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RCA Model 5 Serial Numbers

You might need to find the model number or serial number of your Vizio TV if you plan on buying an extended warranty for it or if you need to contact Vizio’s technical support phone line. Amazon.com: RCA LED42C45RQ TV REMOTE CONTROL: Home Audio. Please check the picture of the item carefully to ensure that this is the item you need. Note: We keep track of our items by the serial numbers or special markings. I need the serial number for an RCA 22' tv with DVD model number LED22B45RQD My daughter has the tv but I can't get - RCA Televison & Video question Search Fixya Press enter to search.

(Information in this table was from Ed Reitan and John Folsom and was culled from various spots in Pete Deksnis’ Web site on the CT-100) Update 8 May 2008 (#672, #697); 1 Jan 2010 and 7/23 Feb 2013 (#538)

In response to numerous queries, I hereby bring forth information on the significance behind the Byzantine master serial number codes used by RCA Victor, its sublabels and custom clients beginning in 1942 and continuing through the 1980's and possibly into the early '90's. This came from my research in the mid-1990's at the then-BMG Music archives, plus the guide to codes printed in Jerry Osborne's Presleyana books and Ted Fagan's writings on Victor codes. In all three stages, there were on many occasions recyclings of different characters to signify something else; these will be encompassed accordingly. Note that in RCA parlance, 'Standard' indicates coarse groove (i.e. On 78's) and 'Fine' indicates microgroove (for 45's and LP's).

1942 - 54 This encompasses the beginnings of this series, plus a revision dated August 15, 1951 upon the adoption of new characters to account for the 45 RPM and LP configurations. Codes from the 1951 revision and after will be indicated by an asterisk (. ). First Character - Decade: - O = 1900 (sometimes shown as 0) - A = 1910 - B = 1920 - C = 1930 - D = 1940 - E = 1950 Second Character - Year: - 0 - 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 9 Third Character - Category: - A = Bluebird (1942-49) / Country & Western (1951?). B = Bluebird (c.

1951). C = Custom - Recorded by RCA - D = Camden (1954).

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E = Educational - F = Foreign - Recorded in U.S.A. H = Groove label (1/18/54). J = Custom (unknown) (c.

1954). K = Custom - Tape furnished to RCA. L = Red Seal EP (6/6/52-1953) / 'X' Label (1/6/54). M = V-Disc (1943) / Thesaurus - P = Victor (Popular) EP (6/6/1952-1953) - Q = Custom - Lacquer furnished to RCA - R = Red Seal - S = Slide Film - T = V-Disc (1944-47) / Children's (1954) - V = Victor (Popular) - X = Foreign - Recorded outside U.S.A. I know that Italy kept with the 1955-era formula for dating up to 1969 (Uxxx). However, it would appear that in Germany, the 'W' would have fallen in line with 1968, as one 1971 release -had 'A' as the first character (AHPA = 1971, German, Popular, 7' - 45 RPM - Stereo). By contrast, some countries used a whole 'nother coding, such as the Spanish release of the same record:, whose matrix prefix was 3G1ZW.

I presume 3 in the first character would have been Spain, G the 1970's decade and 1 the year (who knows what Z constituted, as that 1955-62 list had 'R' signifying Spain). As well, this German had matrix prefices of WHPW for one side and XHPW for the other, signifying recording dates of 1968 and 1969, respectively. So the German Lanza albums would have been 1968. Now I've got more questions then before. Why are the codes from 1963 to 1979 listed for the numbering system that was only in use from 1955 - 62?

Are these hypothethical numbers that were planned to be used but then weren't used because of the switch the new numbering scheme? Coming back to the German Lanza. WHPY in the II numbering scheme W - 1971 H - Germany P - Popular Y - 12' - 33⅓ RPM - Stereo WHPY in the III numbering scheme W - 1968 H - H = Hugo & Luigi Productions (1963-64) / Chelsea (1972-74) - does not apply as different time period P - 10' - 33⅓ RPM - not true Y - no entry So while the II numbering scheme would match perfectly, the III one doesn't match at all.

Only the year is a potential match. Is it possible that III only applies to the US. An internationally there would be a IIb, taking most of the parts of the II, but shifting the letters of the first character?

I know, confusing, innit? Some foreign RCA labels went by their own rules with regard to dating. The 'what if this system continued past 1962' scenario was actually drawn up by RCA on their 10 Dec 1954 memo that explained the 1955 codes; that memo actually did go up to 1979 in terms of year dating, though only a small fraction, again, may've used part of it. Dec 1962 codes adopted in the wake of Dynagroove was supposed to supersede all that. My advice: on some countries after 1962, check the matrix numbers very carefully, then draw your own conclusions. The other site from which I referred you to the Peggy March single, viz Germany, is one start. This is one of the many landmines in dealing with such majors as RCA Victor.

