Engineers

Perhaps This Explains It

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This Decca reissue is spacious, open, transparent, rich and sweet. Roy Wallace was the engineer for these sessions from 1955 to 1961 in Geneva’s glorious sounding Victoria Hall.

It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording, with the added benefit of mastering using the more modern cutting equipment of the ’70s, 1972 to be exact. (We are of course here referring to the good modern mastering of 40+ years ago, not the mediocre-at-best modern mastering of today.)

The combination of old and new works wonders on this title as you will surely hear for yourself on both of these superb sides.

We were impressed with the fact that it excelled in so many areas of reproduction. The illusion of disappearing speakers is one of the more attractive aspects of the sound here, pulling the listener into the space of the concert hall in an especially engrossing way.
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The Real Star of Windy – Bones Howe

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The sound of the sixties will fill your room like never before — wall to wall, floor to ceiling, with layers upon layers of depth. You would be very hard pressed to find a pop rock recording from 1967 that sounds as good as a Hot Stamper Insight Out. (Sgt. Pepper comes to mind, but what else?) Can you imagine the Mamas and the Papas or The Jefferson Airplane with this kind of rich, sweet, open, textured, natural, tonally correct sound quality?

The midrange is pure Tubey Magic! If you have the kind of system that brings out that quality in a recording, you will go wild over this one. In fact it’s so good, it made me appreciate some of the other songs on the album which I had previously dismissed as filler. When you hear them sound this good, you can actually enjoy them.

Hal, Joe and Bones

The real stars of Windy (and the album itself) are Hal Blaine and Joe Osborne, the famous session drummer/ bass player team, who create the driving force behind these songs. Osborne’s web site puts Windy front and center as the first track demonstrating what a top rhythm section can do for a pop song. This whole album can be enjoyed simply for the great drum and bass work, not to mention the sound that both of those instruments are given by the pop recording master Bones Howe.

He produced and engineered the show here; Bones is a man who knew his way around a studio as well as practically anybody in the ’60s. He’s the one responsible for all the tubey magic of the recording. That’s his sound. Those of you who appreciate that sound will find much to like here.

Bouncing Tracks

Never My Love is clearly the best sounding track on the album. Those of you with better front ends will be astonished at the quality of the sound. Windy also sounds excellent, but I hear some sub-generation harmonic distortion, probably caused by bouncing down some of the tracks to make room for others.

This is the era of the four track machine, and when four of the tracks are used up they are bounced down to one track, making available three new tracks. Some of the albums from this era — the Mamas and the Papas come to mind — have multiple bounces, three and four deep, which accounts for the distortion that you hear all through their recordings. The two-track finished master might have upwards of five tape generations or more on some instruments or vocal parts.

We Do The Work So You Don’t Have To

Let’s face it: if you find this record in a record store it’s going to be $10 or less, which is what we paid for most of the copies here. But they’re usually noisy and dull sounding. You really have to work at it to find a copy that sounds like this one. Or, better yet, pay us to do that work for you by just buying this one.

The Master of Tubey Magical Pop Recording, Mr. BONES HOWE.

Listening in Depth to The Rolling Stones – Aftermath

More Aftermath

More Rolling Stones

Listening in Depth

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Lady Jane, Under My Thumb and Mother’s Little Helper are three of the best sounding tracks on side one — all three are lively and solid here. On side two Out of Time and I Am Waiting are especially well recorded.

DAVE HASSINGER rightly deserves the credit for the best sounding early Stones album — this one.

Although some songs sound amazing, not every track is well recorded. We just have to accept that the Stones are not The Beatles when it comes to the consistent quality of the earliest recordings. That said, a strong copy like this one paired with the great music on this album will certainly deliver a lot of pleasure to audiophile Stones fans.

Although some songs sound amazing, not every track is well recorded. We just have to accept that the Stones are not The Beatles when it comes to the consistent quality of the earliest recordings. That said, a strong copy like this one paired with the great music on this album will certainly deliver a lot of pleasure to audiophile Stones fans.

In-Depth Track Commentary

Side One

Mothers Little Helper

Superb! On the best copies this track is so transparent you can feel the cool air of the studio.

Stupid Girl

Somewhat dark and compressed as a rule. (more…)

Rudy Van Gelder Is One of Our Favorite Engineers

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RUDY VAN GELDER is one of our favorite recording and mastering engineers. Click on the link to find our in-stock Rudy Van Gelder engineered albums, along with plenty of our famous commentary.

The really good RVG pressings (often on the later labels) sound shockingly close to live music — uncompressed, present, full of energy, with the instruments clearly located on a wide and often deep soundstage, surrounded by the natural space and cool air of his New Jersey studio. As our stereo has improved, and we’ve found better pressings and learned how to clean them better, his “you-are-there” live jazz sound has come to impress us more and more.
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Martin Birch Knows How to Get The Big Rock Sound on Vinyl

Martin Birch Engineered Albums with Hot Stampers

Martin Birch Engineered Albums We’ve Reviewed

 

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When you get a Hot Stamper presssing like this one, Machine Head is a True Rock and Roll Demo Disc. Since our stereo is all about playing these kinds of records, and playing them at good loud levels as nature — and the artists — intended, we had a helluva time with Machine Head.

