Month: May 2022

Sonny Rollins and The Original Jazz Classics Series – Not a Good Match!

More of the Music of Sonny Rollins

Pictured is OJC 029, one of the earliest Sonny Rollins titles they picked to remaster.

Too bad they didn’t do a very good job with it.

The copy we auditioned did not impress us sonically, so don’t expect to see Hot Stampers of this title on OJC coming to the Better Records website any time soon.

The music might be wonderful — we unreservedly follow the maxim de gustibus non est disputandum — but the sound of this pressing is unlikely to ever be of audiophile quality.

There may be great sounding pressings of the album – how could we possibly know there aren’t without playing every version ever pressed? — but we’re pretty sure the OJC will always fall short of the mark.

We created two sections for the OJC label: one for the (potentially, it’s what Hot Stampers are all about) good sounding OJC pressings and one for the (probably, see the paragraph above) bad sounding ones.

If you know of a great sounding pressing of the album, feel free to let us in on what pressing you have and we might just pick one up and give it a listen.

We’ve auditioned countless pressings like this one in the 33 years we’ve been in business — buying, cleaning and playing them by the thousands. This is how we find the best sounding vinyl pressings ever made.

Not the ones that should sound the best. The ones that actually do sound the best. (more…)

The Moody Blues – A Question of Balance

More of The Moody Blues

Reviews and Commentaries for The Moody Blues

  • A very special early UK pressing of A Question Of Balance with Shootout Winning Triple Plus (A+++) sound or very close to it on both sides
  • Huge and spacious with wonderful Tubey Magic – this is the way the band sounded in 1970, alive and kickin’!
  • It’s so correct from top to bottom, so present and alive, while still retaining all the richness and sweetness we expect from British Moody Blues records, that I would find it hard to believe you could do much better, in this life anyway
  • Includes the big hit “Question,” one of the all time greats by the band, which of course sounds fantastic here

Achieving just the right balance of “Moody Blues Sound” and transparency is no mean feat. You have to be using the real master tape for starters. Then you need top end extension, a very rare quality on these imports, and finally, good bass definition to keep the bottom end from blurring and bleeding into the midrange. No domestic copy in our experience has ever had these three qualities, and only the best of the British imports (no Dutch, German or Japanese need apply) manages to get all three on the same LP.

Allow me to steal some commentary from a Moody Blues Hot Stamper shootout we did years ago, for the wonderful In Search of the Lost Chord, in which we say that, on the best Hot Stamper pressings, the clarity and resolution come without sacrificing the Tubey Magical richness, warmth and lushness for which the Moody Blues recordings are justifiably famous.

We guarantee this copy will take the Moodies’ wonderful music to a level you have never experienced in all your music-loving days.

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Dave Brubeck Quartet – Time Further Out (Mono)

More Dave Brubeck

Mono or Stereo? Both Can Be Good

  • With superb Double Plus (A++) sound throughout, this vintage 6-Eye Mono pressing will be very hard to beat – fairly quiet vinyl too
  • It’s extremely unlikely that any mono pressing will win a shootout, but just to keep us on our toes, we like to put some monos of famous albums in our shootouts from time to time to see how they measure up
  • This 2+ early pressing was the best of the bunch, and it’s guaranteed to beat the pants off any modern Heavy Vinyl pressing ever made
  • These sides are so Tubey Magical, rich, full-bodied and warm, yet clear, lively and dynamic
  • This copy demonstrates the big-as-life Fred Plaut Columbia Sound at its best – better even than Time Out(!)
  • 4 1/2 stars: “The selections, which range in time signatures from 5/4 to 9/8, are handled with apparent ease (or at least not too much difficulty) by pianist Brubeck, altoist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello on this near-classic.”
  • Mono or Stereo? Both Can Be Good

Time Further Out is consistently more varied and, dare we say, more musically interesting than Time Out.

If you want to hear big drums in a big room, these Brubeck recordings will show you that sound better than practically any record we know of. These vintage recordings are full-bodied, spacious, three-dimensional, rich, sweet and warm in the best tradition of an All Tube Analog recording.

