*Mastering Issues

These Are the Stampers to Avoid on LSC 2581

Hot Stamper Pressings of Living Stereo Titles Available Now

Even though they had the Shaded Dog label, some of the later stampers for this record were not very good sounding compared to the ones that won our shootouts.

15s on side one earned a grade that would prevent it from being sold as a Hot Stamper pressing. There was no reason to play side two (13s) since side one eliminated this copy from the competition.

The 1+ grade found on this side one means it’s simply not very good, Shaded Dog label or no Shaded Dog label.

Pressings with these stampers might be passable, even to some degree enjoyable, especially when played on an old school system, but they would not be worth bothering with on the high quality modern equipment we use.

In this case, the conventional wisdom that the original pressings will most likely have superior sound to the later-numbered copies turns out to be right.

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Three Copies of Harold in Italy and Still No Luck

Hot Stamper Pressings of Living Stereo Titles Available Now

For a Living Stereo record from the Golden Age of All Tube recording, especially one from the late-50s, you might expect that the better Shaded Dog pressings would have exceptionally rich, natural sound.

After all, 1958 is clearly one of the great years for analog recordings, as evidenced by this amazing group of albums, all recorded or released in that year.

Unfortunately, the pressings we played of the Berlioz album you see pictured were quite a letdown. We dropped the needle on three different early copies of LSC 2228 with three different sets of stampers and found that none of them were all that impressive, as can be seen from our notes:

  • First: tubey but pretty hot, just okay. (6s/3s)
  • Second: smeary and congested, not great. (4s/4s)
  • Third: tubey but smeary (3s/1s)

We guessed that their final grades after a shootout would probably fall into the range of 1+ or so, just below the cutoff for a minimal Hot Stamper grade (1.5+).

If we’d half a dozen or more to play, some copies would probably be a bit better, some would be a bit worse, but the bulk of them would end up having sound that was merely passable, even after a good cleaning. (Without a good cleaning some might not even earn that single plus.)

For now we’re throwing in the towel and moving on to Golden Age records with better prospects.

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Our History with Led Zeppelin’s Rock Classic from 1990 – 2010

Hot Stamper Pressings of the Music of Led Zeppelin Available Now

UPDATE 2026

In 2010 we wrote the overview below about what we thought we knew about Zep II. We have since amended the text in a few places and added some links. Please to enjoy.

This is undoubtedly one of the best, maybe THE best hard rock recording of all time, but you need a good pressing if you’re going to unleash anything approaching its full potential. We just conducted a shootout and heard MUCH more bad sound than good. You name it — imports, reissues, originals — we’ve played ’em, and most of them were TERRIBLE.

Especially the non-RL originals. That’s some of the worst sound we’ve ever heard.

If you see a “J” stamper, run for your life.

The best copies of Zep II have the kind of rock and roll firepower that’s guaranteed to bring any system to its knees. I can tell you with no sense of shame whatsoever that I do not have a system powerful enough to play this record at the levels I was listening to it at in one of our shootouts a while back. When the big bass comes in, hell yeah it distorts. It would have distorted worse at any concert the band ever played. Did people walk out, or ask the band to turn down the volume? No way. The volume IS the sound.

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Neil Young and the Limits of Expert Advice

Hot Stamper Pressings of the Music of Neil Young Available Now

Richard Feynman gave a series of lectures concerning the workings of the scientific method. Here is an excerpt from one of them that I would like you to keep in mind as you read the discussion that follows. [Bolding added by me.]

Now I’m going to discuss how we would look for a new law. In general, we look for a new law by the following process. First, we guess it (audience laughter), no, don’t laugh, that’s the truth. Then we compute the consequences of the guess, to see what, if this is right, if this law we guess is right, to see what it would imply and then we compare the computation results to nature or we say compare to experiment or experience, compare it directly with observations to see if it works.

If it disagrees with experiment, it’s wrong. In that simple statement is the key to science.

It doesn’t make any difference how beautiful your guess is, it doesn’t matter how smart you are who made the guess, or what his name is … If it disagrees with experiment, it’s wrong. That’s all there is to it.

Back in 2015, a mastering engineer by the name of Phil Brown contacted me in reference to a Hot Stamper pressing of Neil Young’s  Zuma he had seen in our mailer. (Apologies in advance for not giving out the stamper numbers; we tend to frown on that sort of thing around here.) He wrote:

  Hey Tom,   

I see it’s a featured disc in the newsletter. I’m curious what the matrix numbers are since I mastered it.

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Biggles Let Us Down on this Pressing of Who Are You

Hot Stamper Pressings of the Music of The Who Available Now

We described a recent shootout winning pressing this way:

This copy has the Glyn Johns big, bold sound we demand from this famous producer/engineer.

Forget the domestic pressings, forget the DD Labs Half-Speed, forget whatever lame reissues have come or will come down the pike – if you want to hear this album right, a Hot Stamper British pressing is the only way to go.

The title song sounds amazing on this killer Triple Plus side two – the dynamic power of the recording comes through loud and clear.

Of course, not all stampers are hot enough to win a shootout. This British A3/B2 cut by none other than Biggles was judged to have middling sound quality.