It had the kind of presence and energy that puts most copies of this album to shame. It’s also amazingly spacious, the result no doubt of it being recorded practically live in the studio. On the best copies you can really hear the sound bouncing off the studio walls, just as you can on the best Zep, AC/DC and Bad Co. albums. You can just tell they are all playing this one live: it’s so relaxed and natural and REAL sounding.

The vocalist is no doubt in a booth, but everyone else seems to be in a lively studio. With lovely extension up top this was a very sweet copy that cried out to be turned up good and loud. The louder we played it the better it sounded! (more…)

One of Our Favorite Engineers – Glyn Johns

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GLYN JOHNS is one of our favorite producers and recording / mixing engineers. Click on the link to find our in-stock Glyn Johns engineered or produced albums, along with plenty of our famous commentaries.

It was only about 2000 or so that we discovered what an amazing engineer and producer Glyn Johns is. A Hot Stamper of the first Eagles album on the original Asylum White Label blew my mind, produced and engineered by none other, so I quickly started looking around for other records he might have had a hand in. How about Who’s Next? Let It Bleed? On The Border (my personal favorite Eagles album)? Led Zeppelin’s debut? And of course, Sticky Fingers, a record that I’ve always known had the potential for great sound — you can hear it buried under all that bad vinyl and groove wear. You can hear it; you just can’t enjoy it through the noise.
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Peter Frampton and His Big Production Rock

Wind of Change For Sale

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More Peter Frampton

Frampton’s first solo album, Wind of Change, was recorded by the well-known engineer Chris Kimsey, who worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, FYI) is as rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).

More Chris Kimsey

More Engineers, Producers and Arrangers

I unashamedly confess to being a huge Frampton fan to this very day. Wind of Change has been a Desert Island Disc for me ever since I picked up my first copy while still in high school. I bought the first Frampton album as soon as it came out, probably based on a magazine review. Think I paid $3.08 for it; that was the discount price for an album at the little record store I frequented back in those days. It was in Leucadia, CA, not far from where I went to high school.
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Robin Black’s Two Engineering Masterpieces

More on THICK AS A BRICK

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Thick As A Brick is quite possibly the BEST SOUNDING ALBUM Jethro Tull ever made. It’s dynamic; has really solid, deep punchy bass; transparency and sweetness in the midrange; tubey-magical acoustic guitars and flutes; in other words, the record has EVERYTHING that we go crazy for here at Better Records. I can guarantee you there is no CD on the planet that could ever do this recording justice. The Hot Stamper pressings have a kind of MAGIC that just can’t be captured on one of them there silvery discs.

We play quite a few original British and domestic copies of this record when we do these shootouts and let me tell you, the sound and the music are so good I can’t get enough of it. Until about 2007 this was the undiscovered gem (by me, anyway) in the Tull catalog. The pressings I had heard up until then were nothing special, and of course the average pressing of this album is exactly that: no great shakes. But with the advent of better record cleaning fluids and much better tables, phono stages and the like, some copies of Thick As A Brick have shown themselves to be AMAZINGLY GOOD SOUNDING. Even the All Music Guide could hear how well-engineered it was.

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Val Garay Rocks the Sound of JT

Yet another album we are clearly obsessed with

Click on the link below to pull up the many reviews and commentaries we’ve written, as well as Hot Stamper copies that are currently available on the site.

JT

 

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The good copies REALLY ROCK on a song like Honey Don’t Leave L.A. or I Was Only Telling A Lie, yet have lovely, sweet transparency and delicacy on the ballads such as Another Grey Morning or There We Are.

Just turn up the volume and play the opening to Honey Don’t Leave L.A. — this is James Taylor and his super tight studio band at the peak of their powers. Russ Kunkel hits the drum twice, then clicks his sticks together so quickly you can hardly notice it, then goes back to the drums for the rest of the intro. On a superb copy like this one, the subtleties of his performance are clearly on display. (Until copies like this one came along, we had never even noticed that stick trick. Now it’s the high point of the whole intro!)

Sound Equals Music

As audiophiles we all know that sound and music are inseparable. After dropping the needle on a dozen or so copies, all originals by the way, you KNOW when the music is working its magic and when it’s not. As with any pop album there are always some songs that sound better than others, but when you find yourself marvelling at how well-written and well-produced a song is, you know that the sound is doing what it needs to do. It’s communicating the Musical Values of the material.

The most important of all these Musical Values is ENERGY, and boy do the best copies have it!
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The Stones Jazz with Joe Pass and Bruce Botnick

Our Shootout Winner

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With two Triple Plus (A+++) shootout winning sides, this original stereo World Pacific copy simply could not be beat

  • Huge and rich, here is the kind of Tubey Magical presentation that lets this big group of musicians (four trombones!) come alive
  • The engineering by none other than Bruce Botnick is brilliant in all respects, as good as his work with The Doors
  • This is FUN West Coast Pop Jazz built around the superb arrangements of Bob Florence and the great songs of the Stones
  • We’re so sure you’ll like this music that if for any reason you are unhappy the domestic return shipping is on us!

Another undiscovered gem, brought to you by the folks at Better Records who know a good sounding record when they hear one. And the music is interesting and fun from first song to last. With Joe Pass on guitar how could it not be – the guy’s a genius.

This copy is spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.

This is the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. Someday there may well be a CD of this album, but those of us in possession of a working turntable could care less.

Engineering by Bruce Botnick

Botnick is of course the man behind the superb recordings of The Doors, Love and others too numerous to mention.

More recordings by Bruce Botnick

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