*Tom’s Audiophile Notebook

“Ninety percent of success can be boiled down to consistently doing the obvious thing for an uncommonly long period of time…”

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“Ninety percent of success can be boiled down to consistently doing the obvious thing for an uncommonly long period of time without convincing yourself that you’re smarter than you are.” — Shane Parrish

Everybody knows that practice of any skill with the idea of challenging yourself will more than likely make you better at practically anything you choose to do. But where have you ever seen those concepts applied to bettering your own audio skills other than right here on this blog? (And Robert Brook‘s of course.)

Just how would you go about challenging yourself as an audiophile?

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Money Down the Drain

Basic Audio Advice — These Are the Fundamentals of Good Sound

Readers of this blog know that I’m a fan of big speakers, but in a room that’s as bad for sound reproduction as this one is, these monsters would qualify as a form of torture at anything above a whisper.

There is an ideal balance between absorption and reflection that must be found for every room. The balance this fellow has chosen is 98% reflection, which will lead to 100% awful sound.

I don’t even like the picture between the speakers. If you must have something there, in my experience rarely will it sound good unless it is five or more feet off the ground. (See picture below.)

Note that sidewall absorption in our listening room is never more than about five feet high. For some reason that seems to work the best. We tried lots of different heights over the course of years and we always came back to nothing over five feet.

The back wall has 4 inch thick 4×8 sheets of styrofoam across most of it, leaving the corners empty (which always seems to work the best, again, who knows why).

A small piece of absoptive material in the middle up high seemed to help, but more than that was too much and less did nothing.

These may be the most wonderful speakers in the world in the right room, but in this room there is no speaker that could possibly reproduce music properly, which means this guy spent a lot of money and got nothing for it. He’s not alone.

He could get some carpet and pull his speakers well out into the room for starters, but then the whole thing just won’t have the elegance it did, so what on earth would ever make him do such a thing? His favorite music? Hah, that’s a good one.

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Music Is Always More Important than Sound

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You can find Demo Disc quality records all over the site, but what if you are not interested in demonstrating your equipment and just want to play the music you love?

And what if the music you love wasn’t recorded all that well?

What if the music you love is on the third Band album, Stage Fright, a notoriously problematical recording?

You buy the best sounding version you can find and put up with the sonic limitations because the music is always more important than the sound.

(My wife toured with the band Asia in Europe one year, a tour to celebrate their Number One debut album. It happens to be one of the worst sounding records I have ever played, but that didn’t stop people from loving the music. Why would it?)

A better example than Stage Fright are the albums released by Creedence Clearwater Revival. Good recordings, not great ones, nothing like Demo Discs, just some of the greatest roots rock music ever made. Their first six albums probably belong in any collection of pop and rock. (Number seven, not so much.)

It’s how Washington Post writer Geoff Edgers first learned for himself that our records are the real deal.

We sent him one of their albums, a second rate copy with one good side, and according to him it’s still the best sounding CCR record he’s ever heard. I told him he should play the AP pressing and he said “Why bother?” He’s heard enough of their records to know what to expect, and it sure isn’t better sound.

And, because I can’t resist, allow me to point out that the Heavy Vinyl pressings those AP guys made were really something, and by really something, I mean really bad. After playing the Heavy Vinyl (and the MoFi), I had only one question: why would anyone want to take all the fun out of CCR’s music?

Still waiting for an answer to that one.

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The One True Test for Records

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

Collect those and sell off all the others.

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.

To me there is nothing more thrilling in audio than hearing a favorite, familiar recording sound better than I ever thought it could. If that’s the kind of thrill you are looking for, I recommend you visit the site as often as you can. Something of interest is sure to pop up.

It can’t be downloaded. It can only be found — as far as I know — on an old vinyl record.

Like many of our customers who’ve had their standards raised by our Hot Stamper pressings, you may be so exhausted and disappointed by the mediocrities being churned out these days by one Heavy Vinyl grifter after another that you finally make the pledge to swear off bad records for good. Only you can free yourself of the chains that are holding you back.

Once those chains are broken, a world of possibilities will open up, populated by vintage vinyl pressings that exist by the millions all over the world, waiting to show you just how sublime and immersive and enjoyable music can sound in your very own home.

