Good, Not Great Sound

These are records that we auditioned and found to have good, not great, sound quality. If a record earns a Hot Stamper grade of 1.5+ on both sides, it is a very good sounding record, but it is a far cry from the best pressings that we’ve played in shootouts.

Always wanted to have a Plum and Orange pressing? Here’s your chance!

Hot Stamper Pressings of the Music of Led Zeppelin Available Now

We should have titled this one “here was your chance” since this pressing sold very quickly.

Over the years most Plum and Orange pressings were disposed of by us on ebay for the benefit of collectors and those audiophiles who might be ill-informed enough to think that early British pressings would have the best sound for Led Zeppelin III.

They do not. They can, however, sound reasonably good in some cases with the proper cleaning.

However, they are not even Double Plus (A++) good, which sounds like something from the novel 1984 but is in fact a Very Good grade and guaranteed to trounce any and all copies of the album you have ever heard.

No, the best Zeppelin album we have played to date with the early label in this case earned a grade of Single Plus to Double Plus, which we describe as “[a] wonderful sounding side with many impressive qualities, notably better than a Single Plus copy. A big step up from the typical pressing.”

UPDATE:

We do not even offer Single Plus copies on the site anymore. Although their faults would be less obvious to anyone who went through the shootout process with the album, such faults are much too bothersome to us precisely because we did go through that process.

Once you know what is right, it’s very easy to spot what is wrong.

This is the foundational principle of Hot Stampers.

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How Do the The Mastering Lab Pressings of Sticky Fingers Sound?

Hot Stamper Pressing of the Music of The Rolling Stones Available Now

A listing for an early domestic Hot Stamper pressing for Sticky Fingers will typically be introduced like this:

If you have never heard one of our Hot Stamper pressings of the album, you (probably) cannot begin to appreciate just how amazing the sound is.

A landmark Glyn Johns / Andy Johns recording, our favorite by the Stones, a Top 100 Title (of course) and 5 stars on Allmusic (ditto).

After hearing so much buzz about it, we finally broke down and ordered a German TML pressing about a year ago. Having played scores of phenomenally good sounding copies of the album over the past fifteen or so years, we were very skeptical that anyone could cut the record better than the mastering engineers who inscribed Rolling Stones Records into the dead wax on the early pressings. (I could find no mastering engineers credited.)

Well, the results were not good. As we suspected would be the case, we were not impressed in the least with what The Mastering Lab — one of the greatest independent cutting houses of all time, mind you — had wrought.

Their version is not really even good enough to charge money for. It might have earned a grade of One Plus, just under the threshold for a Hot Stamper that we would put on the site these days. Decent, but not much more than that.

Wait, There’s More

We subsequently learned that it is the British TML pressings that are supposed to be the best.

So we got one of those in, an A3/B4 copy.

Better, but good enough? Barely.

Here are the notes for the copy we played. For those who have trouble reading our writing, I have transcribed the notes as follows:

Side One

Track one:

Weighty, a bit veiled or smeary. Backing vox kinda lost.

Track three:

Very full, rockin’ but not the sparkle/space.

Kinda compressed.

Not as huge.

Side Two

Track two:

Not as rich, clear.

A bit pushy/dry vox.

No real space.

Thick drums

Track one:

This works better.

A bit hard, but full and lively.

This Sound?

Is this the sound audiophiles are raving about?

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The Yellow Label Reissues Can Sound Very Good, But Great? Not a Chance

Hot Stamper Pressings of Contemporary Jazz Albums Available Now

The earlier pressing on the site as of this writing is an amazingly well recorded album with many fine qualities:

Boasting seriously good grades from top to bottom, this vintage Contemporary pressing is doing just about everything right.

These sides are bigger and more open, with more bass and energy, than most others we played – the saxes and trumpets are immediate and lively.

Mr. Earl Hines himself showed up, a man who knows this music like nobody’s business – Leroy Vinnegar and Shelly Manne round out the quartet.

“Great musicians produce great results, and most of the LP’s tracks were done in one or two takes. The result is ‘a spontaneous, swinging record of what happened’ when Carter met Hines ‘for the first time. . . .'”

Our notes for the Yellow Label reissues point out that they are always more compressed, with some added upper midrange. The intro benefits from this but the peaks can get congested.

The earlier pressings, especially the originals on the Black Label, are the most likely to sound right, but they are tough to find in audiophile playing condition.

If you see a copy on the site with these grades — less than 2+ on both sides — it will proabably have a Yellow Label and some of the shortcomings we mention above.

Correct, In This Case

Some people like to search for relationships between the sound of the pressing and the label it has, but in our experience that is more often than not a fool’s errand once confirmation biases and other kinds of mistaken audiophile thinking are taken into account.

