RCA Victor Master Serial Number Codes - 1942-1980's

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 encomed 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).

I. 1942 - 54
This encomes the beginnings of this series, plus a revision dated August 15, 1951 upon the adoption of new characters to 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)*
- 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.
Fourth Character - Size, Speed & Groove:
- A = 6½" - 78 RPM - Standard (1942-51)
- B = 10" - 78 RPM - Standard (also used for 33⅓ RPM records from 1950-51; see Notes below)
- C = 12" - 78 RPM - Standard (also used for 33⅓ RPM records from 1950-51; see Notes below)
- D = 10" - 33⅓ RPM - Standard or Transcription*
- E = 12" - 33⅓ RPM - Standard or Transcription*
- H = 7" - 45 RPM - EP (3/54)*
- K = 6⅞" - 78 RPM - Standard
- L = 10" - 33⅓ RPM - Fine (8/15/51-12/10/54)*
- M = 16" - 33⅓ RPM - Transcription
- P = 12" - 33⅓ RPM - Fine (8/15/51-12/10/54)*
- S - 6½" - 78 RPM - Standard (8/15/51-12/10/54)*
- T = 6" - 78 RPM - Standard (7/23/53-12/10/54)*
- U = 7" 33⅓ RPM - LP Custom (7/23/53-12/10/54)*
- W = 7" - 45 RPM - Fine (8/15/51-12/10/54; also used for 7" - 45 RPM - EP from 6/6/52 to 1953)*
- X = Single-Track Tape (Master Tape?)
From 1942 to about 1953, pre-1942 masters were retroactively assigned master serial numbers in this series. A prime example is the Gold Standard reissue of Glenn Miller And His Orchestra - In The Mood / A String Of Pearls which assigned the following master serial numbers:
- "In The Mood" - C9VW-0034 (Recorded August 1, 1939)
- "A String Of Pearls" - D1VW-0043 (Recorded November 3, 1941)
"C9" signified 1939 while "D1" was 1941; "V" was Victor (Popular), and "W" was 7" - 45 RPM - Fine. But after 1953 or so, master serial numbers of vintage pre-1942 recordings readied for LP or 45 release were assigned by year transferred rather than originally recorded. This is why so many Gold Standard 45's released in 1955 had "F2PW" prefices (more on that set below).
Also, between early 1950 when RCA Victor issued their first LP's and summer 1951, there was another character between the second and third - "L", indicating a 33⅓ RPM LP record. This was evident on Mario Lanza - The Great Caruso where the matrix prefix E0-LRC- was grouped thus:
E = 1950
0 = 0
L = 33⅓ RPM - LP
R = Red Seal
C = 12"
The first 45's issued by RCA Custom for custom clients, in the fourth character, had either a "B" (apparently transferred from a lacquer disc) or "X" (signifying transfer from a tape source) in the fourth character, i.e. E1 - KX or E1-CB. Also, on custom jobs, after the number block ed 10,000, it actually stated so on the label, i.e. Django Reinhardt Et QHCF* - Le Jazz Hot , which had the matrix numbers E4-QH-10066/67.

II. 1955 - 62
On December 10, 1954 a new system of master serial number codes was instituted that took effect at the start of 1955, in the wake of the full adoption of RCA's "New Orthophonic" High Fidelity system. Known revisions were placed into effect on March 13, 1956 and March 20, 1957; in mid-1958 (probably June), additional codes were put in place to for the adoption of stereo discs. Many characters were used more than once during this period. After stereo discs were produced, those codes designated "Fine" were changed to Mono.
First Character - Year Code:
- F = 1955
- G = 1956
- H = 1957
- J = 1958
- K = 1959
- L = 1960
- M = 1961
- N = 1962
(Had this carried past 1962 in the U.S. and Canada, the following codes would have been used:
- O = 1963
- P = 1964
- Q = 1965
- R = 1966
- S = 1967
- T = 1968
- U = 1969
- V = 1970
- W = 1971
- X - 1972
- Y = 1973
- Z = 1974
- a = 1975
- b = 1976
- c = 1977
- d = 1978
- e = 1979
[lower case letters not mine]
Letters O through U were famously used by RCA Italiana through 1969, after which they fell in line with the then-current code system that will be dealt with below)
Second Character -
a. Numerical Label Description:
- 1 = Bluebird
- 2 = RCA Victor
- 3 = Camden
- 4 = "X" Label & Vik
- 5 = Groove (1955-57) / Hugo & Luigi Productions (1959-62)
- 6 = HMV (1955-57) / Groove (1961-62)
- 7 = Custom - Recorded at RCA
- 8 = Custom - Re-recorded from client source
- 9 = Custom - Lacquer furnished to RCA
(7 and 8 also used for Reader's Digest box sets from 1960-62)
b. Used in Other Countries:
- A = Argentina
- B = Belgium
- C = Brazil
- D = Canada
- E = Chile
- F = England
- G =
- H =
- K = Italy
- L = Japan
- M = Mexico
- N = New Zealand
- P = Norway
- Q = North Africa
- R = Spain
- S = Sweden
Third Character -
a. Category:
- C = Children's
- E = Educational
- F = Slide Film - Frequency
- G = Gramophone - Recorded in U.K. (3/13/56)
- J = R&B - Jazz
- M = Transcription (Thesaurus)
- N = Promotion &
- O = Phonograph (sometimes shown as 0)
- P = Popular
- R = Classical - Red Seal
- S = Slide Film - Manual
- T = International - Recorded in U.S.A.
- U = Slide Film - Universal
- W = Country & Western
- Z = International - Recorded outside U.S.A.
b. Owned by Other Countries:
- A = Popular
- B = Classical
- D = Children
- G = Country & Western
- H = R&B - Jazz
- K = Educational
- L = Promotional
Fourth Character - Size, Speed & Groove:
- A = 7" - 45 RPM - Standard (3/20/57) / 7" - 45 RPM - Stereo (6/58)
- B = 10" - 78 RPM - Standard (1955-58) / Master Tape (1958-62)
- C = 12" - 78 RPM - Standard
- D = 10" - 33⅓ RPM - Standard or Transcription
- E = 10" - 33⅓ RPM - Standard or Transcription
- F = 10" - 33⅓ RPM - Universal - Custom
- G = 5" - 78 RPM - Special - 85¢ (1955-58) / 7" - 33⅓ RPM - EP - Stereo (1958-62)
- H = 7" - 45 RPM - EP - Fine (Mono)
- I = 7" - 33⅓ RPM - Mono (1958-62)
- J = 7" - 33⅓ RPM - Standard - Custom
- K = 7" - 33⅓ RPM - Universal - Custom
- L = 10" - 33⅓ RPM - Fine (Mono)
- M = 16" - 33⅓ RPM - Standard or Transcription
- N = 16" - 33⅓ RPM - Universal or Transcription
- O = 7" - 33⅓ RPM - Stereo (6/58)
- P = 12" - 33⅓ RPM - Fine (Mono)
- Q = 7" - 33⅓ RPM - EP - Mono - RCA Victor Commercial (1958-62)
- R = 12" - 33⅓ RPM - Universal or Transcription
- S = 6½" - 78 RPM - Standard - Custom
- T = 6" - 78 RPM - Standard - Children's
- U = 7" - 33⅓ RPM - Fine - Custom (1955-58) / 7" - 33⅓ RPM - EP - Mono - Custom or Promotional (1958-62)
- V = 7" - 78 RPM - Standard - Spinner
- W = 7" - 45 RPM - Fine (Mono)
- X = 7½ ips - Single Track Tape (changed eff. 3/13/56 to Double-Track Tape) / 10" - 33⅓ RPM - Stereo (1958-62)
- Y = 12" - 33⅓ RPM - Stereo (6/58)
- Z = 7" - 45 RPM - EP - Stereo (6/58)
As you can see, in the fourth character all 26 letters in the alphabet were used, in some cases more than once.
For instance, an RCA popular single from 1955 would have an F2PW- prefix. The code was broken down thus:
F = 1955
2 = RCA Victor
P = Popular
W = 7" - 45 RPM - Fine (Mono)
It was with this set that the practice of switching second and third characters of custom matrix numbers began to take effect after the block of numbers ed the 10,000 mark. By the end of 1955, for example, there was this single with an FO-7W- prefix, signifying:
F = 1955
O = Phonograph
7 = Custom - Recorded at RCA
W = 7" - 45 RPM - Fine
10" stereo LP's were very rare. One prime example was Various - Motorola Presents - Progress In Sound / Magic Moments In Music, with a K8OX (shown as K80X) prefix, indicating:
K = 1959
8 = Custom - Re-recorded from client source
0 = Phonograph
X = 10" - 33⅓ RPM - Stereo
An example of how other countries' systems worked was RCA Italiana, notably The Latins - Selene which had an MKAW prefix on both sides, which stood for:
M = 1961
K = Italy
A = Popular
W = 7" - 45 RPM - Mono

III. 1963 - 1990's
Upon RCA's adoption of the infamous "Dynagroove" system for cutting records, they instituted their third and last revision of matrix number codes (presumably drawn up in December 1962). In the third and fourth characters there were two different categories: records, and master tapes. The latter is pertinent given the showing of such numbers in booklets that accompanied CD box sets of key artists (i.e. Perry Como, John Denver) that were put out by RCA in the 1990's, and thus will be shown here. Starting in 1966 with Colgems, RCA began distributing several labels; where applicable, such codes (especially after 1973) will be noted. After June 1973, RCA and sublabels ceased showing serial numbers on their labels, revamping their catalogue series so that each side would be designated, as prior to 1951 on 45's and 78's, by what in RCA parlance was called "part numbers" (i.e. [catalogue number]-A or -B); characters after 1973 are gleaned from recording information in said artist box set booklets (and some rudimentary research at BMG archives).
First Character - Year Code:
- P = 1963
- R = 1964
- S = 1965
- T = 1966
- U = 1967
- W = 1968
- X = 1969
- Z = 1970
- A = 1971
- B = 1972
- C = 1973
- D = 1974
- E = 1975
- F = 1976
- G = 1977
- H = 1978
- J = 1979
- K = 1980
- L = 1981
- M = 1982
- N = 1983
- O = 1984
- P = 1985
- R = 1986
- S = 1987
(continued for a few years past 1987, but have no concrete information)
Second Character -
a. Label Designation:
- A = Grunt
- B = TMI
- C = Camden
- D = Neon
- E = Educational
- F = Wooden Nickel
- G = Groove (1963-64) / Roxbury (1973-74)
- H = Hugo & Luigi Productions (1963-64) / Chelsea (1972-74)
- I - Tom Cat (1975-77)
- J = Children
- K = Daybreak
- L = Wheel
- M = George Jones Musicor masters
- N = Promotional &
- P = Popular
- R = Red Seal
- S = International
- T = Gregar (1970-71) / Metromedia (1973-74)
- V = Victrola
- W = Country & Western
- X = Chart (1967-69) / Flying Dutchman (1973-74) & Signature (1974-76)
- Y = Calendar & Kirshner (1967-72) / Gryphon (1974)
- Z = Colgems (1966-70) / Soul Train & Solar (1975-81)
b. Custom:
- 1 = Transcription
- 2 = Thesaurus
- 3 = Recorded at RCA
- 4 = Re-recorded from client's furnished tapes
- 5 = Lacquer furnished to RCA
(The first two numbers were used on countless Reader's Digest box sets, '1' especially.)
Third Character -
a. Size & Speed:
- A = 9" - 16⅔ RPM
- K = 7" - 45 RPM
- L = 7" - 33⅓ RPM
- N = 10" - 78 RPM
- P = 10" - 33⅓ RPM
- R = 12" - 33⅓ RPM
b. Master Tape:
- A = RCA and Subsidiary Labels
- B = Distributed by RCA
- C = Recorded in non-RCA studios outside U.S.A.
Fourth Character -
a. Groove:
- A = EP - Stereo
- B = EP - Mono (Fine)
- C = Mono (Coarse)
- E = Slide Film - Manual or Automatic
- G = Mono (Fine - Thesaurus?)
- H = Mono (Standard or Transcription)
- K = Slide Film - Manual
- L = Universal - Custom(?)
- M = Mono (Fine)
- N = Slide Film - Automatic
- P = Slide Film - Automatic(?)
- S = Stereo
- T = Quadraphonic
b. Master Tape:
- 1 = Recorded in New York
- 2 = Recorded in Chicago (discontinued after 4/26/72)
- 3 = Recorded in Hollywood (discontinued 1/77)
- 4 = Recorded in Nashville (discontinued 1/77)
- 5 = Recorded in outside studios in U.S.A.
- 6 = Recorded outside U.S.A.
How this worked on RCA releases is as follows: The Youngbloods' "Get Together" was recorded in New York on August 29, 1966. At that session it was assigned master serial number TPA1-7511, the prefix signified thus:
T = 1966
P = Popular
A = Master Tape - RCA
1 = Recorded in New York
When it was issued on 45 RPM first as 47-9264 in 1967, then as 47-9752 in 1969 and then reissued in the Gold Standard Series as 447-0847 around 1970, the serial number was shown as TPKM-7511, with the prefix grouped as follows:
T = 1966
P = Popular
K = 7" - 45 RPM
M = Mono (Fine)
In 1966, RCA Custom was especially busy (as confirmed by a Billboard magazine article from December 10, 1966), to the point where the block of numbers ed the 20,000 mark, signifying another switching around of characters. LP's started bearing 4TRM or 4TRS prefices, each signifying:
4 = Custom - Re-recorded from client's furnished tapes
T = 1966
R = 12" - 33⅓ RPM
M = Mono / S = Stereo
78 RPM releases were very few and far between, and confined to stock music libraries if at all. A few 78's from 1963 and 1964 are shown here, only one from each year will be displayed:
- Richard Hoffman (6) - Depths Of The Sea / Big Worry / Bloodhound
- George Gigot - Business As Usual / Making Hay While The Sun Shines
As for RCA master tapes, those with 1 or 3 or 4 numbers were not necessarily recorded there, but had their master serial numbers assigned there from tapes recorded elsewhere. This was most acute on Elvis Presley sessions for his film soundtracks and Elvis TV special, where if you have looked at his sessionographies such numbers were assigned out of the Hollywood studios between at least 1963 and 1967, and by New York from 1968 to 1969 (which is why, for instance, the master tape for "If I Can Dream" bore a WPA1- prefix despite being recorded on the West Coast). (Prior to 1962, Elvis sessions were grouped so that, in the third character, 'W' signified regular studio recordings and 'P' was used for soundtrack music.)

