Top Engineers

Jimi Hendrix – Hendrix In The West

More of the Music of Jimi Hendrix

  • Both sides of this early UK import were giving us the big and bold sound we were looking for, earning solid Double Plus (A++) grades – exceptionally quiet vinyl too
  • This is a fun live album with stellar performances by Jimi – the best of his many posthumous releases
  • The awesome version of “Little Wing” is just killer on this copy – it’s Jimi’s best performance of the song
  • 4 stars: “…it’s a hodge-podge, made of live tracks largely from 1969 and 1970. But it’s a bunch of great live tracks, including some real rarities… In the West is a great sampling of Hendrix’s late-period live material (and his sense of humor) making its long awaited appearance.”

We’re still surprised at how well recorded the album is. It takes a pressing like this to really show you the live Jimi Hendrix magic Eddie Kramer got onto tape. Drop the needle on “Little Wing” and you are going to be floored.

The size and space here are really something, miles beyond most. The resolution and clarity of the open live sound of this copy bring out all the instrumental textures and details of the recording like few we played. More importantly, the extended top keeps the highs from getting hard or harsh the way they do on so many pressings we’ve played.

As these performances are culled from different concerts, the sound varies a bit from track to track, but every track on here sounds good and the best tracks sound amazing.

Almost Famous

It’s hard to understand why this album isn’t more widely known. The performances are great and the sound is excellent for a vintage live recording.

Naturally not every copy sounds as good as this one. We heard a lot of pressings with too much grit and grain, and many that badly lacked presence. When I play a live album, I want to feel like I am there at the show (and to do that I set the volume accordingly, of course) but with most copies that just isn’t possible.

Thanks to Eddie Kramer’s amazing engineering, this album will have Jimi playing live in your listening room, and what a thrill it is to hear it all these years later (and on dramatically better equipment).

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What to Listen For on Carly Simon’s Debut

Hot Stamper Pressings of Singer-Songwriters Available Now

Too many copies we played erred on the hi-fi-ish side, with not enough warmth.  The copies that sound clean and clear just didn’t do much for us. They weren’t able to convey the intimacy and emotion of the music.

I’m sure you’ve had a similar experience playing CDs of some of your old favorites. You keep wondering why you liked the music in the first place.

Don’t blame the music. Blame those crappy CDs, or badly mastered records.

By the way, stick with Robert Ludwig-mastered pressings. Nothing else will be much good.

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What Are the “Reasons” for the Punchy Bass on this Album?

Hot Stamper Pressings Engineered by Robert Ludwig Available Now

Describing a killer copy of Performance – Rockin’ The Fillmore from years ago we wrote:

Grungy guitars that jump out of the speakers, prodigious amounts of punchy deep bass, dynamic vocals and drum work — the best pressings of Rockin’ The Fillmore have more firepower than any live recording we’ve ever heard.

We know quite a few records that rock this hard. We love to hear them playing good and loud as nature and the band intended, and we know how to get them to sound their best.

A fellow with the initials JB left this comment in one of our listings for the album:

Never once mentioned Robert Ludwig “the RL”, for the reasons behind more punch on the bottom, and hot takes on top, with him on the board. Check the deadwax as foremost. JB

He had us dead to rights — we had in fact not mentioned Robert Ludwig’s contribution to the sound of the album, something that we often chose not to do as a matter of policy up until about 2022. We explained our reasons for doing so here. (We now have hundreds of posts that give out a great deal of useful mastering information, to our knowledge far more than can be found on any other site or blog.)

But there is more to be said about this story than what is implied by what JB has written. He’s calling us out for not mentioning Robert Ludwig’s contribution to the sound of the album, as if RL deserves all the credit.

Does he? Let’s take a deeper look.

