Pennyroyal 3 - Iberofon S.A.

Parts of the information received about the Iberofon and Eurogram pressing plants in Spain sound quite strange and unusual compared to industry standards at the time, so the veracity of all the information presented on these two pages cannot be confirmed. For the time being the information is still presented, but please be critical.

Iberofon was founded in 1959, and had evolved into a complete mastering studio, plate processing plant, and manufacturer of vinyl records by 1963. Cassette production started by the end of the 1960's. Ibermemory, a daughter-company for production of CDs, was formed in the 1980's. Sonopress entered as 49% owners of Ibermemory in 1993, forming Sonopress Ibermemory S.A. Vinyl manufacturing was discontinued shortly after. Later Iberofon became a manufacturer of various plastic parts, both in Spain and in the Czech Republic.

Matrix codes

According to an Iberofon employee, The Spanish Nirvana vinyl releases were pressed by either Iberofon or Eurogram [1]. The records pressed by Iberofon were usually cut using direct metal mastering (DMM) [1] and followed the pattern below, with Nevermind (GEF 24425 (5C)) and Smells Like Teen Spirit 7" (GES 19050 (1A)) as examples, respectively:

Side A
: GEF-24425-A 1N³-DMM
Side B
: GEF-24425-B 1N³-DMM

1. Nevermind side B matrix code

Side A
: GES 19050-A 1N³DMI
Side B
: GES 19050-B-1N³DMI

2. Smells Like Teen Spirit 7" side B matrix code

The matrix codes were handwritten on the copper mothers and appear semi-deep and smooth, as can be seen in images 1 and 2.

According to the Iberofon employee, the "N³" part should refer to the number of the cut, but that would mean that all the Nirvana records had to be cut three times to be successfull. It seems the "1" preceding it is the number of the cut, while "N³" could refer to the lathe used. Iberofon used Neumann lathes [1], so it could refer to a specific lathe but that is speculation. "N¹" and "N²" have also been found [2], but not on any Nirvana releases.

Some records cut using direct metal mastering have "DMM" and some have "DMI". The difference is not understood. The Iberofon employee said there was no difference between the two, but it could be used to identify what type of record they cut [1]. "DMI" was most often used for singles because the machine could cut 7" and 45 rpm 12" records in "automatic mode" [1], which seems to be mostly true judging by the Nirvana singles which have been found, but In Utero (GEF-24536) also has "DMI" written. This is where the information starts to become strange, as there are not really different "modes" on lathes [3], but perhaps it could refer to some setting such as using automatic pitch control to optimize land (the space between grooves) if they had the Neumann VMS 80 lathe. Other major settings on a Neumann lathe refers to record size, rpm, and cutting at half speed [4], but considering the Nirvana records which have been found there is no such pattern. Other actions available to the operator such as variable groove depth for lead-in, lead-out, or marker (the space between songs), marker width, or adding land to avoid groove echo [4] are not anything that is important enough to affect the matrix codes. The language barrier could be an issue here as the response regarding this was unclear, however it should have made more sense considering he claimed to be responsible for the Neumann lathe since 1978.

Eurogram often pressed records for Iberofon when they were busy. Iberofon cut lacquers, occasionally processed metal plates, and printed labels for Eurogram. The records pressed by Eurogram started with "850" or "EUR" in the matrix codes. [1] More information about these pressings can be found on the Eurogram page.

Test pressings

Usually, the first five copies pressed with each set of stampers were used to test the quality of the parts at the pressing plant. White label test pressings were sent to the record label if requested. If not, these test pressings were pressed with regular labels and distributed to the Iberofon employees for free. [1]

According to the Iberofon employee, they also often made "test pressings" requested by the record labels and not directly linked to the production of a specific record. They were used to test the quality of the sound recordings themselves and to play at release parties or similar events. Iberofon was frequently used as a mastering studio for this purpose. [1]

In many cases they just produced lacquers instead of pressed vinyl records for these purposes, or acetates as they incorrectly called them. They cut four 10" lacquers (7" records are cut on 10" lacquers [3]) with Smells Like Teen Spirit and a few other songs. These were never returned to Iberofon. They also cut a double sided 12" lacquer set for a release party, with Smells Like Teen Spirit, In Bloom, Come As You Are, and Breed on side A, and Lithium, Polly, Drain You, Something In The Way on side B. There were no matrix codes on these lacquers because they were not meant for production, just for the record label to listen to the recording or play at the release party. [1]

Apparently proper vinyl pressings were also requested, and because of these requests Iberofon bought a high pressure pressing machine. It was completely different to the medium pressure machines used for commercial pressings, so adjustments had to be made. For example it had a metal tube they adjusted to be of similar size to a jukebox 7" spindle hole, but it was not exact. Labels could not be pressed onto the records, because they would have burned up in the process, and the records pressed on this machine were thicker than normal. This machine was not useful to press large quantities, but it was supposedly a high definition press which resulted in higher sound quality. [1]

Further according to the Iberofon employee, if a record made on this machine was accepted for production, the stamper plates would still fit perfectly in regular pressing machines like Toolex Alpha, where the spindle holes would also be centered correctly because they were punched out in the pressing process. [1]

There are several aspects of this that makes no sense. It sounds excessive that a record label would request just a handful of vinyl pressings of something that was not necessarily meant for production, when just a few lacquer cuts would suffice. To go through plating and pressing processes for a few records is time-consuming and expensive. Records are always pressed with small spindle holes, and large spindle holes are punched out using the small hole as a reference if desired [3]. Why go through the trouble of buying a machine that had to be modified at all? It sounds like it would have been a lot simpler to purchase an additional normal vinyl press if they needed more capacity, but perhaps this was some kind of machine they got cheap. If it is fabrication, this unusual pressing machine is a very elaborate story to come up with to explain the existence of the Come As You Are/ Drain You (live) 7" shown below, which was supposedly pressed on this machine.

