Someone sits in this room all day, running the records through our proprietary multi-step cleaning process. Every Hot Stamper pressing has been vacuum cleaned on multiple machines using the Walker Enzyme system.
Disc Doctor and Walker Audio Prelude are the only fluids we recommend for serious SOUND ENHANCEMENT and cleaning of your LPs. You have never heard what’s really in the grooves of your records until you’ve cleaned them using one of these systems. There is nothing in our experience that works as well.
We’ve tried many fluids over the years and a not insignificant portion of them actually made our records sound worse (most often by rolling off the high end). It’s not a good idea to assume the record cleaning fluid you use is doing its job properly. Many do not, including some that are very popular.
Paul Simon – Graceland on Heavy Vinyl
Where did this thick, dull, bloated, opaque turd come from? Having played at least 50 copies of the album over the last ten years, I can honestly say I have never heard one that sounded very much like this new version (maybe some record club copy we picked up by accident did, can’t say it never happened).
Can that possibly be a good thing?
Well, in favor of that proposition I guess you could say it sounds less like a CD now. On the other side of the ledger, it now sounds a great deal more like a bad LP.
The best copies must have one key ingredient that we’ve discovered is absolutely essential if this groundbreaking New Wave album is to come to life — a huge, spacious soundstage.
Some copies are huge; others, not so much. The effect of these size differentials is ENORMOUS. The power of the music ramps up like crazy — how could this recording possibly be this BIG and POWERFUL? How did it achieve this kind of scale? You may need twenty copies to find one like this, which begs the question: why don’t the other 19 sound the way this one does? The sound we heard has to be on the master tape in some sense, doesn’t it? Mastering clearly contributes to the sound, but can it really be a factor of this magnitude?
Leave the originals for the Jazz Collectors
The original Reprise pressing, shown on the left, whether in mono or stereo, has never sounded very good to us. The mono is quite a bit worse than the stereo – no surprise there – but both must be considered poor reflections of the master tape. We sold one many years ago, describing it this way: “Beautiful Original with decent sound — rich, smooth and sweet.” Which it was, but from us that’s little more than damning it with faint praise. The Discovery pressing is so much bigger, clearer and livelier it’s almost hard to imagine it and the 1962 Reprise original were both made from the same tape. Something sure went wrong the first time around — I think it’s safe to say at least that much. (more…)
Nope. It’s just another Record Myth.
Back in 2005 we compared the MFSL pressing of Help to a British Parlophone LP and were — mistakenly, as you may have already surmised — impressed by the MoFi.
Mobile Fidelity did a GREAT JOB with Help!. Help! is a famously dull sounding record. I don’t know of a single original pressing that has the top end mastered properly. Mobile Fidelity restored the highs that are missing from most copies.
The source of the error in our commentary above is in this sentence, see if you can spot it:
I don’t know of a single original pressing that has the top end mastered properly.
Did you figure it out? If you’ve spent much time on our site of course you did.
Rating the DCC LP
Sonic Grade: B-
We used to like the DCC pressing of this Doors album. Now… not so much. It’s a classic case of We Was Wrong.
Keep in mind that the only way you can never be wrong about your records is simply to avoid playing them. If you have better equipment than you did, say, five years ago, try playing some of your MoFi’s, 180 gram LPs, Japanese pressings, 45 RPM remasters and the like. You might be in for quite a shock.
Read the commentary below to see why we think we were wrong about the DCC pressing of Waiting For The Sun.
A White Hot Stamper from years back made me change my mind about this recording. I used to think it was dull, but I was WRONG. I used to think that even the best copies of this recording sounded rolled off on the top end. I no longer believe that to be true. On the best pressings the top end is correct for this music. It took the right pressing to show me the error of my ways.
Side one of that copy was rich and full and sweet as can be. Playing side two I noticed more transparency and clarity, especially in the guitars and voices. It seemed to have correct highs, highs that were a little soft on the first side.