Records that Are Good for Testing Smear

Oscar Peterson’s Best Recording? Sure Sounds Like It to Us

More of the Music of Oscar Peterson

More Jazz Recordings Featuring the Piano

I’ve known this was a well-recorded album since I first heard the DCC Gold CD back in the 90s, which is excellent by the way.

If you happen to own the DCC vinyl pressing, buy the CD and find out for yourself if it doesn’t have better sound. The DCC vinyl will most likely be thick, opaque, airless and tonally too smooth. That is the sound they tended to go for back in those days, and at the time I too bought into that mastering approach. I clearly had a lot to learn. Over the course of the next decade I learned how foolish I had been to fall for that kind of euphonic EQ.

Back to the Gold CD

It sounded great to me at the time, although I had nothing to compare it to. I was not an Oscar Peterson fan in those days. The CD may be very good, but it is unlikely to hold a candle to any of our Hot Stamper vinyl pressings.

I now realize that this album is clearly one of the best jazz piano recordings we’ve ever played. In its own way it’s every bit as good as the other landmark recording we talk so much about, The Three, from 1975.

This album checks off a number of important boxes for us here at Better Records:

The description for the amazing copy we found in our shootout more than a decade ago has been reproduced below.

The Right Sound from the Get Go

Side one starts out with a solid, full-bodied piano and snare drum, a sure sign of great sound to come. This side was richer and fuller than all the other copies we played. That rich tonality is key to getting the music to work. It keeps all the instrumental elements in balance. The natural top on this side is just more evidence that the mastering and pressing are top drawer. Great space and immediacy, powerful driving energy — this side could not be beat.

And side two was every bit as good! The sound was jumpin’ out of the speakers. There was not a trace of smear on the piano, which is unusual in our experience, although no one ever seems to talk about smeary pianos in the audiophile world (except for us of course).

Ray Brown’s bass is huge, probably bigger than it would be in real life, but I can live with that. Once again, with this kind of extended top end, the space of the studio and harmonics of the instruments are reproduced brilliantly.

Testing with Oscar

Lately we have been writing quite a bit about how good pianos are for testing your system, room, tweaks, electricity and all the rest, not to mention turntable setup and adjustment.

Other records that we have found to be good for testing and improving your playback can be found here.

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Weather Report – Watch Out for Sourness, Slowness and Smear

More of the Music of Weather Report

Weather Report Albums We’ve Reviewed

What surprised us most about the dozen or so copies that we played years ago for this shootout was how wrong most copies of this album sound. They’re SOUR in the midrange. On this kind of music, a sour midrange is the kiss of death.

Those copies that aren’t sour are frequently just plain dull. On a recording like this, so full of percussion — which, to be honest, LIVES OR DIES on the quality of its percussion — dullness is devastating.

And so is slowness. If you have old school tube equipment — great for vintage RVG recordings but way too slow to keep up with this fast-paced and percussion-heavy music — this record is not going to do what it desperately wants to do: get your feet tappin’.

Smear is also another thing to watch out for — smear kills what’s good about this record. The percussion transients lose their snap and the harmonics get lost. The less smeary sides really bring out the funky magic of the recording.

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Iberia on Classic Records – What, Specifically, Are Its Shortcomings?

The Music of Claude Debussy Available Now

Album Reviews of the music of Claude Debussy

An Audiophile Hall of Shame pressing and another Classic Records LP debunked.

The Classic of LSC 2222 is all but unlistenable on a highly resolving, properly setup hi-fi system.

The opacity, transient smear and loss of harmonic information and ambience found on Classic’s pressing was enough to drive us right up a wall. Who can sit through a record that sounds like that?

The Classic reissue has plenty of deep bass, but the overall sound is shrill and hard and altogether unpleasant. The better bass comes at a steep price.

Way back in 1994, long before we had anything like the system we do now, we were finding fault with the “Classic Records Sound” and said as much in our catalogs. (Sometimes. Sometimes we were as wrong as wrong can be.)

With each passing year — 29 and counting — we like that sound less.  The Classic may be on Harry’s TAS list — sad but true — but that certainly has no bearing on the fact that it’s not a very good record.

