Getz/Gilberto

Recording history, tape provenance and the channel-reversal problem

Getz/Gilberto was recorded on March 18 and 19, 1963 at A&R Recording Studios in New York City, engineered by Phil Ramone and produced by Creed Taylor for Verve Records. The personnel were Stan Getz (tenor saxophone), João Gilberto (guitar and vocals), Antonio Carlos Jobim (piano and, on a few tracks, guitar), Astrud Gilberto (vocals on two tracks), Tommy Williams (bass), and Milton Banana (drums). The album was released in March 1964 – held back nearly a year by Creed Taylor, by which point the Beatles had overtaken the charts, yet the album still peaked at #2 on the Billboard charts and spent 96 weeks there. It won four Grammy Awards in 1965, including Album of the Year – the first non-American album ever to receive that honour.

Ramone, aware of how special the session was, recorded the master at an unusually high speed: 30 ips (inches per second), double the standard professional 15 ips rate, specifically to reduce tape hiss and maximise dynamic range in the quiet passages. This is one reason the recording has sounded consistently excellent across decades of reissues – the fundamental tape quality is exceptional.

The channel reversal: the defining technical controversy

Every collector and every critical reviewer of this album eventually confronts the same issue: the left and right stereo channels are reversed on virtually every commercially released version of this album, from the 1964 original through most modern reissues. This is not a subjective preference – it is a documented, verifiable mistake originating in the original mastering session.

The story, thoroughly researched and published by VinylGourmet's Sérgio Redondo in 2012 and confirmed by Analogue Productions' liner notes: Phil Ramone's original 3-to-2 stereo mixdown master (the "true" original master tape) placed the soundfield correctly, with Astrud Gilberto's voice and Jobim's piano on the LEFT, Getz's saxophone and João Gilberto's voice/guitar in the centre, and drums and bass on the RIGHT. This is the Phil Ramone mix as he intended it. However, when the master tape was taken into the original lacquer-cutting session in 1963, a cable was inverted somewhere in the mastering console, reversing the left and right channels. The reversed version was cut to lacquer, pressed, and released as the original LP. Because the reversed version was the commercial release, every subsequent remixing, CD transfer, SACD, and LP cut – all the way until 2011 – was sourced either from that reversed lacquer-generation copy tape or from other safety copies that replicated the reversal. The original Phil Ramone mixdown master went unused from approximately 1980 until the Analogue Productions 2011 reissue research team tracked it down.

The practical effect of the reversal is significant. On every reversed pressing: Astrud Gilberto's voice is in the RIGHT channel, pinned hard and sounding somewhat unmoored from the ensemble; Getz's saxophone is also pushed to the right, so the two main melody voices share one side; Jobim's piano is far to the right as well; Milton Banana's drums are isolated hard to the left – "in another country altogether," as Fred Kaplan described it. On the correctly channelled AP 2011 45rpm: Astrud is left, João is centre, Getz slightly right of centre, Banana's drums to the right – a natural, coherent ensemble with proper depth and imaging.

The Impex 1Step (2024) complicates this further. Impex used what they describe as "the original analog master tapes" – by which they mean what Analogue Productions called the "new master," the copy tape made after the second commercial pressing (circa 1964–65) that had been labelled as the primary master for all subsequent work. This copy replicates the reversed channel orientation. Impex, in their transparency notes, acknowledges both the reversed channels and various tape dropouts (including the now-famous dropout in "The Girl from Ipanema") and chose to leave channels as they appear on this tape – with Astrud on the RIGHT. This is a legitimate artistic decision and replicates what most listeners have always heard, but it means the Impex does not use Phil Ramone's original mixdown or correct the channel error.

This creates the central collector's dilemma for this album: do you want the correct channel orientation (AP 2011, AP 2020 Acoustic Sounds) or the familiar channel orientation (every original pressing, the Impex, most historical releases)? Both camps have passionate defenders.

