Top Engineers – Ken Scott

We Was Wrong About The Beatles Magical Mystery Tour (Circa 1985-90)

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This is a VERY old and somewhat embarrassing commentary about how We Was Wrong

This German pressing has dramatically different sound than that found on other Hot Stamper pressings of MMT we’ve had on the site. I used to be convinced that its sound was clearly superior to the regular German MMT LPs.

Back in the late ’80s and into the ’90s this was the pressing that I was certain blew them all out of the water.

We know better now. We call this version the “Too Hot” Stamper pressing — the upper mids and top end are much too boosted to be enjoyable on top quality equipment.

It does have some positive qualities though. It has substantially deeper bass than any other version; in fact, it has some of the deepest bass you will ever hear on a pop recording. It can literally rattle the room when Paul goes down deep on Baby You’re A Rich Man.

It also uses a slightly different mix on some tracks and is mastered differently in terms of levels. The level change is most obvious at the beginning of Strawberry Fields, where it starts out very quietly and gets louder after a short while, unlike all other versions which start out pretty much at the same level. The effect is pleasing, you can even say powerful, but probably not what The Beatles intended, as no other copy I’ve ever heard utilizes the same quiet opening. An unknown mastering engineer made the choice, probably because he didn’t like all the tape hiss at the opening when few instruments were playing loud enough to mask it.

With this mix the record is now more of a hi-fi spectacular — great for demonstrations but not the last word in natural sound.

David Bowie – The Man Who Sold The World – Our Shootout Winner from 2015

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The sound is rich and full, just the way the Brits like it. The heavy compression that both Bowie and Scott favor works its magic at every turn, adding fatness and richness and lovely harmonics to the guitars and the drums.

Not many Bowie albums from his “classic” period sound good on domestic vinyl, nothing I know of before Diamond Dogs with the exception of this album and the occasional copy of Space Oddity. Strangely enough, from then on practically every one of Bowie’s albums sounds best on domestic vinyl, all the way through to Let’s Dance, after which we more or less check out — don’t know those albums well and don’t plan on finding out more.

Ah but here, here we have some truly prime period Bowie, recorded, mastered and pressed with Top Quality sound!

Side One

Mick Ronson’s guitars are wonderfully clear. The vocals can get a bit hot on the first track (as is often the case), but by track two the sound has settled in and is rich and smooth, just the way we like it. Very present and lively vocals are a strong point.

Side Two

Listen to the big bass, richness and Tubey Magic of the third track — that is some Ken Scott studio wizardry at play.

Note that the second track seems to be where Alice Cooper found his “sound.” More power to him I say. You could get away with ripping off Bowie in 1970; nobody bought this album in the states, which is why it’s so damn rare and expensive.

And the reason there are so many bootlegs. Practically every copy of ebay is a bootleg.  They sound terrible by the way. (more…)

Devo – Duty Now For The Future

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  • Stunning Shootout Winning Triple Plus (A+++) sound from start to finish, making this the best copy to hit the site in years!
  • The energy and presence here are off the charts, the bottom end is super solid and punchy, and there’s tons of space around all of the instruments
  • “Devo and their ilk were serious and heartfelt about their goofy sound. They were weird, but weird on their terms. Duty Now for the Future is the perfect example of that. It earns its strangeness with sharp, compelling, and infectiously energetic songs. It crafts a world to travel and never misses a step. And, perhaps most impressively, it sounds just as fresh over 30 [now 40!] years after its original release.” – Pop Matters

GET DEVOLVED! This copy gives you amazing sound for both sides of this fun — and very well-recorded — album. The average copy of this record barely hints at the sound that Ken Scott was clearly able to get on the tape. This one tells a different story, with serious weight down low, a ton of energy, loads of texture to the synths, and wonderful clarity. The lucky man (or woman) who takes this home is sure to get a thrill from it.

The soundfield on these killer sides has a three-dimensional quality that allows all the instruments to be identified and followed with ease. They just don’t get any punchier or livelier, and with music like this, all those elements combine to make this music a FUN listen. (more…)

Supertramp – Crisis? What Crisis? – Our Shootout Winner from 2013

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A distinguished member of the Better Records Rock and Pop Hall of Fame.  

TWO AMAZING SIDES, including an A+++ SIDE ONE! It’s not the A&M Half Speed, and it’s not a British pressing either. It’s domestic folks, your standard plain-as-day A&M pressing, and we’re as shocked as you are. Hearing this copy (as well as an amazing Brit; they can be every bit as good, in their own way of course) was a THRILL, a thrill that’s a step up in “thrillingness” over our previous favorite pressing, the Half Speed.

