Records that Are Good for Testing Midrange Tonality

Something Phony This Way Comes

More of the Music of Linda Ronstadt

Hot Stamper Pressings on the Asylum Label

Here’s what we learned from a shootout many years ago.

Many copies sounded like they were half-speed mastered.

  • They had a little something phony added to the top of Linda’s voice.
  • They had a little bit of suckout right in the middle of the midrange, the middle of her voice, and
  • They had a somewhat diffuse, vague quality, with sound that lacked the solidity we heard on the best pressings.

These hi-fi-ish qualities that we heard on so many copies reminded us of the kind of audiophile sound we decry at every turn. We’ve played literally hundreds and hundreds of MoFi’s and other Half-Speed mastered records over the course of the last twenty years, and one thing we know well is what they sound like.

But think about it. What if you only had one copy of the album — why would you have more than one anyway? — and it had that Half-Speed sound?

You would simply accept that the recording obviously had those qualities, assuming you could even recognize them in the first place.

Let’s face it, most audiophiles can’t, or all these companies would have gone out of business and stayed out of business, and their out of print records would sell for peanuts, not the collector prices they bring on ebay and audiophile web sites.

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What to Listen For on The Nightfly

More of the Music of Donald Fagen

More of the Music of Steely Dan

We just finished a big shootout for Donald Fagen’s solo effort from 1982 (just two years after Gaucho and the end of Steely Dan) and we gotta tell you, there are a lot of weak sounding copies out there. We should know; we played them. 

Robert Ludwig cut all the originals we played. Are you going to tell me that every copy with RL in the dead wax sounds the same as every other copy with those initials? The question answers itself.

What to Listen For

The upper mids on certain tracks of both sides have a tendency to be brighter than we would have liked.

Ruby Baby on side one can be that way, and the title track on side two has some of the wannabe hit single radio EQ that makes it less likely to please, so to speak.

Other records with a tendency to have boosted upper mids can be found here.

On a good copy the first track of each side should be all you need to hear.

Here are a couple of hundred other titles with specific advice on what to listen for on some of the albums we’ve played in shootouts. If you know how to do shootouts, you know how to find good sounding records.

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Dave Brubeck Quartet / Time Further Out – What to Listen For

More of the Music of Dave Brubeck

Reviews and Commentaries for Time Further Out

The best copies such as this one demonstrate the big-as-life Fred Plaut Columbia sound at its best (even better than Time Out in our opinion).

These vintage recordings are full-bodied, spacious, three-dimensional, rich, sweet and warm in the best tradition of an All Tube Analog recording.

If you want to hear big drums in a big room, these Brubeck recordings will show you that sound better than practically any records we know of. 

The one standout track on this album for audiophiles is surely Unsquare Dance, with its uncannily real sounding handclaps in 7/4. The copies that did the best job of reproducing that “flesh on flesh” sound of actual human hands clapping scored very well in our shootout.

More to Listen For

For starters, listen for a fat snare and rich piano on the first track of side one. When you hear that, assuming you do, you should know you are in for a treat. Our best copies captured those two sounds brilliantly.

On the second track the clarity of the brushed snare is key to how resolving and transparent any copy is. The rich, smooth sound of Desmond’s sax balanced against the clarity of the brushes will help you make sure that the overall sound is tonally correct from top to bottom.

On side two the first track has the Wall to Wall Big Drums in a Big Room sound that positively blows our minds. If you’re a fan of  with jump out of the speakers sound, this is the album for you.

Note that in some places it sounds like the piano is overdriving its mic. We heard that sound on practically every copy we played, so we’re pretty sure it’s on the tape that way.

More Test Discs

We are in the process of making some lists (more lists!) for records we’ve found to be good for testing, tweaking and tuning your system, your room and your front end setup, among other things. You may want to check them out.

These are the records that challenged me and helped me to achieve more progress in audio. If you want to improve your stereo, these are some of the best records we know of to help get you to the next level.

Recording Time Further Out

(Bolding added by me.)

Mark Wilder was interviewed about the recording of these Fred Plaut sessions..

Fred Plaut and Frank Laico were two of Brubeck’s recording engineers. Plaut is a true balance engineer; he’s my idol. I don’t know how he could pull off what he did in three hours.