Original US Verve pressings (1964)

The album was issued commercially in both mono (V-8545) and stereo (V6-8545) in 1964. The mono version is considered secondary by most collectors and audiophiles; the primary collectible release is:

• Stereo: V6-8545 (the "V6" prefix denoting Verve stereo)
• Mono: V-8545 (same performances, channels collapsed)

Label identification

The original Verve label of 1964 is the distinctive Verve "trumpet" label – black with a gold trumpet graphic at top and "VERVE" in large gold letters. Footer reads "MGM Records – A Division of Metro-Goldwyn-Mayer, Inc." or similar MGM-related language. The gatefold jacket is standard for all original pressings; the famous Olga Albizu abstract painting cover is consistent across variants. No barcode on any 1964 original.

First pressing markers: The earliest stereo copies carry matrix codes in the format V6-8545 SIDE-1 63-VGS-560 RE-1 and V6-8545 SIDE-2 63-VGS-561 RE-1 hand-etched in the deadwax. The "RE-1" suffix identifies the first lacquer generation. Crucially, some but not all first-year pressings carry a deep groove – Discogs documents two deep-groove variants distinguishable by label typography: one with "Antonio Carlos Jobim" in mixed case, one with "ANTONIO CARLOS JOBIM" in all-caps. Track A2 ("Doralice") copyright attribution also varies between "ASCAP" and "BMI" across variants, providing another sorting tool. The deep-groove copies are the earliest.

Later 1964–66 US pressings show "RE-2," "RE-3," "RE-4" through "RE-6" lacquer suffixes, all progressively later. A transitional variant exists with the label catalogue number reading "V6-8545" with unusual font width and hyphens between track titles and durations – described in Discogs as "generally looks like a transitional variation between early V6-8545 and later V6/8545." Some copies have a sticker reading "V/V6-8545 Contains The Hit Record of THE GIRL FROM IPANEMA" – this sticker indicates early commercial period but is not a definitive first-press marker.

From mid-1966 onward, Verve labels transition to a Polydor distribution footer, which is how to identify post-1966 pressings. These are sonically very similar to first pressings and are collectable but not original-year copies.

Market values

The US stereo V6-8545 deep-groove with correct first-year matrix commands the highest prices among originals, with genuinely pristine copies touching higher still. The US stereo without deep groove, RE-1 variant sits a clear step below that. Later RE-2 through RE-6 pressings are more affordable again, forming a third, lower tier. The mono V-8545 is scarcer and commands a small collector premium among mono enthusiasts; sonically it is a fold-down with no particular advantage over the stereo.

One Discogs reviewer who owns a pristine RE-1 deep-groove stereo: "This pressing sounds absolutely incredible. Nothing I could see changing in a reissue that could improve upon this sound." A PS Audio reviewer who also owns an original: "I've owned an original Verve pressing (V6-8545) for decades and it sounds excellent, with good tonality and 'air.'" The caveat in both cases is that neither has compared directly with the 2011 AP 45rpm, which in formal comparisons is considered superior in detail and imaging.

UK and European pressings

UK Verve pressings appeared on the Verve label distributed by Polydor in the UK, with catalogue VLP 9004 (mono) and SVLP 9004 (stereo). The UK stereo is praised in the collector community for comparable quality to US originals at lower prices. German Verve pressings (catalogue numbers beginning with "SVLP" or "2304" depending on era) are similarly well-regarded, with German Teldec plant pressings known for clean, quiet vinyl. Italian Verve pressings from the 1960s–70s also circulate widely and are considered decent budget alternatives.

The tape lineage: what each reissue actually uses

Understanding which tape source underlies each reissue is essential to evaluating them:

Source 1 – Phil Ramone's original 3-track multitrack recording (1963): The raw multitrack tape from which the 2-track stereo mixdown master was created. This tape itself is not directly used for stereo LP cutting; it is the source from which Source 2 was made.

Source 2 – Phil Ramone's original stereo mixdown (the "true" original master): The 2-track stereo mix Ramone made directly from the 3-track. This is what AP used for the 2011 45rpm pressing. It had correct channel orientation. The tape had not been used commercially since ~1980.