Here is a good way to get started.

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Analog Shmanalog – Why Avoid the Only Question Worth Asking?

Saving the world from bad sound you say? Hey, that’s what I’m about too!

The following is my reply to the friend who sent me the NYT article linked above.

He had been to my studio and heard for himself the sound of the Heavy Vinyl pressings that “The Wizard of Vinyl” produces. Up against properly-mastered, properly-pressed vintage LPs, they are rarely better than mediocre, and more often than not just plain terrible. (We actually play one of his remastered records in this video.)

Mr. Kassem can’t seem to stop stepping on rakes, no doubt because he never made any effort to develop his critical listening skills, which for some reason he thought he already possessed. As a consequence of this mistaken judgment, he literally has nothing to guide him, a fact that should be obvious to anyone who has played any of his company’s records.

My letter:

This “pure analog versus analog tainted with digital” debate needs to stop.

It completely avoids the only question worth asking: are these new records any good?

Who cares how they make them?

Only the deaf! Those who can actually hear know how badly they suck and could not care less.

You sat me down and we played a batch of modern remastered records. They all failed. (More or less.)

That is the only true test.

Put all of these new records to the same test! Please, somebody!

Somebody with a top quality system can volunteer to do shootouts for any and all of them and let the chips fall where they may.

Finding such a system may be impossible, but we can at least try. This talk of master tapes and pure analog sound is getting us nowhere.

There is no testing going on, just claims being made with almost nothing to back them up.

None of this matters. Literally, none of it.

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To Find Out How Much Sound You’re Missing, Consider a Different Approach

Our Guide to Record Collecting for Audiophiles

We explain — for free! — how anyone can find better records here.

If you want to know what you’re missing, there is only one approach that allows you to do that.

It involves two things that have made the modern world what it is today:

  1. Empirical findings based on the use of
  2. The scientific method.

Any other approach is doomed, not to failure, but to findings that are neither reliable nor repeatable.

To our knowledge, we are the only record dealers who use rigorously controlled, empirically proven testing procedures to make judgments about the sound quality of the pressings we audition.

That one fact, more than all the others combined — our playback quality, our philosophy, our decades of experience, our skilled listening panels — explains why we are able to offer the discriminating audiophile dramatically better sounding vinyl pressings than anyone else.

As a result of this scientific approach, the exceptional sound quality of the records we sell make it clear to audiophiles exactly what they’ve been missing. (Many have written us enthusiastic letters about sound they could hardly believe.)

Or, put another way, we make clear to them that they did not need to settle for the second- and third-rate sound quality of the Heavy Vinyl pressings they’d been buying because they didn’t know something better was available. (Many have written us letters of the shock they experienced when comparing our Hot Stampers to their audiophile pressings.)

We Didn’t Know Either

We didn’t know how amazingly good so many records could sound until about twenty years ago ourselves.

We found out starting in 2004 when we began doing shootouts.

These “record experiments” taught us many important lessons.

The process of playing copy after copy of the same record and noting the differences we heard made us better listeners.

We took our critical listening skills and applied them to tweaking and tuning our stereo and room in order to get as many colorations and limitations out of them as possible.

Through all this work we came to have a better understanding of the fundamentals of collecting better sounding records.

However, without a staff of ten finding, cleaning and playing records, it is the rare audiophile who should expect to be able to duplicate our results.

But they can certainly do a lot better using our approach than any other, an approach that is guaranteed to put them well ahead of all the audiophile reviewers and forum posters in the world combined.

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For Audiophiles Just Getting Started, Beware of LPs that Will Inhibit Your Progress

Hot Stamper Pressings of Blue Note Albums Available Now

Robert Brook wrote a scathing review of the Tone Poets pressing of One Flight Up in 2023, much to the dissatisfaction of some of his readers. I was the first to leave a comment as I thought he hit the nail on the head when he said:

Overall, the Tone Poet is closed, distant and frankly boring to listen to. Where is the energy of the music? Where is the presence of these musicians? Where is the studio space?