Now, as far as the 9', 16⅔ RPM records are concerned, here are but a few examples by year: (Basic, 1968) / (Mood, 1968) (Basic, 1969) / (Mood, 1969) (1970) (1973) (Note that the second character in the matrix prefix was 5 C5AM-as RCA's Chicago studios closed in 1972, they had to go to another disc mastering house, while the 2000 block of numbers assigned to Chicago would be retained here.) In another post, I'll try to decipher the various matrix number blocks by city and year, with post-1963 coming up first. As promised, I am doing a guide to blocks of matrix numbers by studio. I am starting with 1963 as it was the first full year of the new system, with 'P' signifying that year. (I will be going back and forth in time as time goes on.) This should be of aid to Discogs members of where a record with RCA Custom numbers was mastered or at least where the numbers came from. Unless otherwise indicated (namely in New York through 1969), the 3, 4 and 5 numbers are applicable to all custom jobs. It also would serve as an indicator as to how many or how little blocks were assigned to each studio in one year. A new character in the post-1963 character series has been found, apparently designating EP - Mono - Standard (coarse groove) - 'L' in the fourth character, as in: W4LL-3078 / 9 - on a 7' 33⅓ RPM record from 1968, put out by The Jam Handy Organization (see ).

It is duly entered into the first post in this thread. But anyway, to get back to what was supposed to be contended with, which was 1962 - the last year of the 'New Orthophonic' set of codes being used for matrix numbers within RCA and their custom division. This may or may not be complete (again, Reader's Digest LP's aren't accounted for), but from what I've been gathering, here goes: N#Ox-: - 0100's - New York (N7Ox and N8Ox only) - 0500's - Chicago - 1000's - Nashville - 1300's - New York (N9Ox only; goes up to 2000 c.

Now for a look at 1964, the second year after adoption of new matrix codes. There may be some codes shown here that reflect releases of Reader's Digest box sets (which were frequently incorporated with Thesaurus jobs).

Now, as eagerly anticipated and promised, is the 1965 block of numbers, city by city. And now here is the first year of one of the more turbulent decades in history, the 1960's. Compared to the decade's end, things were considerably simpler at this point. Except at RCA, of course.

Now for perhaps the busiest year in RCA Custom's history, 1966. For the only time in its history, custom numbering blocks passed the 20,000 mark (to the point they went, over the course of the year, from T#xx to Tx#x to #Txx), with Hollywood, Chicago and even some Reader's Digest box sets going over the threshold. Kamen rider blade driver flash. This was one measure of how busy they were; the other was cited in, where it was noted the three pressing plants (in Rockaway, Indianapolis and Hollywood) were so busy they turned down LP accounts, including some work for, and farmed out some of their own LP pressings to in exchange for RCA pressing some and sublabel 45's.

But 1966 would be their absolute zenith; thereafter would be a gradual dip in their business, which accelerated as the years went. Now we turn our attention to 1959 - the first full year of stereo discs being made available to the public. In this year we saw the only known example of a 10' stereo LP in all the years of these codes in use. It was also around this time that some clients of RCA's began showing catalogue numbers (both LP and 45) indicating the locale of the client, structured as ###x-#### - in the 600's and 700's for those within a certain radius of the label's Nashville studios, and 800's and 900's for those within a certain radius of the Chicago studios. (New York and Hollywood did not have any releases with such a system.) As well, it was in 1959 that RCA established its own Hollywood studios (a.k.a.

'Music Center Of The World'), located at 1510 North Vine Street (within the grounds of NBC's old Sunset and Vine studios); prior thereto, and even as they were settling there, RCA rented studio space at Radio Recorders, indicated by RRx#Ox- (or RR-x#Ox-) prefices. Some numbers in the 1000 and 4900 blocks had this alternate prefix. Now, without further ado. Black Jack Wayne With Rose. & Cal Maddox - Gotta Travel On / What Makes Me Hang Around (45, numbers from 1000 Hollywood block, with RR-K8OW- prefix) I've added the label matrix numbers to that release.

Could I also add a Mastered At credit? This should be of aid to Discogs members of where a record with RCA Custom numbers was mastered or at least where the numbers came from. Or is it not 100% sure that the mastering was done there and it could just be that the number came from there but it was mastered somewhere else? 1000's - Hollywood - 1200's - New York (K7Ox and K8Ox only, also applicable to Thesaurus) does that mean Hollywood had numbers 1000 up to 1199 or only 1000 to 1099? Let me see if I can decipher your points. I've added the label matrix numbers to that release.

