. “Jazz Supreme”)
- Matrix information without catalog reference
7.
Pricing and collector value
Japanese pressings are oftenmore expensive, but there are reasons for this:
- Technically better
- Mostly in excellent condition
- Cult equipment (Obi, inserts)
- Partly exclusive pressings with special mastering
Top titles(e.g. Steely Dan – Aja, Miles Davis – Kind of Blue, Pink Floyd – The Wall) regularly achieve high prices on the collectors’ market – especially with complete obi and without hairline scratches.
Conclusion:
Combine Japanese pressingsTechnology, culture and carein an impressive way. Anyone who is interested inFidelity of sound, silence in the empty groovesand aemotional closeness to the mediuminterested, can hardly ignore these pressings.
💬Tip:Listen to Dire Straits' Love Over Gold or Weather Report's Heavy Weather on the Japanese pressing. You'll be amazed at what happens sonically.
Wanted Have you always wanted to know how a record is made? or from music to groove – The journey of a real record
From music to groove – The journey of a real record
A record is more than just a music medium. It's the result of inspiration, craftsmanship, technology—and many decisions that make all the difference. Anyone who has ever experienced what a superbly produced pressing can achieve knows: vinyl is a world of its own. Here, we show you how it's created.
1. The recording – music is born
At the beginning lies the magic of the moment: musicians in the studio, the first take, perhaps an entire ensemble live on tape. Whether recorded analogue or digitally – what counts is authenticity. This is where it's decided whether a recording will later live on vinyl – or just sound.
2. The mixing – everything depends on it
Good mixing isn't a technical process, it's an art. Those working here need not only a trained ear but also a clear vision.
Because:What is overemphasized or neglected during mixing can cause problems on vinylToo much bass in the stereo width? Too much compression? Then the groove – or the sound – will suffer later. Therefore, it is crucial that the mixingSuitable for vinylis intended. And that everyone involved – musicians, mixer, mastering engineer – exchange ideas.
3. Mastering – Fine-tuning the sound
Mastering is where the sound is finally shaped. This is where it becomes clear whether the music is truly allowed to breathe. The dynamics, the layering, the interplay of frequencies—everything is fine-tuned here. This is especially challenging for vinyl:Records cannot simply be mastered like digital files.They need space, reserves, and balance. If you don't work carefully here, you risk distortion, poor cutability, or simply a flat sound.
4. The Cutting Process – Music Becomes Groove
Probably the most sensitive moment: cutting the lacquer film. A cutting head carves the music signal into a soft lacquer surface – groove by groove, in a single pass.
What happens here is final. There's no undoing.
Whoever cuts here is responsible for the entire process before– and must understand it. That's why experienced studios like Emil Berliner Studios (Berlin) or Sterling Sound (NYC) often make the difference: They know how to "read" music before it's edited.
5. Electroplating – The technical detour to series production
The lacquer foil is sensitive, so it is silver-plated and electroplated with nickel – creating a negative, the so-called"Father".
A positive result is drawn from the father:the mother"on which the grooves are visible again.
And then the mother becomes the“Stamper”produced – a negative image of the music, which later forms the vinyl mass in the press.
Each of these steps carries risks: microcracks, surface defects, poor separation – mistakes here mean rejects. Or worse: poor sound quality on hundreds of records.
6. The press shop – heat, pressure, precision
The stamper is placed in the press, the labels are inserted, a vinyl puck is placed between them, and everything is pressed under high pressure at approximately 150°C to form the record. The record then cools, is deburred, inspected, and packaged.
Sounds simple? It isn't. The quality of the press, the granulate, the temperature, the timing—everything influences the groove. And every pressing plant has its own sound fingerprint.
7. And then: Music you can touch
What you are now holding in your hands is not a copy – it is a sculpture made of sound.
A small mechanical marvel, born of a thousand decisions.
When you put the needle on, you don’t just hear music –
you hear the whole way there.