*Robert Brook’s Guide

Robert Brook’s Guide for the Dedicated Analog Audiophile

Robert Brook Does His Own Shootout for Abraxas

More of the Music of Santana

Reviews and Commentaries for the Music of Santana

Robert Brook has a blog which he calls

A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE

Below is a link to a comparison Robert Brook carried out between some pressings of Abraxas – his own and a Hot Stamper pressing he managed to borrow from a friend.

We’ve written quite a bit about the Abraxas, played them by the score as a matter of fact, and you can find plenty of our Reviews and Commentaries for the album on this very blog.

ABRAXAS and Why We Cannot HACK The Hot Stamper

About a week from now I will address some issues I have with Robert Brook’s commentary, so stay tuned.

Here it is.

 


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Mingus’s Pre Bird Makes the Case For the Hot Stamper

More of the Music of Charles Mingus

Reviews and Commentaries for the Music of Charles Mingus

Robert Brook has a blog which he calls

A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE

Below is a link to the review he wrote recently for one of our favorite Mingus records, Pre-Bird.

Mingus’s PRE BIRD and THE CASE For the HOT STAMPER

A few quick thoughts on the album which which we hope will be of interest to our readers:

We used to think the early Limelight pressing shown here was so amazing sounding that finding better sound for this recording would simply be impossible, but the original Mercury showed us just how wrong we were – the right Mercury pressing takes the recording to another level, one we never imagined it could reach. (In our experience records do that from time to time. We’ve written about some of the ones we’ve played here.)

Here is a small excerpt from our most recent commentary for the album:

The best copies recreate a live studio space the size of which you will not believe (assuming your room can do a good job of recreating their room). (Here are some of the other recordings we’ve auditioned with exceptional amounts of size and space.

The sound is tonally correct, Tubey Magical and above all natural. The timbre of each and every instrument is right and it doesn’t take a pair of golden ears to hear it — so high-resolution too.

If you love ’50s and ’60s large group jazz you cannot go wrong here. Mingus was a genius and the original music on this record is just one more album supporting the undeniability of that fact.

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Robert Brook Gets Mugged by an Audio Reality

A fellow audiophile, who also happens to be a friend and good customer, has a blog which he calls

A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE

He recently made an attempt to hear for himself a speaker that others had spoken of highly. He was able to take part in two demos at the homes and offices of “passionate” audiophiles selling the speaker in question — stereo showrooms being a thing of the past — as well as lots of other high-end equipment.

Let’s just say that all did not go as well as Robert had hoped.

On the bright side, he now has a newfound appreciation for the listening skills, or lack thereof, of some of the folks in our hobby.

Spatial Audio Lab M3 Sapphires: NOT a Review!

This youtube demonstration of the speakers is worth watching, or at least skimming through, which is about all I could manage. I’ve added some of my own comments at the end of Robert’s review which you may find interesting.

One quick note: the monstrous Legacy Whisper speaker system I used to own had a similar design, with four 15″ woofers per side in an open baffle array. It did some things I have never heard any other speaker do, and the free-air design no doubt was a big part of its remarkable ability to move air with great speed and authority above a hundred cycles or thereabouts.

Below that, not so much, which turns out to be a problem that is very difficult to solve.

It was fun while it lasted, but it had too many shortcomings, shortcomings its little brother, the Legacy Focus, I discovered to my endless joy, did not have. The Focus sounds right to us in every way, which is why it is our reference speaker and will likely remain so far into the future.

I freely admit that there are surely better speakers in the world. I just have not heard them.


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The Townshend Seismic Isolation Platform Is Key to Better Orchestral Playback

Robert Brook has a blog which he calls

A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE

Below is a review Robert Brook wrote for one of our favorite tweaks. We have most — but not all — of our equipment sitting on one of these stands. We were big fans of the earlier model all the way back in the early 2000s, the kind that had three air bladders inside for isolation. You had to pump air into with a bicycle pump.

Those Cursed Bladders

The unfortunate aspect of that design was the fact that the amount of air in the bladders had a profound effect on the sound quality of the system. We would pump the thing up, and then listen, and if the sound wasn’t right we would let some air out. We would do this a couple of times, and if the sound refused to get better, we would pump the thing up and start the process all over again.

For every shootout.

The air pressure changed during the day with the heat, and the bladders did not hold air all that well, so you had to do a lot of pumping and air releasing if you wanted to get the best sound.

Crazy, huh? And that’s in combination with all the VTA adjustments that were needed for each title.

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Power Management: Suggestions and Results from Robert Brook

Robert Brook has a blog which he calls

A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE

With a bit of guidance from yours truly, Robert Brook has carried out some interesting experiments involving the electricity that feeds his stereo. These are his findings.

Power Management: Suggestions and RESULTS!

Robert has approached the various problems he’s encountered in the world of audio and records by being extremely methodical and rigorous, along these three fronts:

Everyone reading this blog can learn a lot from the work he’s done in these three areas and more besides.


More on Robert’s system here. You may notice that it has a lot in common with the one we use. This is clearly not an accident.

And it is also no accident that these two systems just happen to be very good at showing their owners the manifold shortcomings of the modern remastered LP, as well as the benefits to be gained by doing shootouts in order to find dramatically better sounding pressings to play.

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Rediscovering Sonny Rollins’ Masterpiece with 4 Decades of Pressings

Hot Stamper Pressings of Jazz Recordings Featuring the Saxophone Available Now

One of our good customers has started a blog which he calls

A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE

Below is a link to a comparison he carried out with a few pressings of Sonny Rollins’ classic Saxophone Colossus, including the DCC, the OJC, and one of our Hot Stampers.

We will have some comments to add to his down the road. For now, please to enjoy.

SAXOPHONE COLOSSUS: 4 Decades of Pressings

Robert has approached the various problems he’s encountered methodically and carefully along these three fronts:

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Kind of Blue – Sizing Up Two Very Different Sounding Pressings from the ’70s

Reviews and Commentaries for Kind of Blue

Robert Brook has a blog which he calls

A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE

Below is a link to a comparison Robert Brook carried out with a few pressings of Miles Davis’ masterpiece, Kind of Blue.

KIND OF BLUE: Discovering the RIGHT SOUND for Miles Davis’ MASTERPIECE

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Muddy Waters – Vintage Vinyl Vs the Analogue Productions Remaster

More of the Music of Muddy Waters

One of our good customers has started a blog which he calls

A GUIDE FOR THE BUDDING ANALOG AUDIOPHILE

Below is a link to a comparison Robert Brook carried out between two pressings of Folk Singer.

Muddy Waters’ FOLK SINGER: Analogue Productions Takes On the ’70’s Repress

I have never heard the AP pressing, and have no plans at this time to play one, mostly because not a single one that I have heard on my system was any better than passable.

You can read some of my reviews here: Analogue Productions