Could I also add a Mastered At credit? I don't know if they did the mastering, or if it was. If the lacquers were cut on a Scully lathe (with 8-pitch lead-in, 2-pitch lead-out and 32-pitch catch groove), then Radio Recorders did it. However, I must note that RCA's Hollywood studios, when at Vine from 1959 to '64, used a Neumann AM-32 lathe to cut mono lacquers. You might leave the mastering info blank if you're not too sure. I know I'd have to look at the record in order to ascertain that aspect.

quote=W.B. 1000's - Hollywood - 1200's - New York (K7Ox and K8Ox only, also applicable to Thesaurus) does that mean Hollywood had numbers 1000 up to 1199 or only 1000 to 1099?/quote Oh, Hollywood went right up to 1199 in this instance. As for RCA Custom numbers mastered somewhere else, that was what the '9' number in the second character from 1955-62, and '5' from 1963 on, would have applied to. Only New York, up to 1969, had distinctive numbering blocks from 7/8 pre-'62 or 3/4 post-'63.

Incidentally, on another site I've compiled the history and evolution of RCA Custom's numbers, and grouped them by recording 'hub': and. That should answer your questions as to how far numbering blocks went.

Also have compiled them for and. You might leave the mastering info blank if you're not too sure. I know I'd have to look at the record in order to ascertain that aspect. Ok, so it's not a blanket rule to add the studios, but a guide to get an idea where to look for and get a better understanding?! Does that mean Hollywood had numbers 1000 up to 1199 or only 1000 to 1099? Oh, Hollywood went right up to 1199 in this instance./quote ok, so it's always from the number to the left up to the number on the line below. Just trying to understand your info without having an intimate RCA knowledge.

And now we look at another watershed year in the history of RCA Custom, 1967. While their business didn't reach the fever pitch of 1966, they nonetheless, because of the issue of mono and stereo LP's, still had the business of allotments of numerous blocks by city, with realignment of matrix prefices after their blocks pass the 10,000 mark. But this would also be the last year they would do so - and for that matter, this was the last year that mono and stereo would be ubiquitous. 1967 was when stereo LP's began passing mono in sales, to the extent that by year's end the labels would begin phasing out production of mono albums, a process that continued well into the next year. Now to go to another turning point in the record industry: 1958. It was in the middle of the year that the industry first introduced the stereo disc, and by year's end that 78 RPM production would largely cease (though RCA would press some custom 78 jobs into the next year).

The addition of stereo led to an increase in fourth-letter characters to be used, some of which were reused from other formats as built up since the 1955 introduction of this phase of the custom matrix numbering system. NOTE: Some gaps abound, largely due to absence of numbering blocks from Hollywood. Now for another turning-point year in music, 1968. This was the year that the phaseout of mono albums was completed. But more important, it was a turning point for RCA Custom in the allocation of matrix number blocks by 'hub' or city.

New York was allocated the first block (0000- for lacquers mastered in-house and 2400- for lacquers furnished to them), followed by Chicago (2500- or 2600-), Nashville (6500-), Hollywood (8000-) and Reader's Digest box sets (9500-). In this year, two hubs - Nashville and Chicago - went over their limit, so the year ended with those two 'hubs' bearing Wx#x prefices - 0000's for Nashville (going up to 1200's) and 2500's for Chicago (up to midway through the 2700's).

As time went on, there would be tweaks to matrix number assignation, but this would basically be the standard for the next several years. As well, there began a steady decline in their business as began to lead the pack in the number of custom clients and overall business. New York - W3xx/W4xx-0000's - Samples: - (45) - (7' 33⅓ EP) - (LP, Mono) - (LP, Stereo) New York - W5xx-2400's - Samples: - (45) Chicago - W#xx-2500's/2600's - Samples: - (45) - (LP, Stereo) - (9', 16⅔ RPM, Mono) Nashville - W#xx-6500's - Samples: - (45) Hollywood - W#xx-8000's - Samples: - (45) Reader's Digest - W#xx-9500's - Samples: - (LP, Mono) - (LP, Stereo) - (LP, Stereo) Nashville - Wx#x-0000's - Samples: - (45) - (45) Chicago - Wx#x-2500's - Samples: - (45) Up next: 1957. 7 in that first character was very likely the code for Australia. (2 was for Italy.) The 'A1A1' must've been a first master/mold/stamper. And I noticed that, at the outset, RCA Australia used Scully lathes to cut their records. But some countries, until about 1958, were a little behind the 8 ball in terms of matrix number presentation.

