Month: September 2023

Good Audio Advice and Critical Listening Skills

More on the Subject of How to Go About Developing Your Critical Listening Skills

UPDATE 2024

This is an updated version of a commentary written many years ago.

The latest Mapleshade catalog (Spring 09) has, along with hundreds of recommendations, this little piece of audio advice that caught my eye:

For much improved bass and huge soundstage, put your listening chair or sofa right against the wall behind you. Move your speakers in to 5’ in front of you and 7’ or more apart. No room treatments will yield this much bass improvement.

I literally had to read through it a couple of times to be sure I wasn’t hallucinating. But every time I read it, it still said the same thing, so I know I can’t have been dreaming. This is crazy talk. What the hell is wrong with these people?

Well, it’s not all crazy. There is actually a factually true statement at the end of that paragraph. Yes, it is true that no room treatments will yield as much bass as sitting up against a wall. But why stop there? Bass, regardless of its source, immediately seeks out the corners of the room. That’s where the most bass will always be: where the room boundaries are. If you want to hear the maximum amount of bass your speakers are producing, put your head in the corner of the room down at the floor, where three boundaries intersect. Like the sound now? Getting enough bass are ya?

Along the same lines, for a “huge soundstage” try putting one speaker at one end of the room and the other speaker at the opposite end. Why stop at seven feet? My listening room is twenty feet deep; I can get a soundstage that’s twenty feet across without any problem at all.

I would just have to be dumb enough to think that doing such a thing would be a good idea.

Fellow audiophiles and music lovers, it is not. Let’s talk about why.

Room Reflections

The closer you are to anything that the sound coming from your speakers can bounce off of, right before or right after it reaches your ears, the worse the sound. You want to be as far away from everything as you can be, and this includes not only the back wall of your listening room, but the heads of other persons who may be listening with you. This is easily demonstrated. Have a friend or loved one sit next to you and listen critically to some music you know well. Now have that person leave the room. The sound will always get better (unless something else is very wrong). I have done this experiment many, many times and it only comes out one way: fewer near reflections, better sound.

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Brahms – Piano Concerto No. 1 / Curzon

More of the Music of Johannes Brahms

  • Incredible sound throughout this early London pressing of Curzon and the LSO’s dynamic performance, with a STUNNING Shootout Winning Triple Plus (A+++) side two mated to a solid Double Plus (A++) side one
  • It’s also fairly quiet at Mint Minus Minus, a grade that even our most well-cared-for vintage classical titles have trouble playing at
  • Both sides boast full brass and an especially clear, solid, present piano, one with practically no trace of smear — the right combination of richness and clarity is what allows the best pressings of this album to sound like live music
  • With huge amounts of hall space, weight and energy, this is a Demo Disc by any standard
  • Some old record collectors (like me) say classical recording quality ain’t what it used to be – here’s all the proof anyone with two working ears and top quality audiophile equipment would need to make that case
  • Speakers Corner did a creditable job remastering the record back in the early days of Heavy Vinyl, but one thing you can be sure of: theirs won’t hold a candle to the Hot Stamper pressings we are offering here

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Getz-Gilberto on Japanese Vinyl

Hot Stamper Pressings of Bossa Nova Albums Available Now

Sonic Grade: C

This is a Minty looking Verve Japanese Import LP.

It’s not competitive with the best domestic pressings, but you could definitely do worse.

Trying to find domestic copies that aren’t trashed is getting harder every day, so if you’re a click and pop counter, this copy may be the ticket.

Stan Getz is a truly great tenor saxophonist, the cool school’s most popular player. This LP is all the evidence you need. Side 1 has those wonderfully relaxed Brazilian tempos and the smooth sax stylings of Stan Getz.

Side two for me is even more magical. Getz fires up and lets loose some of his most emotionally intense playing. These sad, poetic songs are about feeling more than anything else and Getz communicates that so completely you don’t have to speak Portugese to know what Jobim is saying. Call it cool jazz with feeling.

