PressPick reports that 127 all-analog pressings across 95 albums made up 0.7% of the vinyl reissues in its database as of October 1, 2026. That is a share of PressPick’s documented catalog—not a count of every reissue on the market, and not evidence that the remaining 99.3% are digital.
What PressPick’s 0.7% figure measures
PressPick’s report identifies 127 all-analog pressings across 95 albums, or 0.7% of the reissues it tracked in data dated October 1, 2026. The report also credits mastering engineer Kevin Gray on 31 of those tracked pressings. PressPick describes the figures as matching pressings based on documented edition characteristics; they are not the result of an audit of every record’s production chain.
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The denominator matters. The percentage describes PressPick’s database coverage and documentation. It cannot establish what share of all vinyl reissues released worldwide is all-analog, nor does it show that the other 99.3% used digital steps. An edition may be missing from the database, or its chain may not be documented in a way the report can identify.
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PressPick says the report is about manufacturing signals, not sound quality. An all-analog designation is not a ranking or a guarantee that one record will sound better than another.
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What “all-analog” means—and what “from the master tapes” doesn’t prove
AAA, or all-analog, describes a production path in which the signal remains analog from the master tape through mastering to the cutting lathe, with no digital conversion in between. A release can begin with an original analog tape but still use a digital stage: for example, the tape may be transferred to DSD or another digital file before the lacquer is cut.
That distinction is why “sourced from the original master tapes” does not, by itself, establish an all-analog chain. It identifies the source, but may not say whether the tape was used to cut the lacquer directly or first converted into a digital file. In a 2020 Discogs interview quoted by Headphonesty, Acoustic Sounds and Analogue Productions CEO Chad Kassem framed the buyer’s key question as whether the original tape was used to cut a lacquer or to produce a digital file. The report discusses that distinction alongside the PressPick figures.
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Why a series claim and a database entry can appear to conflict
Blue Note’s announcement for its 2026 Tone Poet series says the releases are mastered all-analog directly from original master tapes by Kevin Gray. Blue Note’s series announcement is a label-level claim. By contrast, the PressPick Tone Poet collection page showed zero albums in the October 1, 2026 snapshot, according to Headphonesty.
Those statements describe different things: what Blue Note says about a series and what PressPick’s collection page documented at a particular date. The mismatch warrants checking the coverage and the exact editions; it does not, by itself, show that either the label or the database is wrong.
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For a specific example, Blue Note’s store listing for the Hank Mobley Hank Tone Poet LP says that Kevin Gray mastered it from original analog master tapes and identifies RTI as the pressing plant for its 180-gram vinyl edition. That listing is documentation for this particular edition, not proof that every edition of the album shares its production chain.
Comparisons also need compatible units. Headphonesty compares approximate title totals for seven label series with PressPick’s counts of all-analog pressings for 2022–2026. A series-title count and a pressing count are not equivalent, and the series totals rely on label claims rather than independent chain audits. They cannot be used to calculate a like-for-like market share.
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How to check whether a particular reissue is AAA
- Identify the exact edition. Check the label, catalog number, format, and edition details—not just the album title. Different reissues of the same album can use different sources or mastering paths.
- Look for a chain disclosure for that edition. A label note that explicitly describes the path to the cutting lathe is more informative than a general series slogan. A clear all-analog statement should cover the process, not only say that the tape was the source.
- Use runout information as a clue, not proof. An inscription can help identify a cutting engineer or mastering facility, but it does not disclose whether the lathe was fed by tape or a digital file.
- Keep unknowns unknown. If the label or edition listing does not disclose the full chain, say it is not established by that documentation. Do not infer AAA from an engineer credit, series name, or “original master tapes” wording alone.
Headphonesty quotes mastering engineer Kevin Gray saying that Tone Poet and Blue Note Classics are cut from original masters, with occasional use of a digital master for sessions from the digital era when no analog version exists. That qualification is another reason to evaluate the title and edition rather than treating a series name as a complete account of every source.
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Not on the evidence available here. The PressPick data classify documented production characteristics; they do not compare listening results. The sources cited do not establish that an all-analog record will sound better in every system, or that a digital step necessarily harms the result.
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The 2022 Washington Post account of Mobile Fidelity’s disclosure controversy reported the company’s statement that 60% of its vinyl releases incorporated DSD by the end of 2011. That is the company’s account as reported by the newspaper, not an independent estimate of the vinyl market. The controversy illustrates why precise disclosure matters to buyers, but it does not settle the separate question of how a particular record sounds.
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