In another post, I will try to detail how custom matrix numbers were grouped by year by recording hub.

Great research!
Many thanks for that.

Thanks a lot.

W.B.
[d]Fourth Character[/b] -

--> typo. should both be b's to make it bold.

Would it be possible to structure all letters/numbers that mean something different on a separate line like below. At the moment it is very difficult to read/find the number.

A = 7" - 45 RPM - Standard (3/20/57) / 7" - 45 RPM - Stereo (6/58),
B = 10" - 78 RPM - Standard (1955-58) / Master Tape (1958-62),
[edit] removed the other lines

And if anyone asks what the 'S' in lacquer numbers of RCA releases (i.e. TPKM-4886--1S) signifies - it stands for 'Stamper' and dated back to the 1940's. 'Twasn't seen on custom jobs, though.

Oh, and if anyone else asks, the original post now has the layout grouped with each code on a separate line.

Thanks for putting each on it's line. It's much easier to read now.
Now that slipped through is

W.B.
- R = Red Seal, S = Slide Film

On a german lp Lanza* - The Great Caruso
The runout starts as LP-E0-LRC any idea if that's also the case on US releases or would that be something only?
The label shows EO-LRC instead of E0-LRC but I assume that was a typo/error?

In the days when label copy was prepared on cards typed on typewriters which had no number '0' among the keys, thus they used a letter 'O' in lieu thereof (ditto for old-fashioned typewriters where people would use a letter 'I' in place of number '1' if such number was not among the keys), such confusion was commonplace. It is also why in some countries (even one or two U.S. releases) in the 1973-74 period, RCA 45's were shown with an 'APBO' prefix on the center label rather than 'APB0'.

There's some confusion about the date periods. (in my head)

W.B.
II. 1955 - 62

But then ther letter go from
- F = 1955
- N = 1962
(Had this carried past 1962 in the U.S. and Canada, the following codes would have been used:
- O = 1963
- e = 1979

Does that mean in the U.S. this 2nd code system was used from 1955 to 1962 but elsewhere, e.g. in it was used until 1979?

On The Great Caruso the code is WHPY which I take to be from 1971, , Popular and Y for 331/3 rpm. Is that correct?

I know that Italy kept with the 1955-era formula for dating up to 1969 (Uxxx). However, it would appear that in , the 'W' would have fallen in line with 1968, as one 1971 release - Clodagh Rodgers - Jack In The Box / Another Time Another Place, 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 Peggy March single from 1969 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 -->
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 of year dating, though only a small fraction, again, may've used part of it. The c. 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 , is one start. This is one of the many landmines in dealing with such majors as RCA Victor.

velove
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

Actually, adopted a "half-and-half" system, thus:
- W = 1968
- H =
- P = Popular
- Y = 12" - 33⅓ RPM - Stereo
Again, no rhyme or reason, totally haphazard.

this is a great resource. thanks, W.B.

Now, as far as the 9", 16⅔ RPM records are concerned, here are but a few examples by year:
Unknown Artist - Basic Music Library (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 well, I have stumbled across another fourth character in the post-1963 coding system: N. As on:
No Artist - The 1965 Corvair's Selling Seven
with a prefix of R3-PN, as follows:
R = 1964
3 = Custom - Recorded at RCA
P = 10" - 33⅓ RPM
N = possibly Universal (H was Standard, based on so many Ad Council 7-inchers with x4LH codes).

Another piece of info: a 1965 'New Thesaurus' LP issue that had a prefix of S2RH-.

Also, on this link, a 1963 RCA Thesaurus LP with a P2RG- prefix.

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 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. (I have not as yet integrated Reader's Digest sets or Thesaurus issues in the mix, if anyone can thread together those it'd be appreciated.)
P#xx-:
- 1000's - Hollywood (45's have 'B' in fourth character, despite not being EP's)
- 1400's - Chicago
- 2000's - New York (P3xx and P4xx only)
- 3000's - New York (P5xx only)
- 3500's - Nashville
- 4000's - New York (Thesaurus?)
- 4500's - Chicago
- 5000's - Nashville
- 6000's - Chicago
- 7000's - New York (P3xx and P4xx only)
- 7700's - Hollywood (initial 45's in block had 'B' in fourth character, than well into 7800's switched fourth character to 'M')
- 8000's - Chicago
- 9000's - New York (P3xx and P4xx only)
A few samples:
- Sam Cooke - Good News / Basin Street Blues (45, numbers from 7000 New York block)
- Johnny Tillotson - You Can Never Stop Me Loving You / Judy, Judy, Judy (45, numbers from P5xx-3000 New York block)
- Maurice Evans (2) - More Winnie-The-Pooh Read By Maurice Evans (LP, numbers from 9000 New York block)
- John F. Kennedy - Stay in School (7" 33⅓ RPM, numbers ditto)
- Unknown Artist - Hecklers (LP, Thesaurus - notice the P2RG- prefix, numbers from 4000 New York block)
Px#x:
- 0000's - Hollywood
- 1200's - Nashville
- 3000's - Chicago
- 4000's - New York (Px3x and Px4x only; assigned between Nov and Dec 1963)
- 5000's - Chicago
- 6000's - New York (Px3x and Px4x only; assigned between c.Sep and Nov 1963)
- 6700's - Hollywood
- 7000's - Chicago
- 7500's - Hollywood
- 8000's - Chicago
A few samples:
- Gerry And The Pacemakers* - You'll Never Walk Alone (45, A side number from 4000 New York block)
- Marvin Gaye - Can I Get A Witness (45, numbers from 5000 Chicago block)
- Martha And The Vandellas* - Heat Wave (LP, numbers from 3000 Chicago block)
- Joan Baez - With God On Our Side (7" 33⅓, numbers from 4000 New York block)
Next, will go to 1962.

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 here). 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 ed 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. Oct. 1962)
- 2000's - New York (N7Ox and N8Ox only)
- 2500's - Nashville
- 3000's - Hollywood
- 4000's - Chicago
- 5000's - New York (N7Ox and N8Ox only)
- 6500's - Chicago
- 7700's - Hollywood
- 8000's - Nashville
- 8500's - New York (N7Ox and N8Ox only)
- 9500's - Chicago
A few samples:
- Shelley Fabares - Johnny Loves Me / I'm Growing Up (45, numbers from Hollywood block)
- Chuck Jackson - Any Day Now / The Prophet (45, N8OW numbers from New York block)
- Johnny Tillotson - It Keeps Right On A-Hurtin' / She Gave Sweet Love To Me (45, N9OW numbers from New York block)
- Nina Simone - Nina At Town Hall (LP, Mono, N8OP numbers from New York block)
- Unknown Artist - "Sell-Tunes" / "Big Parade" - Station Promotion Package (LP, Thesaurus)
NO#x-:
- 0000's - New York (NO7x and NO8x only)
- 0300's - Hollywood
- 0700's - New York (NO7x and NO8x only)
- 1400's - Chicago
- 2500's - Nashville
- 3000's - New York (NO9x only; up to around 3133 c. Dec 1962)
- 3400's - New York (NO7x and NO8x only)
- 4000's - Chicago
- 5000's - Hollywood
- 6000's - New York (NO7x and NO8x only)
- 7000's - Chicago
- 7700's - Nashville
A few samples:
- The Rooftop Singers - Walk Right In (45, NO8W numbers from New York block)
- Sandy Stewart (2) - My Coloring Book (45, NO9W numbers from New York block)
- Bob Booker And Earle Doud Featuring Vaughn Meader - The First Family (LP, Mono, NO9P numbers from New York block)
- Various - Mood Music For Listening And Relaxation (LP, Stereo, Reader's Digest, NO8Y numbers from New York block)

Next up: a look at 1964.

W.B.
Next up: a look at 1964.

Thanks for the great work as always.
Could you maybe link some examples each time? At least one for each category would be great. e.g. one for N#Ox- and one for NO#x-

I may incorporate them down the road in the respective posts. And may well do so when looking at the 1964 sequence.

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).
R#xx-:
- 0000's - New York (R5xx only)
- 0100's - New York (R3xx and R4xx only)
- 0700's - Hollywood (goes well into 1600 range)
- 1800's - Chicago
- 2000's - Nashville
- 3000's - Chicago
- 4000's - New York (R3xx and R4xx only; 4400 and 4700 blocks reserved for 20th Century-Fox)
- 5400's(?) - Hollywood
- 6000's - Chicago
- 7000's - New York (R5xx only; assigned between c.May and Dec 1964)
- 7500's - New York (R5xx only; assigned between c.Feb and c.May 1964)
- 7550's - New York (R3xx and R4xx only)
- 7700's - New York (R3xx and R4xx only)
- 7900's - New York (R3xx and R4xx only; reserved for 20th Century-Fox, used to end of year)
- 8000's - Nashville
- 8800's - Chicago (up to upper 9900 range)
A few samples:
- Gerry And The Pacemakers* - Don't Let The Sun Catch You Crying (45, A side number from 4000 New York block)
- Gene Pitney - I'm Gonna Be Strong (45, numbers from R5xx-7000 New York block)
- No Artist - The 1965 Corvair's Selling Seven (LP, 10", numbers from 8800 Chicago block)
- John Hammond* - Big City Blues (LP, Mono, numbers from 4000 New York block)
- Riccardo Dini - Riccardo Dini Sings Italian Hit Songs (LP, Stereo, numbers from 4000 New York block)
- Frank Ledlie Moore - The Triumph Of Man (7" 33⅓, numbers from 4000 New York block)
Rx#x-:
- 0000's - New York (Rx3x and Rx4x only)
- 1100's - Hollywood
- 2000's - Chicago
- 3000's - Hollywood
- 4500's - New York (Rx3x and Rx4x only)
- 6000's - Chicago
- 7000's - Nashville
- 8000's - Chicago
- 9000's - New York (Rx3x and Rx4x only)
- 9300's - Chicago (up to 9699 by year's end)
A few samples:
- The Supremes - Come See About Me (45, numbers from 2000 Chicago block)
- Gerry & The Pacemakers - I'll Be There (45, numbers from 4500 New York block)
- The Beatles - A Hard Day's Night (Original Motion Picture Sound Track) (LP, Mono, numbers from 0000 New York block)
- Gerry And The Pacemakers* - Gerry And The Pacemakers Second Album (LP, Stereo, numbers from 4500 New York block)
- Various - The Great Band Era (1936-1945) (LP, Reader's Digest, Mono, numbers from 4500 New York block)
- Romantic Strings* - Music For Dreaming (LP, Stereo, Reader's Digest, numbers from 0000 New York block)

Next on the docket will be 1961.

