*Live and Learn

Here we discuss the records we think we got, uh, wrong.

It’s not really a problem for us though. We feel no need to cover up our mistakes. Recognizing and correcting previous errors is how we’ve managed to learn so much about records that no one else seems to know.

Gaining knowledge — in any field, not just record collecting or music reproduction — is always slow, incremental and riddled with errors and bad judgments.

A common misperception among those visiting the site is that we think we know it all. Nothing could be further from the truth. We learn something new about records with practically every shootout.

By playing the records grouped here, under rigorously controlled conditions, on top quality equipment, we found out just how much better or worse they are than are we thought.

The Domestic Stampers of 10cc’s Masterpiece Had Us Fooled for Years

Hot Stamper Pressings of the Music of 10cc Available Now

I haven’t run into many audiophiles who own a copy of The Original Soundtrack, or any other 10cc album for that matter.

It’s the rare person who has the the kind of system that can play a recording with such explosive dynamics.

As I have an uncontrollable habit of saying, this is the kind of record that is guaranteed to bring any audiophile stereo to its knees. 

Since that is the case, and audiophiles who build the kind of big systems in heavily-treated custom rooms to meet the challenge such recordings present are thin on the ground — very thin it seems, as I am the only one I have ever known — it stands to reason that practically no audiophiles have ever experienced the size and power of the recording as it was meant to be heard.

I thought I was doing a very good job reproducing the sound of the album, but recent research has proved that, once again, I was mistaken. Previously I had written:

The recording itself is a tour de force, the main reason I’ve been demonstrating my stereo with it for more than thirty years. The extended suite that opens side one, One Night in Paris, has ambience, three-dimensional sound effects, and incredibly dynamic multi-tracked vocals at the climax that will leave you with your jaw on the floor.

All true. But I had been playing both domestic pressings and British pressings over the course of those thirty years, and I don’t remember clearly preferring one to the other.

With our latest shootout the British pulled away from the pack in a big way, with no British pressing being beaten by any domestic competitor.

The domestic pressings ranged from very good — 2+ on both sides — to passable at best — 1+ on both sides.

I honestly used to think they were close, that they would be hard to tell apart. Those days are gone. We are operating at a whole ‘nother level, and I am glad that we are. We want to give out only the most accurate information and sell only the best sounding records.  What I had thought was true ten years ago turns out to have been off the mark.

When reality turns out to be dramatically different from what you thought it was, and you can prove it — you actually have the physical records to back up your newer, more correct understanding — that’s audio progress.

You might try proving yourself wrong more often.

Most audiophiles I have run into like having their biases confirmed, but look where that has gotten some of them — stuck in a rut. Break out of that way of thinking and you may very well find that you have broken through to another level.

Because if you don’t go out of your way to prove yourself wrong, who will?

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To Find Hot Stamper Pressings, Make the Same Mistakes, Only Sooner

Our Guide to Record Collecting for Audiophiles

Wise men and women throughout the ages have commented on the value of making mistakes.

Here is one of our favorite quotes on the subject.

If I had to live my life again, I’d make the same mistakes, only sooner.

We can thank Tallulah Bankhead for that one.

When I think of the 20-odd years (early 70s to early 90s) I wasted trying to figure out how audio works before I had discovered how to develop my critical listening skills, it brings to mind the old Faces’ song, “I wish that I knew what I know now, when I was younger.”

The more mistakes you make, the more you learn.

The more you learn, the easier it is to recognize good records.

Like many of our customers who’ve found their standards raised by our Hot Stamper pressings, you may be so exhausted and disappointed by the mediocrities churned out by one label after another these days that you finally make the pledge to swear off bad records for good.

Acquiring better sounding pressings and getting rid of those that are no longer satisfying will result in a collection that is a joy to own, a collection that will provide a great deal more satisfaction than one made up primarily of collectible records.

One Test to Rule Them All

There is only one true test for records: Which ones do you want to play?

Collect those and sell off all the rest.