The snare sounds muted. the piano weak, the horns, especially Gordon’s saxophone, resolves poorly and becomes increasingly tiresome to listen to. On my first listen I lasted about 3 minutes into side 1, mostly because I couldn’t stand the way the sax was sounding.

I posted the comments below on Robert’s review. (I have taken the liberty to rewrite some of my comments for the purposes of clarity, along with some additional thoughts.)

Robert,

Another great post. I have many comments to make, so here goes.

When audiophiles prefer records which are clearly second-rate, more often than not I chalk it up to their lack of a better record to play. In order to hear what they are missing, they have to have a record with sound that somehow makes clear to them precisely which aspects of the sound are failing, or at the very least, not up to par.

You could give out the stamper numbers for your Blue Note reissue — I would be surprised if it does not have VAN GELDER STEREO in the dead wax — and those who like the Tone Poets release of One Flight Up could easily find one on Discogs or Ebay and do the comparison for themselves.

But you know what? I would bet you dollars to donuts they will never do that. They simply can’t be bothered.

To some audiophiles who collect records, collecting is fundamentally not about sound quality.

It’s about collecting the right audiophile pressings.

These folks don’t want some old Blue Note reissue from the 70s. They want a fancily-packaged remastered record on high quality vinyl that’s made by a label that really cares. If it’s a numbered limited edition, even better!

If these people wanted to find out what is wrong with the sound of the Tone Poets pressing you played — thanks for laying it all out in detail so no one can doubt that you listened carefully and heard what’s really in those grooves — they could easily find a vintage copy of the record that would make a mockery of the one they own.

Twenty years ago I wrote something about this very subject:

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A Few Questions for the Record Reviewing Community Regarding Counting Crows

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I think I originally posted this in the comments section for Steve Westman’s youtube channel, but, to be honest, I cannot remember as it was way back in 2023 when I wrote it.

Tom Port here. Hello all. I come in peace with a quick question.

Much is made of price points when discussing these modern pressings, and rightfully so.

I admittedly do not know anything about The Counting Crows record being discussed, but I wanted to know more — what was available, from what year, mastered by whom, that sort of thing — so I went to Discogs to see what vinyl versions had been pressed recently.

The original import LP is probably made from a dub, or mastered right off the CD — that used to happen a lot in the 90s. (My beloved Jellyfish Spilt Milk on import vinyl is a dubby joke compared to every other copy I have, including the cassette. Watch for a review of the Omnivore LP coming to the blog soon.)

Then Analogue Productions put out a version in 2012, cut by Ryan Smith, which can be seen here.

There are 16 for sale starting at $127.49. It’s two discs at 45 RPM.

Chris Bellman cut the record in 2017, and his version can be found here.

CB in the deadwax. 2 discs at 33.

There are 43 available from $25.36. Since those were manufactured by Rainbo records, the vinyl may be terrible. Their stuff often is. I gave up buying their pressings in the 90s because they were so often warped and noisy.

Then there is one other which is a bit of a mystery, with no date of release, this one.

No CB in the dead wax. 2016 on the copyright info on the label though.

8 are available for $37.99

Question

Which one sounds the best?

Seems to me that this would be valuable information for your viewers to have. Why spend $100+ for an audiophile pressing when there are so many others around?

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Thoughts on Classical Music and My Hot Stamper Collection

Hot Stamper Pressings of Classical Masterpieces Available Now

UPDATE 2025

Since moving to Georgia in 2023, my Hot Stamper listening sessions have come to a stop. I still have clear memories of hearing some of the great albums we sell, and many of those recollections inform the commentary found on this blog.

Dear Tom,

So what I can’t get out of my mind, you have been doing this all these years, your own personal collection must be the creme de la creme. Cannot even imagine. But sure would love to hear!

Dear Chuck,

I’ve had an extensive record collection for all of my life, right up until about fifteen years ago. Starting at the tender young age of 10, I bought the 45 of She Loves You on Swan records, which I still own. Can’t play it, it’s broken, but I keep it anyway. When I was a kid, I used to take my two dollar weekly allowance and buy two 45s with it. Did that for years. Still have them, close to two hundred in old carrying cases. I look forward to playing them in my retirement.

