Advice – What to Listen For – Midrange Presence

Bad Company – Straight Shooter

More Bad Company

xxx

  • This outstanding pressing of Straight Shooter boasts solid Double Plus (A++) sound or close to it from first note to last
  • If you’re playing this one good and loud you’ll feel like you’re in the room with the boys as they kick out these classic riff-driven jams
  • Take it from us, it is not easy to find a copy that’s as right as this one, with the weight, balance and energy this music needs to rock
  • 4 stars: “Vocalist and songwriter Paul Rodgers wrote two acoustic-based rock ballads that would live on forever in the annals of great rock history: ‘Shooting Star’ and the Grammy-winning ‘Feel Like Makin’ Love.'”

The sophomore jinx is nowhere to be found on this album. In fact, you could make a pretty good case that this is actually a better album than their debut. The best pressings of this Bad Company classic have ROCK ENERGY that cannot be beat. (more…)

Doc Watson / Home Again – Another Dog from Cisco Records

More Doc Watson

xxxxx

Folks, if you made the mistake of buying the Cisco Heavy Vinyl reissue of this album that came out in the early 2000s, you are in for treat if you are able to grab one of our Hot Stamper pressings.

Instead of Doc and his band mates playing from behind a thick curtain at the back of your sound room, they can now be heard where they should have been all along: front and center between your speakers!

The difference between a truly outstanding vintage pressing and a modern mockery of analog could not be more striking.

We never got around to putting the Cisco pressing in our Hall of Shame (300+ strong!). There are just not enough hours in the day…

(more…)

The Doors – L.A. Woman – Rhino Heavy Vinyl Reviewed

See all of our Doors albums in stock

Reviews of L.A. Woman

doorsla

The Rhino pressing we auditioned from the Doors Box Set was surprisingly good. It’s rich and smooth with an extended top end — tonally correct in other words — and there’s lots of bass. This is all to the good. For the thirty bucks you might pay for it you’re getting a very good record, assuming yours sounds like ours, something we should really not be assuming, but we do it anyway as there is no other way to write about records other than to describe the sound of the ones we actually have on hand to play.

What it clearly lacks compared to the best originals is, first and foremost, vocal immediacy. There’s a veil that Jim Morrison is singing through, an effect which becomes more bothersome with time, as these sorts of frustrating shortcomings have a habit of doing.

A bit blurry, a bit smeary, somewhat lacking in air and space, on the plus side it has good energy and better bass than most of the copies we played. All in all we would probably give it a “B.” You could do a helluva lot worse.

Record Collecting Advice

All the ’70s and ’80s reissues of this album we’ve ever played were just awful, especially those with the date inscribed in the dead wax.

Remastering Out Too Much of the Good Stuff

What is lost in the newly remastered recordings so popular with the record collecting public these days ? Lots of things, but the most obvious and irritating is the loss of transparency.

Modern records tend to be small, veiled and recessed, and they rarely image well. But the most important quality they lack is transparency. Almost without exception they are opaque. They resist our efforts to hear into the music.

We don’t like that sound, and like it less with each passing day, although we certainly used to put up with it back when we were selling what we considered to be the better Heavy Vinyl pressings from the likes of DCC, Speakers Corner, Cisco and even Classic Records.

Now when we play those records they either bore us to tears or frustrate us with their veiled, vague, lifeless, ambience-challenged presentation.

It was sometime in 2007 when we turned a corner. The remastered Blue on Rhino Heavy Vinyl came out and was such a mediocrity that we asked ourselves “Why bother?” That was all she wrote.

We stopped selling those third-rate remasters and dedicated ourselves to finding, cleaning, playing and critically evaluating vintage pressings, regardless of era or genre of music.

The result is a website full of great sounding records that should find special appeal with audiophiles who set high standards, who own good equipment and who have well-developed critical listening skills.

James Taylor aka Mud Slide Slim – Is He in a Booth or Isn’t He?

More James Taylor

More Mud Slide Slim

xxxxx

Midrange Presence is tough to come by on Mud Slide; most of the time JT’s voice is recessed, dark, veiled and has a slightly hollow quality. To find a copy where his vocals are front and center — which of course is exactly where they should be — but still rich, sweet and tonally correct is no mean feat. Only the best copies manage to pull it off. Out of the dozens of copies we played in our most recent shootout few had the midrange we were looking for and knew existed. 

One thing we noticed this time around was that for some tracks James’ vocals are recorded in a booth and for others they are not. Listen to the first track — there is no ambience, no room around his voice whatsoever. He’s in a padded booth, and they sure padded the hell out of it. Now play Long Ago and Far Away on side two. No booth! Lots of studio space around the vocal. MUCH more natural acoustic.

