Led Zeppelin II - Atlantic – SD 8236 - RL/LH Cuts STERLING HOT MIX 1ST PRESS VG
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Description
Led Zeppelin II - Atlantic – SD 8236 - RL/LH Cuts STERLING HOT MIX 1ST PRESS
This is the early pressing mastered at Sterling Sound by Bob Ludwig denoted by RL on side one and by Lee Hulko denoted by LH on side two.
Hulko was in charge of remastering some of side two which was the side that was causing the troubles with the original 2 sided RL mastered versions.
Ahmet Ertegün brought home a copy for his daughter, it skipped on her turntable so he had it recut to be less dynamic and less fleshed out in the bass.
It was certain parts in Ramble On and Moby Dick which were causing the needles to jump on certain turntables when the record first came out because of the bass. So they had Lee Hulko remaster part of side two.***** (SEE BELOW)
Labels include "CTH" suffix (indicating Terre Haute pressing) and "Mfg By Atlantic Recording Corp., 1841 Broadway, New York, N.Y.".
The dead wax side two is slightly narrower than that on side one.
Later press information:
If this doesn't have "SS RL" and "SS LH" etched in the run-outs then it is a repress - remastered at Atlantic, rather than Sterling Sound. THIS COPY HAS BOTH SS RL AND SS LH !!
**** THANKS TO AN EBAYER WHO HAD VISITED THIS PAGE, I HAVE BEEN TOLD THAT THE SO CALLED LEE HULKO REMIX IS ACTUALLY THE ORIGINAL BOB LUDWIG VERSION, BELOW IS A REPRINT OF LUDWIG'S EXPLANATION
I'm surprised about Lee Hulko's initials being on some of the parts. In all these years I had never come across any copies with his initials before.
When there were big orders of certain titles and there wasn't physically enough time for one person to crank out the lacquers as fast as the record company wanted, sometimes we would help each other out.
For instance, my initials might appear on a Beatles record that Lee mastered.
In every case, compared to now, those titles were relatively easy to master. Once one of us mastered an album and it was approved, we made careful notes, either one of us could cut it and it should come out the same. Back then, Lee and I shared the one room and worked different hours so it is possible one of the plants blew a part and needed a replacement right then with no delay.
So after I mastered the album (which Eddie Kramer & Atlantic approved) it was shipped to all the radio stations and the initial pressing was all from me and Sterling Sound.
Amhet Ertegun at Atlantic heard the album (which Eddie demanded be as hot as possible) and apparently it skipped on his daughters little turntable. Instead of calling us at Sterling and asking us to lower the level a little and telling us where it skipped, they had the disk cutters at Atlantic use my EQ'd cassette file copy and they cut it WAY lower than my original cut plus, in my opinion, it sounded dull and generally not very good sounding in comparison.
So all the disks that were played at the radio stations and all the initial pressings world wide came from me (and apparently Lee cut a part or two) and that was what "sold" the record and made it a hit. A year later, whenever I visited someone I would look at their Zeppelin II album to see if it was my cut or Atlantic's cut. It was easy to see by eye, the Atlantic cut ended much farther from the label and the grooves to the naked eye looked very conservative.
I still got to Master "Houses of the Holy" later on, no skipping problems with that as far as I know!
I hope this clears this up for you.
All my best,
Bob Ludwig
THE FAMOUS LUDWIG HOT MIX IS THE DEFINITE VERSION OF THIS CLASSIC ALBUM. AFTER, THE MAJORITY WERE SENT OVER TO ATLANTIC FOR A COMPLETE REDO AS THIS ORIGINAL PRESSING SOUNDED SO GOOD IT WAS PLAYED CONSTANTLY MOSTLY ON WORN CARTRIDGES AND LOUD SPEAKERS. HENCE, IT IS AS RARE AS HEN'S TEETH TO FIND ONE IN EXCELLENT CONDITION AS THEY WERE SO GOOD AND PLAYED TO DEATH! THIS IS A COPY SIMULAR TO THOSE ENJOYED BACK IN THE 60'S, YES, IT HAS THE USUAL SCRATCHES AND HAS THE USUAL SURFACE NOISE HEARD ON WELL PLAYED RECORDS, HOWEVER, IT STILL SOUNDS GREAT AND CANNOT BE COMPARED TO THE USUAL EVERYDAY SOFT MIX COPY FOR SALE. THE VINYL IS VG SHOWING HAIRLINES AND THIN SCRATCHES SOME FELT AS SEEN ON VERY SHINY VINYL UNDER BRIGHT LIGHTS - PLAYS VERY STRONG WITH USUAL SURFACE NOISE
THE VERY HEAVYWEIGHT MATT JACKET- IS IN VG+ CONDITION - IT SHOWS NO SPLITS OR PRICE NAME LABELS TO JACKET - NO NAMES - NO RING WEAR NOTICEABLE - IT HAS CARD DAMAGE TO FRONT AND BUMPING TO EDGES AND CORNERS
SPINE IS VERY READABLE
(SEE PHOTOS)
THE LABELS ARE IN EXCELLENT SHAPE WITH NORMAL SPINDLE MARKINGS SEEN
(SEE PHOTO)
A NICE RECORD RECOMMENDED
(SEE PHOTOS)
Some incredible songs on this 1967 album from composer Reid King who married the Brazilian sound with
popular music of that era to produce an album that should have really taken off then, but due to the strange
setup of Canterbury Records who were in business to lose money for a Mattel tax shelter, the album was allowed
to die on the vine by Canterbury when it started to take off with airplay and sales. Reid King went on to become
one of the foremost composers of contemporary music for the gut-string guitar.
FINALLY ONE LAST WORD RE HAIRLINES, IT IS ALMOST IMPOSSIBLE TO FIND ANY NON SEALED RECORD WITHOUT THEM, MANY HAD THEM FROM NEW. MOSTLY THEY ARE A RESULT OF STORAGE AND USE AND USUALLY HAVE LITTLE IMPACT ON THE SOUND QUALITY. THE SAME GOES FOR BACKGROUND NOISE, UNFORTUNATELY ALL RECORDS WILL HAVE SOME AND THIS VARIES AND REFLECTS THE PRESSING QUALITY.
Most records have production marks where someone touched or moved the vinyl while it was still semi-soft. These marks look like smudges, but are not scratches or "paper scuffs" and do not usually sound. Untouched vinyl from newly-opened records have these marks.
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Mint
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VG A Disc that has minor scratches, some can be felt with a fingernail and can be heard as surface noise but nothing to spoil the overall enjoyment play
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HIGHLY RECOMMENDED AND FULLY GUARANTEED
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