Also, remember, many homegrown Canadian releases had 10x#xx numbers. But that all isn't as much about RCA Custom (whose codes were also used to some extent in Australia). Now we look at the year 1957. It was the last full year that 78 RPM records would be sold by all companies, and the last where all discs were mono only (or, in those days, 'Standard' groove for 78's and 'Fine' groove for LP's and 45's). It was in this year that RCA moved their Nashville studios from McGavock Street to 17th Avenue South, which became a landmark even though actual recording there ceased in early 1977. Now we turn our attention towards 1969. It was in that year that two of RCA's major studios, in two different cities, relocated to other parts of town.

First, in New York, their main offices and studios moved from their home of nearly four decades, 155 East 24th Street, to 1133 Avenue of the Americas (with the entrance to their recording studios around the block at 110 West 44th Street), and their Chicago studios moved from their base of operations since the 1930's, 445 North Lake Shore Drive in the Navy Pier section, to more modern facilities at 1 North Wacker Drive in 'The Loop' district; it was from there that many of 's hits of the period (from 'No Time' on) were recorded. For the most part, the allocation of Custom block numbers by city (a.k.a. Now comes 1956, the second full year of the 'New Orthophonic' system of matrix numbering, and the year 'Elvismania' hit in a big way. It would appear that Nashville began to position itself among the block of numbers being allotted over the year; such numbers would have had three digits in the numerals rather than four as with the other blocks. As not all blocks are accounted for (namely, Hollywood), there may be some gaps that other Discog'ers would likely fill in the blanks at a future time should they know of same. Now we shift our laser focus to 1970. In this year, there was a major tweaking in the allocation of some custom numbering blocks.

While '0000' remained with New York, and '9500' for Reader's Digest box sets, the start point for other blocks was altered thus: - 2000 - Chicago - 5500 - Nashville - 7500 - Hollywood It is a measure of how down RCA Custom's business had become at this point that none of these 'hubs' went over their allocated numbers (and indeed wouldn't until the end of 1977 when some Reader's Digest box sets bore matrix numbers with 'GR1S' prefices). Because of some quirks and turns, the next few years will be spotlighted as well. As well, this was the first full year that Z5xx jobs were integrated within the same number block as Z3xx and Z4xx jobs in New York. 1955 was yet another pivotal year in the history of RCA Custom. It was in this year that a new system of matrix number codes - reflective of the label's use of their 'New Orthophonic' High Fidelity system - first took effect (they can be found in the first post of this thread). For Custom releases, this meant a new procedure.

Whereas, in earlier years, if assigned matrix numbers passed 10,000, it would me mentioned on the label (i.e. E4-QH-10066), now if a number block passed 10,000, they would keep the four digits in the last four characters of the serial number but reverse the second and third characters (i.e. Hollywood is basically underrepresented because very few records pre-1959 are currently in the database, and in any case had a preceding 'RR' because at the time RCA rented Radio Recorders on the West Coast. Some blocks may or may not be Nashville, which was beginning to make some noise as a recording hub. As with all records pre-1958, all are mono. As promised, now we go to 1971.

This would be the last full year of operation of, as despite using most of their allotment of matrix number block (and such acts as The Guess Who recording), RCA number-crunchers were about to decide that that studio's contribution to overall profits fell sharply, a finding which would have severe repercussions over the next year. For that matter, for the most part Custom business likewise fell precipitously from its 1966 peak. Oddly, in New York, after reaching 0999, the next block they went to was 2000, almost duplicating the first few numbers in the Chicago block before the year was out. By year's end, Chicago got up to 5200; Nashville, to 6700; and Hollywood, to about 8300. New York - A#xx-0000's - Samples: - (45, Mono) - (45, Mono) - (45, Stereo) - (LP, Mono) - (LP, Mono) - (LP, Stereo) New York - A#xx-2000's - Samples: - (45, Mono) Chicago - A#xx-2000's - Samples: - (45, Mono) - (45, Stereo) - (LP, Stereo) - (LP, Stereo) - (LP, Stereo) Nashville - A#xx-5500's - Samples: - (45, Mono) - (LP, Mono) - (LP, Stereo) Hollywood - A#xx-7500's - Samples: - (45, Mono) - (LP, Stereo) Reader's Digest - A#xx-9500's - Samples: - (LP, Stereo) - (LP, Stereo) Next up: 1954. Now to 1954, the last year of the 'old' matrix prefix codes before the revamping which was drafted up in December for implementation starting the next year. It was also the first year since 1951 that over 10,000 numbers were used (and in those days, there really were five digits in such numbers when that happened).

