Tom’s Audiophile Notebook

Getting Older and Losing Patience

More Entries from Tom’s Audiophile Notebook

That guy you see pictured to 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 that sold  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, 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.)

I’ve noticed an interesting development in the world of record collecting, one that seems to be true for me as well as many of my customers.

As I’ve gotten older I find I have more money, which allows me to buy higher quality goods of all kinds, including — and especially — records.

I also seem to have much less tolerance for practically anything of mediocre quality.

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You Won’t Learn Much Playing the Same Record on the Same Setup

More on the Subject of Developing Your Critical Listening Skills 

UPDATE 2026

This commentary was written around 2006, about two years after we started to put Hot Stampers on our website.

This is one of the early posts we wrote to help explain what we were up to.

You learn almost nothing from the same record played back on the same system.

What you must do is learn to listen for differences in the sound, and differences only come about as the result of a change.

You have to change something in the system to develop your critical listening skills.

How about this example: the difference in sound between any two sides of a record.

The only change there involves flipping the record over. No new equipment, no tweaks, no shootouts with dozens of alternate pressings. Just flip the record. How hard can it be?

Almost no record has the same sound on both sides, not the records we sell anyway. Where else have you ever read such a thing? Nowhere else, at least to my knowledge. Because not enough audiophiles and no — and I mean no as in zero — record dealers make the effort to listen critically.

If you can’t hear the difference on at least some of your records, it has to be one or both of the following.

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You Might As Well Face It: You’re Addicted to Music

Check Out Some of the Records that Helped Us Dramatically Improve Our Playback Quality

What kept me obsessed about records and audio equipment were the the feelings I had when hearing the music I loved. (Click on this YouTube video to hear the great Leonard Bernstein talk about it.)

I pursued audio and found that I could get the music I loved to sound better and better with each passing year (well, some years anyway), starting with the first piece of equipment that changed everything in audio for me. It was a great leap forward, and thankfully it turned out to be the first of many. This is partly because I was never married to any piece of equipment or brand. (If all your equipment is made by the same company, there is almost no chance it would not benefit by replacing one component or another. But how can you do that? Then they won’t all match!)

Eventually these pursuits came to drive the success of the business, such as it is. To be clear, without an addiction to good music with good sound, there would never have been a business.

When I play a record with music that has the potential to bring me joy, I feel a powerful urge to hear it right. If I can’t hear it right, I won’t enjoy it, or at the very least I won’t enjoy it as much, and knowing that the music I am playing could sound better than what I might be hearing in that moment becomes a source of frustration and disrupts the joy of listening. I feel the need to reduce my frustration in order to increase my enjoyment.

And this is where the practice of doing audio comes in to play.

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We Can Find You the Best Sounding Pressings – That’s the Easy Part

The most important aspect of audio is that you have to learn how to do it for yourself.

We can find you the best sounding pressings; that’s the easy part. Figuring out how to play them, and learning how to listen to them, well, that’s a fair bit harder. That part takes a lifetime, at least.

This hobby is supposed to be fun. If you’ve been in it for any length of time you know that sometimes it is and sometimes it isn’t. But if you enjoy doing it at least some of the time, and you devote the proper resources to it — time and money — you will no doubt derive much more pleasure from it, especially if you use our approach.

It has worked for us and it can work for you.

This is what the revolutionary changes in audio link explains. If you haven’t taken advantage of all the newest technologies that make LP playback dramatically better than it was ten or twenty years ago, a great many records won’t sound the way you want them to.

Trust me, there’s a world of sound lurking in the grooves of the best “badly recorded” albums that simply cannot be revealed without good cleaning fluids and machines, vibration-reducing platforms, top quality front ends, room treatments, big speakers pulled well out from the back wall, and much, much more.

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A Kinder, Gentler Approach to Record Reviewing

Record Collecting for Audiophiles from A to Z

Allow me to respond to a comment left by a fellow named Ian Malone.

It was left in the comments section for the interview Steve Westman did with me.

He wrote:

Quite happy for you to promote your business Tom, but surely you are a better person than doing it in this way. I know that other people in the industry have said unkind things about you but you can rise above these insults.

My response:

I never say that the people making these modern records, as well as those reviewing them, are malicious or evil. I say they make or review bad sounding records and are simply misguided and, more than anything else, incompetent.

Am I being unkind? If Michael Bay makes one bad movie after another, are we unkind to point that out? I don’t know whether or not he is a bad person, but I do know that he is a bad filmmaker, and gets called out regularly for putting out a bad product.

Everyone understands that this is a matter of taste. If you always wished The Beatles albums had more bass, more compression and a smoother tonal balance overall, you can buy the new Heavy Vinyl pressings and get the sound you prefer on every title The Beatles ever released.

However, I hope you know that the sound I have just described does not exist on the master tapes.

UPDATE 2026

I would amend the above statement to say “that the sound I have just described is very unlikely to exist on the master tapes,” since all of the pressings of The Beatles’ music that we think sound more correct do not have that sound. Where that “more correct” sound came from is a matter of speculation, but we sure know it when we hear it, as do our customers. More on that subject here.

