Advice – What to Listen For – Midrange Congestion

Cat Stevens Catch Bull at Four – Congestion? What Congestion?

More Cat Stevens

Catch Bull at Four

xxxxx

The story of our latest shootout is what real Progress in Audio is all about. Many copies were gritty, some were congested in the louder sections, some never got big, some were thin and lacking the lovely analog richness of the best — we heard plenty of copies whose faults were obvious when played against two top sides such as these. 

Speaking of congestion, it had previously been our experience that every copy of the record had at least some congestion in the loudest parts, typically the later parts of songs where Cat is singing at the top of his lungs, the acoustic guitars are strumming like crazy, and big drums are pounding away are jumping out of both speakers.

The best import copies in our shootout this time around managed to reproduce all these elements cleanly, on a larger soundstage, with dynamically more energy, sonic firepower the likes of which we have never heard on this album before. (more…)

Simon & Garfunkel – Bookends – Save the Life of My Child Is One Tough Test

More Simon and Garfunkel

More Bookends

xxxxx

Another in our series of Home Audio Exercises with advice on What to Listen For as you critically evaluate your copy of Bookends.

The big production songs on this album have a tendency to get congested on even the best pressings, which is not uncommon for Four Track recordings from the ’60s. Those of you with properly set up high-dollar front ends should have less of a problem than some. $3000 cartridges can usually deal with this kind of complex information better than $300 ones.

(But not always. Expensive does not always mean better, since painstaking and exacting set up is so essential to proper playback.)

Save the Life of My Child — A Tough Test

I used to think this track would never sound good enough to use as an evaluation track. It’s a huge production that I had heretofore found all but impossible to get to sound right on even the best original copies of the album. Even as recently as ten years ago I had basically given up on reproducing it right.

Thankfully things have changed. Nowadays, with carefully cleaned top copies at our disposal and a system that is really cooking, virtually all of the harmonic distortion in the big chorus near the opening has disappeared. It takes a very special pressing and a very special stereo to play this song. That’s precisely what makes it a good test! (more…)

Neil Young – Everybody Knows This Is Nowhere

More Neil Young

More Everybody Knows This Is Nowhere

xxxxx

  • A MONSTER Shootout Winning early pressing with incredible Triple Plus (A+++) sound on both sides – this is the EKTIN you have been waiting for!
  • Live-in-Your-Listening-Room sound throughout – miles beyond any copy you’ve heard (or ever will hear)
  • Includes immortal classics such as “Cinnamon Girl,” “Cowgirl in the Sand,” and “Down by the River,” just to name three
  • 5 stars: “Everybody Knows This Is Nowhere was breathtakingly different when it appeared in May 1969, both for Young and for rock in general… almost 30 years later [make that 49], he was still playing this sort of music with Crazy Horse, and a lot of contemporary bands were playing music clearly influenced by it.”

The sound of this Hot Stamper copy is Big and Bold in the best Neil Young tradition, with studio ambience bouncing off the walls and into the open mics he favors.

The best tracks have that Live-in-the-Studio quality, with minimal processing and maximum ENERGY. We absolutely love that sound. With a killer pressing played back on a big pair of speakers this album can ROCK like nobody’s business. Nine minutes of Down by the River? A ten minute long version of Cowgirl in the Sand? Cinnamon Girl? We are so there. (more…)

Gerry Rafferty – City To City – What to Listen For

More Gerry Rafferty

More City To City

xxxxx

Another in our series of Home Audio Exercises with specific advice on What to Listen For (WTLF) as you critically evaluate your copy of City to City.

Listen to the chorus on the first track, The Ark. On the best copies it really gets loud without becoming harsh or shrill. So many popular albums have choruses (and guitar solos) that are no louder, and sometimes not even as loud, as the verses, which rob the songs of any real drama or power. This recording has the potential to give you a dramatic, powerful, loud chorus. It’s a thrill when you find a pressing that delivers on that promise. (more…)

The Byrds in Mono – How Do They Sound?

byrdsmono_1145575910

None of the mono pressings of The Byrds’ albums that we’ve played in shootouts over the course of the last ten years or so has ever impressed us much, none that I can recall anyway.

Congested and compressed, with no real top, who in his right mind could possibly tolerate that kind of sound on modern equipment?

Although, to be fair, we’ve stopped buying them, so there may actually be a good copy or two out there in used record land that we haven’t heard. In our defense, who really has the time to play records with so little potential for good sound?