When the conventional wisdom turns out to be correct — in other words, when it comports with reality, at least for the six copies of this album that we played — we are happy to temporarily put aside our skepticism and learn the lessons playing a stack of copies of this title has taught us.

Why? Because the experimental evidence supports it.

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There’s a Very Good Chance We Were Wrong about Mulligan Meets Getz

More of the Music of Stan Getz /More of the Music of Gerry Mulligan

This is an album that we were probably wrong about in 2021 when the following Hot Stamper two-pak pressing went up for sale on the site. (The pressings we liked at the time are long gone by now.) Here is what we wrote back then:

Mulligan and Getz’s 1957 collaboration arrives on the site with this superb 2-pack offering Nearly Triple Plus (A++ to A+++) sound on both sides – just shy of our Shootout Winner

Full, rich, and spacious with tons of Tubey Magic and, better yet, not the least bit dry, hard or transistory

Practically impossible to find in stereo with audiophile playing surfaces – it took two different pressings to get two good sides, and they are very good indeed

The reissues we discovered in 2025 trounced the originals (in both stereo and mono) as well as the early reissues (on the Verve T Label) we played in our shootout, as you can see from the stamper sheet notes below:

Our mistaken judgment is simply the result of ignorance. In 2021 we simply had no idea just how good this recording could sound on vintage vinyl. We hadn’t done our homework properly, and because of that we came up with the wrong answer.

We only discovered the right pressings, with the right stampers, pressed in the right era, and mastered by the right guy, sometime in 2024 or so. We bought a bunch of those and in 2025 did the shootout with all kinds of copies, just to keep everybody honest.

That was the year much better sounding reissue copies that look like the one you see on the left came along. As we noted in the listing:

  • Leave it to Better Records to figure out a complicated title with a long history such as this one – originals, reissues, monos, stereos, we had to play them all to find a copy that sounds as good as this one does.
  • Full, rich, and spacious with an abundance of Tubey Magic and, better yet, not the least bit dry, hard or transistory.

Some quick notes:

Bowtie Label Stereo

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So You Actually Think an OJC Can Beat an Original Black Label Contemporary?

Hot Stamper Pressings of Contemporary Jazz Albums Available Now

Yes, we think that, because that’s what the evidence from our most recent shootout in 2025 showed us.

As you can see from the stamper sheet below, the A1/B2 stampers of our OJC, in a blinded test, came out on top.

Better mastering equipment? Better mastering skills? Better vinyl? Better pressing methods?

Who the hell knows?

Better yet, what audiophile or record collector with a lick of sense would even pretend to know?

Not us, that’s for sure. At this point we are very comfortable not having answers for the unanswerable questions we posed above.

But don’t rush off to buy the OJC of the Sonny Rollins record you see pictured. This commentary has nothing to do with that record. (more…)

Artisan Let Us Down on These Early Green Label Pressings

Hot Stamper Pressings of the Music of James Taylor Available Now

Our most recent Shootout Winner was a very special copy indeed:

A wonderful copy of JT’s classic followup to Sweet Baby James with KILLER Shootout Winning Triple Plus (A+++) grades or close to them on both sides.

This early Green Label pressing demonstrates the Tubey Magical midrange that modern records almost never reproduce. The sound of most of the tracks on the better pressings is raw, real and exceptionally unprocessed.

The only pressings we put in shootouts these days are cut at Artisan, on transistor equipment we should note, but the kind of transistor gear that, to the best of our knowledge, no longer exists — the kind that transforms the Tubey Magic found on the tape into Tubey Magical grooves on the record.

Bernie Grundman used to have equipment like that back in 1971. The evidence is there for all to hear on records like this one. Oddly enough the two titles have remarkably similiar qualities.

But not all Artisan cuttings are equal, as our stamper sheet from the shootout makes clear.

-1/-1 earned 1.5+ Hot Stamper grades, which means the sound is good, not great.

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 a recording Mudslide Slim can be on the best vintage Green Label Artisan-cut pressings. (For those who might be interested, there’s more on our grading scale here.)

1B/1C, the worst pressing from our shootout, is what we would consider passable. It’s not a bad sounding record, but it’s not good enough to qualify as a Hot Stamper.

The world is full of records that sound like the 1B/1C cutting of Mud Slide.

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This Rudy Van Gelder Cutting of Red Clay Is Good but…

xxx

… far from the best we played, earning barely Hot Stamper grades.

And we would be remiss if we failed to point out that the proper cleaning of your records will typically improve their sound quality by at least one half plus, and more often than not one full plus.

It’s very likely that neither of the A3/B3 copies you see below would have qualified as Hot Stamper pressings without the aid of a good cleaning.

