And to think I used to swear by this pressing — specifically the 2000 Yen reissue, not the 1500 Yen original, which I never liked very much — another example of just how wrong one can be.
We happily admit to our mistakes because we know that all this audio stuff and especially the search for Hot Stampers is a matter of trial and error.
We do the trials; we run the experiments,
That’s the only way to avoid the kinds of errors most audiophiles make when it comes to finding the best sounding records.
Being skeptical of every claim you have not tested for yourself is key to getting good results from this kind of work.
Of course, being human we can’t help but make our share of mistakes. The difference is that we learn from them. We report the facts to the best of our ability every time out.
Every record gets a chance to show us what it’s made of, regardless of where it was made, who made it or why they made it.
If we used to like it and now we don’t, that’s what you will read in our commentary. Our obligation is to only one person: you, the listener. (Even better: you, the customer. Buy something already and see what you have been missing.)
On every shootout we do now, if the notes are more than six months old, we toss them out. They mean nothing. Things have changed, radically, and that’s the way it should be.
With each passing year you should be hearing more of everything on your favorite LPs.
That’s the thrill of this hobby — those silly old records just keep getting better. I wish someone could figure out how to make digital get better. They’ve had forty years and it still leaves me wanting more. You too I’m guessing.