He continued:

It’s amazing how well-recorded the group was back then. The sound is so three-dimensional, bigger than life.

Yet it’s amazing how little the engineers did to get that sound. They just put one mic a few feet from each instrument, and mixed live to 3-track—for left, center, and right. Then they edited the tape and mixed down to 2-track.

The old stuff sounds better than what we’re doing now. We’ve been going in the wrong direction sound-wise for many years. The layout of the stereo stage was more realistic then, too. Drums were on the left, piano on the right, sax and bass in the middle.

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The Doobie Brothers – What to Listen For

More of the Music of The Doobie Brothers

Hot Stamper Pressings of Rock Classics Available Now

This mass-produced stuff is pretty lame most of the time. Actually, that’s not really fair; the specialty audiophile limited edition pressings of most records are even worse, so the production numbers really don’t have much to do with the final product, now do they? They made millions of copies of this album, and heavy vinyl pressings are made in the thousands, but which would you rather play? I’ll take good old thin vinyl from the 70s over that heavy stuff any day of the week.

But I digress. Most copies — like most modern heavy vinyl pressings — simply lack energy. They’re flat and compressed and no matter how loud you turn them up the band never seems to be all that into the songs they’re playing.

Ah, but the good pressings show you a band that’s on fire, playing and singing their hearts out. Such are the vagaries of record production. Who can explain it or even understand it? All we know is what the finished product sounds like. The rest is guesswork, entertaining for idle minds and forum posters but of little value to those of us who take records seriously and want to hear the music we love with the best sound we can find.

Watch Out For

Tipped up top end, plain and simple. A little extra top and the guitars sparkle and Johnston’s voice gets a little hi-fi-ish. On the most ridiculously tipped-up copies, you could easily mistake such a pressing for a MoFi half-speed mastered LP. That sparkle used to thrill me forty years ago. Now it makes me roll our eyes — what the hell were they thinking, boosting the hell out of the top end like that?

And why can’t so many audiophiles today, still in thrall to that sound, recognize how unnatural it is and was? Simple answer: Vintage Audio equipment needs that extra kick. Most audiophiles have not taken advantage of the Revolutions in Audio of the last ten or so years and so must find records that give them the boost their bad audio systems need.

Those of us — and that includes many of you or you wouldn’t be spending all your money on Hot Stampers — have systems that find dramatically more information in the grooves of our records than we ever dreamed was there. We then get that information to go through our electronics and come out of our speakers with far more energy and far less distortion than we could back in the day.

Lee Herschberg, Engineer Extraordinaire

One of the top guys at Warners, Lee Herschberg recorded What Once Were Vices… (along with Donn Landee, who recorded their previous album and would take over the engineering duties on subsequent releases) as well as the first Doobie Brothers album.

You’ll also find his name in the credits for many of the best releases by Ry Cooder, Randy Newman, Gordon Lightfoot, and Frank Sinatra, albums we know to have outstanding sound (potentially anyway; if you’re on this site you know very well that you have to have an outstanding pressing to hear outstanding sound).

And of course we would be remiss if we didn’t mention the album most audiophiles know all too well, Rickie Lee Jones’ debut. Herschberg’s pop and rock engineering credits run for pages. Won the Grammy for Strangers in the Night in fact.

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Bob Dylan – Too Up-Front Vocals Can Be a Bit Much

More of the Music of Bob Dylan

Reviews and Commentaries for the Music of Bob Dylan

It’s hard to find copies of this album that give you the tubey richness and warmth that this music needs to sound its best. We’ve done this shootout a number of times over the years, but I can count the number of Hot Stamper copies that have hit the site on one hand.

A lot of copies seem to be EQ’d to put the vocals way up front, an approach that makes the voice hard and edgy. Copies like that sound impressive at first blush (“Wow, he’s really IN THE ROOM!”) but get fatiguing after a few minutes. When you get a copy that’s smooth, relaxed and natural, the music sounds so good that you may never want it to stop.

Our Hot Stamper Pressings from Years Ago

Side one is lively and present with a punchy bottom end and real depth to the soundfield. It’s also open and transparent with lots of natural ambience. Compared to the A+++ side two here, there’s a touch of grit and grain at times, but dramatically less than you get on most copies. We rated side one A++, which means you get excellent sound for Subterranean Homesick Blues, Maggie’s Farm, She Belongs To Me and a few more classic Dylan tracks.