It was also the first year in which the 'H' code was applied to Extended Play (EP) records. Bear in mind that many blocks (notably, Hollywood's) are generally unaccounted for at this time. And now comes 1972.

On April 26 of that year, the ax fell at the then 3-year-old which itself had been a replacement for the earlier. As was prepping to move from Detroit to Los Angeles anyway (which led to the label having its RCA Custom matrix numbers assigned by Hollywood's ), it was no skin off their back; but other labels, like, had to scramble to find other plants and studios to handle their product (some even went to ). A few months after said closure, acquired the studios and reopened them as. For the rest of the year (and even the next), all RCA Custom numbers of the Chicago numbering block had a '5' in the second character of the serial numbers.

Which left three studio 'hubs': New York, Hollywood and Nashville. As one can see, the number count fell way down as became the go-to place for small and medium record companies. (Indeed, the next year 's group of labels would switch their business from RCA to Columbia. But that's for then.) By year's end, New York was up to 1200; Chicago at the point of closure was 2900, and by year's end was around 3200; Nashville, 7200; Hollywood, 8400; and Reader's Digest jobs, 9700. New York - B#xx-0000's - Samples: - (45, Mono/Stereo) - (45, Mono) - (45, Mono) - (45, Stereo) - (LP, Stereo) - (LP, Stereo) Chicago - B#xx-2000's - Samples: - (45, Mono) - (45, Stereo; A side only) - (45, Stereo) - (45, Stereo) - (LP, Stereo) Nashville - B#xx-5500's - Samples: - (45, Mono) - (45, Stereo) - (LP, Mono) Hollywood - B#xx-7500's - Samples: - (45, Mono) - (7' 33⅓ RPM, Mono) - (LP, Stereo) - (LP, Stereo) Reader's Digest - B#xx-9500's - Samples: - (LP, Stereo) - (LP, Box Set, Stereo) 1953 is next on the docket. Now we go back in time to 1953, which saw the founding of which would be an RCA Custom client for most of its more than 11-year existence.

This was the second year where codes for 10' and 12' LP's and 45's would be used on custom jobs. Now we turn to 1973.

In this year, with the closure around February of, several once-ubiquitous RCA Custom clients bailed out and went elsewhere, including Style Wooten's group of labels (Designer, Allandale, Camaro) which transferred their business to Columbia's custom-pressing division. Also largely ceased having their records pressed by RCA, though they would still master LP's and 45's for the label well into 1977. This is the last known year of documented Chicago block matrix numbers, thanks to issues on 's Basic Music Library; these will constitute all but one of the samples of Chicago matrix numbers from this year. Meanwhile, in Hollywood, not only were matrix numbers being conceived for and sublabel LP releases, but also for their Yesteryear Series of 45's. For the year, among RCA's remaining 'hubs,' the New York block went up to 0900; Nashville, to 5800; Hollywood, to 8100; and Reader's Digest jobs, to 9700. New York - C#xx-0000's - Samples: - (45, Mono) - (45, Stereo) - (45, Stereo - note '1' in second character of matrix prefix) - (LP, Stereo) Chicago - C#xx-2000's - Samples: - (LP, Stereo) - (9', 16⅔ RPM, Mono) - (9', 16⅔ RPM, Mono) Nashville - C#xx-5500's - Samples: - (45, Mono) Hollywood - C#xx-7500's - Samples: - (45, Mono) - (45, Stereo) - (LP, Stereo) Reader's Digest - C#xx-9500's - Samples: - (LP, Box Set, Stereo) - (LP, Box Set, Stereo) Up next: 1952. After a long break, we now examine 1952.

This was the first year that the codes specific to the newer LP and 45 configurations were added onto the itinerary (i.e. E2-KW for 45's, E2-QL for 10' LP's, E2-CP for 12' LP's). As it is unclear which is where, samples will be added on a case-by-case basis, with matrix numbers in parentheses. (45) (E2-KW-2257 / E2-KW-3733) - (12', 78, Album) (E2-KC-2610 / E2-KC-2611 Record 1, E2-KC-3613 / E2-KC-3614 Record 3) - (10', LP) (E2KL-4873 / E2KL-4874) - (78) (E2-KB-4928 / E2-KB-4929) - (10', LP) (E2-KL-5595 / E2-KL-5596) - (45) (E2-KW-5615 / E2-KW-7212) - (78) (E-2-KB-6403 / E-2-KB-6404) - (45) (E2-KW-7430 / E2-KW-7431) - (45, EP) (E2KW-8428 / E2KW-8448) - (12', LP) (E2-KP-8441 / E2-KP-8442) - (12', LP) (E2KP-9243 / E2KP-9244) - (45) (E2QW-9439 / E2QW-9440) Coming up will be 1974. As promised, here comes 1974. The continued decline of RCA Custom's business continued apace this year, with even being cut back to basically LP matrix numbers. As some entries are not on here, there may be links to other website databases pertaining to 45's and LP's.