Source 3 – The "new master" EQ cutting copy (post-1964): Made after the second commercial pressing to be used as a working master for all subsequent reissue and cutting work. Has reversed channels. This is what Impex describes as "the original analog master tapes" – it is in fact a first-generation copy of the mixdown master, not the mixdown master itself. All pressings from roughly 1965 onward through 2020 non-AP reissues are from this source or derivatives.

Source 4 – Various EQ/cutting copies and remasters: Safety copies, EQ cutting masters, etc. used for 1970s–2000s LP, CD, and SACD releases.

The reissue hierarchy

Analogue Productions 45rpm 2LP (2011) – the benchmark corrected-channel reissue

Cat. AP-8545 | Barcode: 753088854514 | Format: 2×200g 45rpm, gatefold, numbered limited edition (Discogs r3804472). Mastered by George Marino at Sterling Sound, AAA, from Phil Ramone's original 1963 stereo mixdown master – the true original master tape, unused since 1980. Pressed at QRP. Matrix: (AVRJ).MG-V6-8545-A/B/C/D Sterling.

This is the first and only pressing to use the true original master tape AND to present the correct channel orientation. Vinyl Gourmet review: "What we are getting from this reissue is not only a double LP cut at 45rpm but also the fact that this is the very first time we can appreciate this LP with the original Phil Ramone mix-down channel orientation... Never before did Getz/Gilberto reach the market with such careful production and fidelity to the source." SoundStage! Ultra: "Analogue Productions has stripped off the gauze to reveal the original focus and image of this remarkable meeting of musicians. If you love and cherish Getz/Gilberto, but have one of the editions that were made from anything that was not the original master tape, you ain't heard nothin' yet. Scrap those editions." Fremer (Tracking Angle, 2024): "Until this Impex 1Step, my two faves were the original, which in some ways still can't be beat, and the double 45 Analogue Productions edition cut by George Marino."

One Discogs reviewer's direct shootout against the AP: "The AP has a quality that so many records miss and that quality is BALANCE. Everything is present in the mix and the EQ is basically perfect. Bright and warm without any harshness. Texture aplenty. It's always been amazing." The AP 45rpm is the consensus audiophile reference for this album – the pressing that most listeners describe as transformative relative to anything previously heard. Out of print as an original numbered edition; unnumbered represses exist, are sonically identical, and are somewhat cheaper.

Impex Records 1Step 2LP 45rpm (2024) – the new challenger

Cat. IMP6041-1 | Format: 2×180g 45rpm, numbered limited edition of 7,500 copies on VR900-Supreme semi-transparent vinyl, new lacquer cut after each 500 pressings, ultra-luxe Monster Pack packaging with 36-page booklet. Mastered by Bernie Grundman at Bernie Grundman Mastering, AAA, from the "new master" EQ cutting copy (post-1964 generation, with reversed channels). Includes two analog bonus tracks: alternate mono 7" mix of "The Girl from Ipanema" and a live "Corcovado" from Carnegie Hall. Sanctioned by the Getz family (Monica and Nick Getz).

This pressing has the reversed channels – Astrud on the right, which is familiar to most listeners. Fremer (Tracking Angle, 2024): "This new 1Step delivers greater detail, particularly in terms of transient attack precision and the Neotech VR900-Supreme produces drop dead quiet and timbral serenity. This formulation isn't ideal for every recording and/or musical genre, but it perfectly suits this one." Neil Gader (The Absolute Sound, July/August 2024 print issue): "Sonically, Impex has taken a very good recording and added a sense of fluidity, immediacy, and dimensionality that raises it to truly transparent state-of-the-art levels... Getz/Gilberto is a vinyl showpiece of sonic naturalism and superb artistry that puts most vinyl reissues to shame. An extraordinary effort." Audiophilia.com: "Far superior to those I've heard before."

