Advice – Audio Progress

It can be done. Here are some ideas.

Diminishing Returns in Audio?

More Sergio Mendes

More Sergio Mendes & Brasil ’66

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Diminishing returns? Sez who? In our opinion, it’s another Old and Pernicious Myth.

I often read this comment in audio magazines regarding the piece of equipment under review, as if to say that we are so close to audio perfection that a gain of a few percent is the most we can hope for from this or that new megabuck amp or speaker. In my experience the exact opposite is true. 

There are HUGE improvements to be made on a regular basis, even without spending all that much money (keeping in mind that this is not exactly a poor man’s hobby).

If you are actively involved in seeking out better equipment, trying new things, and tweaking the hell out of your system as much as time and patience permit, I think an improvement of 10-25% per year in perceived sound quality is not an unreasonable expectation. (more…)

Record Collecting Axioms

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In an old commentary for a shootout we did for Carole King’s Tapestry album we took shots at both the CBS Half-Speed Mastered Audiophile pressing and the Classic Heavy Vinyl Audiophile pressing, noting that both fell far short of the standard set by the Hot Stamper copies we’d discovered. This finding (and scores of others just like it) prompted us to promulgate the following axiom of audiophile record collecting, which we are calling…

Better Records Record Collecting Axiom Number Two

The better your stereo gets, the fewer Heavy Vinyl and Half-Speed Mastered pressings you will want to play, or own for that matter.

(This assumes a fact not in evidence: that audiophiles get rid of their bad sounding records. It has been my experience that the reverse is actually more often the case. Most audiophiles seem to like to hang on to their bad sounding audiophile pressings, Why they do so I cannot for the life of me understand. To me a bad sounding audiophile record is a record that has no business being played and should either be tossed or sold, with any proceeds from the sale applied to the purchase of good records — you know, like the ones on our site.)
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Jethro Tull – Aqualung – A MoFi Disaster (But Don’t Tell This Guy)

More Jethro Tull

More Aqualung

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Sonic Grade: D

We noted in our Hot Stamper review for Aqualung that the MoFi is a disaster, with the murky bloated DCC even worse. (We didn’t like the Classic either.) 

But we used to like the MoFi and DCC just fine. What could possibly have changed?

It’s a long story, and a pretty long commentary, which we have excerpted from a customer’s letter, along with our reply.

We have edited our original commentary and his letter for the sake of brevity.

Now the letter:

To: Tom Port,

As far as “Aqualung” is concerned, I have a Mobile Fidelity issue of this album which sounds great and being pressed on some of the best vinyl in the world by people who are known for their meticulous care with records, I don’t think that there would be much difference at all in the quality of different Mo-Fi pressings of this or any of their records.

The key phrase here is “I don’t think that there would be much difference at all…”. You see, this is not something to think about, this is something to test. Thinking got this gentleman nowhere; testing might have had the opposite effect. (more…)

Crosby, Stills, Nash & Young – Deja Vu – A Tale of Two MoFi Pressings

More Crosby, Stills, Nash and Young’s 1970 Masterpiece, Deja Vu

More Deja Vu

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Sonic Grade: F (or not!)

A Hall of Shame pressing and another MoFi LP debunked.

Just for fun about 10 years ago I pulled out a MoFi pressing of Deja Vu I had laying around. I hadn’t played their version in a long time. I could have gone a lot longer without playing it, because what I heard was pretty disappointing. Playing their record confirmed all my prejudices. The highs sizzled and spit. The heart of the midrange was recessed and sour.

Know what it reminded me of? A bad Japanese pressing. (Since most of them are pretty bad I could have just said a typical Japanese pressing, but that’s another story for another day.)

And if that’s not bad enough, the bass definition disappeared. Bass notes and bass parts that were clearly audible and easily followed on our Hot Stamper copies were murky, ill-defined mud on the MoFi.

If you own the MoFi you owe it to yourself to hear a better sounding version. You really don’t know what you’re missing. (more…)

Prokofiev / Symphonies No. 1 & 7 – Seventies EMI Classical LPs and Vintage Tube Playback

More Prokofiev

More Symphonies No. 1 & 7

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What to listen for on this album? That’s easy: The all-too-common ’70s EMI harshness and shrillness. We could never understand why audiophiles revered EMI as a label the way they did back the day. I chalk it up — as I do most of the mistaken judgments audiophiles tend to make about the sound of records, my own included — to the limitations of the equipment, bad rooms and poor record cleaning. 

If you had vintage tube equipment back in the ’70s — McIntosh, Marantz, etc. (I myself had an Audio Research SP3-A1 and a D-75a, later a D-76a) — the flaws heard on most copies of this record wouldn’t be nearly as offensive as they are to those of us playing them on the much more revealing systems that are possible today. (more…)

In the Market for New Speakers? – Will They Handle the Size and Energy of Take It Easy?

More the Eagles

More Take It Easy

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Another in our series of Home Audio Exercises.

Take one of our killer Hot Stamper pressings with you when you go shopping for speakers. The speaker that gets the POWER and ENERGY of this music right is the one you want. This record will separate the men from the boys thirty seconds into Take It Easy. It will be obvious who’s got the piston power and who doesn’t.  

