Decca UK History

Now we need to investigate the vinyl, especially in the dead wax, that empty space between the engraved part and the label.

Decca ZAL5036 1E London ZAL5036 1E King ZAL5036 1E JB ZAL5036 4W 140gr 150gr 205gr 130gr

In the runout groove (dead wax), looking at the label upright, the alphanumeric string ZAL 5036 1E is visible at the 6 o'clock position. "ZAL 5036" represents the progressive mastering sequence number assigned to the master tape for Side B, whereas "ZAL 5035" designates the master tape for Side A. The prefix reveals the format: ZAL denotes a stereophonic recording, while ARL indicates a monophonic production. The suffix 1E specifies the first lacquer cut executed by mastering engineer Stan Goodall, who was assigned the letter code "E."

To better illustrate the process: once tracking and mixing are complete, the balance engineer delivers the final two-channel master tapes—one for each vinyl side—to the mastering room. In this instance, Kenneth Wilkinson handed the two master tapes (ZAL 5035 and ZAL 5036) over to Stan Goodall. Goodall proceeded to cut the ZAL 5036 tape onto a lacquer blank. The results met Decca's strict quality thresholds on the first attempt, meaning this lacquer was approved for production and stamped into the dead wax as 1E (the first successful cut by engineer "E").

The same procedure was initiated for Side A using the ZAL 5035 master tape, but an issue arose—either during the initial lacquer cut itself or during the subsequent electroplating phase at the factory. Consequently, the first lacquer (ZAL 5035 1E) had to be rejected. Goodall was forced to cut a second lacquer blank, which successfully passed inspection. This second attempt was marked as 2E. As a result, a true first pressing of this specific vinyl release will always bear the mixed matrix codes ZAL 5035 2E on Side A and ZAL 5036 1E on Side B.1E

We have seen that the E code corresponds to Stan Goodall. Here is the list of the other technicians involved in cutting the lacquers, noting that B (Ron Mason) and C (Trevor Fletcher) have done much less work.

What engineering tools did mastering technicians actually have at their disposal to execute these complex lacquer cuts? At the dawn of the stereo era, Decca utilized the Neumann AM-32 disc-cutting lathe. Unlike older machinery that maintained a fixed groove pitch, the AM-32 featured an advanced variable-pitch system governed directly by the amplitude of the incoming audio signal. This was achieved by modifying the source tape transport to include a specialized "preview" playback head. Positioned upstream from the primary playback head, the preview head read the audio signal ahead of time and fed it into the lathe’s drive mechanism. This allowed the lathe to dynamically expand or contract the groove spacing exactly one-half rotation before the cutting stylus received the same audio signal from the main playback head, maximizing available space on the vinyl surface. In 1958, the Neumann ZS 90/45 stereo cutterhead arrived. Co-developed with Teldec—a prominent joint venture between British Decca and German Telefunken—this hardware combined vertical and lateral modulation into a single, V-shaped groove where each wall was oriented at a precise 45-degree angle. To drive the physical stylus, the ZS 90/45 relied on Neumann's proprietary VG1 cutting electronics, powered by a pair of 60-watt vacuum tube power amplifiers (Neumann LV 60), utilizing EL156 tubes in a push-pull configuration.

Why is it so critical for a collector to know exactly which lathe and cutterhead were used during the lacquering stage? Simply put, the mechanical nature of the cutterhead—coupled with the meticulousness of its maintenance—is one of the most defining factors influencing the sonic translation from tape to vinyl. Between 1958 and 1968, the era dominated by the Neumann AM-32 lathe and ZS 90/45 cutterhead combination, all stereophonic Decca discs were cut using a specialized process known as half-speed mastering. During a half-speed mastering session, both the playback deck running the master tape and the cutting lathe are operated at exactly half their normal operating speeds. For example, a master tape originally tracked at 30 inches per second (ips) is slowed down to 15 ips, while the cutting lathe is dropped from 33⅓ RPM to 16⅔ RPM. Decca implemented half-speed cutting out of sheer technical necessity: the ZS 90/45 cutterhead suffered from a relatively low high-frequency resonance peak, which occurred just above 8kHz. By cutting at half speed, engineers effectively doubled the head's high-frequency threshold, extending the upper limit to a more acceptable 16kHz. However, this mechanical workaround introduced a distinct set of engineering challenges: Low-Frequency Anomalies: Halving the speed compromised low-frequency behavior and tracking. Tape Head response: The frequency response of professional playback heads behaves differently at 15 ips compared to 30 ips. RIAA Equalization Shifts: The standard RIAA equalization curve had to be mathematically altered and customized during the lacquer cut to compensate for the halved frequencies—a highly complex task to execute accurately with analog electronics. Blind Mastering: Because the music was playing back an octave lower and at half the tempo, mastering engineers could not reliably monitor what they were actively cutting, making real-time sonic adjustments nearly impossible. Compounding these speed adjustments was Decca's proprietary approach to pre-emphasis. Renowned mastering engineer Steve Hoffman notes:"Decca boosted the treble when recording and reduced it around 5 dB at 8k or so when mastering in the old days to reduce tape hiss (prior to the adoption of the Dolby A noise reduction system in 1965). If a vintage British Decca recording is remastered today, it must be processed through a dedicated Decca EQ compensation box in the playback circuit; otherwise, the transfer will sound overwhelmingly bright and shrill." Do these severe technical limitations imply that stereo lacquers produced between 1958 and 1968 were sonically inferior to later cuts? Absolutely not.The undisputed "Golden Age" of stereo vinyl was forged entirely on the back of the AM-32 lathe, the ZS 90/45 cutterhead, and the LV60 tube amplifiers. The highly prized cuts engineered by Ted Burkett—perhaps Decca's most famous mastering technician, identified by the letter G in the dead wax—were largely produced using this exact vintage hardware, long before the solid-state Neumann SX-68 cutterhead was ever deployed. To help collectors differentiate between a vintage ZS 90/45 tube cut and a later Neumann SX-68 solid-state cut, we must look to the runout grooves. A common point of confusion among audiophiles online is the appearance of a "GR" stamping. The attached image illustrates a clear example of this "GR" dead wax inscription for visual reference.To clarify: records bearing the "GR" code were indeed mastered by Ted Burkett (G), but the accompanying R indicates a later recut with specific mastering chain variation.