By this time, there were only three 'hubs': New York, Nashville and Hollywood, plus the usual allotment of numbers for Reader's Digest box sets. New York - D#xx-0000's - Samples: - (45, Stereo) - (45, Mono / Stereo) - (LP, Stereo) - (LP, Stereo) Nashville - D#xx-5500's - Samples: - (45 - Mono; NOTE: copy on here wouldn't have aforesaid RCA Custom numbers, see for such a copy) Hollywood - D#xx-7500's - Samples: - (LP, Stereo) - (LP, Stereo) - (45, Promo, Mono / Stereo) Reader's Digest - D#xx-9500's - Samples: - (LP, Box Set, Stereo) - (LP, Box Set, Stereo) Next up: the years up to and including 1951. Now we go up to the early years of RCA Custom's use of the matrix system. In the beginning, it was mostly all 78 RPM, with a few 'electrical transcriptions' at 33⅓ RPM. Apart from recordings, it didn't really get going until after the end of the first AFM (American Federation of Musicians) recording ban in November 1944, and started slowly. RCA came forth with the 45 in late March/early April 1949, and began pressing LP's in early '50.

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Well into 1951, they used codes for custom matrix numbers intended either for 78's (x#-xB-) or master tapes (x#-xX-). In that latter year, their block allotment passed well into the 15000 mark. And until the 1955 realignment of their matrix codes, years where they passed the 10,000 mark actually had five digits for the numbers.

In this instance, we will give samples by year (as known), with matrix numbers in parentheses. The numbers would have been assigned, and therefore the sides originally recorded, in 1957, and then put out three years later.

There are some cases of a release of a record coming a few years after matrix numbers are assigned, this being one of them. One of many reasons why, on B&OI fields, management mandates putting all deadwax (runout) info in sight. I myself have done searches by matrix numbers or their prefices, which was how and why you see the samples I brought forth in the year-by-year sections of RCA Custom. And so we now go to 1975. RCA Custom in this year did add some new business, namely mail-order and budget outlets such as K-Tel, Ronco and Sessions, but it was also the last year the Hollywood studios assigned any matrix numbers to LP's put out by Motown and its sublabels.

No known Nashville masters have popped up, thus we will be dealing almost exclusively with New York, Hollywood and Reader's Digest masters. For some reason, in this year New York had three blocks: 0000's, 2000's and 2500's. For this reason, matrix numbers will be mentioned in parentheses for each entry. New York: - (LP, Stereo; E4RS-0028 / E4RS-0029) - (LP, Stereo) (E4RS-0034 through 0037) - (LP, Stereo) (E4RS-0044 / E4RS-0045) - (LP, Stereo) (E4RS-0058 / E4RS-0059) - (45, Stereo) (E4KS-2480A / E4KS-2480B) - (LP, Stereo) (E4RS-2521A / E4RS-2521B) Hollywood: - (LP, Stereo) (E5RS-7514-1 / E5RS-7515-2) - (LP, Stereo) (E5RS-7538-1 / E5RS-7539-2) - (LP, Stereo) (E5RS-7540-1 / E5RS-7541-2) Reader's Digest: - (LP, Box Set, Stereo) (E1RS-9501 through 9508) - (LP, Box Set, Stereo) (E1RS-9581 through 9592) Next up, 1976 and forward.

Now we go to the long and winding down of the once-bustling RCA Custom business. First we look at the Bicentennial year of 1976 and go from there. 1976 was the last full year both and were in business (they both closed in January of the next year), but by and large from this point all matrix numbers were either based out of New York or reserved for Reader's Digest. 1977 was probably the only time that one allotment exceeded its block, as some Reader's Digest box sets mastered late in the year bore 'GR1S' prefices (not on the database yet); it was also in that same year that RCA Custom's years of assigning matrix numbers for new releases on came to an end. As the years went on practically the only matrix numbers being used were for Reader's Digest box sets; some cases, the years refer to when the matrix numbers were assigned and not necessarily when released. The other thing about 1967 in terms of RCA Custom's business (and which I'd forgotten to mention in the post about the matrix number blocks of that year) was that, in no small part due to a strike at that year, they lost a few clients to Columbia, to wit: (for which Columbia had already been pressing LP's, and a small number of 45's on and off, up to that point), and 's group of labels (which at that point consisted of, and ).

