Demo Discs for Bass

Sergio Mendes – Room Treatments Bring Out The Best

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Only the best copies are sufficiently transparent to grant the listener the privilege of hearing all the elements laid out clearly, each occupying a real three-dimensional space within the soundfield. 

With recent changes to some of our room treatments, we now have even more transparency in the mids and highs, while improving the whomp factor (the formula goes like this: deep bass + mid bass + speed + dynamics = whomp) at the listening position. (There’s always tons of bass being produced when you have three 12′ woofers firing away, but getting the bass out of the corners and into the center of the room is one of the toughest tricks in audio.)

For a while we were quite enamored with some later pressings of this album — they were cut super clean, with extended highs and amazing transparency, with virtually none of the congestion in the loud parts you hear on practically every copy.

But that clarity comes at a price, and it’s a steep one. The best early pressings have whomp down below only hinted at by the “cleaner” reissues. It’s the same way super transparent half-speeds fool most audiophiles. For some reason audiophiles rarely seem to notice the lack of weight and solidity down below that they’ve sacrificed for this improved clarity. (Probably because it’s the rare audiophile speaker that can really move enough air to produce the whomp we are talking about here.)

But hey, look who’s talking! I was fooled too. You have to get huge amounts of garbage out of your system (and your room) before the trade-offs become obvious. When you find that special early pressing, one with all the magic in the midrange and top without any loss of power down below, then my friend you have one of those “I Can’t Believe It’s A Record” records. We call them Hot Stampers here at Better Records, and they’re guaranteed to blow your mind.

Funky Brazilian Music For Audiophiles

This is one of my favorite albums, one which certainly belongs in any Audiophile’s collection. Better sound is hard to find — when you have the right pressing. Unfortunately those are pretty hard to come by. Most LPs are grainy, shrill, thin, veiled and full of compressor distortion in the louder parts: this is not a recipe for audiophile listening pleasure.

But we LOVE this album here at Better Records, and have since Day One. One of the first records I ever played for my good audio buddy Robert Pincus (Cisco Records) to demonstrate the sound of my system was Sergio’s syncopated version of Day Tripper off this album. That was thirty years ago, and I can honestly say I have never tired of this music in the decades since.

Sergio Mendes & Brasil ’66 – Bruce Botnick and The Big Bottom End

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What separates Sergio from practically all of his ’60s contemporaries is the AMAZING SOUND of his recordings. The first album was recorded by the legendary BRUCE BOTNICK, the man behind the superb recordings of The Doors, Love and others too numerous to mention. This, in my opinion, is his Masterpiece. The Doors albums Bruce recorded represent some of his best work, but what Doors album sounds as good as Sergio’s debut? I can’t name one. [Actually I can: the first album, when you get the right pressing. It’s out of this world.] 

Only the best copies are sufficiently transparent to grant the listener the privilege of hearing all the elements laid out clearly, each occupying a real three-dimensional space within the soundfield. When you hear one of those copies, you have to give Botnick his due. The man knew what he was doing. (Larry Levine, who recorded the subsequent albums, was no slouch either. Stillness is one of the ten best sounding records I have ever played, and that’s no exaggeration.)

Funky Brazilian Music For Audiophiles

This is one of my favorite albums, one which certainly belongs in any Audiophile’s collection. Better sound is hard to find — when you have the right pressing. Unfortunately those are pretty hard to come by. Most LPs are grainy, shrill, thin, veiled and full of compressor distortion in the louder parts: this is not a recipe for audiophile listening pleasure.

But we LOVE this album here at Better Records, and have since Day One. One of the first records I ever played for my good audio buddy Robert Pincus (Cisco Records) to demonstrate the sound of my system was Sergio’s syncopated version of Day Tripper off this album. That was close to twenty years ago, and I can honestly say I have never tired of this music in the intervening decades.