Side two was UNSTOPPABLE — it was clearly As Good As It Gets based on years of listening and scores of copies auditioned over the years. Everything sounds right — the vocals and guitar sound wonderfully natural and correct with superb clarity and lots of richness and warmth. 

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Detail on Crosby, Stills and Nash – Holy Grail or Audio Trap?

More of the Music of Crosby, Stills and Nash

Reviews and Commentaries for Crosby, Stills and Nash’s Debut

Detail may be the Holy Grail to some audiophiles, but listening for the details in a recording can be a trap we too easily fall into unless we guard against it.

Tonal balance is the key. Without it no judgments about detail have any real value. 

One example: As good as the Classic Heavy Vinyl pressing is, the guitar at the opening of Helplessly Hoping tells you everything you need to know about what’s missing. The guitar on the better Hot Stamper domestic copies has a transparency and harmonic integrity that cannot be found on Classic’s version.

The Classic Records pressing gets the tonal balance right, but their guitar doesn’t have the subtlety and harmonic resolution of the real thing.

I’m laboring here to avoid the word detail, since many audiophiles like bright, phony sounding records because of all their wonderful “detail.” Patricia Barber’s albums come to mind.

The MoFi guys and the CD guys often fall into this trap.

Get the sound tonally balanced first, then see how much detail you have left.

Detail is not the end-all and be-all of audio. Those who think it is usually have systems that make my head hurt.

But most people will never know what they’re missing on Helplessly Hoping, because they will never have an amazing sounding copy of the album. The hot copies are just too rare.

Fortunately, there is an alternative to having to shell out the big bucks we charge for their extremely hard to find debut album, one of the rarest titles we offer, and that would be our moderately pricey copies of So Far, which have the song Helplessly Hoping, and in excellent sound.

In addition, So Far has one of the hardest tracks to reproduce in the entire Crosby, Stills, Nash and Young canon: Find the Cost of Freedom. Scroll down to read more about it.

This record is good for testing the following sonic qualities:

Testing the Cost of Freedom

The better copies of So Far have Demo Disc Quality Sound on this track. You could say everything that needs to be said about the beauty of analog with this one track alone. It’s not even two minutes long, but it’s two really wonderful minutes of Crosby, Stills, Nash & Young at the height of their powers.

The voices should sound as sweet and as silky as any CSN three part harmony you have ever heard. This song rivals Helplessly Hoping for vocal blend. Good pressings of this song have midrange magic to die for.

As this is the last track on side one, closest to the inner groove, most copies are going to have some trace of tracking distortion (or even cutting distortion). The better your arm and cartridge, the less this should present a problem for you. (My Dynavector 17dx/ Triplanar combo tracks the best copies perfectly.) For most weekend warrior audiophiles, it’s never going to vanish completely.

Anti-Skate Testing Too!

This track is a wonderful test for proper anti-skate adjustment. With the anti-skate set right, there should be less harmonic distortion in the voices. A correct setting will also bring out dynamics and energy as well.

Of course, the problem is that if you start playing this song again and again and making small adjustments to the anti-skate, you’re probably going to end up damaging the track.

One solution would be to find a cheap used copy to play with, not one of our wonderful (and pricey) Hot Stampers.

Further Reading

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Tom Petty & the Heartbreakers – Spitty and Gritty? Too Lean and Clean?

More of the Music of Tom Petty

Reviews and Commentaries for the Music of Tom Petty

Notes from an early shootout. Scroll down to the bottom for our advice on what to look for when buying a copy of the album.

Big and punchy with great energy, this copy really rocks.

And rockin’ is what this album is all about — this is fun, high-energy music, but it takes a Hot Stamper copy like this to bring it life.

This is the classic first album, with two of their best songs: Breakdown and American Girl. It’s straight ahead rock and roll, with sonics to match.

The sound is a little spitty and transistory as a rule. But when you find a copy with Hot Stampers, the elements start to work together, and the good far outweighs the bad. If somebody tried to EQ this album differently, they’d probably end up taking away some of the Raw Rock Energy.

