The original Large Tulip early pressings are the best on this record, right?
Nope. It’s just another Record Myth, as explained in the commentary for our recent Hot Stamper 2-pack. That pair of pressings was all the proof we required to back up our contention that either label can be the best on this classic DG recording. Original is better? Again, not so much. Original can be better fits more with our experience.
To pull off this kind of Mind Boggling sound from start to finish we combined an amazing side one on the Large Tulips label with an amazing side two on the Small Tulips label. And what a finish — side two earned a grade of A+++, being a full step above even our hottest other side two, and we played a lot of copies, more than a dozen in fact. (more…)
The dirty little secret of the audiophile record biz is that record dealers can’t possibly know for certain what the sound quality of any sealed record they sell actually is, audiophile vinyl or otherwise. They turn a blind eye to the fact that some copies are simply not going to measure up to the sound of the review copy that they auditioned and described. (A good reason not to sell sealed records, which we don’t.)
But wait a minute. That’s giving much too much credit to audiophile record dealers. Only a small fraction actually review the records they sell. Most cut and paste a review from the manufacturer and let it go at that. And the few that do write reviews are so far off the mark that they might as well be talking about another pressing entirely. (more…)
This London Whiteback LP has DEMO DISC sound like you will not believe, especially on side two, which earned our coveted A Triple Plus rating. The sound is warm, sweet and transparent; in short, absolutely GORGEOUS. We call it AGAIG — As Good As It Gets!
As this is one of the Greatest Violin Showpiece Albums of All Time, it is certainly a record that belongs in every right-thinking audiophle’s collection. (If you’re on our site and taking the time to read this, that probably means you.) Ruggiero Ricci is superb throughout. (more…)
I was reading an article on the web recently when I came across an old joke Red Skelton used to tell:
All men make mistakes, but married men find out about them sooner.
Now if you’re like me and you play, think and write (hopefully in that order) about records all day, everything sooner or later relates back to records, even a modestly amusing old joke such as this. Making mistakes is fundamental to learning about records, especially if you, like us, believe that most of the received wisdom handed down to record lovers of all kinds is more likely to be wrong than right.
If you don’t believe that to be true, then it’s high time you really started making mistakes. And the faster you make them, the more you will learn the truths (uncountable in number) about records.(more…)
Below we discuss some record theories that seem to be making the rounds these days.
It started with a stunning White Hot Stamper 2-pack that just went up on the site..
I implored the eventual purchaser to note that side two of record one has Joni sounding thin, hard and veiled. If you look at the stampers you can see it’s obviously cut by the same guy (no names please!), and we’re pretty sure both sides were stamped out at the same time of day since it’s impossible to do it any other way. What accounts for the amazing sound of one side and the mediocre sound of its reverse?
If your theory cannot account for these huge differences in sound, your theory is hopelessly, fundamentally flawed. Need we bother to note the rather important, one might even say all-important, fact that it has no practical value in the first place: how is anyone to know at what specific time of day a record was pressed? Or how many copies had come off the stamper ahead of it?
Can anything be more ridiculous than the ad hoc, evidence-free theory of some audiophile record collector desperately searching for a reason to explain why records — even the sides of the same record — sound so different from one another?(more…)
Scientific American joins forces with Better Records (or is it the other way around?) to share a few ideas, which turn out to have much in common.
For years we’ve been writing commentaries about the sound of specific records we’ve auditioned in order to put them up for sale on the site. By now there are literally hundreds of pages of commentary in which we’ve tried to explain, often in great detail, exactly what we listened for and exactly what we heard when playing these pressings. We’ve tried to be as clear as possible about precisely which qualities separate the better sounding LPs from their competitors — what they do right, and how you can recognize sound that is right .
As we’ve gained a better understanding of records and their playback, we’ve made every effort to share with our readers what we’ve learned. Although the vast majority of these records sold long ago, almost all of the commentary remains available on the site, to act as a resource for the audiophile who owns or might want to consider buying a copy of the record discussed.
Over the years, one thing has continued to bother me (I almost wrote “vex me”) about this hobby and those who pursue it. I’m frankly still shocked at how unskilled most listeners are. How else to explain all the bad sounding 180 gram pressings so many audiophiles embrace?
Add to the above bad half-speeds, bad Japanese pressings, bad Classic Records, bad 45s and all the rest, and you have a lot of bad sounding records that people don’t seem to have noticed sound bad. How can that be?(more…)
If you have a copy or two laying around, there is a very good chance that side two will be noticeably thinner and brighter than side one. That has been our experience anyway, and we’ve been playing batches of this album for well over a decade. To find a copy with a rich side two is rare indeed.
Most copies lack the top end extension that makes the sound sweet, opens it up and puts air around every instrument. It makes the high hat silky, not spitty or gritty. It lets you hear all the harmonics of the guitars and mandolins that feature so prominently in the mixes.
If you’re looking for a big production pop record that jumps out of your speakers, is full of TUBEY MAGIC, and has consistently good music, look no further.(more…)
We freely admit that we paid south of twenty bucks each at local stores for many of the records on our site. We pay what the stores charge, and most rock records are priced from five to twenty bucks.
Unfortunately the cost of the records you see on the site is only a part of the cost of that finished “product.” The reality of our business is that it costs almost as much to find a Carly Simon or Gino Vannelli Hot Stamper that sells for a hundred dollars as it does to find a Neil Young or Yes Hot Stamper that sells for five times that. (more…)
A letter from a good customer tells of his experience playing a top copy of the album.
Just when I thought you guys could not surprise me, you did it again. Morrison Hotel was not in my collection when I was growing up although I was familiar with some of the tracks on the album. I picked up a SHS 2/1.5 copy; it was good and I added it to my collection. I saw the WHS 3/3 copy come up on the site and thought I would give it a try because of my past experience (Jackson Browne, Beatles – White Album, Crowded House). Holy smokes, my intuition was correct the 3/3 copy transforms the musical experience. I don’t know how or why this happens; how a SHS side 2 that sounds good goes exponentially up with a WHS 3 copy; it just does. When one gets a WHS 3/3 in single album as opposed to a 2 pack; it is a musical treat beyond compare. Thanks as usual.(more…)
“Nothing in this world can take the place of persistence. Talent will not; nothing is more common than unsuccessful people with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts. Persistence and determination alone are omnipotent. The slogan “press on” has solved and always will solve the problems of the human race.”Calvin Coolidge
If you substitute “finding Hot Stamper pressings” for the words “the human race” you will surely appreciate the point of this commentary.
Our story today revolves around the first Hot Stamper listing we have ever done for Ambrosia’s second — and second best — album. It took us a long time to find the right pressing. Do you, or any of the other audiophiles you know, keep buying the same album over and over again year after year in hopes of finding a better sounding copy? We do — have been for more than twenty years as a matter of fact — and here’s why. (more…)