louder-is-better

On these titles, louder is definitely better.

Loud Levels and Big Woofers Will Rock Your World on Crime of the Century

Hot Stamper Pressings of the Music of Supertramp Available Now

Yet another in the long list of recordings that really comes alive when you turn up your volume.

The bass on the best copies is AWESOME. Playing a Hot Stamper copy at loud levels with big woofers will have your house quaking. Add to that the kind of ENERGY that the better pressings have in their grooves and the result is an album guaranteed to bring most audiophile systems to their knees, begging for mercy. 

This is The Audio Challenge that awaits you. If you don’t have a system designed to play records with this kind of SONIC POWER, don’t expect to hear Crime of the Century the way the brilliant engineer Ken Scott and the boys in the band wanted you to. The album wants to rock your world, and that’s exactly what our Hot Stamper pressings are capable of doing.

With sound that stretches from wall to wall and floor to ceiling, this is a Big Speaker Rock Demo Disc with very few rivals in my experience, offering the dedicated audiophile the kind of sound I have been lusting after since I first got heavily into audio in the early- to mid-’70s.

The Mobile Fidelity Pressing Used to Be Impressive

The typical Brit copy is dull, and that quality just takes all the magic out of the recording.

The three dimensional space and clarity of the recording rely heavily on the quality of the top end.

The MoFi, on the best copies, shows you what is missing from the typical Brit, domestic or other import LP. This is what impressed me back in the ’70s when I bought my MoFi. It was only years later that I realized what was missing and what was wrong.

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Every Top Copy of In Through the Out Door Must Pass This Test

Hot Stamper Pressings of the Music of Led Zeppelin Available Now

In our review for this album, we debunked the Classic Records pressing using a very simple test which you may want to try at home.

The test we stumbled upon is actually quite an easy one to use.

A copy that makes you want to turn up the volume is likely to be a winner. The Classic does not pass that test.

We threw one on and just couldn’t deal with the edgy vocals and upper-midrange boost. We wanted to turn down the volume as quickly as we could get our hands on the knob. As far as we’re concerned there’s no substitute for The Real Thing. As hard as it is to find great sounding copies of this album, it’s even harder for us to sit through a sub-par version like the Classic.

And boy were our faces red. We used to think the Classic version was pretty decent, but the best originals SLAUGHTER it! We had never done a shootout for this album before 2007. We didn’t feel up to the challenge, because the typical pressing tends to be miserable — gritty, grainy, and hard sounding, with congested mids, dull up top, and on and on.

But 2007 turned out to be a milestone year for us here at Better Records.

Looking back on that year, the discovery of the Prelude Record Cleaning System, along with some system upgrades, allowed us to jump to the next level.

With better cleaning and more revealing and accurate playback, the Zeppelin shootout we conducted in 20o7 made it clear to us that the Classic was all sorts of wrong when played head to head against the best domestic pressings.

Try the Turn Up the Volume Test and see if your copy makes the grade, or makes you want to turn it right back down. I’m guessing the latter, unless you were lucky enough to get one of our Hot Stampers from the last shootout. There sure weren’t enough to go around.

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Shoot Out The Lights – Loud Versus Live

Hot Stamper Pressings of the Music of Richard Thompson Available Now

Shoot Out the Lights is yet another recording that really comes alive when you turn up your volume.

I’ve seen Richard Thompson on a number of occasions over the years, and as loud as my stereo will play, which is pretty darn loud, I’ve never been able to make his guitar solos 20 dB louder than everything else, because they’re simply not on the record that way. That’s why live music can’t be reproduced faithfully in the home: the dynamic contrasts are much too great for the typical listener, or his stereo. 

Having said that, when you actually do turn this record up, way up, you get the feeling of hearing live music, and that’s not easy to do.

Only the best recordings, in my experience, can begin to give you that feeling. (And of course it helps to have big dynamic speakers.)

On the best copies the sound is very dynamic, the soundstage HUGE. The overall presentation in terms of size and weight just makes you want to turn your stereo up as loud as it will go. In that sense, it has some of the qualities of “live” music, because live music is loud.

We do shootouts for this Top 100 title on a regular basis. To see what we might have in stock, please click here. (more…)

Perez Prado (and Better Records) Implore You to Turn Up the Volume

Another in the long list of recordings that sounds its best when you Turn Up Your Volume.