Lincoln Mayorga & Distinguished Colleagues – Volume III – The Best Sounding Copy We’ve Ever Heard

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  • A KILLER copy with DEMO DISC Shootout Winning QUADRUPLE Plus (A++++) sound on the second side and Triple Plus (A+++) sound on the first
  • This Limited Edition Sheffield Lab Direct Disc recording has some of the best sound we have ever heard for this title
  • It doesn’t get any better than this, with CLARITY and that JUMP OUT OF THE SPEAKERS quality we desire from a Hot Stamper
  • Many copies of this album tend to sound a bit thin and somewhat bright; on this copy, the sound is rich, full, and tonally correct from top to bottom and the horns sound especially wonderful

Please note: we award the Four Plus A++++ grade so rarely that we don’t have a graphic for it in our system to use in the grading scale shown above. So the side two here shows up on the chart as A+++, but when you hear this copy you will know why we gave it a fourth plus!


What do Hot Stampers give you for this album? It’s very simple. Most copies of this album are slightly thin and slightly bright. They give the impression of being very clear and clean, but some of the louder brass passages start to get strained and blarey. This copy is rich and full. The sound is balanced from top to bottom. You can play it all the way through without fatigue.

Trumpets, trombones, tubas, tamborines, big bass, drums — everything has the true tonality and the vibrancy of the real thing. The reason this record was such a big hit in its day because the recording engineers were able to capture that sound better than anybody else around. That’s also the reason this is a Must Own record today — the sound holds up!

Just listen to that amazing brass choir on Oh Lord, I’m On My Way. It just doesn’t get any better than that. If ever there was a Demo Disc, this is one! (more…)

Grover Washington – Winelight – A Demo Disc for Bass (on the Right Copy)

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Another in our series of Demo Discs for Bass.

What’s unusual about this album — shocking really — is how MEATY the bottom end is. I don’t know of a pop jazz recording with beefier, more articulate or weightier bass. The only record I can think of in this genre of jazz with comparable bass is Mangione’s Children of Sanchez. We played some copies of that album recently and were just knocked out with how well recorded the bass is, just the way we were knocked out by the best copies of Grover Washington’s Winelight from a recent shootout. Both of these albums really set the standard for recording this kind of music.  (more…)

Organ Music From Westminster

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This is a Very Rare Fulton LP. The piece by Mozart on side one has a true 16 cycle note. Since it has virtually no overtones, the note is more often than not completely undetectable; few stereos in my experience have ever been able to reproduce it. If you have a full-range system, this record will allow you to hear deep bass you may have never heard before.

Let me warn you that these records require extremely transparent, full bandwith, neutral stereo systems to sound their best. Most records are “goosed up” in various ways to play on any stereo, regardless of quality. These are the opposite. From my admittedly prejudiced point of view, tubes are an absolute must for the magic of these live recordings to come through. [Or so I thought in 2006. Now, not so much.]

If your system leans more toward the budget side, these Fulton records will leave you wondering what in the world that Tom Port character was talking about.

And of course organ records require good deep bass, the hardest part of the frequency range to reproduce in the typical living room. With this organ record at least you’ll know what the goal should be.

Steeleye Span – Commoners Crown – Our Shootout Winner from 2012

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

This original Porky/Pecko mastered British Chrysalis pressing has Superb Demo Disc Sound — Side Two is OFF THE CHARTS — and, even more importantly, the best English Folk Rock Music ever recorded. I grew to love this album back in the ’70s; the stereo store I worked at used it as a Demo Disc, so I heard it on a regular basis. Rather than getting sick of it, I actually bought a copy for my own collection to play at home. (Not sure if I managed to get an import, not sure if I would even have been able to hear the difference.)

Things have changed as we never tire of saying here at Better Records, but in a way you could say they have stayed the same. This used to be a demo disc, and now it’s REALLY a Demo Disc.

You will have a very hard time finding a record with a punchier, richer, fuller, better-defined, dare I say fatter bottom.

But that’s just the start. Side two defeated all comers in our shootout, earning our top grade of A+++. It’s got everything we look for in a Hot Stamper British Folk Rock Album — it’s dynamic; has really solid, deep punchy bass; transparency and incredible sweetness in the midrange; tubey-magical acoustic guitars; you name it, this copy had it. It had it all. (more…)

Led Zeppelin – Presence – Our Shootout Winner from 2012

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A distinguished member of the Better Records Rock Hall of Fame and another in the long list of recordings that really comes alive when you Turn Up Your Volume.

