Testing Midrange Tonality

The records linked here are good for testing midrange tonality.

Workin’ And Steamin’ – We Were Dead Wrong about the Originals

davismiles

Hot Stamper Pressings of the Music of Miles Davis Available Now

This review is for a pressing we put up around 2010.

Up to that time we had never played a clean, early pressing, and when we finally were able to put some in our shootout, one of them had sound that was out of this world.

In the commentary below we discuss what we think the early pressings probably sound like. Now, having heard how good the best of them can sound, we admit we clearly needed to do more research and development.

The record pictured above can have superb sound, much better than any modern Heavy Vinyl reissue you care to name.

However, the right properly-cleaned early pressings have the potential to take the sound of this music to the next level, a level we had no idea could exist until that right record came our way.

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What to Listen For and More on Ruben and the Jets

More of the Music of Frank Zappa

Is the thought bubble on the cover the real story behind the album?

Is this the Mothers of Invention recording under a different name in a last ditch attempt to get their cruddy music on the radio?

Amazing sound for this record of greasy love songs and cretin simplicity to offer to audiophiles and music lovers alike from all corners of the world. We absolutely LOVE this album here at Better Records, or at least that portion of Better Records that remembers it from high school still loves it (which would narrow it down to a subset of just me I guess, but who’s counting?). Anyway, it’s a classic of twisted Doo-Wop that belongs in your collection. At least we think you should give it a chance anyway; hearing it sound this good might just make a believer out of you.

Tubey Magic Is Key

Many copies are just too thin and edgy to be as fun and enjoyable as we have every right to expect from this kind of purposely un-hip, un-cool, goofy retro-pop. We were gratified to find that the top finishers had a healthy dose of the Tubey Magical richness found on the best analog recordings from the latter half of the 60s (1968 in this case).

This is a very good recording indeed, judged, as is only fair, solely by the best of the pressings we’ve heard. In other words, the bad pressings sound like crap, but that’s no reflection on the quality of the master tape.

As with most Zappa records, an extended top end is devilishly hard to come by. (In that respect, it is good for testing.)

That said, on a primarily vocal album such as this one, the midrange is where the music lives or dies.

The copies that were rich and full-bodied, with natural vocal reproduction, tended to score the highest grades in our shootout.

Copies that failed to convey the energy and exuberance of the singers and musicians — their love of this music that time had forgotten even by 1968 — as you may well imagine scored relatively poorly. This music is supposed to be fun, and really not a whole lot else, so the copies that aren’t fun scored sub-Hot Stamper grades. (Lifelessness is of course our main beef with Heavy Vinyl these days. When we play one of these new thick LPs the sound is often so blase that I feel that the longer it plays, the more the air is being sucked out of the room.)

On Dark Side of the Moon, “Breathe” Is a Good Check for Midrange Tonality

Hot Stamper Pressings of the Music of Pink Floyd Available Now

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 far too many copies have the voices sounding bright, aggressive, grainy and transitory. (This is unfortunately the case with the 180 gram 30th anniversary edition. 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.

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Tubey Magic Like You Won’t Believe

More of The Most Tubey Magical Rock Recordings of All Time

Here is how we described our recent White Hot Stamper shootout winner:

Manna returns to the site after a twenty-eight month hiatus and, man, was it worth with the wait, with KILLER Shootout Winning Triple Plus (A+++) grades on both sides of this original Elektra pressing

Here are just a few of the things we had to say about this amazing copy in our notes: “tubey and spacious”…”huge and rich and 3D”…”really jumping [out of the speakers]”…”vox so silky and rich”

Tubier, more transparent, more dynamic, with that “jumpin’ out of the speakers” quality that only the real thing (an old record) can have

To back up everything we say, here are the notes for that cannot-be-beat pressing. The exclamation marks are typically reserved for the hottest of the hot copies, and here we would have to say they are more than deserved — the sound of this copy was amazing.

I fell in love with the sound of Bread’s recordings 25 years ago. My system has gone through dozens and dozens of changes and — hopefully — improvements since then, and never have Bread’s album failed to reflect the positive effects of whatever had been done.

Other reviews with post-its can be found here. More note taking advice here.

This original Elektra pressing has amazingly sweet and rich 1971 ANALOG sound on both sides. That big bottom end and the volume of space that surrounds all the instruments and singers are the purest and most delightful form of Audiophile Candy we know.

The acoustic guitars? To die for. Talk about Tubey Magical Analog, this copy will show you just what’s missing from modern remastered records (and modern music generally). Whatever became of that sound?

This record put Bread’s heavily Beatles-inflected Pure Pop back on the charts after their the single from their previous album, On The Waters, made it to Number One, that song of course being Make It With You. “If”, the big hit off this album, went to number five, but we like it every bit as much as that earlier chart topper. Both represent the perfect melding of consummate songcraft and pure emotion.

We used to think that only the Best of Bread album could get those two songs to sound as luscious and Tubey Magical as they do when they’re playing in our heads, but it seems we were wrong — they’re positively amazing on the best copies of Manna, and this is a VERY good copy indeed.

Analog Heaven

In many ways this recording is state-of-the-art. Listening to the Tubey Magical acoustic guitars on the best copies brings back memories of my first encounter with an original Pink Label Tea for the Tillerman. Rich, sweet, full-bodied, effortlessly dynamic — that sound knocked me out twenty-odd years ago, and here it is again.

Of course I’m a sucker for this kind of well-crafted pop. If you are too then this will no doubt become a treasured demo disc in your home as well.

Pay close attention to the sound of the drums. We really like the way famous session player Mike Botts’ kit is recorded, not to mention his Hal-Blaine-like — which means god-like — drumming skills.

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Who Knew that Dylan Could Sound This Good in 1983?