Remained an RCA loyalist no matter what (only ending their relationship when closed in 1976), and only begrudgingly used Columbia for the duration of the Rockaway strike (I say begrudgingly because Columbia was frozen out in retaliation for their reissue of an old 1960 Four Tops' single, 'Ain't That Love,' which led directly to Motown rush-recording and -releasing 'It's The Same Old Song'; Columbia plants wouldn't be in the loop again within Motown until about fall 1970). Hey - More thank you's and appreciation from me for sharing your knowledge, This is a great place to share that info IMHO.

And now I need to trouble you for some help: #1) I'm having a problem deciphering the RCA code N2PY-0057 associated with. In particular, I couldn't fit the code into the assigned blocks you've given. I'm trying to determine who might have mastered this release. #2) Question about RCA codes for 1976: Am I reading you correctly that Nashville and Music Center of the World had no block numbers assigned in 1976 and, therefore, all mastering was done in New York? Including, by default, all Readers Digest mastering?

Thx in advance for reply. #1) I'm having a problem deciphering the RCA code N2PY-0057 associated with. In particular, I couldn't fit the code into the assigned blocks you've given. I'm trying to determine who might have mastered this release. #2) Question about RCA codes for 1976: Am I reading you correctly that Nashville and Music Center of the World had no block numbers assigned in 1976 and, therefore, all mastering was done in New York? Including, by default, all Readers Digest mastering?

Thx in advance for reply. First things first: #1: '2' in the second character, pre-1962, indicated an RCA Victor release, while 'P' indicated Popular. So this would not have been Custom. And up to about 1967, all lacquers for all RCA albums and singles were cut in New York, regardless of where they were recorded.

#2: Not on this database, but can be found, was a 1976 single whose RCA custom numbers did indeed originate in Nashville. But compared to their peak, such numbers were indeed slim pickin's.

And if there were any from Hollywood, they would likely have been regional releases; but remember, 1976 was also the year RCA shut down. Another 'who did the mastering' question for you regarding code# L3PY-1985 associated with: Fact #1 -This 1960 code has a block # that was assigned to Nashville.

Fact #2 - Nashville apparently did not have any mastering and editing until 1961. Question: Are these facts compatible? Once again, thx in advance for answer. Again, I must reiterate: - 3 in the second character indicated releases earmarked for RCA Camden, as this one was; P in the third character, again, was Popular. Again, all mastering was from New York in those days.

Delmonico did not, to the best of my knowledge, necessarily record in Nashville. Thank you W.B.I think it was with the closing of the Hollywood plant that RCA contracted out pressing facilities on the West Coast for distribution there. See label images Apparently, Elektra (and the other Warners' labels) got wind over the years of what was perceived to be the bad quality of RCA Music Service issues of their product which, in the 1970's, was mastered in-house at RCA's own studios (with -#S dash numbers) and pressed in Indianapolis. By the '80's and that Rabbitt LP, WEA's plants (such as ) were pressing their own copies with R 1##### markings indicating RCA Music Service editions. In short, the closure of RCA's Hollywood plant had nothing to do with this 'outside' pressing; you'll find, as you check releases on, and so on from the '80's, a preponderance of SP pressings with R 1##### markings. RCA code N2PY-0057 associated with Harry Reser - Banjos Back To Back.

In particular, I couldn't fit the code into the assigned blocks you've given./quote quote=W.B. '#1: '2' in the second character, pre-1962, indicated an RCA Victor release, while 'P' indicated Popular. So this would not have been Custom. Hey - So, did RCA assign different blocks of numbers to the various studios depending on the Label Designation (or some other characteristic) vs the blocks you've listed that apparently are only for custom labels? RCA apparently had two sets of blocks - one for their custom department, the other to be allotted amongst their studios for releases on RCA and sublabels.

You can check Keith Flynn's site of Elvis sessionography (which have actual printouts of RCA documents of various sessions). From 1963 to 1967 (1963 being when the Dynagroove codes began to take effect), Mr. Presley's soundtrack sides bore master serial numbers whose third and fourth characters were 'A3' - a code for master tapes with 'A' indicating RCA Victor and '3' meaning recorded in Hollywood. In the case of Elvis' soundtracks, however, it was at the Hollywood studios that the master serial numbers were assigned, often months after originally recorded at Radio Recorders or, later on, whatever movie studio's sound studios he recorded. In 1968 (beginning with the soundtrack to Speedway), assignation of master serial numbers for soundtracks were shifted from Hollywood to New York (designated in the third and fourth characters in the prefix by 'A1' - with '1' signifying New York). This is why, on many Elvis discography books relating to his comeback special, so many sides have a 'WPA1-' prefix. The master serial numbers in question were assigned, edited, mixed and assembled in New York, months after the original recordings at Western Recorders in Hollywood.

