*Frequently Asked Questions

How can these pressings possibly be worth the prices you charge?

Plenty More on the Subject of Hot Stamper Pricing

This commentary was written many years ago, about the time (2004) when we started selling Hot Stamper pressings in very limited numbers. The numbers were limited because shootouts were so hard to do back then. Some went on for days.

It starts with the following paragraph:

We freely admit that we paid south of thirty bucks each at local stores for many of the records on our site. We pay what the stores charge, and most good rock records are priced from ten to thirty bucks these days.

ADDENDUM #1

About five years ago we added this text to the listing:

This is no longer true, but it was true when this commentary was written. Most rock records cost us double and triple what we used to pay, if they can be found at all.

ADDENDUM #2

As of 2022, we would like to point out that very few good records can be found in local Los Angeles stores these days. Young people have started collecting records again, so the supply of records in the stores is a small fraction of what it was even five years ago, and the prices have doubled and tripled for the better titles. Foreigner and Carly Simon we can still find locally, but Fleetwood Mac and Led Zeppelin? Forget it.

These developments means that we have been forced into buying mostly from dealers on the web, paying the collector prices they charge and, like any business, passing the costs on to our customers. There is no other way to run a business that specializes in old records.

Vintage LPs are practically the only ones that have the potential to be Hot Stamper pressings, and we must pay whatever they cost in order to acquire them in large enough numbers so that our record shootouts can continue.

The rest of the commentary describes a business that no longer works the way it did.

Unfortunately for us, the price we paid for the records you see on the site is only a small part of the cost of the finished “product.” The reality of our business is that it costs almost as much to find a Carly Simon or Gino Vannelli Hot Stamper that sells for a hundred dollars as it does to find a Neil Young or Yes Hot Stamper that sells for five times that.

UPDATE 2020

Not true, obviously; Neil Young records cost ten or twenty times more than Carly Simon records these days!

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How Come You Guys Don’t Like Half-Speed Mastered Records?

More on the Subject of Half-Speed Mastering

That’s an easy one. Over the 37 years we’ve been in the audiophile record business, we’ve played Half-Speed mastered LPs by the hundreds. As our ability to reproduce the sound of records improved (better equipment, table setup, tweaks, room treatments, electricity and the like), the gap between the better non-half-speed mastered pressings and even the best of the half-speeds grew and grew.

The half-speeds fell further and further behind, with so few exceptions to the rule that they could easily be counted on the fingers of one hand. There are currently four half-speed mastered titles that we carry as Hot Stampers. To put that in perspective, of the roughly two thousand Hot Stamper titles we offer, those four are the only ones to make the cut.

The most serious fault of the typical Half-Speed mastered LP is not incorrect tonality or poor bass definition, although you will have a hard time finding one that doesn’t suffer from both. It’s dead as a doornail sound, plain and simple. We’ve been playing half-speed mastered records since I bought my first Mobile Fidelity in the late-70s. That works out to forty years of experience with the sonic characteristics of this mastering approach, an approach we have found to have consistent shortcomings.

These shortcomings have somehow eluded the devotees of these records, no doubt the way they eluded me until I had improved my playback to the point where I could hear just how wrong they were.

I made a list of the worst sounding ones that I actually used to like, numbering more than 30, and you can read all about them here.

Their sonic shortcomings no longer elude us, and we have taken the time to lay out their faults, chapter and verse, in the commentaries you see below.

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How Can I Possibly Replace Every Record in My Collection with a Hot Stamper Pressing?

What Exactly Are Hot Stamper Pressings?

A customer once wrote to tell us the following:

“I never thought I would spend $200 for a record, but I do hear the difference.”

Somewhat faint praise perhaps, but still, any praise is better than no praise, right?

We replied:

If that’s a favorite record of yours, you can now enjoy it for the rest of your life knowing you have a killer copy in your collection to play whenever you damn well please (assuming the kids and the wife are out of the house).

Based on what I am reading, the pressing we sent you is so good it’s practically priceless. But somebody had to put a price on it, and the price we landed on was two hundred bucks.

This is an outrageous amount of money for one record to some people. But not to someone who loves the album and will play it for the rest of his life. Once a month for 40 years comes to $4 a spin. To quote Pete Townshend, I call that a bargain.

Can You Afford It?

Can you afford to replace every record in your collection with a $200 Hot Stamper pressing? Of course not. Almost nobody can. But that’s not really what’s at the heart of our service.

We are offering exceptional copies of your favorite albums. (And of course some records that are soon to be your favorite albums.)

These are records that are guaranteed to be better than any other pressing you can find at any price.