The "R" does indeed stand for "Remastered," but it specifically indicates a hardware transition: it denotes that a new lacquer was cut using the solid-state Neumann SX-68 cutterhead for a title that had previously been mastered using the older tube-era Teldec ZS 90/45 head. Because of this specific workflow, a collector will never encounter a "1GR" matrix code. The "R" modifier was only appended when a legacy master tape, originally cut on the Teldec system, was brought back to the mastering suite to be recut on the Neumann SX-68 hardware. Conversely, if a master tape was newly recorded and delivered after the SX-68 had already been fully integrated into Decca's mastering chain, the "R" was entirely unnecessary, and the standard numerical sequence sufficed. This hypothesis is firmly validated by two undeniable archival criteria found on every single copy bearing the "GR" inscription:

1. Reissue Status: Every "GR" stamped record is a documented reissue, never an original first pressing.

2. Chronological Window: The physical manufacturing dates of these specific pressings—accurately pinpointed by their label variations and UK purchase tax codes—all cluster uniformly between 1969 and 1972, perfectly aligning with Decca's historical phase-out of the old Teldec heads.

Here are some examples for illustrative purposes.

Verdi La forza del destino box 4 LP Molinari-Pradelli Del Monaco Tebaldi:

London OSA 1405 Blueback ZAL 2818 1K ZAL 2819 1K first pressing UK 1958

King records 7034 ZAL 2818 1K ZAL 2819 5G second pressing JP 1968

Decca SXL 2069 WB3 ZAL 2818 4GR ZAL 2819 12GR late pressing UK 1970

Puccini Tosca box 2 LP Maazel Nilsson Corelli

Decca SET 341 WB2 ZAL 7724 2G ZAL 7725 1G first pressing UK 1967

King records 7025 ZAL 7724 5G ZAL 7725 2G first pressing JP 1967

London OSA 1267 ZAL 7724 8GR ZAL 7725 7GR late pressing UK

In summary, the transition to the Neumann SX-68 cutterhead followed a highly specific industrial pattern. For newly captured recordings, the SX-68 was implemented as the new standard operating hardware without any overt indication in the dead wax or on the packaging. However, when legacy titles originally cut on the Teldec ZS 90/45 required new stampers for a reissue, technicians recut the lacquers on the modern Neumann system, appending the "R" modifier to their mastering initials—most frequently seen alongside Ted Burkett’s iconic "G" stamp. This matrix modification occurred with significantly higher frequency on operatic releases due to distinct catalog economics:

• Opera Box Sets: Given the massive financial investment and complexity required to stage and record full operas, Decca rarely funded new productions of the same piece. Instead, they continually repressed existing flagship recordings to meet demand, triggering the need for Neumann SX-68 recuts (and the subsequent "R" stamps).

• Symphonic and Orchestral Repertoire: For standalone symphonies and concertos, Decca found it far more profitable to cut new recordings with contemporary performers rather than continuously reissuing older editions. As a result, vintage orchestral tapes were rarely brought back to the lathe during this specific transition period.

It is crucial to note that these observations apply specifically to the premium SXL series. When Decca launched its budget and mid-priced reissue series in the early 1970s—such as Ace of Diamonds (SDD), Jubilee (JB), and SPA—the Neumann SX-68 (and later the SX-74) had already become the absolute baseline standard across all mastering rooms. Consequently, these later budget pressings routinely utilized solid-state cuts as a matter of course, bypassing the need to include the transitional "R" marker in their dead wax.