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White Dogs or Shaded Dogs on the Brahms Piano Concerto No. 2?

Hot Stamper Pressings of Living Stereo Titles Available Now

UPDATE 2024

The review you see below is quite old. We no longer agree with the statement we made back then that the White Dog pressings are better sounding than the Shaded Dogs.

In our recent shootout, the first one I can remember since 2005 — that was 20 years ago! — the White Dogs did not do nearly as well as the Shaded Dogs we played.

This White Dog pressing is the best sounding copy I’ve ever heard, much better than the earlier pressings. The piano doesn’t break up like it does on those, especially in the second movement.

Finally the piano sounds right – solid and with the correct overtones. It goes without saying that this is an exceptionally good performance as well.

One of the best of the Cliburn recordings which, as you may know, are rarely any good, the worst of them being LSC 2252 and the best of them being, probably, LSC 2507.

Seems we got some of this one wrong. Live and learn is our motto, with mea culpa running a close second.

It’s possible that our mistaken judgment about the superiority of the White Dog pressings in 2005 was mostly the result of sample sizes that were much too small. However, I was operating as a one man band back when I was doing all the classical shootouts, so my chances of getting the wrong answer were fairly high, a reality I have documented on this blog in some detail.

I also was not able to clean the records under comparison very well, a problem that has been solved — and then some — by a great many improvements in techniques, machinery and fluids over the last twenty years.

What we could do back then and what we can do now, after twenty years of constant improvement, are as different as night and day, a subject we write about quite a bit under the heading of audio progress.

I’ve also made a habit of admitting my mistakes in the hopes that other audiophile reviewers would consider following suit. To my knowledge this has yet to happen, but hope springs eternal!

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Alan Sides Sure Likes a Dead Studio

Hot Stamper Pressings of Pablo Recordings Available Now

Many of Allen Sides‘ recordings suffer from a lack of ambience. The musicians do not seem to have much room around them. In audiophile parlance, his recordings often lack “air.”  I can’t say all his recordings are made in a dead studio, but some of them sure are.

Many audiophile recordings, especially direct-to-disc recordings from the ’70s, are insufferable in this respect, with too much multi-miking and not enough studio space.

This Bach recording on Crystal Clear is a good example of the sound some audiophile labels were going for. Back in the 70s, audiophile producers and engineers were using state-of-the-art high-tech recording equipment, but they seemed to lack experience as well as knowledge of the recordings of the past. They regularly ended up producing records that are not remotely the equal of those that were commonly made only twenty years before.

For Duke is the poster boy for that sound. The instruments are dynamic as all get out, but no one ever imagined that the ideal approach to recording Ellington’s music would be to cram a big group of players into the equivalent of a heavily carpeted and draped livingroom.

Miller and Kreisel created a completely new, strange and inappropriate sound for Duke’s music, and it has been rubbing me the wrong way since I first heard it demoed in the audio showrooms I frequented back in the 70s.

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Wes Montgomery – The Alternative Wes Montgomery (Revisited)

Hot Stamper Pressings of the Music of Wes Montgomery Available Now

UPDATE 2025:

Many years ago, back in our pre-shootout days, we played a copy of this album and liked what we’d heard.

We just got another copy in and thought the sound was not worthy of a Hot Stamper shootout.

We judge it to have middling sound quality.

If you see one for cheap, pick it up, but don’t expect the sound to be anything special.

Our Old Review

This Milestone Two-Fer LP with EXCELLENT sound has 14 unreleased alternate versions of songs recorded in a variety of settings by guitarist Wes Montgomery during his period with Riverside. In many cases, the versions here are dramatically different from the versions that appear on his original albums. 

Producer Orrin Keepnews, who assembled this collection, notes, “With an artist who insisted on several takes, and the obvious need to eventually pick only one for release, we had to make some rather arbitrary, borderline decisions that at the time seemed to have doomed some excellent music to oblivion.”