At Better Records we are naturally big fans of RL’s punchy bass on the better pressings of the albums he has mastered, especially in the case of the Bass Monster of All Time, Led Zeppelin II. We cannot be sure what “hot takes on top” means, but let’s just assume it refers to plenty of clean, clear, lively, extended top end, the kind that can be found on Zep II, Houses of the Holy, Brothers in Arms and scores of other records mastered by the man. (Or The Man, if you prefer. No question, he is indeed a legend in the mastering world, arguably the Greatest of All Time.)

We take issue with the unstated premises underlying JB’s comments, as well as his use of the words “reasons behind,” implying that Robert Ludwig logically is surely the person responsible for the punchy bass on the record, and not Eddie Kramer, the recording engineer.

Perhaps putting JB’s comments into the formal logic of a syllogism will help illustrate some points of interest for those of you who want to improve your understanding of records and their sound.  Starting with two simple facts, the conclusion that JB reaches seems to be obviously true.

  1. Records that Robert Ludwig has mastered more often than not have punchy, powerful bass.
  2. Robert Ludwig mastered some of the pressings of Performance – Rockin’ the Fillmore.
  3. Robert Ludwig is therefore responsible for the punchy, powerful bass found on those pressings.

But digging a bit deeper: What actual empirical evidence is there to support JB’s conviction that Robert Ludwig must have supplied the punch in the bass that can be heard on the best pressings?

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The Zombies – The World of The Zombies

More Rock and Pop

  • This early Decca import pressing was doing practically everything right, with both sides earning KILLER Shootout Winning Triple Plus (A+++) grades or close to them – fairly quiet vinyl too
  • Big, rich, energetic, with an abundance of analog Tubey Magic, this UK copy has the right sound for this music
  • Copies of the album on the original label, in audiophile playing condition, are getting more expensive and more difficult to find every year, but what a great record – it’s a classic example of just how amazingly well-recorded some mid-60s Tubey Magical pop was
  • “The Zombies’ obvious appreciation for adeptly crafted melodies and rich vocal harmonies likewise made them favorites of pop fans as well as more discerning listeners.”

The World of the Zombies is for all intents and purposes a reissue of their 1965 debut album, Begin Here, with a few track changes, the most important of which is the addition of “Tell Her No.”

The drums here are clear and punchy and the bottom end is solid.

The vocals do not get too bright as they have a tendency to do on some copies.

When you get a Tubey Magical copy like this, that Hammond B-3 sound is glorious.

Smooth sweet vocals and dead on tonality complete the sonic picture here.

Just for fun sometime go to popsike.com and check out what the original first Zombies record on Decca sells for. Try $1500 and up! And people think our prices are high — we ain’t never charged that kind of bread.

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Suite: Judy Blue Eyes – Critical Listening Exercise

Hot Stamper Pressings of the Music of Crosby, Stills and Nash Available Now

UPDATE 2026

To see more records that have one or two tracks of special interest to audiophiles, including this very album, please click here.

This very old commentary from an early Hot Stamper listing (2005?) for CSN’s debut makes note of some specific qualities in the recording that are a good test for midrange transparency and naturalness.

Here are hundreds other titles with specific advice on what to listen for on some of the albums we’ve played in shootouts.

What’s magical about Crosby, Stills, Nash (& Young)? 

Their voices of course. It’s not a trick question. They revolutionized rock music with their genius for harmony. Any good pressing must sound correct on their voices or it has no value whatsoever. A CSN record with bad midrange — like most of them — is a worthless record.

Suite: Judy Blue Eyes

Listen to the section of the song that starts with Stills’ line “Can I tell it like it is,” with Nash and Crosby behind him — it’s clearly a generation of tape down from what came before and what comes after. The voices and the acoustic guitars just seem to lose their immediacy and transient impact for no apparent reason. Wha’ happen?

It’s the mix, folks, and no mastering engineer can fix it. This album is full of parts and pieces of various songs that are occasionally problematical in that way. Recognize them for what they are, little bumps in the road, a road that led ultimately to one of the greatest pop albums ever made.

On the hot copies the best sounding material will sound amazing, and the lesser sounding material (i.e., the more poorly recorded or mixed bits and pieces) will sound as good as they can sound.

