This is a nice Early Riverside stereo pressing (not as pictured) with excellent sound! It’s also a title Mobile Fidelity ruined, and having just played this record, I can see hear how they did it.
First of all, the guitar and the drums are tonally right on the money. Mobile Fidelity of course brightened up both and the results are a phony sounding guitar and a phony sounding drum kit, with tizzy cymbals. (The Wes Montgomery MoFi title has many of the same faults, but it’s not quite as bad as this one.)
The other reason the Mobile Fidelity is such a joke is that this recording inherently has a lot of ill-defined bass. Since Half-Speed mastering causes a loss of bass definition, their pressing is even WORSE in this respect.
Mobile Fidelity rarely understood what an acoustic guitar was supposed to sound like. They blew it on all the Cat Stevens masterpieces, brightening up the guitar which emphasized the “picking” at the expense of the resonating guitar body and vibrating string harmonics.
What makes Byrd At The Gate a good record is the natural acoustic guitar tone. Once you screw that up, what’s left?
An audiophile record. For audiophiles who like phony sounding guitars.
Riverside cut this record, and they knew how to cut it right.
This is an Older Jazz Review.
Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we developed in the early 2000s and have since turned into a fine art.
We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)
We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.
Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions, up against a number of other pressings. We award them sonic grades, and then condition check them for surface noise.
As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us could ever come along to do the kind of work we do.
The term “Hot Stampers” gets thrown around a lot these days, but to us it means only one thing: a record that has been through the shootout process and found to be of exceptionally high quality.