This set helps to rescue some of that excellent music. The tracks feature Montgomery playing with notable musicians such as include Milt Jackson, Wynton Kelly, Kenny Burrell, Philly Joe Jones and Victor Feldman.

On compilations of unreleased material such as this, the master tapes are used to make the record. There’s no need for a copy tape to have ever been made.

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The True Test for Side Two (and How Wrong We Were about Domestic Pressings) of Backless

Hot Stamper Pressings of the Music of Eric Clapton Available Now

During our shootout we discovered that the true test for side two was the second track, the old blues song Early In The Morning.

It’s by far the best sounding track on the album, with huge space, rich bass, a fat snare and Tubey Magic to die for. This is the kind of sound that the likes of Glyn Johns gets down on tape, live in the studio no doubt, and it made it easy to do the shootout for side two.

The bigger, the richer, the tubier, the more transparent the better. It’s THE track to demo with. 

Both sides have rich, smooth, clear sound. Listen for the guitars on the first track on side one; the grungier the better. Punchy bass too.

Turn It Up and Let It Rock

The typical pressing of Backless, much like the typical pressing of Slowhand, is just too thick, dull, compressed and veiled to be much fun.

At the very least you need to turn this album up good and loud to get it to do anything.

The copies that are solid and weighty love getting loud; the copies that are thin and bright only get worse as the level goes up, a sign that they leave a lot to be desired. This is a rock album after all.

We Was Wrong

We used to note the following regarding the country that produced the best sounding pressings:

We had top quality copies on both domestic and British vinyl. Both were cut here in L.A.. It makes sense that either can be good.

This should have been corrected a long time ago, as far back as 2017, perhaps earlier. The domestic copies, thought cut at The Mastering Lab, are not competitive with the British LPs also cut there and then sent to England for pressing.

Live and learn is our motto, and progress in audio is a feature, not a bug, of record collecting at the most advanced levels.

We may have liked the domestic pressings a long time ago, but with changes to the system and many shootouts under our belts, the sonic superiority of the Brits cannot be denied.

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We Was Wrong about Saxophone Colossus and More in 2010

Hot Stamper Pressings of the Music of Sonny Rollins Available Now

The album is a compilation of three major sessions from 1956, all with both Sonny Rollins and Max Roach. Allmusic describes it this way:

“Saxophone Colossus, the album that really made the jazz public fully aware of the majestic talents of Sonny Rollins, is combined here with seven other great performances from the same highly creative period in the long career of this major artist.”

In 2010 we thought this two-fer had very good sound for the music it contained. Here is what we had to say all those years ago:

This Prestige Two-Fer Double LP has FOUR GREAT SIDES with each rating an A+ or better. The standout sides here are two and four, both rating an A++. Both sides are EXCELLENT and very lively with lots of energy and presence. Side one rates an A+ and has a wonderfully extended top end and side three rates an A+ – A++ with clean and clear sound and huge breathy horns.

Well, it turns out that in 2010 we had a lot to learn.

We were about to do a shootout for Saxophone Colossus about five [make that ten or more] years ago, and we decided to pull out some of the two-fer pressings we had sitting in the backroom to see how they would hold up against the early pressings we liked, which you can read about here.

It did not go well. The album sounded like a cheap reissue, which of course it is, but many cheap reissues sound great, so we never hold the price of the record against it when deciding whether or not it is worth cleaning and auditioning.

There are scores of budget jazz reissues from the 70s and 80s that sound great, some of them two-fer pressings.

Just not this one. It’s passable at best, and a very far cry from what the best pressings can sound like.

More on Saxophone Colossus

Our last White Hot Stamper Gold Label Mono pressing went for big bucks, 900 of them in fact.

Of course, a clean original goes for many times that, which is one reason you have never seen such a record on our site.

How much would we have to charge for a Hot Stamper pressing of an album we paid many thousands of dollars for? Far more than our customers would be willing to pay us, that’s for sure.

You Say You Don’t Have Nine Hundred Bucks for This Album?

