12-2021

Letter of the Week – “…going through all my Hot Stampers and taking it all in …”

Important Lessons We Learned from Record Experiments

This week’s letter comes from our good friend Franklin.

Franklin was having some serious sound problems that were driving him crazy after moving his speakers from the long wall (not a good idea) to the short one (much better as a rule).

He already had one pair of Hallographs, which had helped his room problems quite a bit. We rely on three pair, and the second and third pair were a big improvement over the first, so we recommended another to Franklin, which, by the sound of this letter, seems to have worked miracles!

Hello Mr. Port,

Just to let you know what you already know about this LP. When I first received this ($500) LP and listened to it, I thought I had really messed up.

I didn’t hear all the nuances you described. I just put it away and forgot about it. What a BUMMER!!!!! But I decided to try it again after placing the new pair of Hallos. I moved them all over the place. I even have the floor marked all over with painter’s masking tape to remind me where the best spots are for the Hallos. Floor really looks funny.

Sometimes when you make a change, it seems to be better for some LPs but not others. But when a change impacts all the LPs positively, you know you are in the game. I am going through all my Hot Stampers and taking it all in. I will tweak some more but for now I’ll just enjoy.

Regards,
Franklin

Franklin,

Thanks so much for your letter. When your system is cookin’ and you’re hearing all your records sound better than ever, that’s when audio is FUN. You had to do a lot of work to get there and the good sound you are now able to enjoy is your reward.

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Extracting the Midrange Magic of Buffalo Springfield Again

Hot Stamper Pressings of the Music of Buffalo Springfield Available Now

So many copies of this album sound so bad and play so poorly that most audiophiles have given up by now and written it off as a lost cause.

But we didn’t. We kept at it. Our main motivation? The music.

Extracting the midrange magic from a album like this should be the goal of every right-thinking audiophile.

Who cares what’s on the TAS Super Disc List? I want to play the music that I love, not because it sounds good, but because I love it.

And if the only way to find good sounding copies of typically poorly-mastered, beat-to-death records such as this one is to go through a big pile of them, well then, I guess that’s what we’ll have to do.

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Better Records’ Record Collecting Axiom Number Two

Thinking Critically About Records Is Key to Understanding Them

In an old commentary for a shootout we did for Carole King’s Tapestry album, we took to task both the CBS Half-Speed mastered audiophile pressing and the Classic Heavy Vinyl audiophile pressing, noting that both fell far short of the standard set by the Hot Stamper copies we’d discovered over the years.

This finding (and scores of others just like it) prompted us to promulgate the following axioms of audiophile record collecting. (Axiom Number One can be found here.)

Which leads us to Better Records Record Collecting Axiom Number Two

No two records sound the same.

If that weren’t true we’d be out of business. It is in fact the very foundation of our business. We wrote a commentary with that idea firmly in mind under the heading identical stampers + new vinyl = different sound?, which goes into that subject in more detail.

And it’s equally true for Half-Speeds — they’re records, right? — so we have a few entries in our we was wrong. section about those rare copies that actually have sounded good to us over the years.

For example, the chances of there being exceptionally good sounding CBS Half-Speed mastered pressings of Tapestry may be vanishingly small, but we can’t say the chances are zero.

There could be some, but considering how bad the idea of Half-Speed mastering is, would they have much chance of beating our Hot Stampers?

As a practical matter I would have to say the chances are zero.

They can’t beat the right early pressings, properly cleaned. They can beat lots of pressings with the wrong stampers.

There might be some copies that sound better than the mediocre Classic Records pressing, which is tonally fine but suffers from the basic issues most of Bernie Grundman’s remastered records suffer from.

Further Reading

A Reviewer Liked this London a Whole Lot More Than I Did – A Cautionary Tale

Hot Stamper Orchestral Imports on Decca & London

While digging around the web I ran into a site called From Miles to Mozart, which purports to be “An exploration of the incredible world of classical and jazz recordings”

Fair enough. Here is what the reviewer had to say about a London we did not think sounded very good, CS 6357. At the time, he was most of the way through a fairly complete survey of London Bluebacks, and when those were done he went on to review a Whiteback pressing of this London, which appears to be the only pressing he had on hand. (We of course had only the one as well.)

I’d run out of blue so next up was CS 6357 with its retro FFSS label, a white back FFSS. Clifford Curzon scores a knockout with the Dvorak Quintet with a very refined late Blueback sound; truly transcendental sound of the highest order. Another white back FFSS followed in CS 6379 Mozart Clarinet Quintet with a magical clarinet but some edginess at times with some of the instruments. Overall the Clarinet Quintet had very strong sound to rival most any Blueback. Unfortunately, the Mozart Divertimenti on side 2 was not as assured with quite a few signs of strain in the highs indicative some early transistor changing the precious Blueback sound. CS 6379 was recorded by Smith and Parry October, 1963 at Sofiensaal, Vienna with the LP coming out in May of 1964. CS 6357 was recorded in Sofiensaal, Vienna by Culshaw and Parry in October 1962 with the LP in October 1963. Overall two strong LP’s without a Blueback! (Well, CS 6357 does exist with a Blueback.)

He has some ideas about “precious Blueback sound” and the half-speed mastering setup used to achieve them. I will leave that for others to discuss, mostly because I could not seriously entertain this fellow’s writing once I found out what he had to say about one of Mobile Fidelity’s earliest half-speed mastered releases:

Zubin Mehta Conducts Music from Star Wars and Close Encounters of the Third Kind (MFSL 1-008)

Comments: If you want to hear what audiophile vinyl sounds like, this is a great way to start. Whether you like science fiction movies or not, this record is a must hear … and try to turn up the volume if you can. This Mobile Fidelity Sound Lab pressing of Decca SXL 6885 (London ZM 1001) is one of the most incredible sounding orchestral recordings I have ever heard. It may not be the recording used for the movies (John Williams conducted those himself), but it sounds significantly better in terms of recording quality. Talk about lifelike presence, huge dynamic range, bass depth with real visceral impact — this record has DEMONSTRATION written all over it. Even the Cantina Band track gives you the impression of an alien jazz/pop band playing right before you. I was fortunate enough to get my copy for free from a friend, and only recently did I realize that this album sells for some money. Looking for a change from the same old EMI, Decca, RCA, Mercury, DG, or Philips? Try this one.

If this is your idea of an audiophile Demo Disc, you are setting the bar awfully low, about even with the height of the carpeting.

I consider it a piece of mid-fi audiophile trash, one that I never bothered to discuss on the blog.

Were I to grade it today I would probably give it a D for sound and an F for music. I remember playing it back in the late-70 or early-80s and wondering what on earth was the appeal of such a cheesy, lowest-common-denominator schlockfest.

If this London LP isn’t the perfect example of a pass/not-yet record, I can’t imagine what would be.

We Know the Record Well

Years ago I did a little shootout with a few of the early London pressings of the album — which were also mastered by Stan Ricker, not sure if many of you out there knew that — as well as some later pressings not cut by SR, and of course the MoFi.

The MoFi was clearly better than any of the three regular London pressings, as they were just not very good sounding at all, suffering from a problem which makes most later Londons hard to enjoy. That problem is opacity.

For classical and orchestral music, it’s the kiss of death.  It is also one of the main reasons we like so few orchestral recordings pressed on Heavy Vinyl. Most of them badly lack transparency, a sonic issue we wrote about more than a decade ago.

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