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Mendelssohn and Bruch / The World of the Great Classics, Vol. 3

More of the music of Felix Mendelssohn (1809-1847)

Hot Stamper Pressings Featuring the Violin

  • A superb Decca reissue with Double Plus (A++) sound from the first note to the last
  • A spectacular Demo Disc Quality Orchestral recording – big, clear, rich, dynamic, transparent and energetic
  • The violin is so sweet and present, so rich, natural and real, you will forget you’re listening to a record at all
  • The glorious sound of these truly great 1958 All Tube “Decca Tree” recordings from Kingsway Hall is faithfully captured in all its beauty on this very disc

This is one of the ALL TIME GREAT violin concerto records. In Ruggiero Ricci’s hands both works are nothing short of magical. If you want to know why people drool over Golden Age recordings, listen to the violin. Careful, when you hear it you may find yourself drooling too.

The staging of the orchestra and violin is exactly the way we want to hear it in our heads. Whether it would really sound this way in a concert hall is impossible to say — concert halls all sound different — but the skill and the emotion of the playing is communicated beautifully on this LP. This is a sweetheart of a record, full of the Tubey Magic for which London recordings are justly famous.

As we noted above, engineering took place in the legendary Kingsway Hall. There is a richness to the sound of the strings that is exceptional, yet clarity and transparency are not sacrificed in the least.

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Master Tape? Yeah, Right

mastertapebox

Thinking Critically About Records

More Heavy Vinyl Commentaries

Let me ask you one question. If so many of the current labels making 180 gram reissues are using the real master tapes — the real two-track stereo masters, not dubs, not cutting masters, not high-resolution digital copies, but the real thing — then why do so many of their records sound so bad?

If you’re honest you’ll say “I Don’t Know…” because, and here I want you to trust me on this, you don’t know. I don’t know either. Nobody does.

Records are mysterious. Their mysteries are many and deep. If you don’t know that you clearly haven’t spent much time with them, or don’t have a very revealing stereo, or don’t listen critically, or something else, who knows what.

They’re mysterious. That’s just a fact.

There is no shortage of records that say “Made From the Original Master Tapes” that simply aren’t. I know this dirty little secret for a fact. I would never say which ones those are for one simple reason: it would make it seem as though others must be, when in fact we have little evidence that very many of them are.

We want them to be — I’m all for it — but how can we know if they are or not? Face it: we can’t.

We must make do — heaven forbid — with actually opening up our own ears and engaging the sound of whichever Heavy Vinyl Reissue we may find spinning on our turntable.  Judging the quality of the sound — no doubt imperfectly — coming out of the speakers.

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Ambrosia – Right at the Top of Our Difficulty of Reproduction Scale

More of the Music of Ambrosia

Reviews and Commentaries for the Music of Ambrosia

You can play hard-to-reproduce records all day long if your system is tuned up and working fine. Ours has to be, all day, every day. The shootouts we do require that everything is working properly or we simply couldn’t do them.

But you can’t play this record on such a system without retesting everything, because this is the Single Most Difficult to Reproduce Recording I know of.

This is what makes it such a great test disc; to call it a challenge doesn’t begin to convey the difficulty of playing a record that places such heavy demands on a system.

Which means I had to retweak a lot of my table setup to make sure it was 100% right, by ear. Getting the VTA right on this record is absolutely critical to its reproduction

(None of those silly setup tools for us here at Better Records. You can hear when it’s right and if you can’t then you need to keep at it until you can.)


A Must Own Rock Record

This Demo Disc Quality recording should be part of any serious Rock Collection. Others that belong in that category can be found here.

It also ranks fairly high on our Difficulty of Reproduction Scale. Do not attempt to play it using any but the best equipment.

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 have problems .

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 audio enthusiast, 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.

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Liszt / Piano Concertos Nos. 1 and 2 / Kondrashin / Richter

More of the music of Franz Liszt (1811-1886)

More Classical Masterpieces

  • The finest Liszt 1st and 2nd Piano Concertos we know of for their performances, and unquestionably for sonics (when the sonics are this good!)
  • The best pressings of this title are more like LIVE MUSIC than any classical recording you own (outside of one of our Hot Stamper pressings of course, those can be every bit as good) or your money back
  • So big, rich and transparent we guarantee you have never heard a better piano concerto recording (unless you already one of our White Hot copies!)

*NOTE: Unlike Concerto No. 1, The Second Piano Concerto opens very quietly, so there will likely never be a vintage pressing of the album that will get that opening to play like a CD. Expect to hear some random ticks, a small price to pay to hear this wonderful performance on top quality analog.