And now for the 1961 block of numbers:
M#Ox-:
- 0000's - New York (M7Ox and M8Ox only)
- 0500's - Hollywood
- 1500's - Chicago
- 2100's - New York
- 2200's - Chicago
- 3000's - Nashville
- 4000's - New York (M7Ox and M8Ox only)
- 4500's - New York (M9Ox only)
- 5000's - Chicago
- 5700's - New York (M7Ox and M8Ox only)
- 6200's - Chicago
- 6900's - New York (M7Ox and M8Ox only)
- 7400's - Chicago
- 8000's - Nashville
- 8500's - New York (M7Ox and M8Ox only)
- 9000's - Chicago
- 9500's - New York (M7Ox and M8Ox only)
A few samples:
- The Jarmels - A Little Bit Of Soap (45, numbers from 6900 New York block)
- Billy Leach - Musical Multiplication Tables (7" 33⅓, Box Set, numbers from 7400 Chicago block)
- Joan Baez - Joan Baez Vol. 2 (LP, Mono, numbers from 9500 New York block)
- Mendelssohn*, Vladimir Golschmann, Vienna State Opera Orchestra* - Symphony No. 4 In A Major Op. 90, "Italian" / Music For A Midsummer Night's Dream (LP, Stereo)
MO#x-:
- 0000's - New York (MO7x and MO8x only)
- 0700's - Chicago
- 1500's - New York (MO7x and MO8x only)
- 2000's - Chicago
- 3000's - New York (MO7x and MO8x only)
- 3800's - Chicago
- 4200's - Nashville
- 4400's - Chicago
- 5600's - New York (MO9x only)
A few samples:
- Harold Turner (2) - The Breeze And I / Over The Rainbow (45, numbers from 0700 Chicago block)
- Shelley Fabares - Johnny Angel / Where's It Gonna Get Me? (45, numbers from 1500 New York block)
- The Ramsey Lewis Trio - Never On Sunday (LP, Mono, numbers from 0700 Chicago block)
- Andy Williams - Andy Williams' Best (LP, Stereo, numbers from MO9x-5600 New York block)

Down the road: 1965.

Now, as eagerly anticipated and promised, is the 1965 block of numbers, city by city.
S#xx-:
- 0200's - New York (S3xx and S4xx only)
- 0300's - New York (S4xx, reserved for 20th Century-Fox)
- 0500's - New York (S3xx and S4xx only)
- 0600's - Chicago
- 1500's - Hollywood
- 1600's - Nashville
- 2200's - New York (S5xx only)
- 2800's-2900's - New York (S2xx - Reader's Digest and Thesaurus, to 3020 level - as in No Artist - RCA Thesaurus Hot Spots: Sound Effects)
- 2900's - New York (S5xx only)
- 3000's - Hollywood
- 4100's - New York (S3xx and S4xx only)
- 4700's - Chicago
- 5700's - New York (S3xx and S4xx only)
- 6700's - Chicago
- 7300's - Hollywood
- 7500's - Chicago
- 8000's - Nashville
- 8500's - Hollywood
- 9000's - New York (S3xx and S4xx only)
- 9400's - Chicago
A few samples:
- Gerry & The Pacemakers - Ferry Across The Mersey / Pretend (45, numbers from 0200 New York block)
- Unknown Artist - Dairy Farm Panorama (7" 33⅓ RPM, numbers from 4700 Chicago block)
- Various - The Sound Of Music (An Original Soundtrack Recording) (LP, Mono, numbers from 3000 Hollywood block)
- Rodgers And Hammerstein* - Julie Andrews, Christopher Plummer, Irwin Kostal - The Sound Of Music (An Original Soundtrack Recording) (LP, Stereo, numbers from 3000 Hollywood block)
- Unknown Artist - RCA Thesaurus Hot Spots: "Hot Spots" New Car Jingles For '66 (LP, another Thesaurus example)
Sx#x-:
- 0000's - Hollywood
- 0500's - Nashville
- 1000's - Chicago
- 1600's - New York (Sx3x and Sx4x only)
- 2000's - Hollywood
- 2500's - Chicago
- 3000's - New York (Sx3x and Sx4x only)
- 3500's - Nashville
- 4000's - Hollywood
- 4500's - Chicago
- 5000's - New York (Sx3x and Sx4x only)
- 5500's - Nashville
- 6000's - Chicago
- 6500's - New York (Sx3x and Sx4x only)
- 7000's - Chicago
- 7500's - Hollywood
A few samples:
- Stevie Wonder - Uptight (Everything's Alright) (45, numbers from 4500 Chicago block)
- Don Jobe And The Ghosters - Brand New Ways (45, numbers from 1000 Chicago block)
- Smokey Robinson And The Miracles* - Going To A Go-Go (LP, Mono, numbers from 2500 Chicago block)
- Smokey Robinson And The Miracles* - Going To A Go-Go (LP, Stereo, numbers from 2500 Chicago block)

Next on the list will be 1960.

And now here is the first year of one of the more turbulent decades in history, the 1960's. Yep, a.k.a. 1960. Compared to the decade's end, things were considerably simpler at this point. Except at RCA, of course . . .
L#Ox-:
- 0200's - New York (L9Ox only)
- 0300's - New York (L7Ox and L8Ox only)
- 0700's - Hollywood
- 1100's - New York (L9Ox only)
- 1600's - Nashville
- 2100's - New York (L9Ox only; assigned between c.May and c.June 1960, going up to about 2250)
- 2300's - Chicago
- 2600's - New York (L7Ox and L8Ox only)
- 3200's - New York (L7Mx Thesaurus and L9Ox only)
- 3600's - New York (L7Ox and L8Ox only)
- 3700's - Chicago
- 4100's - New York (L9Ox only; assigned between c.February and April 1960)
- 4200's - New York (L7Ox and L8Ox only)
- 4600's - Chicago
- 5200's - New York (L7Ox and L8Ox only)
- 5600's - New York (L9Ox only)
- 6000's - Chicago
- 6400's - New York (L7Ox and L8Ox only)
- 7400's - Nashville
- 7800's - Chicago
- 8400's - New York (L7Ox and L8Ox only)
- 9000's - Hollywood
- 9500's - New York (L9Ox only)
A few samples:
- The Silvertones (4) - Sentimental Memory / You Gotta Change Your Ways (45, numbers from 0700 Hollywood block)
- Don Rainey - Read-Listen-Learn (Beginners Guitar: Rhythm Guitar) (45, EP, numbers from 7400 Nashville block)
- Edgar Allan Poe - Basil Rathbone Reads Edgar Allan Poe (LP, Mono, numbers from 6700 New York block)
- The Ramsey Lewis Trio - Stretching Out (LP, Stereo, numbers from 3700 Chicago block)
LO#x-:
- 0000's - Chicago
- 1000's - New York (LO9x only)
- 1700's - New York (LO7x and LO8x only)
- 2700's - New York (LO9x only)
- 2800's - Chicago
- 3600's - New York (LO7x and LO8x only)
- 4500's - Chicago
- 5000's - New York (LO7x and LO8x only)
- 5400's - Chicago
- 7700's - Nashville
A few samples:
- Carl Junior And The Martinaires - Look Who's Lonely / Oh, What A Dream (45, numbers from 0000 Chicago block)
- Mildred And Jimmie Mulcay* - If I Didn't Care / You Call Everbody Darlin' (45, numbers from 0000 Chicago block)
- Xavier Cugat & His Orchestra* - Latin Spice (LP, Mono, numbers from 5000 New York block)
- Enesco*, Liszt*, Vienna State Opera Orchestra*, Vladimir Golschmann, Anatole Fistoulari - Rumanian Rhapsodies; Hungarian Rhapsodies (LP, Stereo, numbers from 1700 New York block)

Coming up: 1966.

Now for perhaps the busiest year in RCA Custom's history, 1966. For the only time in its history, custom numbering blocks ed 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. This was one measure of how busy they were; the other was cited in Mercury 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 by. Here, as best can be gauged, is the tale of the tape:
T#xx-:
- 0100's - Hollywood
- 0800's - New York (T2xx, T3xx and T4xx only)
- 1200's - New York (T4xx only; reserved for 20th Century-Fox)
- 1500's - New York (T2xx only)
- 1700's - Chicago
- 2200's - Nashville
- 2800's - New York (T5xx only; went up to 3100 block by year's end)
- 3800's - New York (T3xx and T4xx only)
- 4400's - Chicago
- 5000's - Nashville
- 5500's - Chicago
- 6500's - Hollywood
- 7000's - Nashville
- 7800's - New York (T3xx and T4xx only)
- 8400's - Hollywood
- 9600's - Nashville
A few samples:
- The Chiffons - Sweet Talkin' Guy (45, numbers from 3800 New York block)
- The Sixpentz - Imitation Situation / Please Come Home (45, numbers from 2800 New York block)
- Bud Brisbois - Annie's Dance (45, numbers from 0100 Hollywood block; notice T4RM prefix)
- The Paris Sisters - Sing From "The Glass House" (LP, Mono, numbers from 0500 Hollywood block)
- The Marvelettes - Marvelettes Greatest Hits (LP, Stereo, numbers from 4400 Chicago block)
- Various - Down Memory Lane (65 Years Of Song Hits) (LP, Stereo, Reader's Digest, numbers from 0800 New York block)
- Unknown Artist - RCA Thesaurus Hot Spots: "Hot Spots" Sell-Tunes (LP, Thesaurus, numbers from 1500 New York block)
Tx#x-:
- 0000's - Chicago
- 1000's - New York (Tx3x and Tx4x only)
- 2000's - Hollywood
- 3000's - New York (Tx1x and Tx2x only)
- 3200's - Nashville
- 3500's - Chicago
- 4000's - Nashville
- 5000's - New York (Tx3x and Tx4x only)
- 6000's - Chicago
- 7000's - Hollywood
- 7500's - Nashville
- 8500's - Chicago
- 9000's - Hollywood
- 9500's - Chicago
A few samples:
- The Royal Guardsmen - Snoopy Vs. The Red Baron (45, numbers from 5000 New York block)
- Eddie Dean - One More Time Around (45, numbers from 2000 Hollywood block)
- The Exceptions (7) - Rock 'N' Roll Mass (7" 33⅓, numbers from 6000 Chicago block)
- Julie Andrews With André Previn And The Firestone Orchestra And Chorus - Your Favorite Christmas Carols, Volume 5 (LP, Mono, numbers from 1000 New York block)
- Julie Andrews With André Previn And The Firestone Orchestra And Chorus - Your Favorite Christmas Carols Volume 5 (LP, Stereo, numbers from 1000 New York block)
- Various - Pop Organ Varieties (LP, Mono, Reader's Digest, some TR2M numbers from 3000 New York block)
- Various - Pop Organ Varieties (LP, Stereo, Reader's Digest, some TR2S numbers from 3000 New York block)
#Txx-:
- 0000's - Chicago
- 0300's - Hollywood
- 0800's - Chicago
A few samples:
- The Supremes - Love Is Here And Now You're Gone / There's No Stopping Us Now (45, numbers from 0000 Chicago block)
- The Casinos - Then You Can Tell Me Goodbye (45, numbers from 0800 Chicago block)
- Ramsey Lewis - The Movie Album (LP, Mono, numbers from 0800 Chicago block)
- Martha Bass - I'm So Grateful (LP, Stereo, numbers from 0800 Chicago block)

Next, we'll look at 1959.