Tube smear is common to most pressings from the late ’50s, and this is no exception. The copies that tend to do the best in a shootout will have the least amount of smear, or none, yet are full-bodied, tubey and rich. Full sound is especially critical to the horns: any blare, leanness or squawk ruins much of the fun, certainly at the loud levels the record should be playing at.

Which brings up a point that needs making. The tonality of this record is correct when it is playing loud. The trumpets do not get harsh at loud volumes the way they will on, say, a Chicago record. The timbre of the instruments is correct when loud, which means that it was mixed loud to sound correct when loud.

The frequency extremes (on the best copies) are not boosted in any way. When you play this record quietly, the bottom and top will disappear (due to the way the ear handles quieter sounds as described by the Fletcher-Munson curve).

Most records (like most audiophile stereos) are designed to sound correct at moderate levels. Not this album. It wants you to turn it up. Then, and only then, will everything sound completely right from top to bottom.

If you like the sound of percussion instruments of every possible flavor, including some you have never tasted before, you will have a hard time finding a more magical recording of them than this. (more…)

Listening in Depth to Songs for Beginners

Hot Stamper Pressings of the Music of Graham Nash Available Now

Presenting another entry in our extensive listening in depth series with advice on what to listen for as you critically evaluate your copy of Songs for Beginners. Here are some albums currently on our site with similar Track by Track breakdowns.

This is one helluva well recorded album. Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best.

Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better.

Others (Sleep Song, Wounded Bird) are quiet and intimate. Their subtlely is highlighted by the big productions surrounding them. This is that rare album in which every aspect of the production, from the arrangements to the final mix, serves to bring out the best qualities in the songs, regardless of scale.

The recording is of course superb throughout, in the best tradition of Crosby Stills and Nash’s classic early albums: transparent, smooth and sweet vocals, with loads of midrange magic ; deep punchy bass; lovely extension on the top to capture the shimmer of the cymbals and harmonic trails of the acoustic guitars; with the whole balanced superbly by one of our all-time heroes, Glyn Johns.

Side One

Better Days

This easily qualifies as the best test track for side one. It starts out with a soft, intimate vocal from Nash — the more intimate the sound here, the better. The hot stamper copies have an immediacy and a presence that is breathtaking.

Listen also for the sound of the piano. If the piano sounds full and rich, yet clear and not at all smeared, you are off to a very good start. On the best copies you can follow the chords behind the lead instruments throughout the song. The piano easily gets lost on most copies. On the truly transparent pressings you can always hear what the piano player is doing, how his contribution is aiding the material overall, even when its far in the background. That’s what a Hot Stamper gives you: the chance to appreciate every instrument as it works it way through the song.

Ah, but what really separates the men from the boys is the double-tracked vocal (one Nash clearly singing out of each speaker or course!), starting with “Now that you know it’s nowhere… What’s to stop you coming home?” On the killer copies he gets very loud but never for a moment does his voice cross the line into hardess or shrillness. To borrow a phrase from those days, his voice stays natural, even when he’s pushing hard. That’s the emotional peak of the song. The last thing you want is for the sound to be aggressive and call attention to itself.

Most copies will have you wincing by this point if you are at any sort of serious level on this track. Only one original stamper gets his voice right on side one. (No reissue or import or heavy vinyl version I’ve ever heard is even competitive with the best originals, so don’t waste your money.)

The bass clarinet solo (I always thought it was a tenor sax!) almost never sounds right unless you have an especially magical copy. It’s usually hard sounding. Leaner copies tend to make it sound thin. Thick and opaque or just plain rolled off copies make it sound dull.

And last but not least, you need well defined deep bass. There’s plenty of it on this album, stuff well under 30 cycles — it really rumbles the room. There’s an organ playing way down deep underneath this track from early on; a startling effect is created when it suddenly comes to a stop. The more startled you are the better. It’s one of the most powerful audio phenomena I’ve ever experienced, further proof that this album is truly an engineering 

Side Two

Chicago / We Can Change the World

The two last songs here are wedded together, the latter being the chorus of the former. Let me tell you folks: this is ANALOG MAGIC AT ITS BEST. You will never hear a CD sound like this if you live to be a hundred. The midrange is so rich and sweet it makes 99% of all the recordings you’ve ever heard pale in comparison.

The more the individual voices can be heard, free of even the slightest trace of grit or grain, the better the copy. The sound is nothing short of GLORIOUS. This song is Demo Disc material. It rivals Anything on Any Super Disc List compiled by Anybody, and that includes me!