Richter and Kondrashin deliver the finest Liszt 1st & 2nd Piano Concertos I know of, musically, sonically and in every other way. Richter’s performance here is alternately energetic and lyrical, precisely as the work demands. The recording itself is explosively dynamic. The brass is unbelievably full, rich and powerful. You won’t find a better recording of this music anywhere, and this pressing just cannot be beat.

Big and rich (always a problem with piano recordings: you want to hear the percussive qualities of the instrument, but few copies can pull it off without sounding thin). We love the BIG, FAT, Tubey Magical sound of this recording! The piano is solid and powerful — like a real piano.

Huge amounts of hall space, weight and energy, this is DEMO DISC QUALITY SOUND by any standard. (more…)

Turning Skeptics into Believers, One Hot Stamper at a Time

Important Lessons We Learned from Record Experiments

Hot Stamper Testimonial Letters

About 15 years ago we received a letter from a fellow on our email list who found our prices for vinyl curious, as he considered vinyl a bygone technology. [You may have noticed that It has since made quite a comeback.]

Bygone technology? Can’t say I agree with that assessment. It sure would be nice to demonstrate for him how much better records sound than the supposedly superior technologies that have — for most people, perhaps even for this gentleman — replaced them.

Wait, there is a way! A Hot Stamper, 100% Guaranteed to Satisfy or Your Money Back. One click is all it takes. Which is pretty much what I said in my reply to his letter below.

Tom,

I receive your HTML email regularly. Along with the curious prices of your offerings, I occasionally wonder about the opinions expressed in your e-missives. A Roman senator once said that all mortal things are ‘only perfect in death.’ Ashes to ashes, and dust to dust aside: vinyl (of which I own a considerable library) is merely a bygone technology at this point in time. The opinions expressed on your website rarely credit the writer. Whose words are these? And why should I accept the opinions of someone who only stands to profit from their fanaticism? (more…)

Metallica / Ride The Lightning (45 RPM) – MoFi Debunked

Sonic Grade: F

This review is for the 2008 Warner Brothers 45 RPM 180g Double LP Half-Speed Mastered by Mobile Fidelity from the original analog master tapes.

Compressed, sucked-out mids, no deep bass and muddy mid-bass, the mastering of this album is an absolute disaster on every level. If you want to know how clueless the average audiophile is, a quick Google search will bring up plenty of positive comments from listeners and reviewers alike. 

Here are some other records that are good for testing the faults of this awful sounding release.

Records that Are Good for Testing Bass Definition 

Records that Are Good for Testing Compression 

Records that Are Good for Testing Midrange Presence 


FURTHER READING

Here are some of our reviews and commentaries concerning the many Heavy Vinyl pressings we’ve played over the years, well over 200 at this stage of the game. Feel free to pick your poison.

Heavy Vinyl Commentaries

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Jackson Browne’s Debut – Smooth or Detailed, Which Is Right?

The real trick with this album is in striking the right balance between richness and presence. A White Hot Stamper from years back made me change my mind about this recording. I used to think it was dull, but I was wrong. I used to think that even the best copies of this recording sounded rolled off on the top end. I no longer believe that to be true. On the best pressings the top end is correct for this music.

It took the right pressing to show me the error of my ways.

Side one of that copy was rich and full and sweet as can be. Playing side two I noticed more transparency and clarity, especially in the guitars and voices. It seemed to have correct highs, highs that were a little soft on the first side.

But the more I listened, the less I liked it. It started to sound more like a record and less like music. Going back and forth between sides one and two, it was obvious that side one had less clarity because it had the kind of richness and fullness that made all the musicians and their instruments sound real in a way that wasn’t happening on side two.

Side two had clarity, it had transparency, but it kept reminding me that it was a recording.

Side one allowed me to forget that I was playing a record.

When the music started, my attention was completely focused on the songwriting and the performing. Aspects of the recording were lost in my enjoyment of the music. I kept thinking what a great album this is, not what a great recording it is. That tells me that both the recording engineer and the mastering engineer did their jobs right. They created a sound that best served this music.

I think if an audiophile label had produced a version of this album that sounded like side two, most audiophiles would love it. They would hear detail that they’d never heard before. (It’s my belief that the original Asylum master tape has been lost, so the details of which we speak can be heard on these good originals and nowhere else.)

But, fooled into listening for details in the music rather than the music as a whole, they would never know how RIGHT the album can really sound.

The best of our Hot Stampers are the ones that have the right sound for this music.