More of the music of Sergei Prokofiev (1891-1953)
More on the Subject of Tubes in Audio
What to listen for on this album?
That’s easy: The all-too-common ’70s EMI harshness and shrillness.
We could never understand why audiophiles revered EMI the way they did back in the ’70s. Harry Pearson loved many of their recordings, but I sure didn’t.
To this day, some of the records on the TAS List seem to me better suited to the Old School Audio Systems of the ’60s and ’70s than the modern systems of today. These kinds of records used to sound good on those older systems, and I should know, I had an Old School stereo and some of the records I used to think sounded good back in the day don’t sound too good to me anymore. For a more complete list of those kinds of records, not just the ones on the TAS List, click here. Note that some I liked, and some I did not back in the day.
I chalk it up — as I do most of the mistaken judgments audiophiles make about the sound of the records they play, my own judgments included — to five basic problem areas that create havoc when attempting to reproduce recorded music in the home:
- equipment shortcomings,
- untweaked setups,
- bad electricity,
- bad rooms, and
- poor record cleaning
As for equipment shortcomings, if you had vintage tube equipment back in the ’70s such as McIntosh, Marantz, etc. — I myself had an Audio Research SP3-A1 and a D-75a, later a D-76a — the flaws heard on most copies of this record wouldn’t be nearly as offensive as they are to those of us playing them on the much more revealing systems that exist today.
Today’s modern systems, painstakingly set up and tweaked through trial and error, in heavily treated rooms, using only records that have been subjected to the most advanced cleaning technologies — these are what make it possible to know what your records really sound like.
The more revealing, more accurate systems of today are in fact what make it possible for us to find Hot Stamper pressings.
We used to not do our job nearly as well, and we talk about it in our Live and Learn section.
You, of course, have the option of hearing our records any way you like. They should sound amazing on your system and in your room, and we stand behind that claim with a 100% Money Back Guarantee. The cleaning and evaluation of the sound has been done. The record is correct. All you need to do is figure out how to play it back properly.
Not everyone can do that, and we do get returns from time to time of records we are pretty sure would be hard to beat. When we hear that someone’s Mobile Fidelity pressings sound better to them than our Hot Stampers, we know there is nothing we can do but give such a person his money back. We chalk it up to one through five above and move on.
With each improvement you make in your system, the kinds of high quality pressings we sell — we call them Hot Stampers — will continue to reveal the better sound that had been in their grooves since the day they were pressed.
This is not true for the Modern Heavy Vinyl reissue.
The better a system gets, the more the faults of those pressings come to light. This sad story is one that is all too common among our customers.
Basic Concepts and Realities Explained