Hot Stamper Pressings of the Music of Bob Dylan Available Now

The short answer is we did, and it’s doubtful we have much company in the audiophile “community.”

Why? Because we actually sit down and play the records.

We don’t make judgments about their sound based on the fact that the album came out in 1983, long after the good old days of analog.

To put the cherry on the top of the sundae, this album is recorded digitally and it still sounds great. Or at least the best copies of it do. Speaking of fruit, how about them apples?

Our recent Shootout Winner was described this way:

This vintage copy of Infidels could not be beat. Big and rich, with correct tonality from top to bottom, strong bass and plenty of space, this copy sounded just right to us.

Our post-it notes tell the album’s story. (By the way, if you like reading our post-it notes, we’re putting more and more of them on the blog these days. We talk about the importance of taking notes  as part of the shootout advice we share. This post will help you with the basics.)

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A Fun and Easy Test for Abbey Road: MoFi Versus Apple

More of the Music of The Beatles

There is a relatively simple test you can use to find out if you have a good Mobile Fidelity pressing of Abbey Road. Yes, as shocking as it may seem, they actually do exist, we’ve played them, but they are few and far between (and never as good as the best Brits).

The test involves doing a little shootout of the song Golden Slumbers between whatever MoFi pressing you have and whatever British Parlophone pressing you have. If you don’t have both LPs, this shootout will be difficult to do.

The idea is to compare aspects of the sound of both pressings head to head, which should shed light on which one of them is more natural and which is more hi-fi-ish sounding.

The Golden Slumbers Test

I’ve come to realize that this is a Key Track for side two, because what it shows you is whether the midrange of your pressing — or your system — is correct.

At the beginning Paul’s voice is naked, front and center, before the strings come in.

Most Mobile Fidelity pressings, as good as they may be in other areas, are not tonally correct in the middle of the midrange.

The middle of the voice is a little sucked out and the top of the voice is a little boosted.

It’s really hard to notice this fact unless one plays a good British pressing side by side with the MoFi.

Then the typical MoFi EQ anomaly become obvious. It may add some texture to the strings, but the song is not about the strings.

Having heard a number of audiophile systems (especially recently) that have trouble getting this part of the spectrum right, it would not be surprising that many of you do not find the typical MoFi objectionable, and may even prefer it to the good British copies. The point I’m belaboring here is that when it’s right, it’s RIGHT and everything else becomes more obviously wrong, even if only slightly wrong.

The Heart of the Midrange

For a while in my record reviewing system many years ago I had a relatively cheap Grado moving magnet cartridge. The midrange of that cartridge is still some of the best midrange reproduction I have ever heard. It was completely free of any “audiophile” sound. It was real in a way that took me by surprise. I played Abbey Road with that cartridge in the system and heard The Beatles sound EXACTLY the way I wanted them to sound.

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Something Phony This Way Comes

Hot Stamper Pressings of the Music of Linda Ronstadt Available Now

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

Some copies sounded like they were Half-Speed mastered by Mobile Fidelity.

(This is not a compliment. We hate that label’s phony sound and we don’t know why so many audiophiles would want to put up with the colorations MFSL’s records were notorious for.)

  • 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 forty plus 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. (This assumes you could be expected to 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 Time Further Out

Hot Stamper Pressings of the Music of Dave Brubeck Available Now

The best copies 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.

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Donny Hathaway Lives On Through His Masterful Live Album from 1972

More of the Music of Donny Hathaway

Hot Stamper Pressings of Soul, Blues and R&B Albums Available Now

This live recording has YOU ARE THERE sound. The soundstage is wide and deep. It’s so natural, rich and transparent, what is there to fault? 

Within moments of the needle hitting the groove your speakers disappear and the music just flows into the room.

On the best original domestic pressings you can immediately understand and appreciate the honest, emotive quality of his singing that made Donny Hathaway the tremendous performer he was known to be.

I’ve been playing this record regularly since I first heard it back in the mid-’90s and even after twenty years it has never failed to thrill. If I could take only one soul album to my desert island, it would be this one, no doubt about it.

Listening Test — Don’t Be Fooled

Pay close attention to the audience chatter and clapping. Most copies, being compressed and veiled, have no hope of reproducing the handclaps and audience shout-outs correctly. Only those copies with transparency and presence let you “see” the crowd clearly.

But don’t be fooled by thinner, leaner sounding copies. There is tons of low end and lower midrange in this recording — it’s one of its prime strengths, and it’s what it would have sounded like if you were there — so make sure you have plenty going on in the lower frequencies before you start evaluating the audience participation.

Many audiophile recordings and remasterings are leaner and cleaner, producing a phony kind of transparency and detail at the expense of the fullness and richness of the original recording.

This is almost never a good thing.

Listening Test — Conga Energy

The copies where the congas are up-front, punchy and full-bodied were the ones where the rhythmic energy really carried the day. You know it when you hear it, that’s for sure. Most copies failed in this regard to some degree. If you have more than one copy, see if you don’t hear quite a bit more energy on the copies with more prominent, solid-sounding congas.

Congas, like drums and pianos, are good for testing specific pressings as well as stereo equipment.

If these instruments get lost in the mix, or sound smeary or thin, it’s usually fairly easy to hear those problems if you are listening for them. Most of what you will read on this blog is dedicated to helping you do that kind of listening.

The richness of analog is where much of its appeal lies. Lean drums, congas and pianos are what you more often than not get with CDs.

These three instruments are also exceptionally good for helping you to choose what kind of speakers to buy. (We recommend big ones with dynamic drivers.)

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The Up-Front Vocals on Bringing It All Back Home Can Be a Bit Much

Hot Stamper Pressings of the Music of Bob Dylan Available Now

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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