For a better sounding recording of Iberia, click here.

Here Are More Titles that Are Good for Judging These Recording Qualities

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Laurindo Almeida / Virtuoso Guitar – It Is, Or Can Be, An Awesome Direct to Disc

More Direct-to-Disc Recordings

Reviews and Commentaries for Direct to Disc Recordings

This recording has very little processing or EQ boost, and the studio is somewhat dead sounding (all too common in the late ’70s). That combination can mean only one thing: If you don’t play this record loud, it will not sound right. 

The famous Sheffield S9 is exactly the same way. It sounds dead and dull until you turn it up good and loud. When you do, lookout — it really comes alive. The best pressings can sound shockingly like live music, something one just does not hear all that often, even when one plays records all day long as we do.

The snare drum on this copy represents one of the most realistic and dynamic sounding snares I have ever heard. Talk about jumping out of the speakers! If you have plenty of large, fast, powerful dynamic drivers like we do, you are in for a real treat. Track one, side one — lookout!

What to Listen For

What typically separates the killer copies from the merely good ones are two qualities that we often look for in the records we play: transparency and lack of smear. 

Transparency allows you to hear into the recording, reproducing the ambience and subtle musical cues and details that are the hallmark of high-resolution analog.

(Note that most Heavy Vinyl pressings being produced these days seem to be rather seriously Transparency and Ambience Challenged. A substantial amount of important musical information — the kind we hear on even second-rate regular pressings — is simply nowhere to be found. We believe that a properly mastered CD is likely to be more transparent and have higher resolution than the vast majority of  Heavy Vinyl  remastered pressings being produced nowadays.)

Lack of smear is also important, especially on a recording with a plucked instrument. The speed and clarity of the transients, the sense that fingers are pulling on strings, strings that ring with tonally correct harmonics, are what make these kinds of records so much fun to play. The best copies really get that sound right, in the same way that the best recordings of Cat Stevens and the Eagles and Pink Floyd and so many others get the sound of stringed instruments right.

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Beethoven / Violin Concerto – Classic Records Reviewed

Hot Stamper Pressings Featuring the Violin

Reviews and Commentaries for Recordings Featuring Jascha Heifetz

An Audiophile Hall of Shame pressing and another Classic Records Classical LP we found seriously lacking in some of the most important qualities we listen for on the classical and orchestral recordings we audition.

The Classic pressing of this album does not present the listener with the sound of a real, wood instrument, bowed by horsehair, in a physical space.

It is an airless fraud, a cheap fake reproduction that’s incapable of fooling anyone currently in possession of two good ears, a properly set up hi-fi system and a decent collection of Golden Age violin concerto recordings.

The fact that a great many writers identifying themselves as audiophiles embraced Classic’s mediocre-at-best reissues tells me that they were lacking some or all of the above.

Bernie Grundman’s low-rez, crude, smeary cutting system did this wonderful 1956 Living Stereo recording no favors. Other records we’ve played and found to have similar problems are linked below.

Notes from a Recent Hot Stamper Pressing (more…)

Mussorgsky – Big Speakers, Loud Levels and More Power to the Orchestra

Hot Stamper LPs that Should Be Played on Big Speakers at Loud Levels

More Recordings that Sound Their Best on Big Speakers at Loud Levels 

The darker brass instruments like tubas, trombones and french horns are superb here. Other Golden Age recordings of the work, as enjoyable as they may be in other respects, do not fully reproduce the weighty quality of the brass, probably because of compression, limiting, tube smear, or some combination of the three.

The brass on this record has a power like practically no other. It’s also tonally correct. It’s not aggressive. It’s not irritating. It’s just immediate and powerful the way the real thing is when you hear it live. That’s what really caught my ear when I first played the recording.

There is a blast of brass at the end of Catacombs that is so big and real, it makes you forget you’re listening to a recording. You hear every brass instrument, full size, full weight. I still remember the night I was playing the album, good and loud of course, when that part of the work played through. It was truly startling in its power.

Back then I had the Legacy Whisper speaker system, the one with eight 15″ woofers. They moved air like nobody’s business. If you want to reproduce the power of the trombone, the loudest instrument in the orchestra, they’re the speaker that can do it.

