This excellent RCA Shaded Dog has the kind of clarity, harmonic texture and freedom from smear that few Golden Age recordings can claim.
Through the effort and skill of the RCA engineers, that striking openness in the recording is combined with an immediacy in the sound of the lead string players, no mean feat. One rarely hears both, except of course in live performance.
Both sides are big, rich, and natural, with lovely string texture.
We Was Wrong in 2007 About Tubes
In 2007 we did a shootout for this album and noted the following:
For those with better tube gear, the string tone on this record is sublime, with that rosin-on-the-bow quality that tubes seem to bring out in a way virtually nothing else can, at least in my experience.
Our experience since 2007 has changed our view concerning the magical power of tubes relative to transistors to bring out the rosiny texture of bowed stringed instruments. We have in fact changed our minds completely with respect to that common belief.(more…)
Both sides of this original stereo pressing are White Hot – Triple Plus all the way! Breathy, tubey, big and clear, this is the best sound we have ever heard for Whisper Not. Superb engineering from the man behind so many great sounding Verve records, Val Valentin. “These fine-tuned arrangements also provide the perfect launching pad for Fitzgerald to place her own stamp on material associated with other singers.”
It’s an album we admit to being just a bit obsessed with. We love the album and we hope you do too. If you have some time on your hands — maybe a bit too much time on your hands — please feel free to check out our commentaries.
Folks, your Hot Stamper collection is just not complete without a knockout copy of After The Gold Rush; that’s why we’ve named it a Better Records All Time Top 100 title. We built our reputation on finding records that sound like this, because who else can find a copy of this album that delivers so much magic? When you drop the needle on any track on side two, you’ll know exactly why we are able to charge these kind of prices for a record like this — because on the right system, it’ll sound like a million bucks!(more…)
We’ve been wandering around in the dark for more than a decade with Bridge of Sighs — that is, until we found a clean early UK Chrysalis pressing. Now we know just how good this album can sound, and that means ASTOUNDINGLY good. Off the top of my head I can’t think of any Geoff Emerick album that sounds as big and clear as this one. The three dimensional space is really something else on the better UK copies.
There is a substantial amount of Tubey Magic and liquidity on the tape, recalling the kind of hi-rez vintage analog sound that makes the luminous A Space in Time such a mind-expanding experience. Recorded a few years earlier, both albums have the kind of High Production Value sound that we go crazy for here at Better Records. You can find many of our favorites in our Rock and Pop Top 100, and if we can find more of this title, it will surely be on the list as well. (more…)
Well, it certainly can be, but sometimes it isn’t, and failing to appreciate that possibility is a classic case of misundertanding a crucially important fact or two about records. Audiophile analog devotees would do well to keep these facts in mind, especially considering the prices original British pressings are fetching these days.
Simply put: Since no two records sound alike, it follow that the right label doesn’t guarantee the right sound. A recent shootout illustrated both of these truths.
It’s Only the First Step on the Long Long Road to Good Sound.
The audio magazines that various and sundry reviewers write for are purveyors of what we consider to be one of the Biggest Lies in all of audio — that buying more expensive equipment is the key to better sound. (It’s technically not a lie; they probably actually believe it. It’s more of an Untruth. But The Big Untruth isn’t especially catchy, so we’re going with The Big Lie.)
From the audiophile rags’ point of view, this makes perfect sense. They extoll the virtues of one piece of sexy hardware after another on page after page of their glossy magazines. The ten bucks a year you pony up to subscribe doesn’t even cover the cost of all that pretty paper. They make their real money by selling advertising to equipment manufacturers, who in turn advertise equipment they want you to buy. What are all the glossy pages of these magazines devoted to? The fawning and credulous discussion of the sexy equipment being advertised. (more…)
A Hall of Shame pressing and another MoFi LP debunked. The MoFi pressing of this album is a joke. It’s so compressed, lifeless, and lacking in bottom end that it would hardly interfere with even the most polite conversation at a wine tasting. I consider it one of the worst sounding versions ot the album ever made. It’s an Audiophile Record in the worst sense of the word.
A well-known reviewer actually — I kid you not — was still defending the sound of the MoFi as late as 2010. In one of his reviews earlier in 2008 he used it to test a piece of equipment he was evaluating! I kid you not.
In 2010 he wrote this:
Mo-Fi’s half-speed mastered edition (MFSL 1-060) was controversial when issued in 1980, with its jacked up lower bass, icy top end, sucked out midrange and low overall level. I’ll tell you though, as my system has improved, the more I’ve come to appreciate it. It offers outstanding focus and clarity and its portrayal of inner detail and transient snap is unsurpassed. Admittedly the sound is not for everybody.
The 2003 Rhino reissue on heavy vinyl of Workingman’s Dead is absolutely awful. It sounds like a bad cassette. The CD of the album that I own is superb, which means that the tapes are not the problem, bad mastering and pressing are.
Rhino bills their releases as 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.
The CD versions of most of the LP titles they released early on are far better sounding than the lifeless, flat, pinched, so-called audiophile pressings they released starting around 2000. The mastering engineer for this garbage actually has the nerve to feature his name in the ads for the records. He should be run out of town, not promoted as a keeper of the faith and defender of the virtues of “vinyl”. If this is what vinyl really sounds like I would have switched to CD a long time ago.
And the amazing thing is, as bad as these records are, there are people who like them! I’ve read postings on the internet from people who say the sound on these records is just fine.
The sound of the best pressings of The Beatles — when cleaned with the Walker Enzyme fluids on the Odyssey machine — are truly revelatory.
So much of what holds their records back is not bad mastering or poor pressing quality or problems with the recording itself. It’s getting the damn vinyl clean. (It’s also helpful to have high quality playback equipment that doesn’t add to the inherent limitations of the recordings.)
Know why you never hear Beatles vinyl playing in stereo stores or audio shows? (Love doesn’t count; give me a break.)
Because they’re TOO DAMN HARD to reproduce. You have to have seriously tweaked, top-quality, correct-sounding equipment — and just the right pressings, natch — to get The Beatles’ music to sound right, and that’s just not the kind of stuff they have at stereo stores and audio shows. (Don’t get me started.) (more…)