If you stick to the general rule of original pressings from the country of original, you have the biggest change of getting the best sound. Collectors know this, which is why these pressings are usually the most sought after and expensive.
First pressings may have great snob appeal, but the smart audiophile collector should look for second pressings that are often very close in sound to the original and cost much less. Good example is Blue Note. Original label pressings made by Plastylite (identified by the ’ear’ in the dead wax) cost a small fortune these days, but slightly later new york or liberty pressings (without the ’ear’) sound almost identical. At least as long as they were mastered by engineer Rudy van Gelder (identified by ’RVG’ or ’vangelder’ stamped in the deadwax). These pressings can still be found at reasonable prices. This high quality ’second pressing’ option applies to many other labels as well.
With this strategy you can find your own hot pressings, which is much more fun than having someone else do it for you.
First pressings may have great snob appeal, but the smart audiophile collector should look for second pressings that are often very close in sound to the original and cost much less. Good example is Blue Note. Original label pressings made by Plastylite (identified by the ’ear’ in the dead wax) cost a small fortune these days, but slightly later new york or liberty pressings (without the ’ear’) sound almost identical. At least as long as they were mastered by engineer Rudy van Gelder (identified by ’RVG’ or ’vangelder’ stamped in the deadwax). These pressings can still be found at reasonable prices. This high quality ’second pressing’ option applies to many other labels as well.
With this strategy you can find your own hot pressings, which is much more fun than having someone else do it for you.