With big bass and huge scope, this may become your favorite disc for showing your friends just what analog is really capable of.

When the big chorus comes in on Take It Easy — one of the toughest tests for side one — you will be amazed by how energetic and downright GLORIOUS these boys can sound. Believe us when we tell you, it’s the rare copy that can pass that test. (more…)

The Good News in Audio: Things Change

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It’s amazing how many records that used to sound bad now sound pretty darn good. The site is full of commentaries about them. Every one of them is proof that comments about recordings are of limited value.

The recordings don’t change. Our ability to find, clean and play the pressings made from them does, and that’s what the Hot Stamper Revolution is all about.

You have a choice. You can choose to take the standard audiophile approach, which is to buy the record that is supposed to be the best pressing and consider the case closed. You did the right thing, you played by the rules, you bought the pressing you were told to buy, the one you read the reviews about, the one on the list, the one they said was made from the master tape, the one supposedly pressed on the best vinyl, all that kind of stuff. Cross that title off and move on to the next.
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In the Market for New Speakers?

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See How Well They Handle the Energy of Far More Drums

The drum solo Joe Morello lets loose on Far More Drums is one of the best on record. I was playing that very song recently and it occurred to me that it is practically impossible for a screen or panel speaker of any nature to reproduce the sound of those drums properly, regardless of how many subs you have.

Most of the music is not in the deeper bass anyway. It’s the whack of instruments whose energy is in the lower midrange and midrange that a screen speaker will struggle with, while a good large-driver dynamic speaker seems to handle the energy in that range with ease.

This is precisely the right album to take with you next time you head to your local stereo store to audition speakers. It will help clarify the issues. Screen speakers do many things well, but drums are not one of them in my experience.

If drums are important to you, do yourself a favor and buy a dynamic speaker, the bigger the better.


Further Reading

…along these lines can be found below.

We have a section for Audio Advice of all kinds.

And finally we’ll throw in this old warhorse discussing How to Become an Expert Listener, subtitled Hard Work and Challenges Can Really Pay Off.

Because in audio, much like the rest of life, hard work and challenges really do pay off.

See all Dave Brubeck albums in stock

 

Classic Records Stops Making Bad Records But Acoustic Sounds Picks Up Where They Left Off

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DATELINE 8/29/2010

Classic Records has officially gone under. They will not be missed, not by us anyway, except for this reason: to borrow a line from Richard Nixon, I guess we won’t have Classic Records to kick around anymore. We’ve been beating that dead horse since the day they started back in 1994. There are scores of commentaries on the site about their awful records for those who care about such things.

The last review we wrote for the remastered Scheherazade, which fittingly ended up in our Hall of Shame, is one in which we awarded it an equally fitting sonic grade of F.

TAS Superdisc List to this day? Of course it is!

With every improvement we’ve made to our system over the years, their records have somehow managed to sound progressively worse. (This is pretty much true for all Heavy Vinyl pressings, another good reason for our decision to stop carrying them in 2010.) That ought to tell you something. Better audio stops hiding and starts revealing the shortcomings of bad records. At the same time, and much more importantly, better audio reveals more and more of the strengths and beauty of good records.

(Which of course begs the question of what actually is a good record — what it is that makes one record good and another bad — but luckily for you dear reader, you are actually on a site that has much to say about those very issues. Every Hot Stamper commentary is fundamentally about the specific attributes that make one copy of a given album better than another, and how much of them you’re getting for your money with the unique pressing on offer.)

There are scores of commentaries on the site about the huge improvements in audio available to the discerning (and well-healed) audiophile as I’m sure you’ve read by now. It’s the reason Hot Stampers can and do sound dramatically better than their Heavy Vinyl or Audiophile counterparts: because your stereo is good enough to show you the difference.

With Old School equipment you will continue to be fooled by bad records, just as I and all my audio buds were fooled twenty and thirty years ago. Audio has improved immensely in that time. If you’re still playing Heavy Vinyl and Audiophile pressings there’s a world of sound you’re missing. We would love to help you find it.

One Hot Stamper just might be all it takes to get the ball rolling.

 

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Oh no, someone is going to keep pressing Classic’s shitty records! And selling them!

And wouldn’t you know it’s the same guys who’ve been making bad records since before Classic got into the game.

I advised them to dump them in a landfill but they apparently had other ideas.

So now it’s one stop shopping for all the bad sounding Heavy Vinyl you might be foolish enough to buy. Or perhaps you were misguided by the ridiculous comments and reviews pedaled on audiophile websites extolling the virtues of these pressings.

Don’t believe a word of it. You can count the good sounding records put out by these guys on one hand.  I honestly cannot think of one I would have in my house to tell you the truth.

The Vices of Production

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The best of this kind of mainstream radio-friendly pop rock has stood the test of time very well. One listen and we think you’ll agree: this is fun music that belongs in your collection.

IF…

IF you get hold of a good pressing, and in our experience this mass-produced stuff leaves a lot to be desired most of the time.

Actually that’s not really fair; the specialty audiophile limited edition pressings of most records are even worse sounding, so the production numbers really don’t have much to do with the final product, now do they?
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