That’s the nature of the beast. It is what it is. The more intensely you listen to a record like this — a true Rock Classic from the 60s, and one we listen to very intensely when doing these shootouts — the more you will notice these kinds of recording artifacts. I suppose you could say it’s what gives them “character.”

It’s also what allows you to play a record like this over and over again and still find something new in the sound after all these years.

We’ve made some recent improvements to the stereo and room here at Better Records and I can tell you I heard things in this recording I never knew were there.

What could be more fun than that? The music never gets old, and neither does the sound.

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Is the OJC Pressing of Jazz Giant Really 100x Worse?

Hot Stamper Pressings of Contemporary Jazz Albums Available Now

UPDATE 2026

This commentary is from many years ago. The OJC’s can be decent on this title, but some of them, like the one we played and discuss here from way back when, can be awful sounding.

However, we played a copy of OJC-167 in our most recent 2026 shootout. It earned grades of 1+/1.5+, almost good enough to qualify as a Hot Stamper, which simply means it has the potential to be decent but, based on our experience, you are more likely to get a bad one than a good one.

Our notes in 2026 read:

  • Veiled and dry
  • Not natural

Still, not a bad sounding copy, better than nine out of ten Heavy Vinyl pressings we play these days. They rarely earn even one plus.

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Grover Washington, Jr. – All The King’s Horses

More of the Music of Grover Washington

  • An early Kudu pressing of Washington’s sophomore release with a STUNNING Shootout Winning Triple Plus (A+++) side two mated to a solid Double Plus (A++) side one
  • There’s so much life in these grooves – the sound jumps out of the speakers and right into your lap
  • Credit must go to Rudy Van Gelder for recording and mastering this album so well, and to Bob James for his brilliant big group arrangements
  • We cannot recommend this album highly enough – if you have the big speakers a big group of musicians need to perform live in your listening room, his record is going to be nothing less than a thrill
  • 4 stars: “. . . this set has assumed its proper place in Washington’s catalog: as one of his more ambitious and expertly performed sessions.”
  • This is a Must Own jazz album from 1972, one that deserves a place in any audiophile’s collection

Both sides of this original Kudu pressing are OUT OF THIS WORLD. The sweetness and transparency of Grover Washington Jr.’s breathy sax went beyond any copy we’ve ever played. Who knew it could sound like this? We sure didn’t!

It’s spacious and full of life with virtually no distortion. Of special note, this copy has amazingly articulate bass which brings out the undeniable funkiness of the music in a way that no other copy did.

The early 70s were a good time for Rudy Van Gelder. All the King’s Horses from 1972 is an amazing Demo Disc for a large group. But it only sounds good on the copies that it sounds good on, on the pressings that were mastered, pressed and cleaned right, a fact that has eluded most jazz vinyl aficionados interested in good sound.

But not us. We’ve played the very special pressings that prove the album can sound amazing.

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Pros, Cons and the Celebration of a Milestone

Hot Stamper Pressings of Orchestral Spectaculars Available Now

UPDATE 2022

In 2012, according to some old notes we had from an early shootout, perhaps our first, we auditioned a copy of Massenet’s Le Cid with what we thought was a suboptimal side two, a side two that we thought suffered from screechy string tone.

Since that time we’ve made a number of improvements to our cleaning regimen and playback system, and the result has been that our last couple of shootouts went off without a hitch, showing us string tone that was virtually free of screechiness.

(The Greensleeves reissues never had a “screechy strings” problem as they tended to be mastered with a smoother EQ. They are more forgiving of second-rate playback in that respect, but they can also never win shootouts with that overly smooth sound.) [1]

Problem solved! The records were fine, we just couldn’t play them back then as well as we can now.

Our Review from 2012

In 2012, twelve years ago, I had been selling records to audiophiles professionally for 25 years. I had owned what I considered to be a State of the Art system for 37 years.