However, the community is not unanimous. One thorough Discogs owner comparing against the AP 45, Acoustic Sounds 33rpm, and a standard Verve reissue: "The benchmark pressing for this bonafide classic is the AP45 rpm and this is one weird remaster that outdoes MoFi on a bad day... This Impex confirms it [the AP's superiority]. Conversely, this Impex cut has the piano and upper bass pushed right into the background and the very very top end pushed out and the deepest bass region elevated too." Several buyers also reported QC issues with non-fill on pressed copies.

The key question – AP vs Impex – remains contested and system-dependent. The AP uses the superior (correct-channel, true-original) tape source; the Impex uses a superior pressing format (1Step on VR900) and mastering engineer with different sonic priorities. Fremer's verdict, having heard both: the Impex "delivers greater detail... in terms of transient attack precision" while the AP has superior "balance." He rates the Impex as the best sounding current pressing but acknowledges the AP has the superior tape provenance. The reversed channels on the Impex are either a problem or a non-issue depending on how long you've listened to the familiar version.

Verve Acoustic Sounds Series 33⅓ (2020) – the affordable reference

Cat. B0031690-01 (Acoustic Sounds SKU: AVRJ 8545) | Barcode: 602508688027 | Format: Single 180g LP at 33⅓, Stoughton tip-on gatefold. Ryan K. Smith at Sterling Sound, AAA, from the original analog tapes. Pressed at QRP. Released July 31, 2020 (though the Acoustic Sounds store initially listed George Marino as mastering engineer, the actual credit belongs to Ryan K. Smith, as Marino passed away in 2013). Channels correctly oriented (Astrud on left).

This is the 33⅓ companion to the AP 45rpm lineage, using the same tape source and correct channel orientation, but a fresh Ryan K. Smith mastering rather than a Marino replication. The sonic difference between this and the AP 45rpm is meaningfully more than just groove width. Ryan K. Smith's 2020 cut is a completely fresh mastering from the same tape source – different lathe, different preview system, different engineering ear and EQ decisions from George Marino's 2011 work. The 33rpm will have slightly less dynamic headroom than the 45rpm for physical groove reasons, but the two are distinct masterings, not the same decisions at different speeds. Michael Ullman (The Arts Fuse, 2020): "I hear a slightly more focused, precise sound on the new Acoustic Sounds LP... the stereo separation is a bit extreme, as it was on the original: I would have changed that. Familiar though it is, and successful though it was, the music remains marvelous." A&M Corner forum: "With Analogue Productions behind that newest release, it would sound as good as it gets." Still in print.

Mobile Fidelity Sound Lab 200g 33⅓ (date varies – various MFSL editions)

Mobile Fidelity issued Getz/Gilberto on 200g vinyl at 33⅓, referenced in the Acoustic Sounds product description: "I have a 200-gram LP version of Getz/Gilberto from Mobile Fidelity." Multiple MFSL editions exist across different eras, mastered at various points from non-original tape sources. These are generally praised as sonically excellent – "subtle differences" from the Acoustic Sounds, with slightly different tonal character. The MoFi-gate (2022) controversy centred on DSD use that began in the late 2000s. MFSL 1-208 was pressed in 1994, predating MoFi's adoption of the DSD intermediate step, so it does not carry the same provenance caveat as later MoFi releases. It is a straight analog mastering and can be evaluated on its sonic merits without the post-2022 asterisk. Note: no MoFi UD1S One-Step of Getz/Gilberto exists – unlike Sunday at the Village Vanguard, this title was not issued in MoFi's One-Step format.

Various Verve reissues (1970s–2010s)

A vast grey area of standard Verve/Polydor/PolyGram/Universal reissues spans five decades. These draw from the "new master" EQ copy tape (reversed channels) and have highly variable mastering quality:

1970s–1980s Polydor/Verve reissues: Standard black Verve or Polydor labels, often European pressings. Acceptable budget listening copies but no audiophile standing.

Back to Black 2014: A European 180g reissue on Verve's "Back to Black" budget audiophile series. Channels reversed. Generally dismissed by collectors as the worst of the modern reissues – thin, lacking depth.

