This White Hot Stamper Ambrosia LP has the kind of sound you would never expect to find in the grooves of this album. It was a THRILL to hear, especially at the volumes at which we played it! The transparency and openness were off the charts, and unmatched by any other copy in our shootout. We’re big fans of this band here at Better Records — we love their take on complex, big production rock!
It’s also yet another example of the value of taking part in the myriadrevolutions in audio. If you never want your prized but sonically-challenged records to sound any better than they do right now, this minute, don’t bother to learn how to clean them better, play them back better or improve the acoustics of your room. No one can make you do any of those things. The only reason you might have for doing them is so that you can enjoy more of your favorite music with much better sound. Is that a good enough reason? If you’re on this site I’m guessing it is.
That’s the reason we do it. We want records like this one, which didn’t start sounding good until about 2005, and now sound MUCH better than I ever thought they could, to keep getting better and better. Why shouldn’t they?
And these improvements we talk about so much have allowed us to enjoy records we could never fully enjoy before because they never really sounded all that good to us. Now they do, and they will keep getting better, as more and more developments come along in all areas of analog reproduction.(more…)
During our most recent Hot Stamper shootout we were reminded of a fact that had slipped our minds: Trying to get this record to sound right is a truly humbling experience. Without a doubt it deserves the title for Most Difficult to Reproduce in the Rock and Pop category. (Yes, we know, there is no such thing, we just made it up.)
This record will bring any stereo to its knees, including one like ours, which is tuned and tweaked within an inch of its life. Everything has to be working at its absolute best before I would even consider any attempt to play the album. It’s not enough to have the stereo warmed up and cookin’, with everything in the house unplugged. The electricity from the pole needs to be at its best, not that grungy garbage you get in the middle of the day or around dinner time, when all your neighbors have their appliances going. You need that late-at-night, two o’clock in the morning everybody-has-gone-to-bed-and-turned-off-all-their-stuff electricity for this bad boy to work its magic.
I learned an important lesson from a shootout we conducted not long ago, which boils down to this: You can play hard-to-reproduce records all day long if your system is tuned up and working fine. Ours has to be, every day. The shootouts we do require that everything is working properly or we simply couldn’t do them.(more…)
Ambrosia’s first album does exactly what a Test Disc should do. It shows you what’s wrong, and once you’ve fixed it, it shows you that it’s now right.
We audiophiles need records like this. They make us better listeners, and they force us to become better tweakers. You cannot buy equipment that will give you the best sound. You can only tweak the right equipment to get it.
At most 20% of the sound of your stereo is what you bought. At least 80% is what you’ve done with it. Based on my experience I would put the number closer to 90%.(more…)
When you sit down to play ten or twelve copies of an album, one right after the other, patterns in the sound are going to emerge from that experience, patterns which would be very likely to pass unnoticed when playing one copy against another or two over the course of the twenty or thirty minutes it would take to do it.
In the case of this album, the pattern we perceived was simply this: About one or two out of that dozen or so will have punchy, solid, rich, deep bass. (There is a huge amount of bass on the recording so recognizing those special copies is not the least bit difficult if you have a full-range speaker and a properly treated room.) (more…)