Michael Jackson RARE ORIGINAL ACETATE frm BAD no promo

$

325

. PLEASE NOTE: SHIPPING COST TO USA IS NOT USD 4.-, SEE FEES BELOW!

M ICHAEL  JACKSON

I   J U S T  C A N’T   S T O P  L O V I N G  Y O U

1987

f e a t u r i n g  o n  s i d e  " B "

S P A N I S H   V E R S I O N

MEGA RARE

STUDIO REFERENCE ACETATE DISC

from

FRANKFORD/WAYNE MASTERING STUDIOS, NY

1 6 9 7  B R O A D W A Y,  N E W  Y O R K,  N. Y.  1 0 0 1 9

2 1 2 - 5 8 2 - 5 4 7 3

OWN THE ORIGINAL ! ! !

 WHAT IS AN ACETATE?

I guess the best way to explain it would be like this: having an acetate for a song is almost like having the "negatives" for a photo. Acetates are extremely rare, and in some cases, are one-of-a-kind. An acetate disc is cut prior to the cutting of the master disc which will be sent off to the pressing plant where mass production of retail copies begin. The reference disc (or "acetate") allows the artist, producer, engineer, and other interested parties to check the quality of the tape-to-disc recording process and make any necessary changes to ensure that the audio fidelity of the master disc will be as close as possible to that of the original master tape. Even though referred to as an "acetate", it is essentially an aluminium disc coated with a fine film of nitro-celluolose lacquer with no acetate in it at all!

The surface is softer than vinyl, there is little to no background noise, and when it is played the sound is as close to the master tape as you will ever get.

So if you have an "acetate", you have a disc that was theoretically cut for the producer, engineer and artist to listen to.

Some acetate records have different mixes of a recording, rather than the released version. If you have a commercially-issued version of the recording on hand, you may want to compare the two records to see how they differ.  The alternate version may be one-of-a-kind, and the value is much higher than simply a released version on an acetate record.  Acetates are rare enough anyway, though, as there are usually ten or fewer copies made of them.

Due to their rarity, some acetates can command high prices at auction. Brian Epstein's collection of Beatles acetates fetched between $1,000 and $10,000 per disc.  An acetate from The Velvet Underground, containing music that would later appear on their first album, The Velvet Underground & Nico, sold on eBay in 2006 for  $25,200.

Tom Steele started Frankford/Wayne's mastering operations in 1966. There, he gained a firm footing in the rootsy music that endures today, and soon after, he opened his own facility nearby. It was at Frankford/Wayne that the heroes of East Coast soul, including the O'Jays, Teddy Pendergrass and Lou Rawls, among many others, came for their mastering. In 1973, Steele opened a branch of Frankford/Wayne in Manhattan, which is now home base. Today's Frankford/Wayne facility is a serendipitous combination of the facility's heritage and the pro audio industry's cutting edge.

Frankford/Wayne has established itself as the premier mastering facility specializing in urban music, and regularly masters for the leaders in rap, hip hop, dance and house, such as Dr. Dre, Erykah Badu, Lost Boyz and Bone Thugs. But the staff covers all genres, with work for artists such as Elton John, Michael Jackson and Deborah Gibson. "Rock, pop, gospel, even Irish clogging music–we've seen and heard and done it all here," muses Tracy Steele, daughter of Frankford/Wayne's founder and the facility's general manager.

Frankford/Wayne's expertise has also made it one of the leading facilities in the world for vinyl mastering. Artists and producers from Tokyo to London, and all points in between, rely on Frankford/Wayne as the definitive mastering solution.

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RECORD AND COVER IN NM - MINT CONDITION !

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