Below you will find a link to a reasonably fair and balanced look at the battle between transistors and tubes from Brian Dunning’s skeptoid website, daily reading for those of us who favor a skeptical approach to life (and especially this hobby).
Thirty plus years ago, when I started my little record business, I knew that most records marketed to audiophiles offered junk sound (half-speed masters) or junk music (direct to discs). As our playback has improved, fewer and fewer of these “specialty” pressings have survived the test of time, a subject we write about endlessly on our site and here on this blog.
For the longest time our motto has been “Records for Audiophiles, Not Audiophile Records,” and we see no reason to change it. If anything, the current spate of manufacturers of Heavy Vinyl pressings are making records that get worse sounding by the day. Many of the most egregious offenders can be found here.
More commentaries about Heavy Vinyl can be found here. We are not fans of the stuff, not because it’s our competition. It just doesn’t sound very good.
In order to do the work we do, our approach to audio has to be fundamentally different from that of the audiophile listening for enjoyment. Critical listening and listening for enjoyment go hand in hand, but they are not the same thing.
The first — developing and applying your critical listening skills — allows you to achieve good audio and find the best pressings of the music you love.
Once you have a good stereo and a good record to play on it, your enjoyment of recorded music should increase dramatically.
A great sounding record on a killer system is a thrill.
A Heavy Vinyl mediocrity, played back on what passes for so many audiophile systems these days — regardless of cost — is, to these ears, an intolerable bore.
If this sounds arrogant and elitist, so be it. We set a higher standard, and price our records commensurate with their superior sound. For those who appreciate the difference, and have resources sufficient to afford them, the cost is reasonable. If it were not we would have gone out of business years ago.
Hot Stampers are not cheap. If the price could not be justified by the better sound quality and quieter surfaces, who in his right mind would buy them? We can’t really be fooling so many audiophiles, can we?
Our approach to equipment and records is explained in more detail below, in a listing centered around an early pressing of a Ted Heath Big Band album from the Fifties that knocked our socks off. The right record at loud levels on Big Speakers can do that.
We went wild recently over a marvelous copy of the Ted Heath record you see pictured. Talk about Tubey Magic, the liquidity of the sound was positively uncanny. This was vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve upon it.
This is our kind of sound. It’s also important to keep in mind that our stereo seemed to love the record. (Stereos do that.) Let’s talk about why that might be the case.
Our system is fast, accurate and uncolored. We like to think of our speakers as the audiophile equivalent of studio monitors, showing us exactly what is on the record, with nothing added and (hopefully) nothing taken away. (more…)