How about the Sundazed mono pressings?

The best Columbia stereo copies are rich, sweet and Tubey Magical — three areas in which the Sundazed reissues are seriously lacking.

Does anyone still care? We simply cannot be bothered with these bad Heavy Vinyl pressings. If you’re looking for mediocre sound just play the CD. I’m sure it’s just as terrible.

See all of our Byrds albums in stock

 

 

Billy Joel – An Innocent Man

More Billy Joel

More An Innocent Man

xxxxx

  • You’ll find outstanding Double Plus (A++) sound from first note to last on this copy of Joel’s ninth studio album
  • Dynamic and open, with driving rhythmic energy – this early pressing brings this great batch of songs to life
  • Jam packed with hits: An Innocent Man, The Longest Time, Tell Her About It, Uptown Girl, Leave a Tender Moment Alone, and more – seven singles in all
  • “Joel has rarely sounded so carefree either in performance or writing, possibly due to “Christie Lee” Brinkley, a supermodel who became his new love prior to An Innocent Man.” — Allmusic

Both of these sides have the huge soundstage and startling clarity and immediacy that characterizes this album, but they also add an ingredient missing from most we heard — a full, rich, musical midrange!

On many pressings, the vocals can get hard and harsh on the uptempo tracks (“Uptown Girl” is a notable offender, and never sounds quite as good as the rest of the album), but this copy manages to fix that problem (mostly) without sacrificing transparency or top end. (more…)

Earth, Wind, Fire and the Neverending Search for Balance

More Earth, Wind & Fire

More the Neverending Search for Balance

xxxxx

Another in our series of Home Audio Exercises. As is usually the case when plowing through a big pile of copies, we learned pretty quickly that what makes the sound work is having these two qualities in balance:

1) Richness / Smoothness 
2) Transparency

When the vocals are thin and pinched, as they often are, the resulting edginess and harshness in the midrange take all the fun out of the music. Every track has group vocals and choruses, and the best copies make all the singers sound like they are standing in a big room, shoulder to shoulder, belting it out live and in living color.

The good copies capture that energy and bring it into the mix with the full-bodied sound it no doubt had live in the studio. When the EQ or the vinyl goes awry and their voices (and brass) start to take on a lean or gritty quality, the party’s over.

But richness and fullness are not enough. They must be balanced with TRANSPARENCY. (more…)

The Pretenders – Learning To Crawl – Awesome on the Right German Pressing

More The Pretenders

More Learning To Crawl

xxxxx

  • The first Triple Plus (A+++) Shootout Winning copy to hit the site in over a year – we’ve never heard it sound better
  • Both sides of this (very specific) German pressing were richer, clearer and more energetic than any of the others we played
  • With Robbie McIntosh having joined the band this is first and foremost a guitar rock record; his jangly, grungy riffs drive every song
  • 5 Stars: “While Hynde hardly held back in her emotionally potent songwriting in the Pretenders’ early work, on Learning to Crawl there’s a gravity to her lyrics that blended with her tough but wiry melodic sense and streetwise intelligence to create a set of truly remarkable tunes…”

This is where Chrissie Hynde matured into a top class songwriter; every track is good and many are brilliant. With Robbie McIntosh having joined the band, this is first and foremost a guitar rock record; his jangly, grungy riffs drive every song. Great songs and great guitar work — what more do you need in a rock record?

Think of Middle of the Road — everything that’s good about this band on this album is there in that song: it’s uptempo, with a driving beat, a rock solid rhythm section and a beautifully distorted guitar out front and high up in the mix.

German Pressings? Why Not British? (more…)

Counting Down to Ecstasy and Singing Along with My Old School

More Countdown to Ecstasy

 

steelcount400

Another in our series of Home Audio Exercises with specific advice on What to Listen For (WTLF) as you critically evaluate your copy of Countdown to Ecstasy, Steely Dan‘s wonderful second album.

We’ve found that two songs are especially helpful in this regard: Razor Boy on side one, and My Old School on side two.

This album shares top honors with Katy Lied as the toughest Steely Dan album to get to sound right. It’s a positive shame that so many copies are such sonic let-downs: congested, bass-shy, veiled, compressed and grainy. There’s a good reason we don’t do this album but once a year, and it’s not because of a lack of demand. It’s because so many copies sound so bad.
(more…)

An Extraordinary Recording of the Carmen Fantasie – This Is Why You Must Do Shootouts

bizetcarme_6165_1091228730

 

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…)