I have no way of actually knowing that for a fact, but since no mastering engineer before 2014 had ever put that sound on an actual record, I think we can safely say that the evidence supports the idea that a completely “new sound” was specifically created for The Beatles when their catalog was remastered early in this century. [1]

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“A lifelong practice to return to”

New to the Blog? Start Here

Allow me to share a story Ryan Holiday at the Daily Stoic tells that should be relevant to those who are seriously committed to improving the sound quality of the records you play.

Ryan writes:

When Junius Rusticus handed the future emperor of Rome a book, it came with an implication. A true philosopher—a true leader—Rusticus insisted, could not be satisfied just getting the gist of something. They had to understand it inside and out.

None of the lessons that Marcus Aurelius took from Epictetus—the book Rusticus gave him in his mid-twenties—would have been possible without first listening to this lesson. He not only inhaled the book, he clearly went over it over and over until it seeped into his very soul. That’s why Meditations is filled with quotes from it. That’s why Marcus Aurelius, the most powerful man in the world, managed to stay sane, despite the inherent insanity of his position.

Maybe you’ve read Epictetus. Maybe you’ve been meaning to. But chances are, you haven’t treated it like Marcus did, like Rusticus expected, like Epictetus deserves.

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Old Tapes, New Tapes, You Know We’ve Heard Our Share

Skeptical Thinking Is Key to Finding Better Sounding Records

I ran into a comment I had made more than twenty years ago about a Hot Stamper jazz reissue from the 70s that, at the time, we thought sounded better than any other version. The original pressing of the record would have come out in the fifties. We wrote:

“The master tapes were about fifteen years old when this record was mastered.  Compare that to a current cutting which would be made from approximately fifty year old tapes.”

Perhaps that explains it.

Or maybe it doesn’t. Whether it explains it or not, when you get right down to it, it’s nothing but guesswork.

It has no predictive value.

If, like most people, you enjoy having your biases confirmed, then by all means, whatever reasons work for you are fine by us.

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Answers to Some of Your Hot Stamper Questions

More Straight Answers to Your Hot Stamper Questions

We discuss a number of subjects with our letter writer below, including what we think of The Beatles’ records in mono, our grading system, how we clean our records and various and sundry other aspects of the business we run. These are the kinds of questions we get regularly and are more than happy to answer.

Hey Tom, 

First off, I got to say, congratulations on a great concept. Also, congrats on having the balls to charge what these albums are worth.

Thanks. You hit the nail right on the head — we charge what the pressings are worth. They are often incredible sounding records of some of the greatest music ever recorded. We should know; we played them, something that no other record dealers on the face of the earth can say. To those of us who do the listening, as well as our Better Records customers, they are priceless.

Like any business, we charge what the market will bear, and it seems people are willing to pay a lot for these records, although less for some than they used to — some of our records now sell for half or even less than what we were getting two or three or five years ago.

That said, the top copies have held their prices pretty well over the years and have often gone up substantially. It’s the second tier and third tier titles and the Super Hots that have tended to fall in price. That’s where the real “bargains” are these days.

Like all of our Hot Stamper pressings, even the cheapest of them (starting at $25!) are guaranteed to be better sounding than any pressing you own or have ever heard, or your money back.

OK – I spent a fortune on my system. Including acoustic design, the best of everything – speakers, turntable, preamp, amps – you get it. The whole set up probably cost me over $600k.

Wow. I don’t have $600k in my system, but I do have about $600k worth of labor in it (!) You can read all about our stereo here.

I am a crazy fanatic – audio perfection is something that really moves me.

Me too. I wrote about it in a commentary that describes how I fell in love with a record that gave me the reason I needed to get deep into audio.

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Can a Pile of Different Pressings All Sound the Same?

Skeptical Thinking Is Critical to Making Progress 

There are certain things we can stipulate as all but impossible. Nobody who says they can levitate should be taken seriously.

But are there aspects of audio reproduction that you’re not familiar with?

Are there stereos that reproduce music at a much higher level than any with which you are familiar?

Are there ways to make your stereo sound better than the ones you know of?

Are there record pressings that sound better than the ones you’ve heard?

The reason I ask is this: There is never been a case in which a person contacted me and told me that they had played a pile of copies of a particular album and that they all sounded the same.

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Three Ideas to Better Understand the Mysteries of Records

More Entries from Tom’s Audiophile Notebook

We think that sitting down to play a Hot Stamper pressing — one you find yourself through the shootout process, or one we find for you — is the only way to appreciate its superior sound quality.

A great sounding LP, played on a top quality system, is an immersive experience hard to recreate with anything other than a properly-pressed, properly-mastered vintage vinyl LP.

For those who want to dig deeper into the mysteries of vinyl, consider the three commentaries we’ve linked below:

The uses and abuses of rules of thumb

Some audiophiles use the following rules of thumb when targeting higher quality rock and pop records:

If it’s an English band, get the UK import pressing. If it’s an American band, the master tapes should be here in this country, so the original domestic pressing will be the best.

As rules of thumb the ones above are not actually all that bad. Most of the time they will turn out to be correct. They’re just wrong so often (Led Zeppelin, The Beatles, Peter Gabriel, The Eagles, Black Sabbath, etc.) that you must be very careful how stringently you rely on them.

Many audiophiles will never bother to test them, since such tests require money and time, often in very large amounts. He will more than likely be content to leave his prejudices intact rather than seek out disconfirming evidence. (Just ask John.)

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