mystery-merc

What Can You Learn from a Mercury Shootout Like This One?

Hot Stamper Pressings of Mercury Classical Recordings Available Now

The short answer is that you can’t learn much from this shootout, because we’re not telling you which title the stampers you see below belong to.

Be that as it may, in the case of this mystery title the conventional wisdom turns out to be correct — the earlier numbered pressings did better than the later numbered pressings, and the early labels did better than the later labels.

That happens a lot, and we are happy to admit that it does. Why? Because the experimental evidence — the data — say that is what happened.

As usual for posts in which the stamper sheet from a shootout is reproduced in its entirety, the stamper numbers shown below will belong to a different album than the one you see pictured.

These can be found under the heading of Mystery Stampers. Most of these posts will illustrate something to be learned from a Hot Stamper shootout, but because the information reveals the shootout winning stampers, the actual title of the record is rarely revealed.

Much more useful stamper information can be found using this link, which includes plenty of stamper numbers for specific titles that are best avoided by audiophiles looking for top quality sound. In addition, we post the winning and losing stampers for some titles that are an unreliable guide to good sound. Unreliable stampers are also quite common.

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Is CTFR-1 Dark and Congested, or Flat and Bright?

Hot Stamper Pressings of Mercury Classical Records Available Now

For Mercury classical and orchestral recordings, the original RFR-1 pressings on the plum label are the way to go, right? 

In some cases, yes. The first pressings of Mercury albums often win our shootouts.

And for both sides of a copy to win a shootout, like our gold promo seen in the stamper sheet below, everything about the pressing must be right. We call records that win their shootout, earning 3+ grades on both sides, Top Shelf pressings. They are rare and special enough to have a section of their own on the site (which, as of this writing, has all of 19 records in it.)

What we find to be interesting about this specific shootout, however, is that we had two later pressings, both with the same stampers, and they sounded markedly different from each other. (Note that the stamper numbers you see below belong to a different album than the one shown above.)

If a collector were to tell you that that the CTFR pressings tend to be dark and congested, and you owned one with the exact same stampers, CTFR-1, you might be inclined to agree with this person.

But if you were the owner of the copy we played that was flat and bright, again, with CTFR-1 in the dead wax of both sides, you would think this person was 1.) Out of his mind, or, 2.) Deaf as a post, or, 3.) The owner of some very inaccurate playback equipment.

He could be all three, but in this case, an unusual one to be sure, his copy of the album doesn’t tell you anything about the sound of your copy of the album. They could match, or they could be completely different. Some records are like that. Not all that many, but definitely some.

Sample Sizes and One Man Bands

Those of us who play a variety of pressings of the same album know how easy it is to draw mistaken conclusions about records. CTFR-1 on this title is the perfect example of a record whose stampers don’t tell you much about its sound. (Even RFR-1 on side one of one copy was no better than “good,” quite a long ways from the best.)

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Hungarian Rhapsodies 1, 4, 5 & 6 – Wait a Minute

Hot Stamper Pressings of Orchestral Spectaculars Available Now

1963 was a phenomenal year for audiophile quality recordings, but this is not one of the better records produced that year. Far from it.

The sound of our vintage Mercury here, SR 90371, was awful. The overall sound was crude and the strings were shrill.

It has been our experience that many Mercury recordings suffer from these shortcomings.

But wait a minute.

Dorati recorded Hungarian Rhapsodies 2 and 3 with the London Symphony for Mercury, and those can sound amazing when you get hold of a good one.

How did they get this one so wrong?

We don’t know, and we doubt anyone else does either.

Like so many realities of the world of records, it’s a mystery, one that is very unlikely to be solved.

One of the best reasons mysteries such as this have little chance of being solved is that no one with any real expertise, using methodologies that are reliable and reproducible in any serious way, is taking on this kind of work — besides us.

We actually like testing records, and we refined* a method for doing it that is as reliable and reproducible as any method can be in the world of audio: the record shootout.

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The Reissues Consistently Beat the Originals on this Mystery Mercury

Hot Stamper Pressings of Mercury Classical Records Available Now

For Mercury classical and orchestral recordings, the original FR pressings on the plum labels are the way to go, right? 

In some cases, yes. We talk about how much better the FR pressings for The Firebird are compared to the much more common, and still quite good, M2 reissue pressings here.

The stamper numbers you see below belong to a different album.

The notes for the FR originals we played read:

  • Tubey but never as open or dynamic as RFR-1 can be.

The better of the three FR pressings we played was not a bad sounding record, earning a grade of 2+. They’re just not as good sounding as the RFR reissues, which, of course, are the ones that win shootouts.