Chasing a Dragon

Here’s an important benefit that often goes unmentioned. We eliminate the need to keep chasing after more and more copies.

If the album is remastered on Heavy Vinyl every two or three years by whatever company hasn’t licensed it yet, who cares? There is not a shred of evidence to back up the contention that any of these labels will ever be able to produce a record that sounds better than the pressing you already have.

How to Buy Hot Stampers

When it comes to Hot Stampers, buy as few or as many as you like. Pay only for records you think are reasonably priced based on how important the music is to you.

Whatever you pay for our record, know that its resale value is essentially nil. Nothing is special about the records we offer other than their superior fidelity.

When you receive a record from us, we ask only that you play it and, in this case, find two hundred dollars worth of sound and music or send it back. You have plenty of time to do that, 30 days.

If lots of customers returned our records, our business would struggle to survive. But we’re doing just fine, thank you very much.

Further Reading

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How can I find my own Hot Stamper pressings?

New to the Blog? Start Here

Finding Hot Stampers is all about doing shootouts for as many different pressings of the same title as you can get your hands on.

There are four basic steps you must take, and you have to do right by each of the four if you are going to be successful at discovering and evaluating your own Hot Stampers. 

We discuss every one of them in scores of commentaries and listings on this blog. Although none of it will come as news to anyone who has spent much time reading our stuff, we cobbled together this commentary to help formalize the process and hopefully make it easier to understand and follow.

If you want to make judgments about recordings — not the pressing you have in your collection, but the actual recording it was made from — you have to do some work, and you have to do it much more thoroughly and carefully and above all scientifically than most audiophiles and record collectors we’ve met apparently think is necessary. Don’t be one of those guys. Do it right and get the results that are simply not possible with any other approach.

The Cornerstones of Hot Stampers

There are four aspects to the work required to find these very special pressings:

  1. You must have a sufficient number of copies to play in order to find at least one “hot” one.
  2. You must be able to clean your copies properly in order to get them to sound their best.
  3. You must be able to reproduce your copies faithfully.
  4. You must be able to evaluate them critically.

There is a clear benefit to doing it this way, and it’s something you should consider when tweaking your system too.

Lately we have achieved the best results by going about it like this:

If you have five or ten copies of a record and play them over and over against each other, the process itself teaches you what’s right and what’s wrong with the sound of the album at key moments of your choosing.

Once your ears are completely tuned to what the best pressings do well that others do not do as well, using a specific passage of music — the acoustic guitar John beats the hell out of on Norwegian Wood just to take one example — it will quickly become obvious how well any given pressing reproduces that passage.

The process is simple enough. First you go deep into the sound. There you find something special, something you can’t find on most copies. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.

Admittedly, to clean and play enough copies to get to that point may take all day, but you will have gained experience and knowledge that you cannot come by any other way. If you do it right and do it enough it has the power to change everything you will ever achieve in audio.

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, and you devote the proper resources to it — time and money — you will no doubt derive a great deal more pleasure from the music you play, especially if you use our approach.

It works for us and there’s no reason it can’t work for you.

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How much better will a Hot Stamper pressing sound on my system?

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More Frequently Asked Questions (FAQ) 

That’s a tough question, because it involves two things I can’t know: how good your stereo is, and how critically you listen to it.

Really, the only way to find out how much better sounding a Hot Stamper pressing is would be to try one or two and see if the sound quality justifies the price. Which is why we offer a 100% money back guarantee: the record has to perform to your satisfaction or we give you all your money back.

A fellow wrote me a while back with a long list of his equipment. I replied:

I would like to help you but I know very little about any of the equipment you discuss below other than the EAR 834p, which I do like. I very much like KEF speakers in general — they are neutral as a rule — which means that probably anything you buy that makes them sound better will most likely be a good piece of gear, but what that would be I cannot say, sorry.

The only way to know if your system can resolve the differences between our records and everybody else’s is to try some. You are the ultimate judge of what the value of that difference is and no one else.

All guaranteed of course. Try anything you like and send it back if you don’t feel it’s worth the cost.

And keep in mind that as your stereo gets better, our records get better. This is not true for most audiophile reissues, whose flaws become more obvious the better your system gets.

Just a few days back a fellow asked me why Led Zeppelin III sounds so awful — he’s hated the sound of his copy since he bought it in the ’70s.

I sent him a link to our Hot Stamper pressing, which was priced at many hundreds of dollars, and said that our copy will show you the sound you’ve been missing for 40 years. This is the service we offer.

He hasn’t bought it yet and probably never will, but think about what he’s missing: the enjoyment of that music.