Red Clay is one of our favorite CTI albums – Red Clay (the song and the album) is Hubbard’s soul jazz Masterpiece, and it’s a record that belongs in every audiophile’s jazz collection.

Lenny White drums up a storm on this album – on this copy he is playing right in the room with you. If you’re a Hubbard fan, or perhaps a fan of early-70s soul jazz, this title from 1970 is surely a Must Own.

Although Rudy recorded and mastered the album — the only pressings that qualified for the shootout were his — it should be noted that Van Gelder in the dead wax is never a guarantee of high quality sound, on any record.

(It’s easy to criticize the bad pressings of Rudy Van Gelder’s work, but let us not lose site of the countless great ones.)

This A3/B3 pressing was not awful, or even mediocre — the reissues without VAN GELDER in the dead wax would most likely be much worse sounding — but at 1.5+ we would say it has earned good, not great Hot Stamper grades.

The only way to guarantee higher quality sound is to do a shootout with a good-sized pile of cleaned pressings and find the one with the best sound using the rigorous testing methodologies we use.

For this kind of work, top quality playback is a must.

There is of course a way to avoid doing all that work and spending all that money on piles of pressings, most of which you will eventually have no use for, and that’s to buy a Hot Stamper copy of the album from us.

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How Good Are the Robert Ludwig-Mastered Pressings of Alchemy?

Hot Stamper Pressings of the Music of Dire Straits Available Now

The best domestic pressings we played, the ones cut by Robert Ludwig at Masterdisk, were simply not competitive with any of the early British LPs.

The evidence is pretty clear that the master tapes stayed in England and that only the British pressings are made from them. If you’ve played as many records as we have, it’s not hard to recognize dubby sound when you hear it.

As a general rule, this domestic pressing will fall short in some or all of the following areas when played head to head against the imported pressings we offer. Much like the records linked here:

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These Stampers Can Be Good, But They Sure Don’t Win Shootouts

Hot Stamper Pressings of Classic Rock Albums Available Now

This is how we described a recent Hot Stamper pressing that we put up on the site:

Surprisingly rich and full-bodied, particularly on side one, the best copies really ROCK with big bass and punchy drums – just the right Alice Cooper sound.

The beloved title track remains the most-performed song in his concert history, and the presence on this copy will put the band right there in your listening room.

Yet another impossible-to-find record — impossible to find in clean condition, with good sound — has made it to the site, and those of you who are fans should scoop it up. It takes us about four years to find enough copies to do this shootout.

We had poor luck with the second and third label copies on this AC title. It seems that, unlike so many records we play, the originals are the only way to go on School’s Out.

The stampers you see above belong to a Green Label early pressing. It earned good, not great Hot Stamper grades.

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 the best copies can sound.

To see more records that earned the 1.5+ grade, please click here. (Incidentally, some of them are even on Heavy Vinyl. The better modern pressings have sometimes, if rarely, been known to earn Hot Stamper grades, and one shocked the hell out of us by actually winning a shootout. Wouldn’t you like to know which one!)

For those who might be interested, there’s more on our grading scale here.

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This Blueback Was Somewhat Opaque and Crude – Does that Surprise You?

Hot Stamper Pressings of the Music of Felix Mendelssohn Available Now

Presenting our latest findings from 2023:

For our most recent shootout, the original we played earned grades of 1.5+ on both sides, a grade that is the absolute minimum for a Hot Stamper pressing to be listed on the site now.

Our best reissues killed it.

The 3D/3E stampers of our early Blueback copy can probably be beaten by others — assuming there are others — but this is just not a good bet for us when it comes to Mendelssohn’s famous Third Symphony, not when there are so many other pressings with superior sound.

Our favorite performance with top quality sound is made from the same recording you see here, but on a certain budget reissue that has much better sound.

It’s very possible that the Speakers Corner Heavy Vinyl pressing from 2003 pictured below would beat the original we describe. We make no claims that it doesn’t, or wouldn’t.

Our claim would be that a properly-mastered, properly-pressed version of the album is very unlikely to be bested by something from Speakers Corner, or any other label making records during the last thirty years.

What I would have played against the Speakers Corner pressing in 2003 would have been an original London Blueback, and maybe a Stereo Treasury or two. Both of them would have been obvious choices, and I was stuck making obvious choices because I simply did not understand enough about classical records at the time to do otherwise.

I confess I knew very little about the recording of the 3rd symphony back in those days, and I certainly didn’t know how good some of the right reissues could sound.

Obviously we needed to do a great deal more research and development, which we began to undertake over the course of the next twenty years in a much more serious way, making one discovery after another.

And that all happened out of the love for great sounding music on vinyl, and, every bit as importantly, because we get paid to do it.

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