More Soul, Blues, and Rhythm and Blues
- A stunning sounding copy with Double Plus (A++) sound on the first three sides and Triple Plus (A+++) sound on the fourth – exceptionally quiet vinyl too
- This one is knocks it out of the park – it’s lively and rich, with plenty of deep punchy bass, a nicely extended top and a huge three-dimensional soundfield
- Packed with hits – Little Red Corvette, Delirious, 1999 – and they’re rockin’ like crazy here, the energy is off the scale
- 5 stars: “Where his earlier albums had been a fusion of organic and electronic sounds, 1999 was constructed almost entirely on synthesizers by Prince himself… the result is a stunning display of raw talent…”
In our shootout for 1999, the best sides had sound that jumped out of the speakers, propelled by driving rhythmic energy. They brought this complex music to life and allowed us to make sense of it. This is yet another definition of a Hot Stamper — it’s the copy that lets the music work as music.
What excellent sides of 1999 have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes even as late as 1982
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments (and effects!) having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is, of course, the only way to hear all of the above.
Shooting Out the Tough Ones
With so many heavily-produced instruments crammed into the soundfield, if the overall sound is at all veiled, recessed or smeared — problems common to 90-plus per cent of the records we play in our shootouts — the mix quickly becomes opaque, forcing the listener to work too hard to separate out the elements of interest.
Transparency, clarity and presence are key. Note that none of the copies we played was especially thin or anemic. They did, however, tend to lack top end extension and transparency, and many were overly compressed.
These kinds of records always make for tough shootouts. Their everything-but-the-kitchen-sink approach to the production makes it difficult to translate so much sound to disc, vinyl or otherwise. Everything has to be tuned up and on the money before we can even hope to get the record sounding right. Careful VTA adjustment could not be more critical in this respect.
If we’re not hearing the sound we want, we keep messing with the adjustments until we do. There is no getting around sweating the details when sitting down to test a complex recording such as this. If you can’t stand the tweaking tedium, get out of the kitchen (or listening room as the case may be). Obsessing over every aspect of a record’s reproduction is what we do for a living.
This kind of recording requires us to be at the top of our game, both in terms of reproducing the album itself, as well as evaluating the merits of individual pressings.
When you love it, it’s not work, it’s fun. Tedious, occasionally exasperating fun, but still fun. And the louder you play a record like this the better it should sound if it’s any good at all.
What We’re Listening For on 1999
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Little Red Corvette
Let’s Pretend We’re Married
Something In The Water (Does Not Compute)
Lady Cab Driver
All The Critics Love U In New York
AMG 5 Star Review
With Dirty Mind, Prince had established a wild fusion of funk, rock, new wave, and soul that signaled he was an original, maverick talent, but it failed to win him a large audience. After delivering the sound-alike album, Controversy, Prince revamped his sound and delivered the double album 1999. Where his earlier albums had been a fusion of organic and electronic sounds, 1999 was constructed almost entirely on synthesizers by Prince himself.
Naturally, the effect was slightly more mechanical and robotic than his previous work and strongly recalled the electro-funk experiments of several underground funk and hip-hop artists at the time. Prince had also constructed an album dominated by computer funk, but he didn’t simply rely on the extended instrumental grooves to carry the album — he didn’t have to when his songwriting was improving by leaps and bounds… Sure, Prince stretches out a bit too much over the course of 1999, but the result is a stunning display of raw talent, not wallowing indulgence.
Difficulty of Reproduction
A word of caution: Unless your system is firing on all cylinders, even our hottest Hot Stamper copies — the Super Hot and White Hot pressings with the biggest, most dynamic, clearest, and least distorted sound — can sound less than stellar.
Your system should be thoroughly warmed up, your electricity should be clean and cooking, you’ve got to be using the right room treatments, and we also highly recommend using a demagnetizer such as the Walker Talisman on the record, your cables (power, interconnect and speaker) as well as the individual drivers of your speakers.
This is a record that’s going to demand a lot from the listener, and we want to make sure that you feel you’re up to the challenge. If you don’t mind putting in a little hard work, here’s a record that will reward your time and effort many times over, and probably teach you a thing or two about tweaking your gear in the process (especially your VTA adjustment, just to pick an obvious area most audiophiles neglect).
Our Difficulty of Reproduction Scale
This recording ranks high on our Difficulty of Reproduction Scale. Do not attempt to play it using any but the best equipment.
It took a long time to get to the point where we could clean the record properly, twenty years or so, and about the same amount of time to get the stereo to the level it needed to be, involving, you guessed it, many of the Revolutionary Changes in Audio we tout so obsessively. It’s not easy to find a pressing with the low end whomp factor, midrange energy and overall dynamic power that this music needs, and it takes one helluva stereo to play one too.
As we’ve said before about these kinds of recordings — Ambrosia; Blood, Sweat and Tears; The Yes Album; Dark Side of the Moon, Led Zeppelin II — they are designed to bring an audio system to its knees.
If you have the kind of big system that a record like this demands, when you drop the needle on the best of our Hot Stamper pressings, you are going to hear some amazing sound .
…along these lines can be found below.
This listing will help you to Get the Most Out of Your Hot Stampers.
This listing will help you to Get Rid of Grit and Grain the Right Way.
Here’s a link with advice for setting up your Table, Arm and Cartridge that can be found in a section containing Audio Advice of all kinds.
You can find your very own Hot Stamper pressings by using the techniques we lay out in The Four Pillars of Success.
Record shootouts are the fastest and easiest way to hone your listening skills, a subject we discuss often on the site and directly address in this commentary from way back in 2005.