I had hundreds of amazing sounding LPs in my collection, the best of the best from more than 20 years of doing shootouts. About fifteen years ago I asked myself what were all these great sounding records sitting on a shelf for? I never played them because I got to hear all my favorite records every day, and after playing records all day, the last thing I wanted to do at night or on a weekend was pull a record off the shelf and play it.

So I put all my personal records into shootouts, and sometimes they did well and sometimes they did not. (Those of you who go back and play your old records from years past will surely find some real surprises, both good and bad.)

I sit my wife down from time to time when the stereo is at peak playback after doing shootouts all day. I might put on Deja Vu or Back in Black or The Wall or some other amazing pressing we’ve just found, and I always point out to her that this is a record that will be gone next week. This is it, listen to it now because you will not have the chance again for many months, maybe even years.

Most audiophiles outside of our customers rarely have that experience, but it’s really the only way I listen to music anymore, on the best pressings in the world.

I play mostly classical records these days, which, on the best vintage pressings, are really a thrill on big speakers at loud volumes. We had to stop going to the Santa Barbara symphony because the sound was better in my listening room than it was in that hall. Practically all of the performances on vinyl were better too, to tell you the truth.

I can’t compete with Disney Hall for sonics, but it takes two hours to get there and good tickets are $300-500 each. It’s tough to make the commitment at those prices, especially when you have spent your entire adult life building a great stereo and room. Suspension of disbelief is immediate and lasting.

The best classical recordings cannot hold a candle to a good orchestra in a good hall, but it has been my experience that those two things in combination are very hard to find in the real world. Fortunately for me, the memory of the music and sound I used to hear at the Disney Hall faded after a few weeks, at which point I could go back to playing my classical records and enjoying the hell out of them.

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The 20 to 1 Ratio for Finding Your Personal Favorites

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That guy you see pictured on the left has spent much of the last forty years wandering around used record stores looking for better records (ahem).

Before that he wandered around stores selling new records because he didn’t know how good old used records could be.

Here are some of the things he’s learned since he started collecting at the age of ten about sixty years ago. (First purchase: She Loves You on 45. It’s still in the collection, although it cracked long ago and is no longer playable.)

One of our good customers had this to say about some Hot Stampers he purchased recently (and one that is still on its way to him):

Hey Tom, 

So I go on YouTube to refresh my memory and listen and James Taylor, that could be good, Toto, what a feel good album, brings back memories, Wish You Were Here, already have a pretty good copy, Sinatra-Basie, what’s that?

So I go to YouTube and first track HOLY CRAP! You know it’s good when you’re throwing a sound stage off your lap-top! Basie orchestra, perfect. Frank comes in swinging and man that guy was so freaking cool, people today have no idea how unbelievably cool he was, and so like 20 seconds if that I am SOLD!

Francis A and Edward K was a fave for years. You turned me onto Mel Torme Swings Schubert Alley. Fabulous voice. What I love most of all though is the sense of live flowing swinging music of FA&EK and with Basie. Gets me even off the laptop!

You know, there’s two kinds of audiophiles, the ones who want a vast array of new music, and the ones who are happy with only a small amount of high quality music.

I am definitely in the second group. Love new music but when it comes to what I will sit and listen, very hard to please. When I do find something new though, man do I ever appreciate it. Got a good feeling about Sinatra-Basie. Thanks!

I replied:

One quick note: I would not be happy with a “small amount” of new music, but I am very happy with a “smaller amount.” Quality over quantity, right? Mediocre records don’t get played — that’s at least one of the many reasons that so many audiophile pressings remain pristine decades after their production.

I like to say that you have to buy twenty albums to find the one you will fall in love with, and without those other 19 you will never discover the one.

There is no way to predict any of this music stuff.

Or sound stuff.

You have to experience it, and to experience it you have to spend some time and you definitely have to spend some money.

The work we do in pursuing this hobby is supposed to be fun, and most of the time it is, but it is definitely work to buy hundreds of records and set aside the time to play them. I’ve been doing it since I was about 17. I can still remember the old house that had been converted into a record store that I used to shop at in Leucadia, right off the coast highway in California.

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