We don’t have the luxury of playing every track on both sides for these shootouts. We pick two or three songs that have specific qualities we know to look for and play them on every copy. (Shootouts like this almost always involve at least a dozen pressings, sometimes more, and it’s impossible to keep them all straight with more copies than that.)

So here’s a potentially fun exercise — assuming you find this sort of thing fun — that we thought about doing but just don’t have the time to devote to at present, with so many other shootouts waiting in the wings. Take your own copy, assuming you have at least a decent one, and play each track listening for only one thing: does James sound like he is in a booth, or does he sound like he is in an open space in the studio? If you have the typical original WB pressing you will probably not be able to get very far and will be quickly tempted to give up, the frustration of a murky midrange being more than most of us audiophiles can bear.

But maybe you have a good copy; the possibility certainly exists. And if you find much success with this exercise we encourage you to drop us a line, we will be more than happy to print it. (more…)

The Awful Sound of the Heavy Vinyl Reissues Doug Sax Mastered in the ’90s

More Sonny Rollins

More Analogue Productions

More Doug Sax

xxxxx

Longstanding customers know that we have been relentlessly critical of most audiophile LPs for years, especially in the case of these Analogue Productions releases from back in the early ’90s. A well-known reviewer loved them, I hated them, and he and I haven’t seen eye to eye on much since.

Newflash!

Just dug up part of my old commentary discussing the faults with the orginal series that Doug Sax cut for Acoustic Sounds. Check it out!

In the listing for the OJC pressing of Way Out West we wrote:

Guaranteed better than any 33 rpm 180 gram version ever made, or your money back! (Of course I’m referring to a certain pressing from the early ’90s mastered by Doug Sax, which is a textbook example of murky, tubby, flabby sound. (Too many bad tubes in the chain? Who knows?)

This OJC version also has its problems, but at least the shortcomings of the OJC are tolerable. Who can sit through a pressing that’s so thick and lifeless it communicates none of the player’s love for the music? If you have midrangy bad transistor equipment, go with the 180 gram version (at twice the price). If you have good equipment, go with this one.

[We are no longer fans of the OJC of Way Out West, and would never sell a record that sounds the way even the best copies do as a Hot Stamper. It’s not hopeless the way the Heavy Vinyl pressing is, but it’s not very good either. It’s yet another example of a record we was wrong about. Live and Learn, right?

The following commentary comes from our catalog from the mid- to late-’90s, back when I could still find great jazz records like Alternate Takes. Note also that the AP records were in print at the time. (more…)

The Who – Live At Leeds

xxxxx

  • A hard-rockin’ copy – this British Track pressing boasts powerful Double Plus (A++) DEMO DISC sound on both sides
  • The recording is huge and lively with startling dynamics and in-the-room-presence like nothing you’ve heard
  • Drums so solid, punchy and present they put to shame 99% of the rock records on the planet
  • Cited as the best live rock recording of all time by The Daily Telegraph, The Independent, the BBC Q magazine, and Rolling Stone. In 2003, it was ranked number 170 on Rolling Stone’s list of the 500 greatest albums of all time.

Vintage covers for this album are hard to find in clean shape. Most of them will have at least some amount of seam wear, edge wear or crushed corners. We guarantee that the cover we supply with this Hot Stamper is at least VG, and it will probably be VG+. If you are picky about your covers please let us know in advance so that we can be sure we have a nice cover for you.

Get ready to rock out, as this is one of the BEST SOUNDING live albums ever recorded. Young Man Blues on a copy such as this has drums that are so solid, punchy and present they positively put to shame the drum sound on 99 out of 100 rock records! Keith Moon lives on!

The bass is AMAZING on this record. Present vocals and clear guitars in both channels are key to the best copies such as this one. Most pressings do not get the guitars to jump out of the speakers the way the best can. Few copies get the highest highs and the lowest lows but this one had it going on from top to bottom.

The seven minute long Magic Bus that finishes out the side is The Who at their best. Rock fans will have a hard time finding a better sounding Who pressing than this one, on either side. (more…)

Linda Ronstadt / Prisoner In Disguise – Give It Up Again For Val Garay

xxxxx

  • Insanely good Shootout Winning Triple Plus (A+++) sound or close to it on both sides of this copy of Prisoner, the followup to Linda’s Masterpiece, Heart Like a Wheel
  • This is an amazing recording, but it takes a special copy like this one to reveal all the magic that we know must be on the tape
  • 4 1/2 stars – Love Is a Rose, Tracks of My Tears and Heat Wave were hits, but Linda really pours her heart into Hey Mister, That’s Me up on the Jukebox
  • Andrew Gold (so critical to the success of HLAW) is still heavily involved, along with EmmyLou Harris, James Taylor, Lowell George, David Lindley, JD Souther, and of course Peter Asher

The soundfield has a three-dimensional quality that was pretty much nonexistent on most of the other copies we played. Drop the needle on Many Rivers To Cross and check out the amazing sound of the organ coming from the back of the room. Only the highest resolution copies give you that kind of soundstage depth.

