Take one of our killer Hot Stamper pressings with you when you go shopping for speakers. The speaker that gets the POWER and ENERGY of this music right is the one you want. This record will separate the men from the boys thirty seconds into Take It Easy. It will be obvious who’s got the piston power and who doesn’t.
With big bass and huge scope, this may become your favorite disc for showing your friends just what analog is really capable of. No CD ever sounded like one of our killer Hot Stamper pressings.
When the big chorus comes in on Take It Easy — one of the toughest tests for side one — you will be amazed by how energetic and downright GLORIOUS these boys can sound. Believe us when we tell you, it’s the rare copy that can pass that test.
OUR RECENT HOT STAMPER COMMENTARY
Think this is all hyperbole? You sure won’t when you play side one on this copy! The sound positively JUMPS out of the speakers and fills the room! The transparency and clarity are nothing less than SHOCKING — just listen to all that ambience; those clear transients on the acoustic guitars, their harmonics captured so beautifully; the sound of the room around the drums.
The bass too is simply AMAZING — deep, tight, BIG and punchy.
One of the best things about this side one is the separation between the various parts, a result of the phenomenal transparency and freedom from distortion of these very special Hot Stamper pressings. You can easily tune in to each of the musicians and follow what they are doing over the course of a song. That’s what you’ve come to expect from a Better Records Hot Stamper, and this copy delivers on that promise.
Choruses Are Key
The richness, sweetness and freedom from artificiality is most apparent on Breakfast in America where you most always hear it on a pop record: in the biggest, loudest, densest, climactic choruses.
We set the playback volume so that the loudest parts of the record are as huge and powerful as they can possibly grow to be without crossing the line into distortion or congestion.
On some records, Dark Side of the Moon comes instantly to mind, the guitar solos on Money are the loudest thing on the record. On Breakfast in America the sax toward the end of The Logical Song is the biggest and loudest element in the mix, louder even than Roger Hodgson’s near-hysterical multi-track screaming “Who I am” about three quarters of the way through the track.
Those are clearly exceptions though. Usually it’s the final chorus that gets bigger and louder than anything else.
A pop song is usually structured so as to build more and more power as it works its way through its verses and choruses, past the bridge, coming back around to make one final push, releasing all its energy in the final chorus, the climax of the song.
On a good recording — one with real dynamics — that part should be very loud and very powerful.
The Midrange Test
What to listen for:
Number one: Too many instruments and voices jammed into too little space in the upper midrange. When the tonality is shifted-up, even slightly, or there is too much compression, there will be too many elements — voices, guitars, drums — vying for space in the upper part of the midrange, causing congestion and a loss of clarity.
With the more solid sounding copies, the lower mids are full and rich; above them, the next “level up” so to speak, there’s plenty of space in which to fit all the instruments and voices comfortably, not piling them one on top of another as is often the case. Consequently, the upper midrange area does not get overloaded and overwhelmed with musical information.
Number Two: edgy vocals, which is related to Number One above. Any copy short of our White Hot Shootout Winner will have at least some edge to the vocals. The band wants to really belt it out in the choruses, and they do. But the best copies keep the edge under control, without sounding compressed, dark, dull or smeary.
The highest quality equipment, on the hottest Hot Stamper copies, will play the loudest and most difficult to reproduce passages with virtually no edge, grit or grain, even at very loud levels.
One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.
Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.
And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it’s an entirely different listening experience.