(By the way, American Girl never sounds all that great. That song needs more whomp! No copy had quite what we were looking on that song, but the Hot Stamper copies were at very least lively, musical, and not overly transistory.)

Breakdown is KILLER!

I mentioned above that Breakdown is one of the best songs on the album; fortunately, it’s also probably the best sounding song. On this great side one, it’s rich and full-bodied with real energy and presence. The overall sound is open and transparent, with more depth to the soundfield than we heard elsewhere. We were surprised how much these guys could sound like Steely Dan — just listen to the intro!

On many copies we played, Petty’s vocals were a bit lean for our tastes, and the guitars were a bit too clean — both of those elements really robbed the music of its power. Here, the voice is fuller, and you can really hear the meaty texture to the electric guitar; you can tell these guys were really rockin’ out! We didn’t hear sound this lively on any other side one we played, which made this our shootout champion at A+++.

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Observations on RCA’s Chamber Recordings

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Hot Stamper Pressings of Living Stereo Titles Available Now

Reviews and Commentaries for Hundreds of Living Stereo Records

What do the best copies of this album sound like?

The sound is RICH and TRANSPARENT, and unlike a lot of RCA’s chamber recordings, not dry.

The tonality is Right On The Money.

The performers are present and the transients of their instruments are not in the least bit smeared.

A case of good tube mastering?

On the best pressings, absolutely. More on the subject of tubes in audio here.

Classical Shootouts

RCA is justly famous for its chamber recordings, which tend to be somewhat rare for some reason. Let’s be honest: we did not conduct this shootout with a dozen copies of the album. (It would take us at least twenty-five years to find that many clean pressings.)

What we had were quite a few other Heifetz RCA chamber recordings, as well as some favorites by the Quartetto Italiano and I Musici that we are very fond of and know well.

After thirty two years in business selling vintage vinyl, by now we’ve played scores if not hundreds of good violin recordings. We have no problem recognizing good violin sound (as well as correct violin tone, not exactly the same thing) when we hear it. In the past our top Hot Stamper classical pressings would go directly to our best customers, customers who want classical recordings that actually sound good. not just the kind of Golden Age Recordings that are supposed to. Now that we are able to do classical shootouts on a regular basis, we hope to have enough superb sounding classical recordings for all of our audiophile customers.

I’ve commented often over the years of the benefits to be gained from listening to classical music regularly. Once a week is a good rule of thumb I would say. I love rock and roll, jazz and all the rest of it, but there is something about classical music that restores a certain balance in your musical life that can’t be accomplished by other means. It grounds your listening experience to something perhaps less immediately gratifying but deeper and more enriching over time. Once habituated, the effect on one’s mood is not hard to recognize.

Orchestral Music Is Hard to Record, Master and Press, Apparently

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Lincoln Mayorga – Listen for Strained and Blary Brass

Hot Stamper Pressings of Direct-to-Disc Recordings Available Now

More Reviews and Commentaries for Direct to Disc Recordings

Most copies of this album are slightly thin and slightly bright.

They give the impression of being clear and clean, but some of the louder brass passages start to get strained and blary, or glary if you like.

The good copies are rich and full.

The sound is balanced from top to bottom.

The sound is smooth, which allows you to play the album all the way through at good loud levels without fatigue.

On the best pressings, the trumpets, trombones, tubas, tambourines, and drums all have the true tonality and the vibrancy of the real thing. The reason this record was such a big hit in its day is because the recording engineers were able to capture that sound better than anybody else around [not really, but that’s what it seemed like at the time].

That’s also the reason this is a Must Own record today — the sound and the music hold up.

Just listen to that amazing brass choir on Oh Lord, I’m On My Way. It just doesn’t get any better than that. If ever there was a Demo Disc for Brass, this is one!

I used to think the Tower label copies were not as good — that the later pressings were pressed better. Now I know that it doesn’t matter what era the pressing is from: the tonal balance is the key to the best sound.

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Pink Floyd – “Breathe” Is a Good Check for Midrange Tonality

Pink Floyd Hot Stamper Pressings Available Now

Letters and Commentaries for Dark Side of the Moon

Breathe is my favorite test track for side one for any version of Dark Side Of The Moon, Half-Speed or otherwise. When the voices come in about halfway through the song, you can tell that most copies are too bright simply by listening to the vocals on this track. The cymbals might sound wonderful; lots of other instruments might sound wonderful; and there might be plenty of ambience, detail and transparency.