Some of Ansermet’s recordings with the Suisse Romande are absolutely the best I’ve ever heard. It was a magical combination of the right hall, the right engineers, the right orchestra and the right technology — the pure tube ANALOG technology of the ’50s and ’60s!

Dynamics

Another thing this recording has going for it is dynamic power. This is a dynamic piece of music. Few recordings I have ever heard have the dynamic contrasts that this one does. It really gets loud when it needs to. The best pressings sound completely uncompressed. Although I’m sure there has to be compression of one kind or another, the listener is rarely made aware of it.

Dynamics such as these are thrilling. They let the music come alive. Here at Better Records we are fans of big speakers and loud music and that combination is exactly what allows this record to be as powerful and moving as it is. We love that sound and have been proselytizing for equipment capable of recreating it in the home for more than 30 years.

How on earth is a speaker system like this one going to reproduce the power of all that brass?

The big finish with cymbal crashes and that amazing gong is worth the price of the album — when and if you can find one that’s not compressed and distorted from bad mastering or abuse. If you can find a more thrilling climax to a more powerful orchestral work, you must have one helluva classical collection. My hat’s off to you.

Powerful Bass

The third quality this record has is tremendous, powerful deep BASS. As you know, bass drum thwacks are called for throughout this composition. This is one of the few recordings where those bass notes don’t get “clipped” because the cutting amplifiers have run out of juice. That’s a sound that’s common to many Living Stereos. We put up with it because we like all the other qualities they have, but it’s a shortcoming of many of the tube cutting amplifiers from that era. The deep bass on this record is prodigious, as Dr. Strangelove might say. It really rocks the room.

If you prize Golden Age richness, lushness and Tubey Magic, this copy is going to be hard to beat. The hall is huge with tremendous depth and lovely reverberation. (Our Disney Hall here in L.A. does not have this kind of sound, I regret to say.)

Production and Engineering

James Walker was the producer, Roy Wallace the engineer for these sessions from 1958 in Geneva’s glorious Victoria Hall. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording.

The gorgeous hall the Suisse Romande recorded in was possibly the best recording venue of its day, perhaps of all time. More amazing sounding recordings were made there than in any other hall we know of. There is a solidity and richness to the sound that goes beyond all the other recordings we have played, yet clarity and transparency are not sacrificed in the least.

It’s as wide, deep and three-dimensional as any, which is of course all to the good, but what makes the sound of these recordings so special is the weight and power of the brass, combined with timbral accuracy of the instruments in every section.

Further Reading

Rimsky-Korsakov – A Classic Records Disaster

More of the music of Rimsky-Korsakov (1844-1908)

Our Favorite Performance of Scheherazade – Ansermet with the Suisse Romande

Sonic Grade: F

An Audiophile Hall of Shame pressing and another Classic Records Classical LP poorly mastered for the benefit of audiophiles looking for easy answers and quick fixes.

In 2009 or 2010, during our testing of the TT Weights turntable products, the record I played again and again — close to a hundred times over the course of two days — was a wonderful White Dog pressing of LSC 2446. The sound was glorious, some of the finest reproduction of a large orchestral work I have ever heard.  

(Late in life, Harry Pearson disgraced himself by putting this Classic Record on his TAS List of Super Discs.)

A week later I was still testing the system, and again using Scheherazade. A friend brought over his Classic pressing, probably the same one I would have sold him in the mid-’90s. Now we could compare the two.

It was a massacre. The sound on the reissue is simply AWFUL.

There is no transient information anywhere on that heavy vinyl pressing whatsoever. No instruments have any texture — not the strings, not the woodwinds, nothing. There is no air going through the flutes. There is no rosin on the bow of the solo violin.

The tympani are a blurry mess. Triangle: okay. Bass drum: okay. Everything else: FAIL.

Not having played it in years, I could not believe how much worse the record sounded than I remember. The gulf between the real thing and the Classic wannabe was now so huge that the reissue was nothing less than positively UNPLEASANT to listen to. Enjoyment? Out of the question.

TAS List? The original is, but the Classic is too. Now how messed up is that?

Disgraceful, that’s all I have to say about it.

