A customer alerted me to a review Wayne Garcia wrote about various VPI platters and the rim drive, and this is what I wrote back to him:
Steve, after starting to read Wayne’s take on the platters, I came across this:
That mind-blowing epiphany that I hadn’t quite reached with the Rim Drive/Super Platter happened within seconds after I lowered the stylus onto the “Infernal Dance” episode of Stravinsky’s Firebird (45 rpm single-sided Classic Records reissue of the incomparable Dorati/LSO Mercury Living Presence recording).
That is one of my half-dozen or so favorite orchestral recordings, and I have played it countless times.
This is why I have so little faith in reviewers. I played that very record not two weeks ago (04/2010) against a good original and the recut was at best passable in comparison. If a reviewer cannot hear such an obvious difference in quality, why believe anything he has to say? The reason we say that no reviewer can be trusted is that you cannot find a reviewer who does not say good things about demonstrably bad and even just plain awful records. It’s the only real evidence we have for their credibility, and the evidence is almost always damning.(more…)
An awful Direct to Disc recording. The bad sound and pointless music — this is the kind of crap we audiophiles used to put up with back in the ’70s before we had much of a clue — means that it clearly belongs in only one place on our site: the Hall of Shame.
This is a Brand New, Unplayed Japanese 45 RPM Audiocheck Pressing with DEMO DISC quality sound! This is absolutely one of the best sounding jazz records we have ever played here at Better Records!
For those of you who are not familiar with the Audiocheck 45 RPM series from Japan, these are albums remastered at 45 with some material left off by necessity, since the maximum for each side is closer to 12 minutes than the standard LP limit of 20 minutes. (more…)
We had six (yes, six!) of these 45 RPM pressings (and five Inner City’s and a couple of Eastwind 33’s — it was a big shootout), and this side one had the most ENERGY of any of them. This is a quality no one seems to be writing about, other than us of course, but what could possibly be more important? On this record, it took the performances of the players to a level beyond all expectations.
Folks, you are looking at the BEST SOUNDING RECORD we have ever played here at Better Records, and the good news for you dear reader, whether you’re a true believer, a skeptic, or fall somewhere in between, is that it can be yours. There was a time when a record like this would go directly into my collection. If I wanted to impress someone, audiophile or otherwise, with the You-Are-There illusion that only Big Speakers in a dedicated room playing a LIVE recording can create, this would be the clear choice, possibly the only choice. There is simply nothing like it on vinyl in my experience.(more…)
A good customer asks: “How would you compare the Brothers in Arms SHS to the Mobile Fidelity 45 rpm copy?”
We have never bothered to play their remaster, and why would we? Every MoFi pressing made by the current regime has had major sound problems when in a head to head comparison with the “real” records we sell, and it’s simply not worth our time to find out exactly what is wrong with the sound of any new reissue, theirs included.
Half-speed mastering is a bad idea — at the very least it results in sloppy bass. This is very obvious to us but it seems most audiophiles and reviewers don’t notice this shortcoming. We find listening to the sound of these veiled, compressed, strangely-eq’d remastered records painful, so we avoid playing them unless one comes our way for free, which does happen from time to time.(more…)
The sound of the new 45 RPM 2 disc version cut by Bernie Grundman sounds thick and dull, much like the Deja Vu he remastered years ago forClassic Records.
As is the case with so many of the Heavy Vinyl reissues released these days, the studio ambience you hear on these pressings is a pitiful fraction of the ambience the real pressings are capable of revealing, the ones mass-produced by Atlantic, original and reissue alike. We’re not sure why audiophiles have trouble noticing such an obvious shortcoming but it and others like it sure don’t get by our crack listening panel here at Better Records too often.(more…)
Virtuoso Guitar is yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.
This White Hot Crystal Clear 45 RPM Direct-to-Disc fulfills the promise of both the direct to disc recording medium AND the 45 RPM cutting speed so much in vogue these days. We had a big pile of these pressings to play through. When we came upon this one halfway through our shootout, it was so big, so clear, so dynamic, so energetic, so extended on the top and bottom, we almost could not believe what we were hearing especially compared to the others copies we played. (more…)
This Japanese 45 RPM remastering of our favorite recording of Prokofiev’s wonderful Lt. Kije Suite has DEMONSTRATION QUALITY SOUND. For starters, there are very few records with dynamics comparable to these. Since this is my favorite performance of all time, I can’t recommend the record any more highly.
Most of what’s “bad” about a DG recording from 1978 is ameliorated with this pressing. The bass drum (drums?) here must be heard to be believed. We know of no Golden Age recording with as believable a presentation of the instrument as this.
The drum is clearly and precisely located at the back of the stage; even better, it’s as huge and powerful and room-filling as it would have been had you attended the session yourself. That’s our idea of hi-fidelity here at Better Records.(more…)