Some have even written to us about just how good that record sounds on the pressings we sell.

And if you’re like the guy that thought that this record sounds good, then you probably will return any Hot Stamper we send you, which he did.

If super smooth is the sound you are going for, lots of audiophile record dealers have what you want — on Remastered Heavy Vinyl — in stock and ready to ship. How anybody falls for that sound is beyond me. (More on the subject here.)

(Actually, two men, a Mr Dunning and a Mr Kruger, came up with a workable explanation. It comports with practically everything I know about this hobby and the people who pursue it, and it matches up especially well with my own experience for the first twenty years I struggled to make sense of high end audio.)

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Why don’t you give out the stampers for your Hot Stampers pressings?

xxx

More Straight Answers to Your Hot Stamper Questions

When it comes to stampers, labels, mastering credits, country of origin and the like, we make a point of rarely revealing much of this information on the site, for a number of good reasons we discuss in some depth here.

The idea that the stampers are entirely responsible for the quality of any given record’s sound is a popular but mistaken one.

It’s a beautiful idea that must be resisted in order to make progress.

Answers Or Good Answers?

Audiophiles, like most everybody else in this veil of tears, want answers. 

But in the world of records, consistently good answers are very hard to come by.

For audiophiles in search of better sound, the only approach with any real hope of success is this: doing the hard work required to find the best answer you can under your present circumstances — your present equipment, your present tweaks, your present room, your present electrical quality, your present listening skills, your present table setup, et cetera, et cetera.

For those who are interested in pursuing audio and records at the highest levels, we explain in this commentary the work it takes: The science of Hot Stampers – incomplete, imperfect, and provisional

We have a section on the website you may have seen called live and learn. This section (115+ strong!) is devoted to the discussion of records we think we got, uh, wrong.

Oh yes, it’s true. But it’s not really a problem for us here at Better Records. We see no need to cover up our mistaken judgments. The process of learning involves recognizing and correcting previous errors. Approached scientifically, the gaining of knowledge — in any field, not just record collecting or music reproduction — is slow, incremental and riddled with mistakes.

What seems true today might easily be proven false tomorrow.

If you haven’t found that out for yourself firsthand, one thing’s for sure, you haven’t been in this hobby for very long.

We’re so used to the conventional wisdom being wrong, and having our own previous findings overturned by new ones, that we gladly go out of way in listing after listing to point out just how wrong we were. (And of course why we think we are correct now.)

A common misperception among those visiting the site is that we think we know it all. Nothing could be further from the truth.

We learn something new about records with practically every shootout.

Each time we go back and play a 180 gram or half-speed mastered LP we used to like (or dislike), we gain a better understanding of its true nature. 

Record cleaning gets better, front ends get better, electronics get better, tweaks get better — everything in your audio system should be improving on a regular basis, allowing you to more correctly identify the strengths and weaknesses of every record you play. (I almost forgot: your ears get better too!) If that’s not happening, we can help you make it happen.

What follows is a typical excerpt from a recent listing.

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Do I already have some Hot Stamper pressings in my collection?

More Frequently Asked Questions

Yes, you do.

You just don’t know which ones they are.

If you have a good sized collection of LPs, mastered and pressed from the 50s through the 80s, and in some cases beyond, you surely do.

In fact, it’s hard to imagine that you wouldn’t have at least some.

The problem is, how can you know which records have Hot Stampers and which ones don’t?

Familiarity with the conventional wisdom regarding which labels and stampers are supposed to have better sound is really not much help in this regard, despite what you may have heard, and is often misleading when not outright erroneous.

The only way to recognize a Hot Stamper pressing is through the shootout process.

If you’ve done shootouts for your favorite albums on your own (or with friends), pitting five or ten cleaned copies of the same record against one another, then you definitely have Hot Stampers in your collection, and you know exactly which ones they are — they’re the ones that won the shootout.

One very important fact to keep in mind: Hot Stampers and good sounding records are not the same thing.

And some shootouts are not worthy of the name. Only that rare audiophile who conducts rigorous shootouts of multiple LPs from different eras can know which are the best sounding pressings (keeping in mind that the results from any given shootout, like any scientific finding, are provisional.)

How hot your shootout winners are relative to the records we sell is a much more difficult question to answer, and can really only be answered by pitting our copy against yours, head to head.

Some of our customers have carried out their own shootouts and shared with us the results.

It’s true, we only printed the ones that made us look good, but what did you expect us to do?

Needless to say, we welcome the challenge! And we happily refund your money if you believe your copy bests ours.

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Are Hot Stampers exceptionally good sounding records?

