Advice – What to Listen For – Side to Side Differences

Who Can’t Hear Differences in Sound from Side to Side?

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Audiophile Reissues of the Reiner/CSO Recording

Both the Chesky and Classic reissue pressings of LSC 2446 are just plain terrible. Embarrassingly the latter is found on the TAS List.

There is a newly remastered 33 RPM pressing of the album garnering rave reviews in the audiophile press. We will didn’t like it either.

Please note that in many of the reviews for the new pressing, the original vinyl used for comparison is a Shaded Dog pressing. In our experience almost no Shaded Dog pressings are competitive with the later White Dog pressings, and many of them are just plain awful, as we have noted previously on the site.

The “original is better” premise of most reviewers renders the work they do practically worthless, especially to those of us who take the time to play a wide variety of pressings, judging them on the merits of their sound, not the color of their labels.
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Dopey Record Theories – Putting Bad Ideas to the Test

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Court and Spark

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…)

This Is the Kind of Thing You Notice When You Play Scores of Copies of the Same Album

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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.

More Hall and Oates

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…)

Listening in Depth to Emerson, Lake & Palmer’s Debut

 

More Emerson, Lake and Palmer’s Debut

More Emerson, Lake and Palmer

Listening in Depth

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The Brit copies may take top honors for side one (“sweetness, openness, tubey magic, correct tonality, presence without aggressiveness, well-defined note-like bass, extended airy highs”) but the Hot Stamper Cotillion copies KILL on side two. They really ROCK, with greater dynamic contrasts and seriously prodigious bass, some of the best ever committed to vinyl.

The Brits tend to be a bit too “pretty” sounding. They’re too polite for this bombastic music. This music needs the whomp down below and lots of jump factor to work its magic.

The Brits are super-low distortion, with a more open, sweeter sound, especially up top, but the power of the music is just not as powerful as it can be on these very special Cotillions.

This Cotillion on side one is a rare gem indeed, one of the best domestics we’ve ever heard. It’s not quite as smooth and sweet as some, but it’s every bit as good in most other areas, and better in the bass. The Cotillion pressings of this album have bass that puts 99% of all the rock records in the world to shame. (And 100% of the half-speed mastered records!)

This is a case where, to get the ultimate sound, you not only need two copies, you need two copies made in different countries!

Not Breaking Up Is Hard To Do

The organ that opens side two is always going to break up a tiny bit. No ifs, ands, or buts about it. In fact, if it DOESN’T break up for you, I’m going to go out on a limb and say that either your copy or your stereo is too smooth. We played somewhere between two and three dozen copies this week, and you just can’t find a hot copy without at least a hint of distortion on the organ. (more…)