If you’re looking for better sounding vinyl, you might want to look for albums other than these.
If you’re looking for better sounding vinyl, you might want to look for albums other than these.
Another MoFi LP debunked.
The last time I played a copy of the MoFi I could not believe how ridiculously phony and compressed it was. And to think I used to like their version when it came out back in the ’80s!
A good example: on Yer Blues, the MFSL pressing positively wreaks havoc with all the added bass and top end The Beatles put on this track. The MoFi version is already too bright, and has sloppy bass to start with, so the result on this track is way too much BAD bass and way too much BAD spitty 10k-boosted treble, unlike the good imports, which have way too much GOOD bass and treble.
Yer Blues ROCKS! Listen to the big jam at the end of the song, where John’s vocal mic is turned off but his performance is still caught by a room or overheard mic. They obviously did this on purpose, killing his vocal track so that the “leaked” vocal could be heard.
Those crazy Beatles! It’s more than just a cool “effect”. It actually seems to kick the energy and power of the song up a notch. It’s clearly an accident, but an accident that works. I rather doubt George Martin approved. That kind of “throw the rule book out” approach is what makes Beatles recordings so fascinating, and The White Album the most fascinating of them all.
The EQ for this song is also a good example of something The Beatles were experimenting with, as detailed in their recording sessions and interviews with the engineers. They were pushing the boundaries of normal EQ, of how much bass and treble a track could have. This track has seriously boosted bass, way too much, but somehow it works!
If you want to hear just how good Monk’s great big rich piano sounds, look no further.
Rudy Van Gelder, eat your heart out. This is the piano sound Rudy never quite managed. Some say it’s the crappy workhorse piano he had set up in his studio. Others say it was just poorly miked. Rather than speculating on something we know little about (good pianos and the miking) let’s just say that Columbia had the piano, the room and the mics to do it right as you can easily hear on this very record.
Nearly White Hot and for good reason. Listen to Monk vocalizing — this copy is so resolving you can hear him clearly, yet the overall sound is warm, rich and smooth in the best Columbia tradition.
Speaking of warm, rich and smooth, this is important to the horn sound too. Most copies could not make the sax as full-bodied and free of honk as we would have liked. This one did, earning lots of points in the process. Hard to fault and definitely hard to beat.
This work is more often than not recorded with harsh sound. The exciting orchestration must surely be very difficult to capture on tape. But Mercury here seems to have managed to do it, a feat few others can claim.
This side one is truly DEMONSTRATION QUALITY, thanks to superb low distortion mastering. It’s yet another very exciting Mercury recording. The quiet passages have unusually sweet sound. This kind of sound is not easy to cut. This copy gets rid of the cutter head distortion and coloration and allows you to hear what the Mercury engineers accomplished.
The balanced tonality is key, especially when you have such lively brass and strings. The top is correct, even sweet, and you can’t say that about very many Mercs. Exceptionally tight bass too.
I don’t know of a better performance or a better recording of the work.
Clear horns, a big hall — if it were a bit less bright it would probably have earned that second plus.
Dorati breathes fire into the famous Tchaikovsky Romeo and Juliet on side 2. Unfortunately, the sound is never as good in our experience as it is on side one.
The best classical recordings of the ’50s and ’60s, compromised in every imaginable way, are sonically and musically head and shoulders above virtually anything that has come after them. The music lives and breathes on those old LPs. Playing them you find yourself in the Living Presence of the musicians. You become lost in their performance. Whatever the limitations of the medium they seem to fade quickly from consciousness. What remains is the rapture of the pure musical experience.
That’s what happens when a good record meets a good turntable.
We live for records like these. It’s the reason we all get up in the morning and come to work, to find and play good records. It’s what this site is all about — offering the audiophile music lover recordings that provide real musical satisfaction. It’s hard work — so hard nobody else seems to want to do it — but the payoff makes it all worthwhile. To us anyway. Hope you feel the same.
Based on our TESTIMONIALS I’m glad to see that many of you do.
This is without a doubt the BEST ALBUM the man ever made. On top of that, this copy really has the kind of sound we look for, with an open, fully extended top end that gives all the elements of this complex music room to breathe.
We Love Fingers
Fingers is one of our all time favorite records, a Desert Island disc to be sure. I’ve been playing this album for more than thirty years and it just keeps getting better and better. Truthfully it’s the only Airto record I like. I can’t stand Dafos, and most of the other Airto titles leave me cold. I think a lot of the credit for the brilliance of this album has to go to the Fattoruso brothers, who play keyboards, drums, and take part in the large vocal groupings that sing along with Airto.
At times this record really sounds like what it is: a bunch of guys in a big room beating the hell out of their drums and singing at the the top of their lungs. You gotta give RVG credit for capturing so much of that energy on tape and transferring that energy onto a slab of vinyl. (Of course this assumes that the record in question actually does have the energy of the best copies. It’s also hard to know who or what is to blame when it doesn’t, since even the good stampers sound mediocre most of the time. Bad vinyl, worn out stampers, poor pressing cycle, it could be practically anything.)
