This Plum Label Original pressing is one of the TOP TOP VICTROLA TITLES! The sound is excellent, with real weight to the orchestra, powerful dynamics, deep bass, and solid piano tone. Add to that a wonderful performance by Gary Graffman and the San Francisco Symphony, and you have one truly OUTSTANDING record. (If you can add 1 or 2 db to the top end, it’s even better.)
This rare Shaded Dog pressing has an absolutely AMAZING side two. It’s transparent, with sweet (yes, for the Prokofiev 5th!), smooth and rich strings. Listen to how natural the woodwinds sound on this side
Side two here is the fluke, since most of the time this record sounds terrible. But now we know how well engineered it really is. We have the copy right here to prove it!(more…)
Hot Stampers sure sound better than other records, but do they have any real “collector” value?
Not really. On the surface they look just like any other pressing, so their market value cannot be established or verified in any meaningful way. The value of a Hot Stamper pressing is almost purely subjective: they exist only to provide listening pleasure to their owner. Yes, a Pink Label Island pressing of In the Court of the Crimson King is worth big bucks, but is it worth the $850 we charged recently if you were to try and resell it? Probably not. (more…)
Superb Sound on this Victrola pressing, with TRANSPARENCY, spaciousness and low level detail you will not believe. And plenty of Living Stereo COLOR.
DEMO QUALITY SOUND, if what you’re demonstrating is the three dimensional quality of Living Stereo recordings. Amazing space, depth and width can be heard on this side one. And the music is sublime.
The low level detail in the opening and the amount of ambience heard in the quieter sections is shockingly realistic Yes, the recording is compressed, which led me to think that the entire record was compressed, but that’s not completely true. In some parts it’s quite dynamic. The quiet portions are very quiet; in a couple of places there are just horns playing off in the deep distance, followed by some flutes, and they sound very natural, just as you would hear them in a concert hall.(more…)
Some Forum posters at audiokarma.org were raking us over the coals a while back, questioning the legitimacy of our so-called “hot stampers”. If you have an hour or two to kill check it out.
The first entry in the thread is from 2009. The headline reads “Hot Stampers….Anyone own any?”
Even though they were calling us every name in the book I found their comments to be so fascinating and entertaining as to be positively addicting; I couldn’t stop myself from going back over and over again to see what new foolishness might have been added since my last visit.(more…)
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. (more…)
Here’s what we learned when doing our most recent shootout.
Many copies sounded like they were half-speed mastered.
They had a little something phony added to the top of Linda’s voice, they had a little bit of suckout right in the middle of the midrange, the middle of her voice, and they had a somewhat diffuse, vague quality, with sound that lacked the SOLIDITY we heard on the best pressings. These hi-fi-ish qualities that we heard on so many copies reminded us of the kind of audiophile sound we decry at every turn. We’ve played literally hundreds and hundreds of MoFis and other half-speed mastered records over the course of the last twenty years, and one thing we know well is That Sound. (more…)
We think sitting down to listen to a Hot Stamper pressing is the best way to appreciate its superior sound, in the same way that hearing a vintage LP played back on a top quality system is the best way to appreciate the superiority of analog. Short of getting you to try one of our records — 100% guaranteed, no questions asked — we hope these comments will be of value.
Are Hot Stampers just original pressings?
They certainly can be, but quite often are not, which of course comes as a surprise to no one who works here. Reissues come out on top in our record shootouts fairly regularly. Yes, most of the time the original will beat the reissue, but most of the time is far from always, and since we have to play a big pile of copies anyway (and always with the person doing the sound grading kept in the dark about the pressing on the turntable), why not just evaluate both the originals and the reissues at the same time, and do so strictly on the merits?(more…)