The best of the best domestics and Brits are bigger, livelier, punchier, more clear and just more REAL than the audiophile pressing…

…something we knew had to be the case if ever a properly mastered non-Half Speed could be found. And now it has. Let the rejoicing begin! (more…)

Ridiculously Phony and Compressed Sound – The Beatles White Album on MoFi

beatlwhitemfslSonic Grade: D

Another MoFi LP debunked.

The last time I played a copy of the MoFi I could not believe how ridiculously phony and compressed it was. And to think I used to like their version when it came out back in the ’80s!

A good example: on Yer Blues, the MFSL pressing positively wreaks havoc with all the added bass and top end The Beatles put on this track. The MoFi version is already too bright, and has sloppy bass to start with, so the result on this track is way too much BAD bass and way too much BAD spitty 10k-boosted treble, unlike the good imports, which have way too much GOOD bass and treble.

Yer Blues ROCKS! Listen to the big jam at the end of the song, where John’s vocal mic is turned off but his performance is still caught by a room or overheard mic. They obviously did this on purpose, killing his vocal track so that the “leaked” vocal could be heard.

Those crazy Beatles! It’s more than just a cool “effect”. It actually seems to kick the energy and power of the song up a notch. It’s clearly an accident, but an accident that works. I rather doubt George Martin approved. That kind of “throw the rule book out” approach is what makes Beatles recordings so fascinating, and The White Album the most fascinating of them all.

The EQ for this song is also a good example of something The Beatles were experimenting with, as detailed in their recording sessions and interviews with the engineers. They were pushing the boundaries of normal EQ, of how much bass and treble a track could have. This track has seriously boosted bass, way too much, but somehow it works!
(more…)

The Mahavishnu Orchestra – Visions of the Emerald Beyond

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A distinguished member of the Better Records Jazz Hall of Fame.

On the first track of side one we will happily state for the record: no record rocks harder. When you hear Ponty’s double-tracked violins explode out of each speaker on the first track you will know what we mean when we say this record is as big and as bold a recording statement as any you have ever heard.

It’s yet another triumph from one of our favorite engineers, KEN SCOTT.

This may be jazz, but it’s jazz that ROCKS harder than 98% of the rock records we’ve ever played, and we’ve played thousands.  (more…)

David Bowie – Space Oddity – Our Shootout Winner from 2014

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

One of the reasons the song “Space Oddity” sounds so amazing is that it was produced by none other than Gus Dudgeon, the man behind all the best Elton John records. It has Paul Buckmaster doing the string arrangements as well. His work on Elton’s self-titled album is awe-inspiring; we know of none better. (more…)

David Bowie – Ziggy Stardust – MoFi Reviewed

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Sonic Grade: C-

The MoFi pressing is decent, probably better than the average domestic copy I suppose. The colorations and the limitations of their cutting system make it painful for me to listen to it though, especially the sloppy bass and compression. You can do worse but you sure can do a lot better.

MoFi did two of the greatest Bowie albums of all time, Ziggy and Let’s Dance, and neither one can hold a candle to the real thing. If you want to settle for a pretty poor imitation of either or both of those albums, stick with your MoFi. If you want to hear the kind of Demo Disc sound that Bowie’s records are capable of, try a Hot Stamper

Supertramp – Crime of the Century – Ken Scott’s Producing / Engineering Masterpiece

More Supertramp

More Crime of the Century

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Yet another in the long list of recordings that really comes alive when you Turn Up Your Volume.

AMAZING White Hot Stampers for the greatest KEN SCOTT production in history. This is his (and the band’s) MASTERPIECE, and now we have a pressing that allows us to revel in the GLORY that is Crime of the Century! 

This killer copy rates A+++ on BOTH sides. Wow is the only word I can think of to describe it. (more…)

David Bowie – Pin-Ups – Forget the Original British Pressings

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

We just finished our biggest-ever shootout for this fun Bowie album and this one was DRAMATICALLY better than most other copies. We played copies from all over the world — England, Germany, France, Canada, and the good ol’ USA — and heard all kinds of bad sound.

So what were the worst copies we heard? Hands down it was the British Originals, believe it or not. They tend to be dull, thick, and lifeless — not a good match for this punky, energetic material. [We have since found some very good sounding Brit originals but, that said, to date they have never won a shootout.]

On the other side, many of the other copies we heard were bright and grainy. It’s very tough to find a copy that strikes a balance, but we finally managed to dig up a handful that did the job. (more…)