If I were in charge of the TAS Super Disc List, obviously I would not have put this record on it.

Here are some others that we do not think qualify as Super Discs.

Here are some Hot Stamper pressings of TAS List titles that actually have audiophile sound quality, guaranteed.

And if for some reason you disagree with us about how good they sound, we will be happy to give you your money back.

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Chicago II – 360 Original or Red Label Reissue?

More of the Music of Chicago

Reviews and Commentaries for the Music of Chicago

Both can be good. I did the shootout and often tried to guess the label for the copy I was hearing, for fun more than anything else. I have to admit that my batting average was not much better than chance. 

The 360s tend to be a little fuller and smearier, but plenty of red label copies sound that way and some 360s don’t, so trying to match the sound to the label was even more pointless than usual.

When comparing pressings in a shootout it’s too late for the label to have any predictive value.

We’ve already bought the records, cleaned them up and now just want to know what they actually sound like — not which ones might be the best, but which ones are the best.

The time for guessing games has passed. Of course, if we do actually figure out what the right stampers are, this helps us next time around.

What Stampers Mean

Stampers mean something, but sometimes, as is the case here, they don’t mean much. (If you don’t know that by now you probably haven’t done that many big shootouts on your own. Can’t blame you — without lots of helpers in the cleaning and needle-dropping departments, they’d be an even bigger pain than they already are. Even with three people involved it can still take almost all day, and that’s if you just happen to have ten or fifteen copies handy. It took us about two years to find that many, hitting multiple stores every week.)

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Miles Davis – How Smeary Is Miles’ Trumpet on Your Copy?

Reviews and Commentaries for Kind of Blue

Hot Stampers of Miles’s Albums Available Now

Listen to the trumpet at the start of Freddie Freeloader. Most copies do not fully convey the transient information of Miles’ horn, causing it to have an easily recognizable quality we talk about all the time on the site: smear.

No two pressings will have precisely the same amount of smear on his trumpet, so look for the least smeary copy that does everything else right too.

Meaning simply that smear is important, but not all-important.

If you click on the above link, you will see that we regularly talk about smeary brass instruments, smeary violins and smeary Classic Records classical reissues.

Pianos are good for testing smear simply because it’s easy to hear when the individual notes blur together.

Nobody else seems too bothered by smear, and one of our many theories about the stereo shortcomings of reviewers and audiophiles in general is that their systems are fairly smeary, so a little extra smear is mostly inaudible to them.

I had a smeary system for my first twenty or more years in audio, so I know whereof I speak.

Our present system has virtually no smear. Any smear we hear on a record is on the record, not in our system.

Any system with vintage tubes — whatever their pros and cons — will have at least some smear. We got rid of our tube equipment a long time ago. Since many of you who are reading this use tubes somewhere in your systems, you may find these commentaries on tubes in audio of interest.

Back to our listening tests:

On track one, side two, the drums in the right channel are key to evaluating the sound of the better copies. The snare should sound solid and fat — like a real snare — and if there is space in the recording on your copy you will have no trouble hearing the room around the kit.

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Rockin’ the Mandolin with Loggins and Messina

More of the Music of Loggins and Messina

More Country and Country Rock

A recent White Hot Stamper pressing of L&M’s fourth release demonstrates pretty convincingly just what an amazing DEMO DISC this album can be. When Jim Messina rips into his mandolin solo halfway through Be Free your jaw is likely to hit the ground. On the best copies it positively LEAPS out of the left speaker.

I can’t recall another pop or rock recording that captures either the plucked energy or the harmonic nuances of the instrument better. To hear such a well-recorded mandolin on a copy of this quality is nothing less than a THRILL.

This copy showed us:

  • a full-bodied piano
  • rich, lively vocals, present between the speakers and brimming with enthusiasm
  • harmonically-rich guitars, mandolins, dobros and the like
  • as well as a three-dimensional soundstage that reveals the space around them all

What to Listen For

What typically separates the killer copies from the merely good ones are three qualities that we often look for in the records we play: transparency, speed, and lack of smear.

Transparency allows you to hear into the recording, reproducing the ambience and subtle musical cues and details that high-resolution analog is known for.

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