Some records are consistently too noisy to keep in stock no matter how good they sound.
This is one of them.
We have a section for records that tend to be noisy, and it can be found here.
We struggled for years with the bad vinyl and the murky sound of this album. Finally, with dozens of advances in playback quality and dramatically better cleaning techniques, we have now [circa 2012] managed to overcome the problems which we assumed were baked into the recording. I haven’t heard the master tape, but I have heard scores of pressings made from it over the years. I confess I actually used to like and recommend the Heavy Vinyl MCA pressing. Rest assured that is no longer the case. Nowadays it sounds as opaque, ambience-challenged, lifeless and pointless as the rest of its 180 gram brethren.
You want to keep what is good about a Tubey Magical analog recording from The Golden Age of Rock while avoiding the pitfalls so common to them: poor resolution, heavy compression, thickness, opacity, blubber, compromised frequency extremes, lack of space and lack of presence.
How’s that for a laundry list of all the problems we hear on old rock records, and classical records and jazz records; all records really.
What record doesn’t have at least some of these faults? Not many in our experience. A copy with few or none of these problems would have White Hot Stamper sound indeed.
This Copy Rocks
Punchy and surprisingly DEEP bass is one of the first things you will notice when playing one of these Hot Stamper copies. Huge amounts of ambience fill out the space the extends from wall to wall (and all the way to the back of the studio), leaving plenty of room around each of the players. (more…)