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Neil Young / After the Gold Rush

More of the Music of Neil Young

xxx

  • After the Gold Rush returns to the site after more than a one year hiatus, here with excellent Double Plus (A++) Tubey Magical sound or BETTER on both sides of this early Reprise pressing
  • Exceptionally quiet vinyl too, at the high end of Mint Minus Minus, the kind of vinyl we rarely find on early pressings of this album (which are of course the only ones that do well in our shootouts)
  • A very difficult record to find these days with the right stampers and audiophile playing surfaces
  • This is the vinyl embodiment of the Classic Analog Rock sound we love – smooth, rich, full-bodied, warm, punchy, dynamic and clear
  • 5 stars in Allmusic, Top 100, and a Demo Disc that is guaranteed to knock your socks off
  • “It’s a magnificent, style-setting album which saw the Canadian’s elevation to rock hero. For those who like their emotion raw.”
  • If you’re a Neil Young fan — and who isn’t? — this classic from 1970 belongs in your collection.

Folks, a Hot Stamper collection of the Greatest Rock Records of All Time would not be complete without a knockout copy this album. That’s why it’s been a Better Records All-Time Top 100 Title right from the start.

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Robert Brook Discusses His Evolving Understanding of Bass

More from Robert Brook

Robert Brook has a blog which he calls

A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE

Below you will find a link to Robert’s story about the famous Charlie Mingus record you see pictured.

He had a number of different pressings, each of which showed him some qualities that the others lacked. Ultimately you have to pick one to play, and he did.

“GETTING” BASS with Charles Mingus’ BLUES & ROOTS

Robert went from a $20,000 speaker with one eight inch woofer to the Legacy III’s, a speaker costing less than half as much, with three ten inch woofers, to the Legacy Focus, a speaker quite a bit less than $20k, with three twelve inch woofers.

Robert learned something about his Parsifals by playing a speaker that could do so much more down low:

But I’ve learned since that, for all their strengths, the Parsifal had at least one fatal flaw – they made just about every record sound good.

Adding:

Making every record sound good is, it turns out, not a good quality to have in a speaker, nor in any other piece of equipment you use. At least it’s not if you want the best possible sound from your analog system.

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Bad Direct to Disc Music and Sound from 1979

Hot Stamper Pressings of Direct-to-Disc Recordings Available Now

Sonic Grade: F

An awful Direct to Disc recording. This is the kind of crap we audiophiles used to put up with back in the ’70s before we had much of a clue. Clearly, a record like this belongs on our very long list — 279 as of 2023 and getting longer all the time — of Bad Audiophile Records.

The Big Picture from a Lifelong Audiophile

You may have seen this text in another listing, but it bears repeating.

There is nothing new under the sun, and that is especially true when it comes to bad sounding audiophile records. The world is full of them.

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How Good Are Record Cleaning Services?

The Best Record Cleaning System We Know of Is Now Available

One of our customers thought he would try a record cleaning service to get some of his records cleaned. Here is what he found.

Hi Tom,

I got my first set of records back from the cleaning service. Very disappointing.

I’m being totally straight when I say you have set a new standard for what I expect a clean record to sound like. As soon as I heard the pressing of Sticky Fingers, and all subsequent records I bought from you, I realized it was possible to get old records really clean. Almost flawlessly clean like a CD I want to say. The sounds on the record are clearer but so are the littlest tiny pops in the groove. I don’t know what you call them to distinguish them from bigger pops, [we call them ticks] but you can hear them so clearly on quiet passages and between songs and really through the song except the loudest parts.

I know not all vinyl is dead quiet but there are few records from the 1980s I took very good care of and hadn’t played very much that they should have been able to get much much cleaner in my opinion. And the record’s surface is perfect to the eye, so I’m guessing it’s their cleaning methods. All the records have the same defect cleaning wise, except the brand new record I sent. That sounds better than it did and is crystal clear. Overall, no bueno.

Your records were way way better. I guess I’m going to have to get that particular solution system you recommended. Do I need that $4000 German machine to do it right after that? Or are there other ultrasonic cleaners worth investigating? I know some people make their own. Whatever you care to share as I don’t have $4000 dollars.

Andrew

Andrew,

Sorry to hear of this company’s failings. As you know, I am not the least bit surprised.

I don’t think anyone that offers such a service would know how to clean records properly. Real cleaning is much more difficult than any of these folks think it is. If they knew how hard it is, they would know how expensive the service would have to be and how unlikely it would be that anyone would want to pay such a price to have a record cleaned and its sound improved.

We don’t offer such a service partly because we know exactly how much work is involved.

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