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 . . .
K#Ox-:
- 0000's - New York (K7Ox and K8Ox only)
- 0200's - New York (K9Ox only)
- 0500's - Nashville
- 1000's - Hollywood
- 1200's - New York (K7Ox and K8Ox only, also applicable to Thesaurus)
- 1800's - New York (K9Ox)
- 1900's - New York (K7Ox and K8Ox only)
- 2400's - New York (K9Ox only)
- 2600's - Chicago
- 2900's - New York (K9Ox only)
- 3400's - Chicago
- 3700's - New York (K7Ox and K8Ox only)
- 4700's - Nashville
- 4900's - Hollywood
- 5100's - Chicago
- 5800's - Nashville
- 6000's - New York (K7Ox and K8Ox only)
- 6600's - New York (K9Ox only)
- 6800's - Nashville
- 7100's - Chicago
- 7400's - New York (K7Ox and K8Ox only)
- 8000's - Nashville
- 8100's - Chicago
- 8500's - New York (K9Ox only)
- 8700's - Nashville
- 8800's - New York (K9Ox only)
- 8900's - New York (K7Ox and K8Ox only)
- 9500's - Chicago
A few samples:
- The Crests - The Angels Listened In / I Thank The Moon (45, numbers from 7400 and 1200 New York blocks)
- Rose* And Cal Maddox, Jack Wayne Band* / 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)
- Skip And Flip* - It Was I / Lunch Hour (45, numbers from 0200 New York block)
- Dee Clark - Hey Little Girl (45, Stereo, numbers from 9500 Chicago block)
- Various - Motorola Presents - Progress In Sound / Magic Moments In Music (10" LP, Stereo, numbers from 5100 Chicago block)
- Various - Music Of The World's Great Composers (LP, Mono, numbers from 3700 New York block)
- Various - Music Of The World's Great Composers (LP, Stereo, numbers from 3700 New York block)
KO#x-:
- 0500's - New York (KO7x and KO8x only)
- 0800's - Nashville
- 1000's - New York (KO7x and KO8x only)
- 1600's - Chicago
- 2500's - New York (KO7x and KO8x only)
- 3000's - Chicago
- 3300's - New York (KO9x only)
- 3500's - New York (KO7x and KO8x only)
- 3700's - Chicago
- 4100's - New York (KO9x only)
- 4200's - New York (KO7x and KO8x only)
A few samples:
- Andy Williams - The Village Of St. Bernadette (45, numbers from 2500 New York block)
- Jack Scott - What In The World's Come Over You / Baby, Baby (45, numbers from 3300 New York block)
- Clifford Jackson - Speech And Personality (45, EP, numbers from 1000 New York block)
- Charlton Heston With The Robert DeCormier Chorale - Charlton Heston Reads The Five Books Of Moses From The Holy Bible (LP, Mono, numbers from 0500 New York block)
- Charlton Heston With The Robert DeCormier Chorale - Charlton Heston Reads "In The Beginning" From The Five Books Of Moses Of The Holy Bible (LP, Stereo, numbers from 0500 New York block)

Up next will be 1967.

W.B.
- 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 RCA Studios, Hollywood credit?

W.B.
This should be of aid to Discogs 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?

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?

Let me see if I can decipher your points . . .

velove
I've added the label matrix numbers to that release.
Could I also add a Mastered At RCA Studios, Hollywood credit?

I don't know if they did the mastering, or if it was Radio Recorders. 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.

velove
[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": 1949-1962 and 1963 onwards. That should answer your questions as to how far numbering blocks went. Also have compiled them for 78 RPM and LP's.

W.B.
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?!

W.B.
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 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 ing 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.
U#xx-:
- 0000's - Hollywood
- 0600's - New York (U3xx and U4xx only)
- 1600's - New York (U5xx only)
- 2000's - Nashville
- 2600's - Chicago (goes up to ~3800)
- 4500's - Nashville
- 5100's - Hollywood
- 5700's - Chicago
- 6300's - Hollywood
- 6700's - New York (U3xx and U4xx only)
- 7000's - Chicago (goes up to ~7500)
- 8000's - Nashville
- 8500's - New York (U3xx and U4xx only)
- 9100's - Chicago (goes up to ~9999)
A few samples:
- Captain Beefheart - Sure Enough / Grown So Ugly (45, Acetate, numbers from 5100 Hollywood block)
- Big Brother And The Holding Company* - Coo Coo (45, numbers from 1600 New York block)
- Abe Ravin - #10 Auscultatory Phenomena In Other Diseases (7" 33⅓, numbers from 6700 New York block)
- Four Tops - Four Tops Reach Out (LP, Mono, numbers from 5700 Chicago block)
- Four Tops - Four Tops Reach Out (LP, Stereo, numbers from 5700 Chicago block)
Ux#x-:
- 0000's - Hollywood
- 0300's - New York (Ux1x and Ux2x only)
- 0600's - New York (Ux3x and Ux4x only)
- 1200's - Hollywood (goes up to 1400's)
- 1500's - Nashville
- 1700's - Chicago
- 2000's - Nashville
- 2500's - Chicago
- 3000's - New York (Ux1x and Ux2x only)
- 3300's - Nashville
- 3500's - Chicago
- 4000's - Hollywood
- 4500's - New York
- 4800's - Chicago
- 5600's - Chicago
- 9800's - Chicago
A few samples:
- Aalon Butler And The New Breed Band - It's Got To Be Somethin' (45, numbers from 5600 Chicago block)
- The Dantes - Connection / Satisfied (45, numbers from 2500 Chicago block)
- Wayne Cochran - Wayne Cochran! (LP, Mono, numbers from 3500 Chicago block)
- Kenny Burrell - Ode To 52nd Street (LP, Stereo, numbers from 3500 Chicago block)
- Glenn Miller - The Unforgettable Glenn Miller 70 Of His Greatest Original Recordings (LP, Stereo, Reader's Digest, numbers from 0300 New York block)
- Various - South Sea Island Magic (LP, Stereo, Reader's Digest, numbers from 3000 New York block)

The next year to be examined will be 1958.

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.
J#Ox-:
- 0000's - New York (J7Ox and J8Ox only)
- 0300's - Chicago
- 0800's - New York (J9Ox only)
- 1000's - Nashville
- 1300's - New York (J9Ox only; goes up to ~1500)
- 1800's - New York (J9Ox only)
- 2000's - New York (Thesaurus)
- 2400's - New York (J7Ox and J8Ox only)
- 2800's - Chicago
- 3600's - New York (J9Ox only)
- 3700's - New York (J7Ox and J8Ox only) (goes up to ~4000)
- 4300's - New York (J9Ox only)
- 4400's - Nashville
- 4900's - Chicago (goes up to ~5200)
- 5700's - New York (J9Ox only)
- 5800's - Chicago
- 6100's - New York (J7Ox and J8Ox only)
- 7000's - New York (J9Ox only)
- 7200's - Nashville
- 7500's - Chicago
- 7900's - New York (J7Ox and J8Ox only)
- 8400's - New York (J9Ox only)
- 8600's - New York (J7Ox and J8Ox only)
- 9100's - New York (J7Ox and J8Ox only)
- 9200's - Chicago
- 9900's - New York (J7Ox and J8Ox only)
A few samples:
- The Everly Brothers* - Devoted To You (45, numbers from 4400 Nashville block)
- Seymour (2) - Peg O' My Heart / Tea For Two (45, numbers from 2800 Chicago block)
- The Chordettes - Lollipop (45, numbers from 1800 New York block)
- Unknown Artist - Duet Yourself: Popular Waltzes In Record Time (45, EP, numbers from 2400 New York block)
- Glenn Miller And His Orchestra - Original Film Sound Tracks (LP, Mono, numbers from 9900 New York block)
- Ferrante And Teicher* - Soundproof - The Sound Of Tomorrow Today! (LP, Stereo, numbers from 6100 New York block)
JO#x-:
- 0000's - New York (JO9x only)
- 0200's - Chicago
- 0500's - New York
- 1100's - Chicago
- 1500's - Nashville
- 1800's - New York
- 2100's - New York (JO9x only)
- 2300's - Chicago
- 2600's - New York (JO7x and JO8x only)
- 3000's - Chicago
- 3400's - New York (JO7x and JO8x only)
A few samples:
- Bill Parsons And His Orchestra - The All American Boy (45, numbers from 2300 Chicago block)
- Andy Williams - The Hawaiian Wedding Song (Ke Kali Nei Au) (45, numbers from 2100 New York block)
- Perry Como - When You Come To The End Of The Day (45, EP, numbers from 2600 New York block)
- Ahmad Jamal* - Volume IV (LP, Mono, numbers from 1100 Chicago block)
- Gershwin*, Utah Symphony Orchestra Conducted By Maurice Abravanel* - Rhapsody In Blue / An American In Paris (LP, Stereo, numbers from 0500 New York block)

Next up on the docket: 1968.

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 Columbia Record Productions began to lead the pack in the number of custom clients and overall business.
New York - W3xx/W4xx-0000's - Samples:
- Dion (3) - Abraham, Martin And John / Daddy Rollin' (45)
- Unknown Artist - Crisis In Our Cities (7" 33⅓ EP)
- Brigitte Bardot - Special Bardot (Burlington Cameo Brings You) (LP, Mono)
- Dion (3) - Dion (LP, Stereo)
New York - W5xx-2400's - Samples:
- Richie Havens - Oxford Town (45)
Chicago - W#xx-2500's/2600's - Samples:
- Marvin Gaye - I Heard It Through The Grapevine / You're What's Happening (In The World Today) (45)
- Ramsey Lewis - Mother Nature's Son (LP, Stereo)
- Unknown Artist - Mood Music Library (9", 16⅔ RPM, Mono)
Nashville - W#xx-6500's - Samples:
- The Spiritual Consolators - Dr. King We Sing (45)
Hollywood - W#xx-8000's - Samples:
- The Wagon-Masters, Don Franklin - Little Green Apples (45)
Reader's Digest - W#xx-9500's - Samples:
- Various - Ragtime Fun (LP, Mono)
- Various - Ragtime Fun (LP, Stereo)
- Various - Serenade For Lovers (LP, Stereo)
Nashville - Wx#x-0000's - Samples:
- Leon Starr - Just Like That / That Kind Of Living (45)
- Dennis Wayne Bass - Long Tall Sally / You Win Again (45)
Chicago - Wx#x-2500's - Samples:
- Edwin Starr - Twenty-Five Miles / Love Is My Destination (45)

Up next: 1957.

For a few more samples of 1968, I have come across another in my collection:
- Tony Hiller And His Orchestra* - Where The Rainbow Ends
from earlier in the year.

I wonder what 7E6VW 367 A1A1 signifies (1956 Australian 7").

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 of matrix number presentation. Also, , 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).

That leaves E6 and V open, for which I haven't found a reference.
E is given as pre 1955 year code (with E4 =1954), so for a 1956 release I'd expect G, not E6.
Or does the 6 refer to the Numerical Label Description = HMV (1955-57)? Still doesn't heal the year though.
V has no reference either (- U = Slide Film - Universal and - W = Country & Western). For Elvis I'd expect P.
Does also appear on a 1955 release, BTW.

And while we are discussing Oz releases: 11G2PW?

Australia got the updated New Orthophonic codes later in 1956, hence moving from 7E6VW (E6 = 1956, V = Victor [Popular]) to 11G2PW. Here's what I'm referring to in Italy:
Nilla Pizzi - Il Baffo Alla Menjou
with 2E7VW- prefix:
- 2 = Italy?
- E7 = 1957
- V = Victor

So, until adoption of the Orthophonic system, the countries carried on using "En" as year indicator and only afterwards switched to F, G, asf.
Additionally, the leading number potentially identifies a country (2, 7, 11), maybe en lieu of a country character.

