You don’t need tube equipment to hear the prodigious amounts of Tubey Magic that exist on the best copies of Madman. For those of you who’ve experienced top quality analog pressings of Meddle or Dark Side of the Moon, or practically any jazz album on Contemporary, whether played through tubes or transistors, that’s the luscious sound of Tubey Magic, and it is all over the album.
The problem is that most British copies — the only ones that have any hope of sounding good in our experience — don’t have all the Tubey Magic that can be heard on the best copies. They are simply not as rich, tubey, and LUSH as the best that we’ve played.
This is the one quality that separates the winners of the shootout from the copies that came in second or third. Lushness isn’t the only thing to listen for of course. The rich copies can’t be too rich, to the point of being murky and muddy.
Achieving just the right balance of Tubey Magical Madman Sound with other qualities we prize such as space, clarity, transparency and presence is no mean feat.
It’s the rare copy that will do well in all these areas, and even our best Shootout Winning sides will have to compromise somewhere. There is always a balance to be struck between richness and clarity, with no copy able to show us the maximum amounts of both that we know are possible.
Having said all that, it has been our experience that one copy in the shootout will make clear what the ideal blend of all the elements is — the right balance of Tubey Magic, clarity, space, weight, top end and much, much more.
When you find yourself lost in the music of Madman because the copy playing has the right sound, it shouldn’t be all that hard to recognize it. When the record is not only doing what it’s supposed to do, but doing more than you ever expected it could do, with more energy, more dynamics, more bass, more clarity, on a stage that’s wider, taller and deeper than you thought it could be, that’s when you know you have reached the highest level of sound.
Seeing All Sides
This will happen on each side independently of the other. That’s just the way records work. Sometimes a copy has two matching sides with that ideal blend — we jump for joy and happily award them our rare Triple Triple grade — but on a ridiculously difficult record to master and press properly such as Madman chances are good that one copy of the record will win for one side and a different copy will win for the other.
Engineering and Production
Elton John is one of the handful of artists to produce an immensely enjoyable and meaningful body of work throughout the ’70s, music that holds up to this day. The music on his albums, so multi-faceted and multi-layered, will endlessly reward the listener who makes the effort and takes the time to dive deep into the sound of his classic releases.
Repeated plays are the order of the day. The more critically you listen, the more you are sure to discover within the exceedingly dense mixes favored by Elton and his bandmates. And the better your stereo gets the more you can appreciate the care and effort that went into the production of the recordings.
Elton John albums always make for tough shootouts. His producers’ (GUS DUDGEON being the best of them) and engineers’ (KEN SCOTT and ROBIN GEOFFREY CABLE likewise the best) approach to recording — everything-but-the-kitchen-sink as a rule — make it difficult to translate their complex sounds 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 record reproduction is what we do for a living. Pink Floyd’s recordings require us to be at the top of our game, both in terms of reproducing their albums 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 nonetheless.