2018 Verve LP reissue: A standard 33⅓ Verve reissue, channels reversed, pressed overseas. Not from original tapes. Skip.

Japanese pressings: Several Japanese Verve editions exist, including Polydor Japan MJ-7069 and various Universal Music Japan pressings. Japanese pressings are praised for quiet vinyl and faithful reproduction, but all use the reversed-channel tape source. The SHM-SACD (Universal Music Japan), which is a disc format not vinyl, draws strong praise from collectors: "To my ears, the SHM-SACD is the best-sounding [disc version]... it sounds very analogue." This is not a vinyl pressing but worth noting for non-vinyl listening.

Speakers Corner 180g 33⅓ (1999/2007) – the Kevin Gray cut with correct channels

Cat. V6-8545 | Format: 180g LP, 33⅓, stereo, gatefold. Mastered by Kevin Gray at Future Disc Systems, Hollywood, from the original 1963 Verve master tape mix. Pressed at Pallas. Two Speakers Corner editions exist: the first from 1999 (now out of print), and a subsequent 2007 reissue (r1695530). Both have correct channel orientation. Steve Hoffman, who was present at the cutting session: "Cut flat, solid state Neumann, from the original stereo 1963 Verve master tape mix by Kevin Gray at Future Disc Systems in Hollywood. No EQ or compression added by Kevin. Astrud Gilberto's voice is on the LEFT, matching the actual master tape stereo image positioning. It's the best version of the ORIGINAL mix of Getz/Gilberto you can buy."

Note: there is some collector debate about whether Astrud ends up in the centre rather than the left on certain copies, which would suggest a different source. The 1999 first pressing (r10131408) receives broadly positive reviews. Out of print.

The channels debate: the short version

Every pressing of this album falls into one of two camps. Reversed (Astrud on the right): the 1964 original and virtually every reissue through the decades, including the Impex 1Step and every MoFi edition – all sourced from the "new master" EQ cutting copy made after 1964. Correct (Astrud on the left): only the Speakers Corner pressing, the AP 2011 45rpm, and the 2020 Verve Acoustic Sounds Series, which are the only versions sourced from Phil Ramone's actual 1963 mixdown master. The "correct" orientation places the ensemble more coherently – Astrud in the left corner, João and Getz sharing the center-right, Banana's drums properly to the right – while the "familiar" reversed orientation is what generations of listeners grew up with and what many still prefer. The AP 45rpm is the only pressing that gives you both the superior tape source and correct channels. If you care about provenance and technical accuracy, it is the answer; if you find the familiar orientation more natural and prefer Grundman's warmer sonic character on the Impex, that's a legitimate choice too.

Pressings to avoid

EU grey-market pressings (DOL, etc.): DOL issued Getz/Gilberto in their public-domain European series – digitally sourced, not licensed from Universal, no tape access. Despite being in copyright in most territories, these circulate widely. Typical tells: a sealed 180g pressing priced noticeably below the going rate for a legitimate AAA reissue, no mastering credit, "Made in EU" with no label address. Avoid.

Back to Black 2014: Despite being an official Verve release, broadly dismissed as the worst-sounding modern vinyl version. The 2020 Acoustic Sounds Series at the same price point is an overwhelming upgrade. Skip.

Generic modern Verve LP (2018 and similar): Pressed overseas from non-original sources. No collector value, no sonic merit worth the price. The Acoustic Sounds 2020 is the same price and dramatically superior.

What makes this recording uniquely demanding

Three characteristics of the recording define the pressing hierarchy:

The silences. Like the Bill Evans Vanguard recordings, Getz/Gilberto is built on space – João Gilberto's gentle guitar, the barely-there brushwork, Astrud's hushed voice. Surface noise, digital artifacts, and imprecise mastering collapse these silences. The AP 45rpm's QRP pressing and the Impex's VR900 vinyl both achieve remarkable quiet that reveals what the original Verve pressing – however excellent – could not.