The Highs Are Back
This copy has the highs that are missing from so many of the CTI originals. When you play this against most copies there is an extension to the top end that you don’t hear elsewhere. Since this album is heavy on percussion, that difference is critical. The HARMONICS of the percussion are critically important to the music. When they go missing it’s as if the music seems to slow down, a strange effect but a fairly common one with rhythmically dense arrangements such as these.
With an extended top end the sound is SWEET, not HARSH. Believe us when we tell you, the last thing you want is a harsh sounding pressing of a Rudy Van Gelder recording. (Not unless you have a dull, dull, deadly dull stereo. Those “Old School” stereos are practically the only way one can tolerate some of his early recordings.)
With so many high frequency transients and such complex arrangements, this is a record that must be mastered (and pressed) with great skill or the result is going to be trouble. RVG, who both recorded and mastered the album, has a penchant for over-cutting records and being heavy handed when it comes to his favorite studio tricks, often to the detriment of instrumental fidelity. When his approach works, the resulting recordings are wonderful. When he gets too carried away with his “sound”, look out.
More from Airto
Respighi / Pines Of Rome / Maazel
Sonic Grade: F
MoFi’s version of this recording (#507) is one of the worst sounding classical records they ever made, and that’s saying something, because most of their classical catalog is awful. Thin, bright, with sloppy bass and completely unnatural string tone — the MoFi makes the typical Classic Record sound good! And that’s REALLY saying something.
The UHQR is somewhat better, especially in the lower octaves, but it’s maybe a D+ or C-, not a Better Record by any means.
How dull and opaque does a stereo have to be to make this record listenable? The answer is VERY dull and opaque. Stone Age Audio Systems are the only ones that can play junk like this and get away with it.
To the Jazz Fans of the World, we here present one of the BEST sounding jazz recordings we have ever had the PRIVILEGE to place on a turntable. I cannot ever recall hearing a better sounding Rudy Van Gelder recording, and I have a theory as to why this tape is as good as it is: it’s MONO. It also sounds like it’s recorded completely LIVE in the studio, direct to one track you might say. As good a recording as Kind of Blue is, I think the best parts of this album are more immediate and more real than anything on KOB.
Better than the Originals?
The record combines two Miles Davis albums recorded in 1956: Workin’ and Steamin’. The 1974 remastering here by Brian Gardner is excellent. Since RVG probably would have mastered these tapes himself for the original pressings, I’m going to guess that this album sounds better than any original, for two reasons.
This is a tough album to get to sound right, as long-time readers of our site surely know, but on a good copy it can sound wonderful. This one really delivers, with plenty of presence and energy as well as natural, balanced tonality.
So, What’s Out There?
We’ve heard copies that were smeared, murky, muddy, grainy, or all of the above. Almost all of them had no real magic in the midrange. And of course, we heard tons of copies with the kind of gritty vocals that you’ll find all over the average Parlophone Beatles pressing. So when we dropped the needle on this copy, it was nothing short of a revelation! It has the energy and the life of the music in the grooves in a way I guarantee you have never heard before.
Rhino 45 RPM 2 Disc Set Debunked
Sonic Grade: F
The sound of the 45 RPM 2 disc version cut by Bernie Grundman does not exactly tickle our fancy. It sounds thick and dull, much like the Deja Vu Bernie remastered years ago for Classic Records.
As is the case with so many of the Heavy Vinyl reissues released these days, the studio ambience you hear on these pressings is a pitiful fraction of the ambience the real pressings are capable of revealing, the ones mass-produced by Atlantic, original and reissue alike.
Rhino bills their releases as being pressed on “180 gram High Performance Vinyl.” However, if they are using “performance” to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins.
Check out our Heavy Vinyl Scorecard to read all about the latest winners and losers.
Previously we had written: “The music here is amazing — as on Kind of Blue, both Miles and Cannonball are at the top of their games — but the good news for audiophiles is that it’s also one of the best sounding Blue Note albums we know of.”
After doing this shootout in 2015 I would like to amend the above much-too-conservative remarks. The current consensus here at Better Records is that this album deserves to hold three — count ’em, three — somewhat related titles:
One, The Best Sounding Blue Note record we have ever played.
Two, The Best Sounding Jazz Record we have ever played.
Three, Rudy Van Gelder’s Best Engineering (based on the copies we played).
Our shootout winners had more energy, presence, dynamics and three-dimensional studio space than any jazz recording we have ever heard. The sound was as BIG and BOLD as anything in our experience
Add to that a perfectly balanced mix, with tonality that’s correct from top to bottom for every instrument in the soundfield and you may begin to see why we feel that the best copies of this album set a standard that no other jazz record we’re aware of can meet.