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Not necessarily. What makes a Hot Stamper hot is reasonably good sound. At the very least a Hot Stamper should sound quite a bit better than any other pressing you have heard.

Not every album was well-recorded. (Here are some examples of records that you are not likely to be playing for your friends in order to show off your system, even if you have one of our White Hot Stamper pressings.)

As a result, the records made from those recordings will display most of the limitations that are baked into the master tape. A good engineer can fix an awful lot of problems in mastering, but, to mix a few metaphors, making a silk purse out of a sow’s ear is rarely if ever going to be in the cards.

For that reason, the records we review must be graded on a curve.

In our shootouts we compare apples to other apples. There is simply no other practical way to do it.

Out of the pile of pressings we have available, usually comprising six to twelve records, we clean them up and play them in order to find out which are the best sounding ones. If the winners of the shootout have the best sound we heard on both sides, they go into our Top Shelf section, which as of this writing has 13 members.

Any record that has one Shootout Winning side goes into our White Hot Stampers section. (There are more than ten times as many of those as of this writing. If you think a record you have cannot be beat on either side, that is very unlikely to be the case. We are happy to sell you the record that will beat it, and it will probably beat it on both sides, truth be told, and if it doesn’t, you get your money back.

We also guarantee that no Half-Speed mastered record or Heavy Vinyl LP sounds as good as even the lowest-graded Hot Stampers we offer. We’ve played too many of these so-called audiophile pressings to worry about them being competitive with the records on our site.

(One actually was competitive recently, but what a fluke that record was. Another word for fluke is outlier, and we really, really love those, but a Heavy Vinyl pressing winning a shootout? That has happened exactly once.)

It is our strongly held conviction that the better your system gets, the worse — or at the very least the more artificial, veiled, ambience-challenged, frequency-limited and uninvolving — those records will sound.

The question every audiophile who collects records for sound quality must grapple with is “how high is up?”

That’s what shootouts are for. To judge the relative merits of individual pressings, regardless of how well or how poorly the rcording is (as if we could ever know such a thing.).

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Are Hot Stampers original pressings?

Reissue Pressings with Hot Stampers Available Now

They certainly can be, but quite often they are not, which shouldn’t come as a surprise to any serious record collector, and definitely not to any member of our listening crew.

Reissues come out on top in our record shootouts fairly regularly.   

Yes, most of the time the original will beat the reissue, but most of the time is far from always, and since we have to play a big pile of copies anyway (and always with the person doing the grading kept in the dark about the pressing being auditioned), why not evaluate both the originals and the reissues at the same time, on the merits and not on our prejudices?

But this discussion bypasses an important question: What IS an original? Is a record with a 1A stamper an original and a record with a 1B stamper not an original, or slightly less original? Is every copy on the original label an original, and only the copies with the later labels reissues?

To be honest, attempting to lay down strict rules about what constitutes an original is best understood as a fool’s errand, an audiophile parlor game of little use in the real world of records, and one we never cared to play even when we didn’t know how pointless it would turn out to be.

To be blunt about it, we are not the least bit interested in how original a pressing may or may not be.

On this site we are only interested in one thing, the answer to the question: Which copy of the record sounds the best? (Also: In what way? So I guess that’s really two things we are interested in.)

The rest of it we leave to our record collecting brethren.

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What if I like the copy I already own as much (or more!) as the one I bought?

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You get your money back, no questions asked.

Seriously, we have been in business since 1987 and there has never been a time when we did not give a customer a full refund on any order he returned. We also refunded records that were abused by customers and no longer saleable. We refunded records that were damaged in transit because of poor packaging.

We refunded all of them, no matter what.

Why? Because that is our policy and we adhere to it one hundred per cent of the time. We make no exceptions to that policy and never have. If anyone says otherwise, that person is not telling the truth.

And if we decided not to provide a refund, for any reason, the credit card companies would simply take the money out of our account and put it back in the customer’s.

We take great pride in our money back guarantee, which, as far as audiophile records go, seems to be unique in the industry.

However, if you’re in the business of selling not very good sounding remastered pressings on Heavy Vinyl, you might have to have a very different return policy from the one we offer. As in, no returns.

What’s a Hot Stamper Worth to You?

Even if you actually like our copy better than yours, but don’t think the difference in sound quality justifies the price, the same policy applies: you get your money back.

If you simply don’t like the music or have issues with the recording itself, you get your money back.

If the record plays noisier for you than you would like, you get your money back.

Part of the fun of having auditioned so many records over the course of so many years is that we’ve run into scores of amazingly well recorded albums, albums that most audiophiles don’t know well or may have never even heard of.

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