In short, synthesizing the extensive documentation, archival records, and interviews with Decca recording engineers, mastering technicians, and producers, a clear picture emerges of the early stereo era: it was a time when engineers had to continuously innovate, inventing creative solutions and technical workarounds to overcome the limitations of their immature, pioneering equipment. The fact that they not only succeeded, but that their records—nearly seventy years later—remain the absolute gold standard for acoustic fidelity, is a definitive testament to their great capabilities.

When all of these variable factors, hidden pre-emphasis tweaks, and mechanical half-speed adjustments are fully considered, the modern concept of a rigid, clinical adherence to a standardized RIAA equalization curve becomes essentially meaningless.

A comprehensive analysis of how these technological shifts altered the distinct sonic signatures of Decca and King Records pressings over time will be explored in depth in a dedicated chapter.

Let's now look at the dead wax of the Decca SXL at 12 o'clock and read the engraving KT while on the London CS we read ET. These are two of several codes of what is generally known as the tax code ( T stands for tax ) and indicates the period in which the vinyl was printed. In reality this code should be better defined (and at the time it was better known) as RPM (Retail Price Maintenance) and indicated the selling price that was controlled by each of the record manufacturers. This distinction is important (and for this information I have to thank Rob from rarityvalue) because not all the codes were used by all the producers and therefore it can happen to find a record with a code older than the pressing period (For example Decca in 1960/61 did not change the selling prices and continued to use the ET code from 1959)

The table below highlights the codes used from 1959 to 1973 which are valid for all record producers in UK, including both the Decca and the London since they were printed in the same factory in the UK.

It cannot be stated with absolute certainty, but records pressed with a code prior to JT (Nov 68) should use lacquers cut with the ZS 90/45 cutterhead.

This table courtesy of https://londonjazzcollector.wordpress.com/

Decca KT code London ET code

After looking at 6 and 12 o'clock, we try to look at 9 o'clock and we find the engraved writing 1. That is the number of the "mother", information of relative utility if we do not know what the "mother" is. So let's take a step back and return to Stan Goodall who has just finished cutting the lacquer ZAL5036 1E; this lacquer (a 14" diameter aluminum disc covered in lacquer) constitutes a "positive" and could be played on a turntable if it were not so delicate. This lacquer will be used to obtain, through a plating process, a nickel-coated copy called "father" or "master" which will constitute a "negative". Since it is so delicate, from one lacquer you get only one father. The latter could be used to press records but generally, always through a plating process, is used to produce more "mothers". Deriving from a negative, the mother is a positive like the lacquer and could be played on a turntable but instead it will be used, through the final plating process, to obtain the "stampers" which will be negatives intended to press the records. So, to recap: from a lacquer (positive) you get only one father (negative) from which you get multiple mothers (positive) and from each mother you get multiple stampers (negative)..The above method of creating a stamper is known as a three-step plating process and it is alternative to the so called one step processing where the father is used as the stamper. The one step system has never been adopted by the major record companies because, although it allows for better quality, it limits the quantity of copies to a few hundred for each lacquer and is therefore absolutely unsuitable for medium and large runs

At this point we just have to look at 6 o'clock, where we find the letter B on the Decca SXL and the letter C on the London CS. These letters are part of the so-called Buckingham code used by Decca to number the stampers; with this code the 10 letters that make up the word Buckingham replace the numbers from 1 to 10. Therefore, B corresponds to the number 1, M corresponds to 10, and to indicate the eleventh stamp, BB is used.

Now let's analyze the labels. The first ones are called wide band because there is the silver band with the writing "Full Frequency Stereophonic Sound" just above the spindle hole . The first wide band label appeared in 1958 and it is the so-called ED1. It has "Original Recording by" written between 9 & 12 o'clock, round the edge of the label and has a deep groove in the vinyl, under the label, about 1cm from the outer edge. This deep groove is obviously caused by the pressing machine and gives us a rough indication of the period in which the record was printed. The last ED1s were printed in 1965/66 but some reissues used these labels, which were available as remnants, until 1968

The ED2 version appears in the years 1965/66 and ends in 1969. It is substantially the same as the ED1 version and the main difference is the writing "Made in England by" that replaces "Original recording by ". The ED2 version the deep groove remains

The ED3 version appears in 1969 and ends in 1970. It is substantially the same as the ED2 version and the only difference is that it does not have the deep groove.

The ED4 version is the first so-called " narrow band label ". It takes this name because the silver band saying “Full Frequency Stereophonic Sound” is narrower than the wide band on ED1, ED2, ED3. It appears in 1970 and will end in 1979 when Decca will stop producing records in the UK and will move production to Holland.

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