The famous female backup singers here are on scores if not hundreds of albums from the era. Some of the very same girls’ voices can clearly be heard on Pretzel Logic and Aja, to name just a couple of albums we’ve played to death around here. See if you can pick them out of the throng.

One last thing: listen for the organ at the beginning of the song. It should be really punchy with tons of solid low end; it drives the beat like crazy. It’s so funky I’m surprised nobody’s sampled it yet. Maybe they have. How the hell would I know? I don’t listen to that shizzle.

N versus C, S, and Y

In fact, the sound of this album is so good in so many ways, it prompted me to ask the question: Are any of the other albums by Nash’s bandmates as well recorded? Albums by CSN and/or Y, not a chance. They’re well-recorded, don’t get me wrong, but this one is in another league altogether.

Surveying the complete output of all the members would be time consuming, so I’ll cut to the chase. The short answer is three: David Crosby’s If Only I Could Remember My Name, the clear winner of this comparison, followed by two of Neil Young’s: After the Gold Rush and Zuma. Each of them has its own “sound” which is detailed on the site in their respective Hot Stamper listings.

Add Graham Nash’s debut to the list and you have a quartet of recordings that put to shame practically anything from the era. Which is really saying something; the late ’60s to mid-’70s is when all the best modern pop recordings were made, in my audiophile opinion (IMAO).

Ambrosia – The First Four Plus Copy We’d Ever Heard, Going All the Way Back to 2008

Hot Stamper Pressings of the Music of Ambrosia Available Now

This White Hot Stamper original LP goes BEYOND DEMO DISC sound. What that means exactly I’m not sure, but I know it when I hear it, and this record has THAT SOUND.

We had no choice but to award this side one the very rare A with FOUR pluses A++++. Side one of this copy has ENERGY and LIFE we have never heard before.

No other copy had this kind of OFF THE CHARTS sound on either side, which means we feel no compunction awarding this side one our Ultimate Rating of A Quadruple Plus (A++++). Only a handful of records over the course of the last few years have earned such a grade, certainly no more than ten, and if memory serves there has never been a record with Four Pluses on both sides; that would be just too extraordinary, the Black Swan incarnate.

  • Our lengthy commentary entitled Outliers & Out-of-This-World Sound talks about how rare these kinds of pressings are and how to go about finding them.
  • We no longer give Four Pluses out as a matter of policy, but that doesn’t mean we don’t come across records that deserve them from time to time.
  • Nowadays we often place them under the general heading of Breakthrough Pressings. These are records that, out of the blue, reveal to us sound that fundamentally changes what we thought we knew about these often familiar recordings.
  • When this pressing (or pressings) landed on our turntable, we found ourselves asking “Who knew?“
  • Perhaps an even better question would have been “How high is up?”

This Side One

Going back to our best Hot Stamper Triple Plus contenders for the final shootout round, we dropped the needle on this one and it could not have taken three seconds to know that this copy was BEYOND amazing, truly in a league of its own.

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Santana’s Guitar Solos Soar on Inner Secrets

Hot Stamper Pressings of Albums with Especially Dynamic Guitar Solos Available Now

On side two the final guitar solo Santana takes on Well All Right gets as loud in the mix as any guitar solo on any rock record that I know of (off the top of my head).

This link will take you to some of the other records with especially dynamic guitar solos we have auditioned to date.

The sound gets louder after the first chorus, then louder still right before the second solo, and then the solo itself gets even louder until it seems to be as loud as live music. (Operative word: seems.)

Does it seem odd to you that the only audiophiles writing about the amazing sound of this recording are those who happen to work for Better Records?

Oh, we’ve gotten pretty used to it by now. It’s mostly a function of two things: cleaning and playing lots of copies of the same album to find the ones with the incredible dynamics we’re discussing here, and playing them on big speakers at loud levels so that the power of the music gets reproduced in all its glory.

Two points to keep in mind:

  • Some copies get loud and some do not.
  • Some stereos are dynamic and some are not.

If you have the right stereo, set at the right volume, and the hottest of our Hot Stamper copies, you will hear something that not one out of one hundred audiophiles (or music lovers) have ever heard on a record — LIVE ROCK SOUND.

What makes it possible to play this record so loud and still enjoy it? Simple. Just like Nirvana, when the sound is smooth and sweet, completely free of aggressive mids and highs, records get BETTER as they get LOUDER. (This of course assumes low distortion and all the rest, but the main factor is correct tonality from top to bottom, and this record has it.) 

One reason the turn up your volume test is such a great test — the louder the problem, the harder it is to ignore.

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