Another in our series of Home Audio Exercises, one we created all the way back in 2007. If you want to learn more about doing your own shootouts this listing has lots of good advice.
In 2007 we mentioned to our customers that we would not be carrying the new 180 gram Rhino pressing of Blue. We noted:
Since Kevin and Steve are friends of mine I won’t belabor its shortcomings. Let’s just say I think you can do better.
Down the road when we’ve had a chance to do a shootout amongst all our best copies, we will be offering something more to our liking. I recommend instead — and this is coming from a die-hard LP guy, someone who disconnected his home CD player over two years ago and only plays the damn things in the car — that you pick yourself up a nice used copy of the gold CD Hoffman mastered for DCC. It’s wonderful.
Some people are already upset with us over this decision, actually going so far as to question our motives, if not our sanity. Without a doubt we feel this will end up being the single most controversial stance we’ve ever taken. I predict that a great number of audiophiles are going to get really upset over our criticism of this new pressing. We are going to get emails like crazy asking us to explain what on earth could possibly be wrong with such a wonderful sounding LP. The writers of these emails will no doubt extoll its virtues relative to the other pressings they may have heard, and, finding no other reasonable explanation, these writers will feel impelled to question both the quality of our playback equipment and — yes, it’s true — even our ability to recognize a good record when it’s spinning right on our very own turntable.(more…)
This commentary was posted in 2007 and amended later with the statement that we would no longer be ordering new heavy vinyl titles starting in 2010. By 2011 we had eliminated them completely from our site. If you bought any Heavy Vinyl pressing from us, ever, now is the time to get rid of it and hear what a Hot Stamper can do for your musical enjoyment.
Three of the Top Five sellers this week (8/22/07) at Acoustic Sounds are records we found hard to like: Aja, Aqualung and Blue. Can you really defend the expense and hassle of analog LP playback with records that sound as mediocre as this Rhino pressing of Blue?
Why own a turntable if you’re going to play records like these? I have boxes of CDs that sound more musically involving and I don’t even bother to play those. Why would I take the time to throw on some 180 gram record that sounds worse than a good CD?(more…)
Stunning sound throughout for arguably Joni’s greatest album with both sides earning shootout winning Triple Plus (A+++) grades
Stunning immediacy and presence coupled with superb richness and warmth – this is the right sound for Blue
A Better Records Top 100 title that belongs in any audiophile music collection worthy of the name
5 stars: “Sad, spare, and beautiful, Blue is the quintessential confessional singer/songwriter album. Forthright and poetic, Joni Mitchell’s songs are raw nerves, tales of love and loss (two words with relative meaning here) etched with stunning complexity…”
You’ve probably heard us say this before, but top quality copies of Blue are few and far between. It’s not just the toughest nut to crack in Joni’s catalog, it’s one of the most difficult albums in ALL OF POP MUSIC to get to sound right.(more…)
Below we discuss some record theories that seem to be making the rounds these days.
It started with a stunning White Hot Stamper 2-pack that just went up on the site..
I implored the eventual purchaser to note that side two of record one has Joni sounding thin, hard and veiled. If you look at the stampers you can see it’s obviously cut by the same guy (no names please!), and we’re pretty sure both sides were stamped out at the same time of day since it’s impossible to do it any other way. What accounts for the amazing sound of one side and the mediocre sound of its reverse?
If your theory cannot account for these huge differences in sound, your theory is hopelessly, fundamentally flawed. Need we bother to note the rather important, one might even say all-important, fact that it has no practical value in the first place: how is anyone to know at what specific time of day a record was pressed? Or how many copies had come off the stamper ahead of it?
Can anything be more ridiculous than the ad hoc, evidence-free theory of some audiophile record collector desperately searching for a reason to explain why records — even the sides of the same record — sound so different from one another?(more…)
The main reason it’s so difficult to find a good sounding pressing of this record is that most copies have a tendency towards hardness, shrillness and aggressiveness. There is a great deal of mid- to high-frequency information in this recording, and the problems arise when you take all that energy and try to stamp it into a piece of domestic vinyl.
If the vinyl wasn’t good on the day they pressed the record, it doesn’t matter how good the mastering is. The result is grain and grunge. Since Joni pushes her voice hard into her higher registers on many of these songs it’s often enough to make you leave the room. At the very least you would have to turn down the volume.
That’s on the copies that are mastered right! The copies that are mastered with thin and aggressive sound to start with can only get worse. Those are the rule, not the exception.
There are loud vocal choruses on many tracks, and more often than not at their loudest they sound like they are either breaking up or threatening to do so. I always assumed it was compressor or board overload, which is easily heard on Down to You. On the best copies there is no breakup — the voices get loud and they sound clean throughout.
This assumes that your equipment is up to the job. The loudest choruses are a tough test for any system.
If you have one of our hottest Hot Stampers, try adjusting your setup – VTA, Tracking Weight, Azimuth, Anti-Skate (especially! Audiophiles often overlook this one, at their peril) — and note how cleanly the loudest passages play using various combinations of settings.
Keep a yellow pad handy and write everything down step by step as you make your changes, along with what differences you hear in the sound. You will learn more about sound from this exercise than you can from practically any other. Even shootouts won’t teach you what you can learn from variations in your table setup. And once you have your setup dialed in better, you will find that your shootouts go a lot smoother than used to.(more…)
This is probably the most underrated Joni Mitchell album, both in terms of sonics and music. It seems that everyone wants a great copy of Blue or Court And Spark, but this album ranks right up there with them and does not deserve to be overlooked.
Let’s face it, we love Blue (1971) but most pressings suffer from a raft of sonic problems, as does Ladies of the Canyon (1970).
Court and Spark (1974) is up at the top up the list as well, but Roses (1973) seems to have more recording purity. Perhaps the engineers saw this as an opportunity to address the problems with Blue, the album that preceded it.
By the time Joni had fully indulged her jazzier inclinations with Court and Spark some of the recording quality had been lost in the quest for slicker production values for which that album is known. The complexity of the instrumentation required more multi-tracking and overdubbing, and as good as that record can sound on the best copies, in a head to head matchup with For the Roses the latter would probably win, and probably by no more than a nose.
The White Hot Pressings virtually eliminate the shortcomings of all the titles mentioned above, but boy are they hard to find, which accounts for how rarely they show up on the site.(more…)