That's what it appears. And Italy in particular, was a bit behind in going to snuff as far as the subsequent 'Dynagroove' era codes (going from U in 1969 all the way to Z in 1970).

Hello W.B.
Questions concerning RCA Records Pressing Plant, Hollywood):
Mastering engineer : RCA Studios, Chicago
1/ Is 5124/5 in runouts (A4RS-5124/5) the cat.# assignated to RCA Victor Custom Record Division)?
2/ May I enter A4RS-5124/5 as cat.# in LCCN field?
As always, many thanks for your help!

I wouldn't put those A4RS matrix numbers in the LCCN field by any means, as they are not catalogue numbers in any case. They belong as they are, cited in B&OI. However, if the RCA Hollywood plant originated those metal parts, then they should share "Mastered By" credit alongside the Chicago studios in LCCN. (A4RS-5124/5 was near the tail end of 1971 in of Chicago's allocation of block numbers that began with 2000. I will be looking at 1971 in of RCA Custom down the road.)

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. (However, they wouldn't have a full-time lacquer mastering department until 1961.) As can be gauged, here they are, block by block, hub by hub:
H#Ox-:
- 0000's - Chicago
- 0800's - New York (H7Ox and H8Ox only)
- 0900's - Chicago
- 1000's - Hollywood
- 2000's - Nashville
- 2700's - New York (H7Ox and H8Ox only)
- 2800's - New York (H9Ox only)
- 2900's - New York (H7xx and H8xx only; used primarily on Thesaurus releases)
- 3000's - New York (H7Ox and H8Ox only)
- 3300's - New York (H9Ox only)
- 3600's - New York (H7Ox and H8Ox only)
- 4000's - New York (H7xx and H8xx only; used primarily on Thesaurus releases)
- 4400's - New York (primarily H9Ox)
- 4700's - New York (H7Ox and H8Ox only)
- 5300's - New York (H9Ox only)
- 5600's - New York (H7Ox and H8Ox only)
- 5700's - Chicago
- 6200's - New York (H9Ox only; to ~6999)
- 7000's - Chicago
- 7300's - New York (H9Ox only)
- 7600's - Nashville (?)
- 7700's - New York (H7Ox and H8Ox only)
- 8100's - New York (H9Ox only)
- 8300's - Chicago
- 8800's - New York (H9Ox only)
- 9000's - New York (H7xx and H8xx only; used primarily on Thesaurus releases)
- 9100's - New York (H9Ox only)
- 9300's - New York (H7Ox and H8Ox only)
A few samples:
- The Everly Brothers* - Bye Bye Love / I Wonder If I Care As Much (78, notice H9OB prefix on label and H7OB prefix in deadwax; numbers from 4400 New York block)
- Bobby Christian - Crickets On Parade / Enough Man (45, numbers from 0000 Chicago block)
- Unknown Artist - Key To Office Style Dictation: 80 WPM Shorthand Dictation For Speed Building (45, EP, numbers from 7700 New York block)
- Le Sun Ra And His Arkestra* - Super-Sonic Jazz (LP, numbers from 0000 Chicago block)
- Various - Happy Harlem (10" LP, numbers from 4700 New York block)
- No Artist - Sound Effects (Bugle Calls) (LP, Thesaurus, numbers from 2900 New York block)
HO#x-:
- 0000's - Chicago
- 0600's - New York (HO7x and HO8x only)
- 1200's - New York (HO9x only)
- 1300's - Chicago
- 1700's - New York (HO7x and HO8x only)
- 2000's - Nashville (?)
A few samples:
- Andy Williams - Are You Sincere (45, numbers from 1700 New York block)
- Ruby Wright (2) - Let's Light The Christmas Tree / Merry, Merry, Merry, Merry Xmas (45, numbers from 0000 Chicago block)
- Wayne King And His Orchestra - Alice Blue Gown / The Waltz You Saved For Me (45, EP, numbers from 1700 New York block)
- The Everly Brothers* - The Everly Brothers (LP, numbers from 0600 New York block)
- Liszt* - Norddeutsches Symphonie Orchester, Hamburg* ∙ Leitung: Carl Bamberger ∙ Klavier: Sondra Bianca - Les Préludes / Ungarische Fantasie (10" LP, numbers from 0600 New York block)

Next, we'll gaze our laser focus towards 1969.

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 The Guess Who'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. hub) was the same, except:
- In Chicago, the block began in the 2200's
- Two "hubs" - Nashville and the Reader's Digest / transcription blocks - ed their allocation, thus when they reached the 'Xx#x' threshold, they reused the same number blocks (6500 and 9500, respectively) as at the start of the year
- This was the last year that New York-based lacquers (x5xx) mastered by outside sources used a separate block (in the 2400's); by year's end they were integrated into the 0000's alongside the x3xx's and x4xx's
This would also be the last year the number blocks would be allocated as shown here. Beginning the next year, the start points for Chicago, Nashville and Hollywood would be different. As well, this was the first year stereo 45's would be mastered as well as mono; hence, there will be the same designation of Stereo and Mono for 45's as well as LP's in the examples linked.
New York - X#xx-0000's - Samples:
- Unknown Artist - Marking Time / Teddy Bear's Picnic (45, Mono)
- Captain Billy's Whizbang - Paradise Of Your Mind (45, Stereo)
- Sy Mann - On The Moog Synthesizer (45, EP, Mono)
- Helion (7) - A Trip To The Moon (7" 33⅓ RPM, Mono)
- McDonald's All-American High School Band - McDonald's All-American High School Band (7" 33⅓ RPM, Stereo)
- Cyril Watters / Luigi Zito / A. F. Lavagnino* - Untitled (LP, Mono)
- Townes Van Zandt - Townes Van Zandt (LP, Stereo)
New York - X5xx-2400's - Sample:
- The Unwanted Children - A Thing Of The Past / Without You (45, Mono)
Chicago - X#xx-2200's - Samples:
- The Persians - Here It Comes / I Don't Know How (To Fall Out Of Love) (45, Mono)
- Bloomsbury People - Have You Seen Them Cry? (45, Stereo)
- Cliff Richard - Two A Penny (7" 33⅓ RPM, Mono)
- Bill Peterson (3) - A Soft Summer Song (LP, Mono)
- Various - Billy Graham - Crusade In Miniature (LP, Stereo / Mono)
- The Temptations - Puzzle People (LP, Stereo)
- Unknown Artist - Basic Music Library (9" 16⅔ RPM, Mono)
- Unknown Artist - Basic Music Library (9" 16⅔ RPM, Mono)
Nashville - X#xx-6500's - Samples:
- Hal Keeter - Tony The Tiny Texan / We'll Keep The Date (45, Mono)
- Townes Van Zandt - Our Mother The Mountain (LP, Stereo)
- Fairfield Evangelistic Party - We're Happy Travelers (LP, Stereo)
Hollywood - X#xx-8000's - Samples:
- Zager & Evans - In The Year 2525 (45, Mono)
- Slim Lasater - Old Man Mose (45, Mono)
- Albert McNeil Los Angeles Jubilee Singers* - Songs Of The Blacks, U.S.A. (LP, Stereo)
Reader's Digest / Transcription - X#xx-9500's - Samples:
- Arthur Fiedler And The Boston Pops* - Pops Varieties (LP, Box Set, Mono)
- Arthur Fiedler And The Boston Pops* - Pops Varieties (LP, Box Set, Stereo)
- Frankie Carle - Frankie Carle Plays Music For Dancing (LP, Box Set, Stereo)
Nashville - Xx#x-6500's - Samples:
- Susan Alexander (2) - You've Still Got A Long Way To Go (45, Mono)
- The Imperials* - Love Is The Thing (LP, Stereo)
Reader's Digest / Transcription - Xx#x-9500's - Samples:
- Gordon MacKenzie (3) - For Ford Dealers Only (7" 33⅓ RPM, Mono)
- Lawrence Welk And His Champagne Music Makers* - Merry Christmas From Lawrence Welk And His Champagne Music Makers (LP, Box Set, Stereo)

Up next will be 1956.

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 ed 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.
G#Ox-:
- 0000's - New York (G9Ox only)
- 0400's - Chicago
- (0)600's - Nashville (?)
- 1000's - Chicago
- 1200's - Hollywood (preceded by RR- prefix)
- 2000's - New York
- 2400's - Chicago
- 2900's - New York (G9Ox only)
- 3100's - New York (G7Ox and G8Ox only)
- 3400's - New York (G9Ox only)
- 3800's - Chicago
- 4200's - New York (G7Ox and G8Ox only)
- 4600's - New York (G7xx and G8xx; used primarily for Transcription and Thesaurus)
- 5000's - Chicago
- 5400's - New York (G7Ox and G8Ox only)
- 5800's - Chicago
- 6000's - New York (G7Ox and G8Ox only)
- 7000's - Chicago
- 7400's - New York (G9Ox only)
- 7500's - Chicago
- 8100's - New York (G7Ox and G8Ox only)
- 8200's - New York (G9Ox only)
- 8500's - New York (G7Ox and G8Ox only)
- 9000's - Chicago
- 9400's - New York (G9Ox only)
- 9500's - New York (G7xx and G8xx only; used primarily for Transcription and Thesaurus)
- 9600's - New York (G7Ox and G8Ox only)
A few samples:
- Andy Williams - Canadian Sunset / High Upon A Mountain (45, numbers from 6000 New York block)
- Jimmy Dorsey With Orchestra And Chorus* - So Rare / Sophisticated Swing (45, numbers from 1000 Chicago block)
- Various - 7: All Time Favorites (45, EP, numbers from 5000 Chicago block)
- Ric Cartey With The Jiva-Tones - Young Love / Oooh-Eeee (45, numbers from 600 Nashville(?) block)
- Buddy Knox With The Orchids* / Jim Bowen* With The Orchids* - Party Doll / I'm Stickin' With You (45, numbers from 600 Nashville(?) block)
- Franck* - Symphony In D Minor (LP, numbers from 1000 New York block)
- The Padre Choristers - Christmas At Mission Santa Barbara (10" LP, numbers from 1200 Hollywood block; notice RR-G8OL- prefix)
- Unknown Artist - "Sell-Tunes" (LP, numbers from 4600 New York block)
GO#x-:
- 0000's - Chicago
- 0400's - New York (GO9x only)
- 0500's - New York (GO7x and GO8x only)
- 1000's - Chicago
- 1300's - New York (GO9x only)
A few samples:
- Sofija Topalski I Sveta Maric - Tek Sto Mi Je Grozdje Zarudelo / Smederevka Kolo (78, numbers from 0000 Chicago block)
- Glen Cooper And His Jets - They Say / Sugar Mama (Daddy) (45, numbers from 1000 Chicago block)
- Cathy Carr With Dan Belloc Orchestra And Chorus - Una Momento / It Looks Like Love (45, numbers from 1000 Chicago block)
- Various - A West Coast Jazz Anthology (LP, numbers from 0500 New York block)
- Roger Williams (2) - Songs Of The Fabulous Fifties (LP, numbers from 0400 New York block)

Coming up: 1970.