Bass definition. Milton Banana's light percussion and the stand-up bass have historically sounded muddy and distant on most pressings – "drums and bass far too back in the mix and Jobim sounds like he's playing a toy piano" (Audiophilia). The AP 45rpm and Impex both substantially improve this; Grundman's natural presentation on the Impex achieves real bass body, while the AP's George Marino mastering gives the low end proper weight without bloom.

Astrud Gilberto's voice texture. At its best, on the AP 45rpm, her voice has genuine three-dimensionality and "spirit" – a quality that on lesser pressings is reduced to a pleasant but thin presence. Mono & Stereo magazine's Matej Isak on the AP: "Astrud's vocals finally got the needed three-dimensionality and 'spirit'... Here, she came alive with the feeling of real life-size."

Buyer's guide by budget

$ (Budget): The Verve Acoustic Sounds Series 33⅓ (B0031690-01) is the clear answer. Correct channels, Ryan K. Smith mastering from the original master tape, QRP pressing, affordable. This is the most accessible high-quality pressing of this album ever made. If you own nothing else, own this.

$$$ (Mid-range): The used market for the AP 45rpm 2LP (AP-8545) is where VG+/NM copies of this pressing land. This is the step-up from the Acoustic Sounds 33rpm – same master, same correct channels, but the groove-width and dynamic advantages of 45rpm are genuinely audible. A sealed AP is worth paying for. Also in this range: a clean NM original US Verve stereo V6-8545 deep-groove or RE-1 copy – different sonic character (channels reversed, older lacquer) but genuine 1964 tube-cutting energy that no modern reissue fully matches.

$$$$ (Premium): The Impex 1Step (IMP6041-1) is the luxury option for listeners who prefer the familiar channel orientation and value the 1Step pressing format's ultra-quiet backgrounds. Also offers the bonus tracks and the most lavish packaging of any version. The sonic debate versus the AP is genuine; this comes down to system synergy and channel preference.

$$$$$ (Grail / Rare): Premium original US pressings – NM deep-groove V6-8545 stereo with RE-1 matrices – deliver the tape-fresh energy of a 1964 cut. They have reversed channels and are one generation further from the true master than the AP 45rpm, but they represent what Phil Ramone's recording sounded like closest to the moment of creation, on original-era equipment. Collector-grade experience.

The one-copy answer: The Verve Acoustic Sounds Series 33rpm for most people, most budgets. The AP 45rpm for audiophiles who want the best and accept the used-market price. If budget is irrelevant and channel orientation does not concern you, the Impex 1Step may be the most finely pressed version. All three are dramatically better than anything else available.

Pressing tier summary

References

• Discogs (master): https://www.discogs.com/master/85178-Stan-Getz-Joao-Gilberto-Getz-Gilberto
• Tracking Angle, "Impex's 1Step Double 45 'Getz/Gilberto' Tells The Full Story Sonically And Otherwise" (Fremer, 2024): https://trackingangle.com/music/impex-s-1step-double-45-getz-gilberto-tells-the-full-story-sonically-and-otherwise
• The Absolute Sound, Neil Gader's review of the Impex 1Step (July/August 2024 print issue): https://www.theabsolutesound.com
• Vinyl Gourmet, review of the Analogue Productions 45rpm 2LP: https://blog.vinylgourmet.com/2013/08/stan-getz-joao-gilberto-audiophile-2lp-analogue-productions-vinyl-review-george-marino-master-tape.html
• Discogs release and community listings for all pressings referenced in the tier table above (original V6-8545/V-8545, Speakers Corner, AP 45rpm AP-8545, Impex 1Step IMP6041-1, Acoustic Sounds Series B0031690-01, Mobile Fidelity MFSL 1-208)
• YouTube, Top 5 Records, "Getz / Gilberto - 45 RPM Analogue Productions Vs. Mono OG 1964": https://www.youtube.com/watch?v=g0JrEG4Aam8
• YouTube, Kenny's Audiophile Record Reviews, "Impex Getz/Gilberto vinyl record - A bold undertaking by Impex; comparison with Analogue Productions": https://www.youtube.com/watch?v=wZZ66emSlT4

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