The no-longer-surprising thing about our Hot Stamper pressings of Nick Of Time is how completely they MURDER the DCC LP. Folks, it’s really no contest. Yes, the DCC is tonally balanced and can sound very good, but it can’t compete with the best original pressings. It’s missing too much of the presence, intimacy, immediacy and transparency that we’ve discovered on the better original pressings.
As is the case with practically every record pressed on Heavy Vinyl over the last twenty years, there is a suffocating loss of ambience throughout, a pronounced sterility to the sound. Modern remastered records just do not BREATHE like the real thing.
Good EQ or Bad EQ, they all suffer to one degree or another from a bad case of audio enervation. Where is the life of the music? You can try turning up the volume on these remastered LPs all you want; they simply refuse to come to life.
We play albums like this VERY LOUD. I’ve seen Bonnie Raitt live a number of times and although I can’t begin to get her to play as loud in my livingroom as she did on stage, I can try. To do less is to do her a great disservice.
The DCC Approach
The DCC is too damn smooth. It’s an understandable approach for DCC to take, since this recording is more hyped-up than any of Bonnie’s earlier work, but this album actually has loads of personality and nuance. Just because an album sounds polished and maybe a bit too “clean”, it’s foolish to think that it lacks intensity or ambition.
You listen to a track like “Thing Called Love” on the DCC, and it sounds good — the tambourine sounds like a tambourine, the bass sounds like a bass. The problem is you don’t hear the jingles of the tambourine hitting each other; the bass doesn’t smack you in the chest. When these elements are veiled, the life and, for lack of a better term, the point of the music go with them. (more…)