A STUNNING side two (where Nobody’s Fault But Mine can be found, one of the best Zep rockers of all time and the best reason to own this album), with MASSIVE room-filling size and rock ENERGY like you will not believe. How did they manage to get such rock and roll power into these grooves, the way they did on Zep II and IV? We can’t even imagine, but it’s there all right.

We heard it for ourselves. (Yes, we had the volume cranked and yes, it was a THRILL.)

We just finished a big shootout for this album and were reminded just how hard this album rocks. Achilles Last Stand, For Your Life and Nobody’s Fault But Mine are all KILLER on a White Hot copy like this one. This copy has TONS of energy, surprising dynamics, lots of WHOMP down low and big punchy drums throughout. That’s EXACTLY the kind of sound we love here at Better Records. (more…)

Fleetwood Mac – A Demo Disc for Bass

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Another in our series of Demo Discs for Bass.

One of the special qualities this album has is AMAZINGLY well-defined, punchy, deep BASS — the kind you just never hear on most records (or most pressings of this album for that matter).

The bass is typically bloated on most copies of this album, something that is especially true for the MoFi. When you get a copy with note-like, properly balanced bass, the whole album works. Bass is the foundation of the music. When the bass is blubbery and ill-defined, the music itself sounds blurred. It loses its focus.

It’s also very dynamic and punchy. The kick drum sounds exactly right — there’s a room around it, just exactly as you would hear it if you were in the studio with the band! It took a copy like this to show us what an amazing pop recording it is.

So few copies we ran across in our shootout had that “jump out of the speakers” sound we knew was possible from our previous shootouts of the album. When finally one did, boy did it ever. What a knockout. Hot Stampers? They’re on fire!

If you have a big speaker system and have taken advantage of the audio revolutions we discuss throughout the site, this is the kind of record that can help you chart your progress. When a record like this blows everything you’ve ever heard out of the water, you are definitely on the right track! (more…)

Harry James & His Big Band – The King James Version

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  • This KILLER Sheffield pressing has insanely good Shootout Winning Triple Plus (A+++) sound from start to finish
  • Both sides here fulfill the promise of the direct to disc recording technology in a way that few – very, very few – direct to disc pressings can
  • Big Band energy and enthusiasm unlike any other copy we played, as well as the most natural sounding ambience of any copy in our shootout
  • This one has everything going for it from top to bottom, with big bass, dynamics, clarity, top end extension and more – it’s a real Demo Disc, make no mistake about it

On the best pressings, the horns are so lively and high-rez, not to mention full-bodied, this could easily become a favorite big band album to demo or test with — or just to enjoy the hell out of.

Unlike most Direct to Disc recordings, this album actually contains real music worth listening to — but only when the pressing lets the energy of the musicians through, with actual fidelity to the sounds of the real instruments. Brass without bite is boring. Drummers who are too delicate in their drumming will put you to sleep. (more…)

War – Why Can’t We Be Friends?

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  • A stunning sounding copy and the best to hit the site in many years — Triple Plus (A++) sound throughout
  • Both sides here are incredibly lush, big and spacious with a huge bottom end, no smear and tons of energy
  • Extremely quiet for this title — Mint Minus to Mint Minus Minus
  • “Cut from the same cloth as the band’s 1973 Deliver the Word LP, War’s 1975 Why Can’t We Be Friends? is a masterpiece in its scope and breadth.” – All Music, 4 Stars

Low Rider sounds AWESOME on this one. This is the kind of record you can take to any stereo store or audiophile friend’s house and bring their stereos to their knees. Audiophile systems are rarely designed to play this kind of music at the levels it demands, but that doesn’t mean they shouldn’t be. Records like this are the challenge we audiophiles need to make our stereos even better. When the music is this good it’s worth the effort! (more…)