Hot Stamper Pressings of Digital Recordings with Audiophile Sound
The RCA domestic pressings cut at Sterling are not worth the vinyl they’re pressed on.
Don’t be one of those die-hard analog types who point fingers at the fact that there was digital in the recording chain when their pressing doesn’t sound good.
It’s got nothing to do with digital. It has everything to do with Sterling doing a bad job mastering the domestic vinyl.
(Keep in mind that a very large group of audiophiles, including some well-known reviewers, had no idea there was a digital step used in the process of making some of the records they had raved about. Apparently the only way to hear it is when you already know it’s there.)
Our notes for the domestic pressing below read:
- Flat and dry vox.
- Shifted up [tonally]
- A bit scooped [or “sucked out” in the midrange, meaning the middle of the midrange is missing to some degree]
The midrange suckout effect is easily reproducible in your very own listening room. Pull your speakers farther out into the room and farther apart from each other and you can get that sound on every record you own. I’ve been hearing it in the various audiophile systems I’ve been exposed to for more than 40 years.
Why Defend the Indefensible?
When good mastering houses like Kendun and Sterling and Artisan make bad sounding records, we offer no excuses for their shoddy work. The same would be true for the better-known cutting engineers who’ve done work for them, as well as other cutting operations.
Individuals working for generally good companies sometimes produce substandard work product.
How is this news to anyone outside of the sycophantic thread posters, youtubers, and self-identified record experts who write for the audiophile community?