Try the DCC pressing from 1995.

The DCC Heavy Vinyl pressing is probably a nice record. I haven’t played it in many years, but I remember liking it back in the day.

It’s dramatically better than the 80s OJC, which, like many OJC pressings, is thin, hard, tizzy up top and devoid of Tubey Magic.

I would be surprised if the DCC Gold CD isn’t even better than their vinyl pressing.

They usually are.

Steve Hoffmann brilliantly mastered many classic albums for DCC. I like DCC’s CDs much better than their records.

Their records did not have to fight their way through Kevin Gray’s opaque, airless, low-resolution cutting system, a subject we discussed in some depth here.

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Honky Chateau – Two Very Different Mastering Approaches

Hot Stamper Pressings of the Music of Elton John Available Now

Our thoughts circa 2007, about the time we found our first real breakthrough pressing.

This has to be one of the best sounding rock records of all time. The highs are silky sweet, the vocals are full-bodied and breathy, and the tonal balance is perfection from top to bottom.

If you have any doubts that Elton John was a pop music genius, just play this record. It’s all the proof you will need. Drop the needle on any track — you just can’t go wrong.

There’s no need to go on and on about the sonic qualities of this copy. Everything you’d ever want from this record is here in abundance. Folks, this copy is the epitome of what we call Master Tape Sound — on both sides.

Two mastering approaches

The original British copies of this record, with the leatherette cover, have two distinctly different mastering approaches.

The earliest pressings tend to be very lively, but a bit hi-fi-ish and aggressive in places. I used to think these were the best.

The later British originals tend to sound dull and muddy.

There was a time when we liked a certain British stamper that we thought split the difference between the mastering approaches mentioned above.

The copies we played this time around with that stamper were practically unacceptable this time around.

Our best domestic pressings actually bettered many of the Brit copies with our old favorite stamper.

Recent improvements in our stereo and evaluation process have allowed us to discover the stampers with that we think have the right sound.

When it comes to stampers, labels, mastering credits, country of origin and the like, we make a point of revealing little of such information on the site, for a number of reasons we discussed in a commentary we wrote many years ago, at the dawn of the Hot Stamper revolution. (Ahem.)

However, in 2024 we decided to reverse our previous policy. We now make available to our readers a great deal of that information, under these four headings:

Please to enjoy.

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Straight Shooter’s Punchy Drums

Hot Stamper Pressings of the Music of Bad Company Available Now

UPDATE 2026

The bulk of this commentary was written in 2009 and then amended a number of time since.

In late 2009 we had just finished a shootout for this hard-rockin’ album, our first since January of ’08, and what we were hearing this time around BLEW OUR MINDS. This record got a whole lot better over the course of the last twenty months or so. I’ll go out on a limb here and say that the drum sound on this record is right up there with the most present, punchy and realistic I have ever heard on record. 

I saw a friend’s band play recently in a small club and remember thinking how amazingly punchy the snare sounded (the sound coming from the live instrument itself and the club’s speakers) and this record has that kind of drum sound!

(Here are some other records that are good for testing the sound of the snare drum.)

There’s nothing like live music — everybody knows that — but good copies of this album get you a whole lot closer than I ever expected to get.

It’s a classic case of we was wrong. Last time around we wrote

“I don’t think you’ll ever find a copy of this album that qualifies as a true Demo Disc, but make no mistake: on the right pressing there’s plenty of analog magic in the grooves.”

We was wrong: It is a true Demo Disc.

On our system anyway. Our stereo is all about playing records like this, and playing them at good loud levels as nature — and the artists — intended.

This is the sound of a real rock ‘n’ roll band — no gimmicks, no tricks — just guitar, bass, drums, and vocals. The best pressings of this album has amazing live-in-the-studio rock sound that must be heard to be believed.

We revamped our Top 100 List in 2011 and this sucker is now on it, right next to its older brother, the first Bad Company album.