But I knew I still had plenty to learn, and I kept at it.

After a decade’s worth of tweaking and tuning, the strings of this recording started to sound the way Stuart Eltham and his fellow engineers undoubtedly wanted them to.

This is how you chart your audio progress, by challenging yourself with difficult to reproduce recordings and building on the improvements you continue to make as the years and decades go by.

If you’re in the market for records that can show you that there is still plenty of work left to be done in this crazy audio hobby we’ve chosen, we have scores of them on the Better Records site for sale .

If we can get them to sound better, so can you.

[1] Our latest preoccupation here on the blog is to point out as often as we can that the Modern Heavy Vinyl remaster is too often just too damn smooth.

The remastered box sets of The Beatles (see: Pepper, Sgt.., etc.) are the poster boys for making records sound more “analog” by boosting the bass and smoothing the treble, like your old 70s system used to do. (Those of you who were in the hobby back then know exactly the sound I am talking about. For those who would like to know more, we wrote this overview.)

The Beatles records that we sell as Hot Stampers have nothing in common with that absurdly artificial approach. Mid-Fi systems may benefit from more bass and less top end, but Hi-Fi systems worthy of the name will not, hence our distaste for this kind of EQ overreach. More examples of overly smooth modern records can be found here, with more to be added as time permits.

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Duke Ellington – Duke Ellington Meets Coleman Hawkins

More of the Music of Duke Ellington

  • This Impulse Stereo pressing boasts very good Hot Stamper grades from top to bottom
  • Once again Rudy Van Gelder delivers the sound that audiophiles and jazz fans alike thrill to
  • Impulse took it upon themselves to reissue this title on Heavy Vinyl many years ago – (I admit I used to sell them, mea culpa) – and it was as mediocre as you might expect, with little of the magic of The Real Thing found on the vintage pressings we offer in Hot Stamper form
  • 5 stars: “This set documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington’s music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. High points include an exuberant ‘The Jeep Is Jumpin’,’ an interesting remake of ‘Mood Indigo,’ and a few new Ellington pieces. This delightful music is recommended…”
  • A Jazz Classic from 1963 that should appeal to any fan of the work of Ellington or Hawkins

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Fleetwood Mac / Mystery To Me

More of the Music of Fleetwood Mac

  • Boasting two STUNNING Shootout Winning Triple Plus (A+++) sides or close to them, we guarantee you’ve never heard the band’s 1973 release sound remotely as good as it does on the vintage Reprise pressing
  • This copy is super open and spacious with an abundance of energy and incredible presence
  • The bottom end is just killer and there’s dramatically more richness and fullness than what we heard on practically all other copies in our most recent shootout
  • “Throughout Mystery to Me, the amazing and almost telepathic drums and bass of Mick Fleetwood and John McVie give this effort more panache and muscle than was represented on this effort’s predecessor, Bare Trees. The best Bob Welch offering, ‘Keep on Going,’ has a strong, soulful string arrangement and Christine McVie’s customary sensual and poised vocals … This effort is custom-made for those who like thoughtful offerings and is a valuable set in the scheme of the band.”

Mystery To Me is my All Time Favorite Fleetwood Mac album, and this copy has the sound that I always dreamed this album could have, but didn’t — until now. This is just the third Hot Stamper shootout that we’ve been able to do, since clean copies with the right stampers are ridiculously hard to come by. I’m not kidding. We must have spent the last ten years and more trying to find the right stampers for this record. I can tell you we were dead wrong so many times in the past that we had almost given up. Time and time again, just when I thought we had it figured out, we would go back and play our so-called “hot” copy, to find ourselves miserably disappointed all over again.

Half the copies you find of this record are mud and the other half have no bass. If my math is correct, that leaves zero copies that aren’t muddy and actually have bass. That comports rather well with what I was finding: under test conditions zero of the copies we played sounded any good. We were sorely vexed. Sorely, sorely vexed.

Then the skies opened up and the sun began to shine.

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