1.5+ is four grades down from the top copy. That’s a steep dropoff as far as we’re concerned. 1.5+ only hints at how good sounding a recording Who Are You can be on the best pressings.

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Which Is More Important – The Label or the Stamper Numbers?

Hot Stamper Pressings Featuring the Violin Available Now

In this case, since the label is different but the stampers are the same, it’s the label that tells you how good your pressing may — heavy accent on the may — sound.

Lately we’ve been having exceptionally good luck with the early label pressings of many of the London violin concerto records we’ve done shootouts for, especially those performed by Ruggiero Ricci.

However, the notes you see below do not belong to the wonderful Sibelius record pictured here.

They belong to another London record. We give out lots of bad stampers on this blog, but almost never do we give out the good ones. (When we do give out the best stampers, we usually keep the title a mystery, as is the case of the record here. To see the other titles whose Shootout Winning stampers have been revealed, please click here. The list to date is short but not to worry, more are on their way.)

The amazingly good sounding pressing on the early label took the recording to another level. Our shootout notes read:

  • Amazing violin sound and performance.
  • Very dynamic and realistic.
  • So much subtlety.

Scroll down to see out Key Takeaways from this shootout.

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WW, LW, JW? Which Stampers Sound the Best?

Hot Stamper Pressings of Rock and Pop Albums Available Now

UPDATE 2026

In 2005 we acquired more than a dozen sealed copies of a popular Warner Bros. title, how I don’t remember. (For now we are keeping that title, and even the band that recorded it, a mystery. It might have been The Doobie Brothers, but then again, it might not.)

Our story goes like this:

Knowing that no two of these pressings would sound exactly the same, we decided to crack them open, clean them up and play them.

2005 was very early in the development of Hot Stamper Shootouts. By 2007 we were much better at them, and not coincidentally, that is also the year we decided that Heavy Vinyl pressings were just not good enough for us to bother selling.

All three of the major stamper prefixes for Warners were represented in the various matrix numbers: WW, JW and LW. Once we started to play them it quickly became clear that most copies of this record just do not sound very good.

The typical copy is hard, midrangy, opaque, dull and badly lacks Tubey Magic.

Only one of the prefixes — WW, JW, LW — actually has any hope of sounding good, and surprisingly it’s not the one I would have expected it to be. Live and learn, right?

We liked either JW or WW back in 2005, I don’t remember which, but the evidence we compiled over the ensuing twenty years contradicted that finding.

Live and learn is right, because since the dark days of 2005, we have done this shootout many times, at least five by my count, and it turns out that the stampers we tend to like are exactly the ones we tend to like in general for Warner Bros.

Here is the full stamper sheet from a shootout we did not long ago laying out the stampers we like for this mystery title: LW, with low numbers.

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Straight Up Trash from Ron Furmanek on 2 LPs

More of the Music of Badfinger

This British 2 LP reissue from 1993 was (badly) digitally remastered by a Mr. Ron Furmanek. May his name live in infamy.

It contains alternate mixes of 6 songs at 45 RPM on the second record, with sound every bit as bad as the sound of the first record.

The whole Apple series of remastered releases — at least the ones we played — was awful sounding and should be avoided completely. These records are nothing but audiophile bullshit.

If you are a record collector and must have those alternate mixes, just buy the CD. The vinyl is terrible, the CD probably sounds every bit as bad, but at least the CD is cheap and plays all the songs straight through.

If you own this record, my guess is it is pristine.

If you played it at all, you played it once and put it away on a shelf where it probably sits to this very day. Good records get played and bad records get shelved. If you have lots of pristine records filed away, ask yourself: Why aren’t you playing them?

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This Tony Hawkins-Mastered Pressing Sure Was a Letdown

Hot Stamper Pressings of Orchestral Spectaculars Available Now

This London original pressing with 1K/1K stampers (the work of Tony Hawkins) was so bright, dry, and shrill I could hardly stand it for more than the minute it took me to realize it was not going to get any better. The sound is bad enough to send it right into our hall of shame.

There are a number of other Deccas and Londons that we’ve played over the years that were disappointing, and they can be found here.

The copy we had back in 2010 was a very good sounding record, or so we thought.

Maybe we were wrong! It’s not as though we don’t admit to the possibility. You can read all about it below.

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Symphonie Fantastique – Three Mastering Options

Hot Stamper Pressings of the Music of Berlioz Available Now

UPDATE 2026

Years ago we played a reissue of the title you see pictured which prompted us to make some observations and ask some questions about the approach the mastering engineer might have taken.

And this one comes complete with the bonus 7″ entitled “Berlioz Takes a Trip,” in which Bernstein explores the work “with musical illustrations by the New York Philharmonic.”

Clocking in at around 45 minutes, Symphonie Fantastique is a difficult work to fit onto a single LP,  which means that the mastering engineer has three options when cutting the record:

  1. Compress the dynamics,
  2. Lower the level, or
  3. Filter the deep bass.

On this side two it seems that none of those approaches were taken by the engineer who cut this record in the early 80s — there’s plenty of bass, as well as powerful dynamics, and the levels seem fine.

How he do it? Who knows? Like so much in the world of records, it’s a mystery.

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