Sonic Grade: D
Completely lifeless. This pressing takes all the rock out of rock and roll. A ridiculous joke played on a far-too-credulous audiophile public.
Sonic Grade: B
Another Half Speed reviewed. We haven’t played a copy of this record in more than a decade, but back in the day we liked it, so let’s call it a “B” with the caveat that the older the review, the more likely we are to have changed our minds.
This is a SURPRISINGLY good sounding Nautilus Half-Speed mastered LP with AMAZING transparency. The sound here is DRAMATICALLY more natural than your average audiophile pressing.Just listen to the phoney top end found on most MOFIs to see what we mean. On this record you’ll hear non of the hyped up highs that are MoFis claim to fame.
This Nautilus is sure to destroy a typical American pressing, which will tend to sound opaque, thick and dull. This wouldn’t really match up to our Hottest Stampers but you could sure do a lot worse. Although it’s a tad fat at the bottom, it still retains much of the warmth and richness found on the best copies.
Sonic Grade: B+
One of the best Half Speed Mastered Records we have ever played.
In our recent shootout we were shocked — shocked — to hear how good our old copy of Diamonds and Rust on Nautilus sounded head to head against the best first pressings. Hard to believe, but it actually beat practically every one. If I hadn’t heard it with my own two ears I wouldn’t have believed it.
Sonic Grade: F
This Nautilus Half-Speed Mastered LP, like The Cars first album they did, is pure compressed muck. Another one of the worst half-speeds of all time. For those who are interested we’ve reprinted a customer’s letter below as well.
So I put on my Nautilus SuperDiscs (Listen To The Difference) pressing of The Cars Candy-O.
Sounds okay. But this is supposed to be a “SuperDisc”. Okay does not cut it.
So I put on my Better Records A+++ copy of the same title. Voila! The sound became magical.
Maybe some Nautilus pressings are very good? Maybe my copy is a lemon?
Thanks, again, for making my stereo perform at its best!
Sonic Grade: D
You may remember reading on the site that we used to like the Nautilus Half-Speed of this title. Playing our Nautilus copy against the better domestic pressings made us wonder what the hell we must have been smoking. The Nautilus was awful — veiled and compressed, with a lightweight bottom end. (The Nautilus of Threshold of a Dream is another one we used to like and boy does that record sound awful these days.)
Maybe we had played a better copy years ago, or maybe we had played some really bad domestics back then, who can say? A lot of water has gone under the bridge since then. All we can say for now is that our Hot Stampers are going to blow that audiophile piece of junk — and any other pressing of the album that might exist — right out of the water. (Or your money back.)
And the gold CD too of course. I have never in my life heard a CD sound like this record does, and I don’t think anyone else has either. CDs do some things reasonably well, but few of them have the kind of richness, sweetness and tubey magic that the best vinyl copies of this album do, cleaned right and played on a proper stereo of course. (more…)
Sonic Grade: F
An audiophile record dealer (of course; who else?) once raved to me about Crosby Stills and Nash on Nautilus. I said “What are you talking about? That version sucks!” He replied “No, it’s great. Helplessly Hoping sounds amazing.”
Now one thing I know about the Nautilus is that although it is wonderfully transparent in the midrange, it may very well take the cake for the most bloated, out of control bass in the history of Half Speed mastering. What song on that album has almost no bass, just lovely voices in the midrange? You guessed it. Helplessly Hoping.
The Nautilus got one track right, and ruined the rest. Using that track for comparison will fool you, and when it comes time to play a whole side of the album you will quickly hear what a disaster it is.
A distinguished member of the Better Records Jazz Hall of Fame.
This very nice Nautilus Half-Speed Mastered LP has SURPRISINGLY GOOD SOUND and plays pretty quiet, mostly Mint Minus. We played this against the 180g Discovery reissue that Doug Sax remastered and it SMOKED it. What a piece of muddy trash that Discovery pressing is.
Members of both Toto and Chicago play on this album, so fans of either should get a kick out of this music.
Lee Ritenour has long been the perfect studio musician, one who can melt into the background without making any impact. While he possesses impressive technique, Ritenour has mostly played instrumental pop throughout his career, sometimes with a Brazilian flavor. His few jazz efforts have found him essentially imitating Wes Montgomery, but despite that he has been consistently popular since the mid-’70s. After touring with Sergio Mendes’ Brasil ’77 in 1973, Ritenour became a very busy studio guitarist in Los Angeles, taking time off for occasional tours with his groups and in the mid-’90s with Bob James in Fourplay. He also recorded many albums as a leader.
Sonic Grade: D
A Hall of Shame pressing. After playing a killer Hot Stamper pressing of the album a few years back we wrote the following:
If you own the Nautilus Half-Speed, a record we actually liked years ago even when we had long since forsworn those kinds of pressings, you are really in for a treat. THIS is what the band sounds like in the REAL world, not the phony audiophile world that so many seem to get stuck in.
Just listen to how punchy the drums are, a perfect example of what proper mastering does well and Half-Speed mastering does poorly. When you listen to a top quality Hot Stamper pressing you feel that you are hearing this music EXACTLY the way Little Feat wanted it to be heard. I just don’t get that vibe from the half-speed. It sounds like someone messed with it, and of course someone did. That’s how they get those audiophile records to sound the way they do. For some reason some audiophiles like their records to sound pretty and lifeless with blurry bass. That is not our sound here at Better Records.
Time Loves a Hero
Rocket in My Pocket
Day at the Dog Races
Old Folks’ Boogie
New Delhi Freight Train
Keepin’ up With the Joneses
The best copies give you dynamics and immediacy like you have rarely heard outside of the live event. Hell, this record IS live; it’s live in the studio. It’s a direct to disc recording, what else could it be?
There is simply nothing getting in the way of the music. If you have the system for it, you can recreate the live sound of this session in a way that few other recordings allow you to do.
This copy had one quality not heard on most of the others: Tubey Magic. The sound is rich and full-bodied, practically free of grit and grain – this is the kind of sound one hears occassionally on the best tube equipment and practically nowhere else. Of course this is an all-transistor affair, but tubey sound is what ended up on the record, so go figure.
Many copies were slightly lean, making the sax a bit aggressive in places. The killer copies fill out the horn sound, giving it the needed weight and body that the real instrument would have, without adding a euphonically artificial richness that the real instrument wouldn’t. (more…)