More of the Music of the Traveling Wilburys
More Helpful Advice on Doing Your Own Shootouts
Many of the pressings we played of Volume One suffered from too much compression and a phony hi-fi-ish quality on the vocals. We knew there had to be better sounding copies out there somewhere, so we kept dropping the needle on every pressing we could get our hands on until we found one. Here is how we described a killer copy we ran into during that process.
We heard a lot of copies with a spitty, gritty top end, but this one is smooth like butter.
Side two is nearly as good but doesn’t have quiet the same energy factor. It’s still dramatically better than most copies out there.
Now that we’ve discovered these Hot Stampers, the sound is finally where we want it to be. Until this week, we were convinced that these songs sounded better on the radio. (That’s what tons of compression and FM bass boost will do for you.)
Learning the Record
For our recent shootout we had at our disposal a variety of pressings we thought would have the potential for Hot Stamper sound. We cleaned them carefully, then unplugged everything in the house we could, warmed up the system, Talisman’d it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next hour or so playing copy after copy on side one, after which we repeated the process for side two.
If you have five or ten copies of a record and play them over and over against each other, the process itself teaches you what’s right and what’s wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that other pressings do not do as well, using a few specific passages of music, it will quickly become obvious how well any given copy reproduces those passages.
The process is simple enough. First, you go deep into the sound. There you find a critically important passage in the music, one which most copies struggle — or fail — to reproduce as well as the best. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.
It may be a lot of work but it sure ain’t rocket science, and we never pretended it was. Just the opposite: from day one we’ve explained how to go about finding the Hot Stampers in your own collection.
The problem is that unless your a crazy person who bought multiple copies of the same album there is no way to know if any given copy is truly Hot Stamper. Hot Stampers are not merely good sounding records. They are the copies that win shootouts. This is a fact that cannot be emphasized too strongly.
As your stereo and room improve, as you take advantage of new cleaning technologies, as you find new and interesting pressings to evaluate, you may even be inclined to start the shootout process all over again, to find the hidden gem, the killer copy that blows away what you thought was the best.
You can’t find it by looking at it. You have to clean it and play it, and always against other pressings of the same album. There is no other way.
For the more popular records on the site such as the Beatles titles, we have easily done more than twenty, maybe even as many as thirty to forty shootouts.
And very likely learned something new from every one.
Sundazed’s reissue gives the original a run for the money and remains true to the original, though it suffers in the bass, which while deep and reasonably well defined, is not as tightly drawn or focused. The upper mids on the original also bloom in a way that the reissue’s don’t, giving the reissue a slightly darker, recessed sound, but there’s still sufficient energy up there since Dylan’s close-miked vocals pack an upper midrange punch. If the vocals or harmonica sound spitty and unpleasantly harsh, it’s your system, not the record – though there’s plenty of grit up there. On the plus side, the overall clarity and transparency of the reissue beats the original. A really fine remastering job.