UPDATE

We revamped our list again, removing Straight Shooter but leaving the first album. There are so many contenders for our Top 100 that one Bad Company album — out of the two we like, the rest you can have — is probably the right number.

What You Want

It’s got exactly what you want from this brand of straight ahead rock and roll: presence in the vocals; solid, note-like bass; big punchy drums, and the kind of live-in-the-studio energetic, clean and clear sound that Bad Company (and Free before them) practically invented. (AC/DC is another band with that kind of live studio sound. With big speakers and the power to drive them YOU ARE THERE.)

One of the best cuts on side two is the ballad Anna, and boy does it sound good. This track will show you exactly what we mean by “live in the studio” sound. You can just tell they are all playing this one live: it’s so relaxed and natural and REAL sounding.

Turn It Up and Rock Steady!

If you’re playing this copy good and loud, you’ll feel like you’re in the room with the boys as they kick out the jams. Feel Like Makin’ Love rocks like you will not believe — shocking clarity, tons of ambience, silky sweet highs, and a grungy guitar sound that will blow you away. Who gets better tone than Mick Ralphs? Half the sound of Bad Co. is his guitar and the other half is Paul Rodgers voice. Between the two of them they rocked FM radio in the ’70s as good as any band of their time and far better than most. Check out the lineup on side one. Three out of four of those songs are serious Heavy Hitters that you probably know by heart. (If you listen to a Classic Rock station you definitely know these songs by heart.)

Cleaning

We used to think that “the biggest problem with the average copy of this record was GRIT and GRAIN, no doubt caused mostly by the bad vinyl of the day. You have to suffer through a lot of dry, flat, grainy copies in order to find one that sounds like this.”

That was not our experience this time around. Our Odyssey record cleaning machine, Walker fluids and tons of interim tweaks have taken most of that grain and grunge out of the sound of the records we played.

Uncleaned or improperly cleaned records are a major cause of Old School sound. There really is no Hi-Fidelity without the use of these revolutionary cleaning methods.

Engineering

This album was one of Ron Nevison’s first big engineering jobs. He also did Bad Company’s debut, a Top 100 album for us. In 1975 he worked on the sprawling mess that turned into Physical Graffiti.

He went on to do lots of the biggest selling monster rock albums of the ’80s, but The ’80s Sound has never held much appeal for us, which is of course why you find so few recordings from that era on our site, silk purses, sow’s ears and all that.

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Mobile Fidelity’s Approach to Mastering – I Have a Theory

Hot Stamper Pressings of the Music of Little Feat Available Now

I have a theory about why MoFi’s mastering approach tended to work for the Waiting for Columbus album when it failed so miserably for so many others. It goes a little something like this. 

Back in their early days, MoFi tended to add bass and treble to practically every record they mastered, regardless of whether or not the master tape they were using needed a boost.

A little extra sparkle up top and a little extra kick down low was what the audiophile public seemed to want.  We call this the smile curve and lots of audiophile records have a case of it.

Truth be told, I was a member of that group and I know I did.

Fortunately for them, Waiting for Columbus is an album that can ofteny use a little at both ends. Rarely did The Mastering Lab supply it, making the original domestic pressings somewhat bass-shy and dull on the extreme top. The MoFi clearly corrected the poor EQ choices The Mastering Lab had often made. 

UPDATE 2024: Poor EQ Choices?

Or perhaps it could have been one or more of the following:

  • Perhaps the band liked it better that way.
  • Perhaps The Mastering Lab found it easier to cut that way.
  • Perhaps the cause of the records lacking extension on both ends comes from some other factors that cannot be known.

Or, if you don’t like those three, just make up some other reasons that sound plausible, or ones that fit in with other ideas you may have, even though there is probably not an iota of evidence to support any of it.

This is the way of the audiophile record collector — theories galore, but not much experimental evidence to back them up (or falsify them as the case may be). We are more inclined to the No Theory approach to finding good records, which you can read about here. We believe it has served us well and can do the same for you.

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