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.
New York - Z#xx-0000's (reached up to ~1300) - Samples:
- Otis Smith (4) - Let Her Go (45, Mono)
- Al Hirt - Louisiana Man (45, Mono)
- Herb Oscar Anderson - Mama, Call Me Home (45, Stereo)
- Studs Terkel - Hard Times: An Oral History Of The Great Depression (7" 33⅓ RPM, Mono)
- Bert Devitt - Bird Songs Of The Mountain Lake Sanctuary (7" 33⅓ RPM, Stereo)
- Various - From Ragtime To Rock: A History Of American Music (LP, Mono)
- Flip Wilson With Special Guest David Frost - "Flip" - The Flip Wilson Show (LP, Stereo)
Chicago - Z#xx-2000's (reached up to ~5200) - Samples:
- Diana Ross - Ain't No Mountain High Enough / Can't It Wait Until Tomorrow (45, Mono)
- Sig Sakowicz - Say Nice Things About People (45, Stereo)
- Ralph Carmichael - The Restless Ones (Four Songs From The Motion Picture) (45, EP, Mono)
- Bobby Christian And His Orchestra - The Bobby Christian Orchestra (7" 33⅓ RPM, Stereo)
- Unknown Artist - Basic Music Library (9" 16⅔ RPM, Mono)
- Diana Ross - Diana Ross (LP, Stereo)
- The Spartan Marching Band* - The Spartan Marching Band Recorded Live In Spartan Stadium (LP, Stereo)
Nashville - Z#xx-5500's (reached up to ~6800) - Samples:
- Dick Lee (15) - Growin Old Pains (45, Mono)
- The Paddock Jazz Band Featuring Alphonse Picou - 1953 (LP, Mono)
- Wilson Brothers Quartet - The Thrilling And Enthusiastic Sounds Of The Wilson Brothers Quartet (LP, Stereo)
- Various - Hymns You Love (LP, Stereo)
Hollywood - Z#xx-7500's (reached up to ~8900) - Samples:
- The Supremes - Up The Ladder To The Roof (45, Mono; A side only)
- Townes Van Zandt - Come Tomorrow (45, Stereo)
- Chris Smither - I'm A Stranger Too! (LP, Stereo)
Reader's Digest - Z#xx-9500's - Samples:
- Various - Stardust (108 All-Time Favorites) (LP, Stereo; though no labels are shown, Record 1, Side 1 mx. # is Z2RS-9531)

Next up on the docket: 1955.

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 ed 10,000, it would me mentioned on the label (i.e. E4-QH-10066), now if a number block ed 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. FO-8W). 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.
F#-Ox-:
- 0000's - Hollywood
- 0100's - Chicago
- 0300's - New York
- 0500's - Chicago
- 0800's - New York
- 1400's - New York
- 2500's - Chicago
- 3000's - New York
- 3800's - Chicago
- 4000's - New York
- 4400's - Chicago(?)
- 4700's - Nashville(?)
- 5900's - New York
- 7200's - Chicago
- 8000's - New York (F7-Ox and F8-Ox only)
- 8600's - New York (F9-Ox only)
- 8800's - Chicago
- 9000's - New York (F7-Ox and F8-Ox only)
- 9300's - New York (F9-Ox only)
- 9500's - Chicago
A few samples:
- Hack Johnson And His Tennesseeans - What About You Friend / Gone Home (78, numbers from 0500 Chicago block)
- Roger Williams (2) - Autumn Leaves / Take Care (78, numbers from 3000 New York block)
- Roger Williams (2) - Autumn Leaves / Take Care (45, numbers from 3000 New York block)
- Bill Hayes - The Ballad Of Davy Crockett / Farewell (45, numbers from 0300 New York block)
- Cathy Carr - Ivory Tower (45, numbers from 0900 Chicago block)
- Bob Corley - Number One Street (45, numbers from 4700 Nashville(?) block)
- No Artist - Business Letters: Record No. 1: Set No. 41 (45, EP, numbers from 9000 New York block)
- Jackie And Roy* - Storyville Presents Jackie And Roy (10" LP, numbers from 8000 New York block)
- Gershwin*, The Opera Society*, Paul Belanger - Porgy And Bess (LP, numbers from 8000 New York block)
FO-#x-:
- 1500's - New York
A few samples:
- Archie Bleyer - Bridge Of Happiness / You Tell Me Your Dream (I'll Tell You Mine) (78, numbers from 1500 New York block)
- Orlando Roberson With Kent Harian Orchestra & Chorus* - Forever True (45, numbers from 1500 New York block)
- Bela Bartok* - Sir Adrian Boult Conducting The Philharmonic Promenade Orchestra - Music For Strings, Percussion And Celeste / Divertimento For String Orchestra (LP, numbers from 1500 New York block)

1971 will be the next year to be examined.

Would L8 OP6484-1 A1 R indicate a 1960 Rockaway pressing with matrix numbers from the 6000's "Chicago block" ?

I may have to tweak the 1960 block list. If your stamped matrix numbers are at 6 o'clock, then in all likelihood that block was New York. Chicago lacquers, in those days, all had their stamped numbers (as shared by that and the New York studio) at 12 o'clock.

As promised, now we go to 1971. This would be the last full year of operation of RCA's Mid-America Recording Center, Chicago, Illinois, 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:
- The Fifth Amendment - Please Don't Leave Me Now (45, Mono)
- Life (75) - Any Time Of The Year (45, Mono)
- Think (2) - Once You Understand (45, Stereo)
- Eugene G. Weinberg - A Child's Cry: A Clue To Diagnosis (LP, Mono)
- Gordon Turner - Meditation (LP, Mono)
- The Nathan Davis Sextet - Makatuka (LP, Stereo)
New York - A#xx-2000's - Samples:
- Al Greenaway - Ready Or Not / I Don't Wanna Hurt Anymore (45, Mono)
Chicago - A#xx-2000's - Samples:
- The Dontells - I Can't Wait / Gimmie Some (45, Mono)
- Ron Harrington With Bob & Ellis - It Happened To Me Again / Out Of The Night (45, Stereo)
- Marvin Gaye - What's Going On (LP, Stereo)
- Curtis Mayfield - Roots (LP, Stereo)
- Isaac Hayes - Black Moses (LP, Stereo)
Nashville - A#xx-5500's - Samples:
- Moe Bee Ready - Funky Woman / When I'm Gone (45, Mono)
- Glenn W. Turner - Glenn W. Turner Speaks Out "You Can Better Your Best" (LP, Mono)
- Glenn W. Turner - Dare To Be Great! (LP, Stereo)
Hollywood - A#xx-7500's - Samples:
- Sly Stone - Rock Dirge (45, Mono)
- Various - 20 Chartstoppers Vol 1. (LP, Stereo)
Reader's Digest - A#xx-9500's - Samples:
- Various - Mexican Brass Happy Hits With A Happy Beat (LP, Stereo)
- National Philharmonic Orchestra, Arthur Fiedler - Arthur Fiedler Presents The Wonderful World Of Music (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 uned for at this time.
E4-xx-:
- (0)100's - New York
- 500's - Chicago
- 1400's - New York
- 2900's - Chicago
- 3300's - New York
- 4100's - Chicago
- 4400's - New York
- 5000's - Chicago
- 5500's - New York
- 6900's - Chicago
- 7100's - New York
- 7900's - Chicago
- 8800's - New York
- 9000's - Chicago
- 10000's - New York
A few samples:
- The Chordettes - Mr. Sandman / I Don't Wanna See You Cryin' (78, numbers from 5500 New York block)
- The Chordettes - Mr. Sandman / I Don't Wanna See You Cryin' (45, numbers from 5500 New York block)
- Don Rutledge & Ralph Carmichael's Orchestra* - Lord, I Want A Diadem / When I Met My Saviour (78, numbers from 500 Chicago block)
- E. Lowell - The Musical Mother Goose (45, numbers from 1400 New York block)
- Billy Vaughn And His Orchestra - Melody Of Love / Joy Ride (78, numbers from 5000 Chicago block)
- Billy Vaughn And His Orchestra - Melody Of Love / Joy Ride (45, numbers from 5000 Chicago block)
- No Artist - Business Letters: Record No. 15: Set No. 044 (45, EP, numbers from 100 New York block)
- Graeme Bell & His Australian Jazz Band* - Inside Jazz Down Under (45, EP, numbers from 10000 New York block)
- Peggy Seeger - Folk Songs Of Courting And Complaint (10" LP, numbers from 5500 New York block)
- Johann Strauss* / Bizet* / Saint-Saëns* - Artist's Life Waltz / Blue Danube Waltz / Wine, Woman And Song Waltz / L'Arlésienne Suite No. 2 / Danse Macabre (Dance Of Death) (LP, numbers from 7100 New York block)

Next will be 1972.

And now comes 1972. On April 26 of that year, the ax fell at the then 3-year-old Curtom Studios. 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 Style Wooten'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:
- Unknown Artist - Theme Music From Buck And The Preacher Starring Sidney Poitier And Harry Belafonte (45, Mono/Stereo)
- Unknown Artist - Angel Food Cake (45, Mono)
- Unknown Artist - The Unitarian Church In Westport (45, Mono)
- John Cacavas - Smile / Theme From "Limelight" (45, Stereo)
- Tempo 70 - El Primer LP - Tu Y Yo (LP, Stereo)
- Unknown Artist - Concert Band Series '73 (LP, Stereo)
Chicago - B#xx-2000's - Samples:
- Family At Max Featuring Sylvia St. James - Learnin' To Live Together (Space Captain) / We Got To Get Together (45, Mono)
- Alice Cooper - School's Out (45, Stereo; A side only)
- Jerry Butler - I Only Have Eyes For You (45, Stereo)
- (Mikes) Mijal & White* - I've Been You / Reflections (45, Stereo)
- Eddie Kendricks - People...Hold On (LP, Stereo)
Nashville - B#xx-5500's - Samples:
- David Crum - Four Winds Touched My Mountain (45, Mono)
- Pat Breene - When There's A Bend In The Road (45, Stereo)
- Nicky Cruz - Outreach / Life Story (Live At The J.F.K. Center, Wash., D.C. - With Excerpts From The Television Special No Need To Hide) ) (LP, Mono)
Hollywood - B#xx-7500's - Samples:
- Calvin Boles - Dirty Old Man (45, Mono)
- Jack McAlister And Tedd Smith And Dr. Oswald J. Smith* - How Great Thou Art / When I Survey The Wonderous Cross (7" 33⅓ RPM, Mono)
- Liferaft - Liferaft (LP, Stereo)
- The Temptations - All Directions (LP, Stereo)
Reader's Digest - B#xx-9500's - Samples:
- No Artist - When Radio Was King (LP, Stereo)
- Various - Stardust Memories (LP, Box Set, Stereo)

1953 is next on the docket.

Now we go back in time to 1953, which saw the founding of Cadence (2) 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.
E3-xx-:
- 0000's - Chicago
- 0900's - New York
- 1500's - New York
- 2200's - Chicago
- 3000's - New York
- 3800's - Chicago
- 4500's - New York
- 5000's - Chicago
- 5500's - New York
- 6000's - Chicago
- 6500's - New York
- 7200's - Chicago
- 7700's - New York
A few samples:
- Wheaton College Women's Glee Club / Wheaton College Concert Band - Eternal Life / Stars And Stripes Forever (78; numbers from 3800 Chicago block)
- The Hilltoppers Featuring Jimmy Sacca - Poor Butterfly / Wrapped Up In A Dream (78, B side only; numbers from 6500 New York block)
- The Hilltoppers - Poor Butterfly / Wrapped Up In A Dream (45, B side only; numbers from 6500 New York block)
- Buddy Blair and The Tune Twisters - Five O'Clock Blues / Bit of Texas (78; numbers from 2200 Chicago block)
- The Duquesne University Tamburitzans* - A Souvenir Album Of South Slavic Melodies (78; numbers from 3800 Chicago block)
- Unknown Artist - Parrakeet Phrases Record No. 1 (45; numbers from 5000 Chicago block)
- Julius La Rosa - This Is Heaven / Anywhere I Wander (45; numbers from 0900 New York block)
- John Sebastian (2), Archie Bleyer Orchestra - Autumn Leaves / Amber (45; numbers from 7700 New York block)
- Jimmy Sacca With Billy Vaughn And His Orchestra - Alone / You're All That I Need (78; numbers from 7200 Chicago block)
- Tom Lehrer - Songs By Tom Lehrer (10" LP; numbers from 1500 New York block)
- Bruch* / Paganini* - Violin Concerto No. 1 G Minor Op. 26 / La Camla (10" LP; numbers from 6500 New York block)
- Netherlands Philharmonic Orchestra*, Mozart*, Walter Goehr - The Marriage Of Figaro (12" LP; numbers from 6500 New York block)

Next, we'll go forward to 1973.