Come As You Are/ Drain You (live) 7"

This thick, black vinyl with white adhesive paper labels which can be seen in images 3-5 was pressed on the high pressure pressing machine described above. It was supposedly made by Iberofon as a preview test pressing for DGC. The matrix codes do not follow the usual pattern for Iberofon pressings for production. Supposedly this was not included as it was just a preview for the record label. [1]

The 7" has Come As You Are on side A and Drain You (live) on side B, with the following matrix codes:

Side A
: GES 19065 A1
Side B
: GES 19065 B1

Ten copies were made, and all were returned to Iberofon for recycling. The Iberofon employee kept one copy and the remaining nine were recycled. This was rejected for release by DGC, and they decided on Endless, Nameless on side B instead. [1] The retail singles with catalog number GES 19065 (1A) were later pressed by Eurogram.

3. Come As You Are/ Drain You (live) side A

4. Come As You Are/ Drain You (live) vinyl thickness

5. Come As You Are/ Drain You (live) side A and B matrix codes

The matrix codes shown in image 5 are very rough, as if written by a child. Presumably they were written without using the proper equipment to rest your hand while engraving matrix codes into lacquers or copper mothers.

Because of the non-standard matrix codes and the unusual pressing story, the legitimacy of this pressing cannot be confirmed. It sounds unnecessary to process metal plates just for record label executives to listen to. As mentioned before, plates could be used in regular pressing machines for mass production if needed, but considering the incomplete matrix codes they were probably never intended for that, assuming the record is legit. The Iberofon employee mentioned something unclear about the full matrix numbers were only added after a test pressing had been accepted for production [1], but it seems to only apply for the "requested test pressings" made on the high pressure machine and not records for actual production. If not, it is extremely strange and against the normal way of operating.

Come As You Are production tape

The Iberofon employee also had the tape used for production of Come As You Are, complete in box and with a sheet of instructions, as seen in images 6-8.

6. Come As You Are tape box

7. Come As You Are tape reel

8. Come As You Are tape instructions

The following is a Google Translate translation of the attached instructions letter:

Nirvana
Come As You Are
Side A
Single at 45 rpm
GES-19065
Return to America Ave. for approval
1 cut in metal 1 metal plate per side
10 copies in 2 mm hard plastic without marks
Save metal (plates) for mass-production
Javier, when the copies are ready, send them to Mr. Jose Luis Barca (Tel: 541.30.29) so that he can give his approval, when they notify you of their validity you can start the mass production, the quantity is 6000 copies, it is necessary to keep the original metal plates in case it is necessary to make more copies, we send the covers to you together with the approval and the SGAE sheet.
For any clarification or query you can call me at 541.33.36
Sincerly,
Eva Rico Montesola

Avenida de America is a street in Madrid. Eurogram had an office there, but it is not specified if that is where the records should be sent to. It could be the record label or Iberofon or another related party also had an office there. SGAE is as known the performing rights organization in Spain.

The contents of the tape has not been played back to verify that it is in fact Come As You Are.

Quantities

The quantities pressed of course depended on the success of the artist. Nirvana were marked as A0, which meant about 30,000 7" singles, 120,000 12" singles, and more than 300,000 albums were pressed. That is not including repressings. Repressings were often done at Eurogram, as with the Nevermind LP. However, sometimes a lot of records were also returned to Iberofon for recycling. It was common for record labels to press 30,000 singles and return 10,000, as it somehow saved them taxes. Sometimes posters or t-shirts were included as limited edition treats, often the first 20,000 or so records would have this. [1]

Many sets of stampers can be created from one set of mothers, and Iberofon used to press 8000 records from each pair of stampers [1]. That sounds highly unlikely, the stampers would show signs of wear such as scuff marks shooting out from underneath the label and the records would sound worn out with excessive surface noise, or the stampers would simply break [3]. It is eight times as many as recommended by for example Erika Records and Rainbo Records. According to those pressing plants, the quality starts to detoriate after more than 1000-1200 records [5,6]. The Kill Rock Stars 12" compilation pressing plates cracked after pressing 1000 records. The cracked plates were later sold on eBay.

Cassettes

Iberofon also manufactured cassettes. Although no regular cassettes have been found yet, the Iberofon employee said they usually made cassettes for every vinyl release, and remembered playing his Nevermind cassette in his car. There is a four-track promo cassette of From The Muddy Banks Of The Wishkah which was included with Ragazza, a girls' magazine. Normally they manufactured 3-10,000 cassettes for each issue of the magazine. [1]

Veracity of information

As mentioned in the introduction and pointed out at specific points on this page, a lot of the information presented here is strange when compared to standard industry practices in other countries. The information and the items presented on this page cannot be verified. If one item or one piece of information is false, then everyhing is. As also mentioned, it would be an elaborate hoax to come up with this strange pressing machine just to explain this white label pressing. The seller did have financial motivation as the items presented here were sold on eBay, but there was only one copy of each item. It would have been a lot of work to cut a lacquer, make metal plates, and press one single to sell, even if it sold for several hundred dollars. There was also a lot of information that seemed correct and showed knowledge of the industry. He did sound trustworthy and genuine, but the best scammers usually do. So, until further notice, the information is presented here as given.

Plating signature

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