But all of that counts for nothing if the voices don’t sound right.

And on most copies the voices sound bright, aggressive, grainy and transitory. (This is the case with the 180 gram 30th Anniversary Edition, unfortunately. That pressing will wake up a sleepy stereo, but my stereo hasn’t been sleepy enough to play that recut for a very long time, and I hope you can say the same.)

The discussion below may shed light on some of the issues involved in the remastering of Dark Side.

Of course, most audiophiles are still under the misapprehension that Mobile Fidelity, with their strict ‘quality control’, which they spend hundreds of words explaining on their inner sleeves, eliminates pressing variations of these kinds.

Isn’t that the reason for Limited Edition Audiophile Records in the first place? The whole idea is to take the guesswork out of buying the Best Sounding Copy money can buy.

But it just doesn’t work that way. I hate to be the bearer of bad news, but our entire website is based on the proposition that nothing of the sort is true. If paying more money for an audiophile pressing guaranteed the buyer better sound, 99% of what we do around here would be a waste of time.

Everybody knows what the audiophile pressings are, and there would be nothing for us to do but find them and throw them up on the website for you to buy. Why even bother to play them if they all sound so good?

Mobile Fidelity

If you’ve spent any time on the site at all you know we are not fans of Mobile Fidelity’s mastering. There are a few potentially excellent MoFis, and certainly Dark Side Of The Moon would be included in that group.

But it’s vitally important to keep in mind that the average copy of DSOTM on MoFi is not at all good. We had a 2-Pack a while back that illustrated that point perfectly — two copies, each with one amazing side and one mediocre side, allowing the buyer to hear for himself the good and the bad side of Dark Side. We wrote:

The person who buys this two LP Package will have the opportunity to hear for himself just how bad most MoFi pressings of Dark Side are. With these two LPs, you are getting an Amazing Side One and an Amazing Side Two – just not on the same piece of vinyl. (The joke here at Better Records is that I should label which side sounds good and which side doesn’t in case the buyer has trouble telling them apart. Since so many audiophiles like so many bad sounding records – don’t get me started – this is not as ridiculous as it sounds. But the difference between the two sides is so OBVIOUS that virtually anyone will hear it. (Even those people who still think that MoFi was a great label.)

$250 is a lot to pay for the MoFi of Dark Side Of The Moon. But consider this: the UHQR sells for two to four times that amount, and doesn’t sound as good as the Hot Stampers found here. Of course, the people that buy UHQRs would never notice that, because they would have simply assumed that they had already purchased the Ultimate Pressing and wouldn’t need to try another. [More on that kind of mistake here.]

The complete text for our Mobile Fidelity shootout can be found here.

I was guilty of the same Mistaken Audiophile Record Collector Thinking myself about 40 years ago. I remember buying the UHQR of Sgt. Pepper in the early ’80s (right before the box set came out in ’83) and thinking how amazing it sounded and that I was so lucky to have the world’s best version of Sgt. Pepper.

If I were to play that record now, I suspect that all I would hear would be the famous MoFi 10K Boost on the top end (the one that MoFi lovers never seem to notice) and the flabby Half-Speed mastered bass (ditto).

Having heard plenty of good pressings of Sgt. Peppers, like the wonderful UK reissues we regularly put on the site, I suspect that now the MoFi UHQR would sound so phony to me I wouldn’t be able to sit through it with a gun to my head.

Back to Dark Side. We’ve found that the album, along with the others linked below, is helpful for testing the following qualities:

  1. Midrange Tonality
  2. Midrange Presence

I would make one other quick point here. The bad MoFi pressings of Dark Side are veiled and recessed in the midrange on Breathe. I remember playing the record in the ’80s and thinking how muffled it sounded on that song. Looking back and thinking about those days, I realize I had a lot to learn, about a lot of things. I had no idea that MoFi’s standard operating procedure was to suck out the midrange. Here is another, equally famous MoFi with similar midrange issues.

  1. Upper Midrange Brightness

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