Now we turn to 1973. In this year, with the closure around February of Motown 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:
- The Global Gonks - Where Have All The Heroes Gone (45, Mono)
- Sedatrius* - Just One Earring / Joey Was The Last Boy (45, Stereo)
- Amerikids - How Come / The Amerikid Song (45, Stereo - note '1' in second character of matrix prefix)
- Various - Production Music (LP, Stereo)
Chicago - C#xx-2000's - Samples:
- Wendell Harrison - An Evening With The Devil (LP, Stereo)
- Unknown Artist - Basic Music Library (9", 16⅔ RPM, Mono)
- Unknown Artist - Basic (9", 16⅔ RPM, Mono)
Nashville - C#xx-5500's - Samples:
- The Sensational Evening Stars - Tell It Like It Is / Guiding Light (45, Mono)
Hollywood - C#xx-7500's - Samples:
- Brenda Holloway - When I'm Gone / You've Made Me So Very Happy (45, Mono)
- G.C. Cameron - No Matter Where (45, Stereo)
- Diana Ross - Last Time I Saw Him (LP, Stereo)
Reader's Digest - C#xx-9500's - Samples:
- Mantovani - The Magic Of Mantovani; Mantovani's Golden Hits (LP, Box Set, Stereo)
- Various - Great Original Hits Of The '50s And '60s (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- 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.
- Del Wood And Mr. Goon-Bones - Shanty Town / Nobody's Sweetheart Now (45) (E2-KW-2257 / E2-KW-3733)
- Burl Ives - Historical America In Song - Songs Of Expanding America (12", 78, Album) (E2-KC-2610 / E2-KC-2611 [Record 1], E2-KC-3613 / E2-KC-3614 [Record 3])
- Charles Griffes / Arthur Foote, American Recording Society Orchestra, Walter Hendl - Poem For Flute And Orchestra / Suite In E Major, Op. 63 For String Orchestra (10", LP) (E2KL-4873 / E2KL-4874)
- The Happy Students - Sing-A-Song Of Pioneers And Explorers Album No. 2 (78) (E2-KB-4928 / E2-KB-4929)
- Federico Chueca, Miguel Ramos Carrión - Agua, Azucarillos Y Aguardiente (10", LP) (E2-KL-5595 / E2-KL-5596)
- Peter Parker (24) - Training Your Parrakeet To Talk (45) (E2-KW-5615 / E2-KW-7212)
- Paul Darnay (And Choir), Arranged And Conducted By Jacques Belasco - Havana Heaven / Don't Cry My Heart (78) (E-2-KB-6403 / E-2-KB-6404)
- J.T. Adams And The Men Of Texas - Faith Is The Key / Your God Is Near (45) (E2-KW-7430 / E2-KW-7431)
- Tchaikovsky*, Orchestra Of The National Theatre, Prague*, Jaroslav Krombholc - Swan Lake: Waltzes, Acts I And II (45, EP) (E2KW-8428 / E2KW-8448)
- Sonar Senghor Ak Sicco Yi* - African Tribal Music And Dances (12", LP) (E2-KP-8441 / E2-KP-8442)
- No Artist - High Fidelity Demonstration Record (12", LP) (E2KP-9243 / E2KP-9244)
- Margie Day - I'm Gonna Raise A Rukus Tonight (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 Motown 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:
- Saft (2) - People In Motion (45, Stereo)
- Cal Raye - She Just Kept Comin' Around (45, Mono / Stereo)
- Beethoven* - The Pastoral - Sixth Symphony (LP, Stereo)
- Johnny Pacheco - Early Rhythms (LP, Stereo)
Nashville - D#xx-5500's - Samples:
- Bruce Mullen - No Chains On Me (45 - Mono; NOTE: copy on here wouldn't have aforesaid RCA Custom numbers, see here for such a copy)
Hollywood - D#xx-7500's - Samples:
- Stevie Wonder - Anthology (LP, Stereo)
- Marvin Gaye - Marvin Gaye Live! (LP, Stereo)
- Thelma Houston - You've Been Doing Wrong For So Long (45, Promo, Mono / Stereo)
Reader's Digest - D#xx-9500's - Samples:
- Various - Have A Merry Christmas (LP, Box Set, Stereo)
- Ludwig van Beethoven - Los Mayores Éxitos De La Gran Música (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 V Disc 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. 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 ed well into the 15000 mark. And until the 1955 realignment of their matrix codes, years where they ed 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.
1944:
- Joe Marsala & His Orchestra - Romance / Zero Hour (12" 78 RPM; D4-CC-522 / D4-CC-523)
- Jimmy Dorsey And His Orchestra / Charlie Barnet And His Orchestra - Sunset Strip / Share Croppin' Blues (12" 78 RPM; D4-TC-244 / D4-TC-253)
1945:
- Barney Bigard & His Orchestra With Georgie Auld - How Long Blues / Nine O'Clock Beer (12" 78 RPM; D5-CC-56 / D5-CC-55)
- Louis Prima And His Orchestra / Lt Bob Crosby (USMC) And His V-Disc Bob Cats /* - Just A Gigolo / It's A Long Way To Tipperary (12" 78 RPM; D5-TC-1344 / D5-TC-1345)
- Bill Harris Septet Featuring Joe "Flip" Phillips* - She's Funny That Way / Characteristically B.H. (10" 78 RPM; D5-CB-324 / D5-CB-322)
1946:
- Ella Fitzgerald And Her V-Disc Boys* / Muggsy Spanier And His Band - I'll See You In My Dreams / Royal Garden Blues (12" 78 RPM; D6-TC-1489 / D6-TC-5008)
- Fats Waller / Buddy Weed And His Trio* - Sometimes I Feel Like A Motherless Child / I Hate Myself / Whoops A Doodle (12" 78 RPM; D6-TC-5013 / D6-TC-6416)
1947:
- Dorothy M. Strathearn, Herman Voss - E'Er You Left Your Room / The Stranger Of Galilee (10" 78 RPM; D7-CB-1047 / ?)
- Michael Herman's Folk Orchestra* - Red River Valley / Sicilian Circle // Camptown Races / Pop! Goes The Weasel (12" 78 RPM; D7-CC-7278 / D7-CC-7401)
1948:
- George Beverly Shea, Douglas Fisher - The Love Of God / Softly And Tenderly (10" 78 RPM; QB-6522-1-D8 / ?)
1949:
- Michael Herman's Folk Orchestra* - Cumberland Square Eight / Good Humour / Christ Church Bells / Black Nag (12" 78 RPM; D9-CC-960 / D9-CC-961)
- Robert Frost - Reading Mending Wall And Stopping By A Woods On A Snowy Evening (12" 78 RPM; D9-CC-1661 / D9-CC-1662)
- Ken Griffin At The Organ* - Yes Sir, That's My Baby / Love Was The Cause Of It All (10" 78 RPM; D9-CB-1055 / D9-CB-1105)
- Banat Tamburitza Orchestra - Sarajevka Kolo / Tchukarichka Kolo (10" 78 RPM; D9-QB-7607 / D9-QB-7608)
- No Artist - Wind / Rainfall (10" 78 RPM; D9-QB-11265)
- Unknown Artist - Para Prueba Del Nuevo Sistema De 45 RPM / Demonstration Record Of The New 45 RPM System (7" 45 RPM; D9-CX-255 / D9-CX-256)
- Ken Griffin (2) - Jingle Bells / Oh Christmas Tree! (O Tannenbaum) (7" 45 RPM; D9CB-45-1102 / D9CB-45-1103)
1950:
- Wayne Griffin - Around The Farm (10" 78 RPM; E0CB-5322 / E0CB-5323)
- Helen McAlerney Barth* And Al Smith* - It Is No Secret (10" 78 RPM; E0-CB-4592 / E0-CB-4593)
- Helen McAlerney Barth*, Al Smith* - It Is No Secret / They Are Nailed To The Cross (7" 45 RPM; E0-CX-1060 / ?)
- Jerry O'Brien & Joe Derrane - The Stack Of Barley (7" 45 RPM; E0-CX-925 / E0-CX-926)
- Helen McAlerney Barth*, Herman Voss - I Will Pilot Thee / Precious Lord, Take My Hand (7" 45 RPM; E0-CX-607 / ?)
- April Stevens - Don't Do It / 'The Sweetest Day (10" 78 RPM; SR-E0CB-3760-1 / SR-E0CB-3763-1)
- April Stevens - Don't Do It / The Sweetest Day (7" 45 RPM; SR-E0CB-3760-1 / SR-E0CB-3763-1)
- Norman Cloutier Orchestra / George Wright (2) - Recorded Program Services (16" 33⅓ RPM; E0-MM-643 / E0-MM-644)
1951:
- Del Wood - Down Yonder / Mine, All Mine (10" 78 RPM; E1-QB-15000 / E1-QB-14000)
- Burl Ives - Historical America In Song - Songs Of Expanding America (12" 78 RPM; E1-QC-13554 / E1-QC-13555 [Record 2], E1-QC-13556 / E1-QC-13557 [Record 4], E1-QC-13563 / E1-QC-13564 [Record 5])
- Unknown Artist - Daddy Comes Home (7" 45 RPM; E1KX-4373 / E1KX-4374)
- Del Wood - Ragtime Melody / Rainbow (7" 45 RPM; E1-QX-14427 / E1-QX-14429)
- Robert Frost - Robert Frost Reading His Own Poems (10" LP; E1-LCB-1941 / E1-LCB-1942)
- John Gruen, Georgiana Bannister - New Songs (12" LP; E1-LCC-2337 / E1-LCC-2338)
- The Christophers - Christopher Recordings On Sex Instruction (12" LP; E1-LKC-3528 / E1-LKC-3529)
- Various - Music Of India From Jean Renoir's The River (12" LP; E1-LKC-5668 / E1-LKC-5669)
- Jelly Roll Morton's Red Hot Peppers - Jelly Roll Morton's Red Hot Peppers Volume Two (12" LP; E1-LQC-13573 / E1-LQC-13565)

Next, we'll be starting with 1975 and going from there.

Johannes Brahms, Wellesley College Choir, Trinity College Glee Club - Ein Deutsches Requiem has
Matrix / Runout (Label Side One): H8-OP-6423
Matrix / Runout (Label Side Two): H8-OP-6424
H8-OP would usually mean 1957 but the artwork mentions 1960. what now?

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.

W.B.
The numbers would have been assigned, and therefore the sides originally recorded, in 1957, and then put out three years later.

or the cover is just confusing. It lists years/numbers from 1957 to 1960. If they are years then it couldn't have been recorded in 1957?!!