The piano sounds natural and weighty. The fiddle on The Sweetest Gift (played by our man David Lindley) is full of rosiny texture.

Emmylou Harris, dueting here with Linda, is SUPERB, with truly Demonstration Quality Sound on the best copies.

The acoustic guitars are tonally Right On The Money throughout — the transient information is captured perfectly. Listen to the opening guitar in the right channel of The Sweetest Gift; we used it as a test track and when that guitar is RIGHT THERE you know you have a copy with Hot Stampers. (more…)

A Fun and Easy Test for Abbey Road: MoFi Versus Apple

xx

 

Abbey Road

There is a relatively simple test you can use to find out if you have a good Mobile Fidelity pressing of Abbey Road. Yes, as shocking as it may seem, they actually do exist, we’ve played them, but they are few and far between (and never as good as the best Brits).

The test involves doing a little shootout of the song Golden Slumbers between whatever MoFi pressing you have and whatever British Parlophone pressing you have. If you don’t have both LPs this shootout will be difficult to do. The idea is to compare aspects of the sound of both pressings head to head, which should shed light on which one of them is more natural and which is more hi-fi-ish sounding.

The Golden Slumbers Test

I’ve come to realize that this is a Key Track for side two, because what it shows you is whether the midrange of your pressing — or your system — is correct. At the beginning Paul’s voice is naked, front and center, before the strings come in. Most Mobile Fidelity pressings, as good as they can be, are not tonally correct in the middle of the midrange. The middle of the voice is a little sucked out and the top of the voice is a little boosted. It’s really hard to notice this fact unless one plays a good British pressing side by side with the MoFi. Then the typical MoFi EQ anomaly become obvious. It may add some texture to the strings, but the song is not about the strings. (more…)

How to Make All Your Records Sound Like Mobile Fidelity Pressings – For Free!

xxxxx

 

The Doors first album is yet another obvious example of MoFi’s predilection for a sucked-out midrange.

Scooping out the middle of the midrange has the effect of creating an artificial sense of depth where none belongs. Play any original Bruce Botnick engineered album by Love or The Doors and you will notice immediately that the vocals are front and center.

When the DCC Doors first album was released on vinyl we noted that the vocals were finally back where they belonged. After having lived with the MoFi for so many years we’d almost forgotten. And now of course we can’t tolerate the smear and opacity of the DCC. We like to think we’re simply setting higher standards these days.

The midrange suckout effect is easily reproducible in your very own listening room. Pull your speakers farther out into the room, and also farther apart, and you can get that MoFi sound on every record you play. I’ve been hearing it in the various audiophile systems I’ve been exposed to for many years.

Nowadays I would place it under the general heading of My-Fi, not Hi-Fi. Our one goal for every tweak and upgrade we make is to increase the latter and reduce the former.

And note also that when you play your records too softly it results in an exaggerated, artificial sense of depth.

That’s one of the main reasons we play them loud; we want to hear which pressings have real presence and immediacy. They’re the ones that are most likely to win our shootouts. If you have any of our killer Hot stampers you surely know what I’m talking about.

Peter, Paul & Mary – Gold Versus Green

xxxxx

In previous shootouts we felt strongly that the best Gold Label copies had the lock on Tubey Magic, while the best Green Label pressings could be counted on to offer superior clarity.

That was quite a few years ago, and as we never tire of saying, things have changed. Now the Gold Label pressings have the ideal combination of Tubey Magic and clarity.

In fact, based on our recent shootout we would state categorically that the best originals are clearly better in every way, with the most vocal presence, the most harmonic resolution, the most space, the most warmth and intimacy, the most natural string tone on both the guitars and bass — in sum, the most of everything that allows a Hot Stamper vintage LP to be the most sublime musical experience available to any audiophile fortunate enough to own it.

Steve Hoffman’s famous phrase is key here: we want to hear The Breath Of Life. If these three gifted singers don’t sound like living, breathing human beings standing across from you — left, right and center — toss your copy and buy this one, because that’s exactly what they sound like here.

The TUBEY MAGIC of the midrange is practically off the scale. Until you hear it like this you really can’t even imagine it. It’s a bit shocking to hear each and every nuance of their singing reproduced so faithfully, sounding so much like live music.

This is high-rez ’60s style; not phony and forced like so much of what passes for audiophile sound these days, but relaxed and real, as if the recording were doing its best to get out of the way of the music, not call attention to itself. This, to us, is the goal, the prize we must constantly strive to keep our eyes on. Find the music, leave the rest.

(more…)