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How Can I Recognize What I Should Be Listening For on a Given Album?

Helpful Advice on Doing Your Own Shootouts

Hot Stampers – The Four Pillars of Success

Doing carefully controlled shootouts with large groups of records is the only practical way anyone can learn what to listen for.

The advice you see below is often reproduced on our site. Here is some we recently included in a listing for Rubber Soul, with specific commentary about the song Norwegian Wood:

If you have five or ten copies of a record and play them over and over against each other, the process itself teaches you what’s right and what’s wrong with the sound of the album at key moments of your choosing.

Once your ears are completely tuned to what the best pressings do well that others do not do as well, using a specific passage of music — the acoustic guitar John strums the hell out of on Norwegian Wood from Rubber Soul just to take one example — it will quickly become obvious how well any given pressing reproduces that passage.

The process is simple enough. First you go deep into the sound. There you find something special, something you can’t find on most copies. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.

Admittedly, to clean and play enough copies to get to that point may take all day, but you will have gained experience and knowledge that you cannot come by any other way. If you do it right and do it enough it has the power to change everything you will ever achieve in audio.

Once you have done that work, when it comes time to play a modern record, on any label, it often becomes obvious what they “did to it” in the mastering, and how far short if falls when compared head to head to the pressings that were found to have the best sound. 

Our critiques are often quite specific about the sound of these Heavy Vinyl pressings. Our review for the remastered Rubber Soul is a good example of how thorough we can be when we feel the need to get down to brass tacks. 

Many of those who were skeptical before they heard their first Hot Stamper have written us letters extolling the virtues of our pressings. Here are some Testimonial Letters you may find of interest.

One Final Note

Before you try your first Hot Stamper, as long as you are buying vintage pressings in the meantime, not audiophile records, you are probably not wasting much money.

Every vintage pressing has the potential to teach you something.

A modern record, on the other hand, should never be considered anything more than a stop-gap, a kind of sonic benchmark to beat when you finally find a better sounding vintage pressing in acceptable condition.


FURTHER READING

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