Something to keep in mind: A Super Hot Stamper Mercury orchestral record is guaranteed to be dramatically better than any Heavy Vinyl reissue ever made.

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This Mystery Mercury May Have the Same Stampers on Both Sides, But the Sound Is Very, Very Different

Hot Stamper Pressings of Mercury Classical Recordings Available Now

For Mercury classical and orchestral recordings, the original FR pressings (when there are such pressings), in stereo, on the original plum label are the best way to go, right? 

In many cases, yes. We talk about how much better the FR pressings for The Firebird are compared to the much more common, and still quite good, M2 reissue pressings here. (Both beat the pants off the awful Classic Records pressing.

But sometimes the RFR pressings — which, as I am sure you know, can be the earliest stampers for some titles — are nothing special on one side or the other. That is exactly the case here.

Keep in mind that the stamper numbers you see above belong to a different album.

We’ve lately been giving out much more stamper information than we used to, but for now we are keeping the identify of this title close to the vest.

We are not able to predict what stampers will win a shootout before we actually sit down to play all our copies.

It turns out that the FR pressings did not sound as good as some of other pressings. The RFR stampers came in somewhere in the middle of the pack, an average of 2+, but a hard record to sell with such very different sounding sides.

This is why we do shootouts, and why you must do them too, if owning the highest quality pressings is important to you.

Fortunately for readers of this blog, our methods are explained in detail, free of charge.

We’ve also written quite a few commentaries to help audiophiles improve the way they think about records.

I implore everyone who wants to make progress in this hobby to learn from the mistakes we’ve made. There are 146 “we were wrong” listings on the site as of this writing, and we learned something from every damn one of them, painful and costly as those experiences may have been.

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The Reissues Consistently Beat the Originals on this Mercury

Hot Stamper Pressings of Mercury Classical Records Available Now

For Mercury classical and orchestral recordings, the original FR pressings on the plum label are the way to go, right? 

In some cases, yes. We talk about how much better the FR pressings for The Firebird are compared to the much more common, and still quite good, M2 reissue pressings here.

The stamper numbers you see below belong to a different album.

The notes for the FR original pressings we played read:

  • Less spacious, more bright and flat.

They’re not bad sounding, they’re just not as good sounding as the RFR reissues, which, incidentally, won the shootout.

We’ve lately been giving out much more stamper information than we used to, but we make it a point to never give out the stamper information for our shootout winners, as finding those very special pressings has been the work of a lifetime and is certainly not something that should be given away for free.

Rules of Thumb

It’s just another one of a number of rules of thumb collectors use (“A method or procedure derived entirely from practice or experience, without any basis in scientific knowledge; a roughly practical method”), one that will sometimes lead you astray if what you are trying to find are not just good sounding pressings of albums, but the best sounding pressings of albums.

Same with reissue versus original. Nice rule of thumb, but it only works, to the extent that it works at all, if you have enough copies of the title to know that you’re not just assuming the original is better. You actually have the data — gathered from the other LPs you have played — to back it up.

Who Knew?

Who knew the recording would sound so much better on the right reissue pressings?

Certainly not us, not until we had done the shootout.

The difference between the way we do things and the way others do them boils down to this: We assumed that the original could be the best, and then we tested that assumption and found out we were wrong.

But the right reissues of this Mercury — again not the ones you see pictured — is indeed an exceptionally good sounding record.

This is why we do shootouts, and why you must do them too, assuming that owning the highest quality pressings is important to you.

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The Original Mercury Pressings Don’t Sound Good on this Title, But Why?

Hot Stamper Pressings of Mercury Classical Recordings Available Now

For Mercury classical and orchestral recordings, the original FR pressings (when there are such pressings) on the plum label are the way to go, right? 

In some cases, yes. We talk about how much better the FR pressings for The Firebird are compared to the much more common, and still quite good, M2 reissue pressings here.

And the FR pressing of the Rachmaninoff record you see pictured above may indeed have the best sound.

The stamper numbers you see below belong to a different album.

(We’ve lately been giving out much more stamper information than we used to, but for now we are keeping this title closer to the vest.)

Note that we had FR1, FR2 and FR3, all originals, yet none of them could be considered good enough to offer our customers.

It’s just another one of a number of rules of thumb collectors use (“A method or procedure derived entirely from practice or experience, without any basis in scientific knowledge; a roughly practical method.”), one that will sometimes lead you astray if what you are trying to find are not just good sounding pressings of albums, but the best sounding pressings of albums.

Same with reissue versus original. Nice rule of thumb, but it only works, to the extent that it works at all, if you have enough copies of the title to know that you’re not just assuming the original is better. You actually have the data — gathered from the other LPs you have played — to back it up.

Who knew the recording would sound so much better on the right reissue pressings?

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