This, of course, is all but obscured by the 45 RPM releases of, say, 1968, all of which had universal 'WPKM-' prefices. New York blocks in 1968 for RCA artistes, for example, would have been in the 1000's, 5700's and 8000's - for starters. You may also want to check albums of other RCA artistes, look at the recording info on the back cover, check singles from those albums, and get the pertinent info that way. The other clue is an online sessionography out there for. Sorry for the delay (for unknown reasons Discogs didn't send a notification). But they did seem to have about a hundred names they used over the years for their custom division.

Well at least it gives us something to talk about (I guess?). It sounds like I should have started by asking whether there's any significance between the RCA Custom vs. RCA Victor Custom and/or whether the addition of 'Record Department' in the name is just the same thing, but spelled out. In other words, do you advise spending time attempting to merge these or is it advantageous to wait and see how it plays out?

Rca Tv Models Numbers

Question unrelated to the above: I'm in the middle of editing: (1972, RCA Victor). Matrix #s are BPRS-5495/6.

Based on the above, First part: B = 1972 / P = Popular / R = 12' - 33⅓ RPM / S = Stereo If I'm reading the 1972 post correctly, the 5495/6 indicates it was probably mastered at Nashville being that Chicago ended at 3200 and Nashville started at 5500. By comparison, the back cover lists (NYC) as the recording studio. Therefore, my questions are: 1) Whether I'm interpreting the the matrix #s correctly? 2) Whether the 5500 is a firm cutoff? 3) Whether it was normal for RCA to record a release at one studio, but farm out the mastering to another location, e.g., were the mastering and recording operations one in the same or were these more like independent departments? RCA had a whole different set of numbering blocks for its own, in-house releases, than for their custom clients and Reader's Digest box sets. You may want to check the back covers of LP's for their recording venues to check the blocks.

Ditto for 45's of pop and country artists. The Nite-Liters' 'K-Jee' was recorded in Chicago, hence while the 45 of it had an APKS- prefix, the master tape prefix would have been APA2.

Rca Serial Number Lookup

It's no different from Columbia, with their XLP/XSM/ZSP/ZSS etc., having different blocks from the custom XTV/XSV/ZTSP/ZTS and so on. But if you check, 5495/6 would have computed with RCA's own in-house New York recordings of the time. What about reissues?? For example, my reissue of 'Elvis' with the black TIpper label from the 70's/80's has a begining sequence of AFL1. I know A was used in 1971 but this is not on the orange label. That's a whole different kettle o' fish. On albums from 1973 to 1986, 'A' in this context signified RCA Victor ('B' was in the first character of LP cat.

#'s for distributed labels), 'L' in the third character was stereo ('M' signified mono), and 1 indicated it was one record (2 was a two-record set). I found an RCA Victor promo 78 that has Red Seal master numbers but main pop series catalog number. Like with Columbia and issuing Masterworks product occasionally on their pop series, RCA Victor did likewise. Red Seal 45 and 78 singles only were issued up to c.early '50's, then any classical stuff on 45 was put out on the pop series afterwards.

Rca Tv Serial Number Search

From some period articles (I will try to locate them later) I've read it seems RCA was hesitant to enter the lp market until they started losing talent to other companies that were releasing Lp's. I have several other early 12' Red Seal discs with serif text in runout consistent with Cannonsburg (none of which post date it's closure). I makes sense that some Lp's originate here, I have with most of discs with Cannonsburg runout and then I also have with similar runout to that seen on LM-12 linked above. It seems probable they cut these Lp's when they cut the 45's. The 'I' identifying Indianapolis as the pressing plant I've seen on all but. Should 'Lacquer Cut At' be used in these instances where serif type is found on RCA Red Seal Lp's consistent with Cannonsburg? TrailoffShould 'Lacquer Cut At' be used in these instances where serif type is found on RCA Red Seal Lp's consistent with Cannonsburg?

+1 My apologies. My previous vote was wrong. It's pretty bad on my part when I'm confusing 'Lacquer Cut At' with 'Mastered At'. So for LM-12 the LCCN should be (?): Lacquer Cut At: RCA Studios, New York Mastered At: RCA Records Pressing Plant, Canonsburg Pressed By: RCA Records Pressing Plant, Indianapolis 'Mastered At' used in the general sense in the absence of a company role for plating/processing. I forgot what W.B.

Told us a long time ago about who cut RCA lacquers. Now I vote +1 PS. Thanks again W.B. For your hard work on these subjects.