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:
- Various - Far Out (LP, Stereo; E4RS-0028 / E4RS-0029)
- Connie Francis - Connie (LP, Stereo) (E4RS-0034 through 0037)
- Bach* - The Brandenburg Concertos No. 2 & No. 6, The Clavier Concerto In D Minor (LP, Stereo) (E4RS-0044 / E4RS-0045)
- Various - Wacky Westerns (LP, Stereo) (E4RS-0058 / E4RS-0059)
- Bobby Hebb - Sunny '76 (45, Stereo) (E4KS-2480A / E4KS-2480B)
- Thom Janusz - Ronn Forella...Moves ! (LP, Stereo) (E4RS-2521A / E4RS-2521B)
Hollywood:
- Commodores - Caught In The Act (LP, Stereo) (E5RS-7514-1 / E5RS-7515-2)
- Smokey Robinson - A Quiet Storm (LP, Stereo) (E5RS-7538-1 / E5RS-7539-2)
- Gladys Knight And The Pips - A Little Knight Music (LP, Stereo) (E5RS-7540-1 / E5RS-7541-2)
Reader's Digest:
- Various - All-Star Country (LP, Box Set, Stereo) (E1RS-9501 through 9508)
- Eddy Arnold - Welcome To My World (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 Laurie Records 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.
1976:
- The Homesteaders (2) - Convoy (LP, Stereo) (F4RS-0007 / F4RS-0008)
- Various - Disco Dynamite (LP, Stereo) (F4RS-0066 / F4RS-0067)
- Eddy Arnold - The Best Of Eddy Arnold (LP, Stereo) (F4RS-0068 through 0071)
- Dion And The Belmonts* - 60 Greatest Of Dion And The Belmonts (LP, Box Set, Stereo) (F3RS 2049 A through E)
- Rosetta Jefferson - I Can't Keep Holding On (45, Mono) (F4KM-0030 / F4KM-0031)
- The Beatles, Murray The K - Murray The "K" & The Beatles As It Happened (45, Mono) (F4KM-0082 / F4KM-0083)
- Buddy Traina - Happy Birthday America (Abraham, Martin And John) (45, Stereo) (F4KS-2223A / F4KS-2223B)
- Big Youth - Natty Universal Dread 1973-1979 (45, Stereo) (F4KS-2086-A / F4KS-2086-B(?) )
- The Apple Creek Revue - The King Of Hearts (45, Mono; mastered in Nashville) (F4KM-6168 / F4KM-6169)
- The Stardust Voices - It's A Grand Night For Singing! (LP, Box Set, Stereo) (F1RS-9501 through 9516)
- Various - 20 Country Stars - Country Hits (LP, Stereo) (F1RS-9667 / F1RS-9668)
1977:
- Various - Stars (LP, Stereo) (G4RS-0035 / G4RS-0036)
- The Muzzy Band - It's So Nice Being In Love Again / Fox (45, Stereo) (G4KS-2245 / G4KS-2247)
- Jack Rainwater - A Place In The Sun / All I Want Is To Love You (45, Stereo) (G4KS-2255A / G4KS-2255B)
- Various - Organ Magic! (LP, Box Set, Stereo) (G1RS-9611 through 9622)
1978:
- Various - SuperStars In Country Music (LP, Stereo) (H4RS-0029 / H4RS-0030)
- Various - Thanks For The Memories (LP, Box Set, Stereo) (H1RS-9601 through 9616)
- The Mills Brothers - Memories Nice And Easy (LP, Box Set, Stereo) (H1RS-9841 through 9852)
- Various - The Best Of The Swing Years (LP, Box Set, Stereo) (H1RS-1001 through 1016)
1979:
- Various - Circuit Breaker (LP, Stereo) (J4RS-0009 / J4RS-0010)
- Various - Expressions (LP, Stereo) (J4RS-0085 / J4RS-0086)
- Nat King Cole - The Unforgettable (LP, Box Set, Stereo) (J1RS-5561 through 5576)
- Elvis!* - His Greatest Hits (LP, Box Set, Stereo) (J1RS-5681 through 5694)
1980:
- Various - Power Play (LP, Stereo) (K3RS 2663 / K3RS 2664)
- Guy Lombardo & The Royal Canadians* - For Listening And Dancing (LP, Box Set, Stereo) (K1RS-5621 through 5630)
- Various - Fabulous Memories Of The Fabulous '40s (LP, Box Set, Stereo) (K1RS-5651 through 5666)
1981:
- Various - Country Stars Wish You A Merry Christmas (LP, Stereo) (M1RS-5649 / M1RS-5650)
1982 (year assigned):
- Roger Whittaker - The Best Of Roger Whittaker (LP, Box Set, Stereo) (M1RS-5741 through 5750)
1983:
- Mickey Rooney, Ann Miller - Sugar Babies (The Burlesque Musical) (45, Stereo) (N3KS-4817A / N3KS-4817B)
- Various - Light-Classical Gold: The World's Best-Loved Music (LP, Box Set, Stereo) (N1RS-5511 through 5528)
- Mantovani - My World Of Melody (LP, Box Set, Stereo) (N1RS-6041 through 6044)
- Various - Chopin's Greatest Hits (LP, Stereo) (N1RS-5757 / N1RS-5758)
1984:
- Elvis Presley - Elvis Sings Country Favorites (LP, Stereo) (P1RS-5746 / P1RS-5747)
- Nelson Eddy And Jeanette MacDonald - Sweetheart, Sweetheart (LP, Stereo) (P1RS-5991 / P1RS-5992)
- Henry Mancini - Mancini Plays Mancini (LP, Stereo) (R1RS-5751 / R1RS-5752)
1986-87 and beyond:
- Elvis* - The Legend Lives On (LP, Stereo) (S1RS-5871 through 5884)
- Various - America The Beautiful (A Musical Salute To The Statue Of Liberty) (LP, Box Set, Stereo) (T1RS-5581 through 5584)
- Various - 30 Years Of No. 1 Country Hits (LP, Box Set, Stereo) (T1RS-5621 through 5634)
- Elvis Presley - Great Hits Of 1956-57 (LP, Stereo) (T1RS-5831 / T1RS-5832)
- Various - These Were Our Songs - The Late '30s (LP, Box Set, Stereo) (T1RS-5941 through 5954)
- Various - Festival Of Faith (LP, Box Set, Stereo, 1987) (U1RS-5501 through 5514)
- Various - The Golden Age Of Country Music (LP, Box Set, Stereo, 1987) (U1RS-5591 through 5604)
- Various - Memories Are Made Of This (Great Stars Of The 50's) (LP, Box Set, Stereo, 1989) (W1RS-5791 through 5804)
- The Romantic Strings Orchestra*, The London Promenade Orchestra, Douglas Gamley, Gordon Langford - Till The End Of Time (Glorious Melodies That Will Live Forever) (LP, Box Set, Stereo, 1990) (X1RS-5562 - ?)

And thus did the once-bustling custom service, especially upon the corporate changes (taken over by BMG in 1986), essentially vanish into the ether.

W.B.
And thus did the once-bustling custom service, especially upon the corporate changes (taken over by BMG in 1986), essentially vanish into the ether.

A very poetic conclusion. Thanks so much for putting this together W.B. — super helpful and greatly appreciated.

The other thing about 1967 in 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 RCA Records Pressing Plant, Hollywood 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).

Hello W.B. I wasn't sure where to query this, aside from a PM. RCA related so...here goes.

I ed labels and added runout info to Harry Nilsson - A Little Touch Of Schmilsson In The Night. I believe it was released between 1977 & 1980.

Question: Which company pressed this record? I am leaning towards Midwest Custom Record Pressing, but feel there must be more to the story, of which you might be familiar.

Best regards,

I guess the dates do not line up for the pressing plant I was leaning towards.

I failed to mention: outer ring is 2.75 (ID) and the inner ring is 1.125

I think if I were you, I'd check other LP's with these twin ring dimensions and compare before determining where this was pressed. If this was between 1977 and 1980, it must've been when RCA's own Indianapolis plant was overstuffed with Elvis demand upon the King's death.

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 Eddie Rabbitt - Horizon...Thank you again....I only got hung up, on this one, because being in Minnesota, 99% of the RCA's I see are Indianapolis pressings...cheers

Hey W.B. - 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 Harry Reser - Banjos Back To Back. 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.

Hey Delmonico With His Orchestra And Chorus - Theme From "A Summer Place", Madison Time, And Other Hits Of 1960:
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.

T-Bar - Have you checked Hauppauge Record Manufacturing Ltd as a possibility?

SeriouslyCollectible
#1) I'm having a problem deciphering the 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. 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 here, 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 , 1976 was also the year RCA shut down RCA Records Pressing Plant, Hollywood.

SeriouslyCollectible
Another "who did the mastering" question for you regarding code# L3PY-1985 associated with Delmonico With His Orchestra And Chorus - Theme From "A Summer Place", Madison Time, And Other Hits Of 1960:
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.

T-Bar
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 Eddie Rabbitt - Horizon

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 Elektra and so on from the '80's, a preponderance of SP pressings with R 1##### markings.

SeriouslyCollectible
... 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 W.B. - 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 at. 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 Perry Como.

Thanks W.B.. You've answered my questions. And thanks again for the other insights. Good luck in your future research.

The etchings on the 1983 Italian 12" RCA Records Factory, Italy at all, although the record does seem to be an RCA cut & pressing. The codes are: Piero 3-10-83 2G3KY 19914 1S-1A 5
How to interpret 2G3KY ?

Question: Is the RCA Victor Custom correct? Likewise, were each of the US RCA plants independently owned or is there a parent company that we can install?

Update: also is RCA-Victor Custom Record Department a dupe?

I think for something like this, when dealing with product where the plant origin was known (Rockaway, Indianapolis or Hollywood), we leave it at that in of where pressed. If guidelines permit a blurb for RCA Custom / RCA Victor Custom / whatever in the pressing department, then that should be added too, I guess. But they did seem to have about a hundred names they used over the years for their custom division.

Sorry for the delay W.B. (for unknown reasons Discogs didn't send a notification).

W.B.
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?

I'd advise waiting and seeing. But then, it's just me. Others may have other ideas.

Question unrelated to the above Carolyn Franklin - I'd Rather Be Lonely (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 RCA Studio C (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. Even R&B. 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-. 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 here, 5495/6 would have computed with RCA's own in-house New York recordings of the time. Also here.

W.B.
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.

Aha! Ok now I understand — that totally makes sense

Given the above information I could interpret RR4M-0474 / RR4M-0475 found on The Beatles - A Hard Day's Night (Original Motion Picture Soundtrack) as:

R - 1964
R - 12" - 33⅓ RPM
4 - Re-recorded from client's furnished tapes
M - Mono (Fine)
0474 / 0475 - mastered at RCA Studios, New York

Is this correct?

Oh, it was all right (except, RCA Studios, New York's credit should be "Lacquer Cut At" in this context). I wonder, though, why we haven't as yet seen a stereo equivalent RCA pressing with 'RR4S' prefix.

It should be noted that the variant marked "Rockaway" has Indianapolis labels, even though Indianapolis' variation is also here. Rockaway had different typesetting on their labels.

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.

I found an RCA Victor promo 78 that has Red Seal master numbers but main pop series catalog number.
Jan Peerce - How Do I Love Thee / Once

grigglybear
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).

trailoff
I found an RCA Victor promo 78 that has Red Seal master numbers but main pop series catalog number.
Jan Peerce - How Do I Love Thee / Once

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.

W.B.
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).

Awesome, that helps me so much! So no idea what the F could stand for? Could it possibly be the year?

From what I could gather, 'F' either was a pricing code or signified a reissue.

Got some interesting runout on Indianapolis "I". Not sure what to put in the LCCN here.

trailoff - If it helps and if I've read the Connonsburg profile correctly, they were "...reopened in November 1949 as a facility devoted exclusively to the manufacture of 45 RPM records."

Canonsburg's stamped deadwax type was serif, and the typefaces on those images correspond to what they used. At the point of its November 1949 reopening, it did handle 45's only (but not 78's), and surely that was the original intent. But then, RCA didn't get into the LP business until early 1950. So it seems possible Canonsburg, when RCA began pressing albums, added such dies to their plant.

W.B.
added such dies to their plant.

Added in what manner? Dies produced by Cannonsburg and pressed by Indianapolis? Or, some other permutation?

SeriouslyCollectible
Added in what manner? Dies produced by Cannonsburg and pressed by Indianapolis? Or, some other permutation?

LP pressing equipment and accompanying dies added to the Canonsburg plant after RCA began pressing in that format.

As I said, in the runouts Canonsburg used serif type to stamp thereon. Indianapolis' was sans serif.

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 Verdi*, Blanche Thebom, Jussi Bjoerling*, Robert Merrill, Italo Tajo - Highlights From Verdi's Don Carlo. Should "Lacquer Cut At" be used in these instances where serif type is found on RCA Red Seal Lp's consistent with Cannonsburg?

trailoff
Should "Lacquer Cut At" be used in these instances where serif type is found on RCA Red Seal Lp's consistent with Cannonsburg?

+1

RCA Studios, New York would have cut the lacquers, Canonsburg (in these cases) would have only processed the lacquers for eventual pressing.

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.

SeriouslyCollectible
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".

trailoff
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. My bad.
Now I vote +1
PS. Thanks again W.B. for your hard work on these subjects.