pinkfwishy

Pink Floyd – “…never heard the details in the guitars and cymbals and keyboards like this.”

Pink Floyd Hot Stamper Pressings Available Now

Letters and Commentaries for Wish You Were Here

One of our best customers, Roger, received his $150 Hot Stamper [those were the days!] ’Wish You Were Here’ and went straight to work comparing it with the various other pressings he owned: two different CBS Half Speeds. The not-so-shocking results are presented in detail below.

Hi Tom,

I received your Pink Floyd ‘Wish You Were Here’ Hot Stamper and compared it to my CBS Half-Speed (I found a bunch of these Half-Speeds in a bargain bin years ago and did a shootout to select the best one) and the pressing that I considered the best, the Japanese Mastersound Half-Speed, for which I paid dearly.

Drum roll, please while Vanna hands me the sealed envelope………… and the winner is: Surprise — the Hot Stamper!

And it wasn’t even close.

Once I heard the center-of-the-earth bass on the Hot Stamper ‘Shine On You Crazy Diamond’, it was all over. I was amazed at how bright the CBS was, transparent yes, but bright and no bass and no body to the saxophones and voices. The Mastersound was better-balanced in that the highs were tamed, but no real dynamics and the bass was flabby.

I have heard this record hundreds of times, but never heard the details in the guitars and cymbals and keyboards like this.

And did I mention the huge, huge soundstage with a wall of sound like that of other Pink Floyd records? Nice job as usual.

Roger,

Thanks for verifying the accuracy of our Hot Stamper claims once again. The decent sounding Half Speed Mastered records, CBS and otherwise, can be counted pretty easily on one’s fingers. We could debunk them all day long if we wanted to (and had ten times the staff). It doesn’t take long to hear how anemic the sound is compared to The Real Thing, the real thing being, of course, a vintage pressing.

The copy you bought was rated A Plus on both sides, two full sonic grades below the best, so you can imagine how good those copies sound. But since neither you nor I are made out of money, for $150 you now own a copy that will trounce anything you throw at it, especially if what you throw at it is an audiophile pressing.

Those moribund LPs belong on Ebay where all the Technics turntable owners of the world can find them in order to complete their — let’s be honest — silly and ultimately pointless audiophile collections.

Modern equipment shows half-speed foolishness for what it is. You heard it, we heard it, and slowly but surely we are spreading the word to the rest of the audiophile community.

Thanks again; it’s a big job and we need all the help we can get.

Best 
TP


Pink Floyd – Wish You Were Here

  • This Pink Floyd classic is back on import vinyl that boasts excellent Double Plus (A++) sound from first note to last
  • The vinyl has some issues, so those of you looking for a quieter copy may want to wait for one of those to hit the site
  • If you are looking for a shootout winning copy, let us know, with music and sound like this, we hope to be able to do this shootout again soon
  • Demo Disc Quality Floyd Magic — our Hot Stamper pressings are bigger, richer, more dynamic, have better bass, more immediacy, and more of just about everything that makes a Classic Pink Floyd album a listening experience like no other
  • 5 stars on Allmusic, a Top 100 title and one that is tough to find with sound this good and surfaces this (relatively) quiet
  • “Showcasing the group’s interplay and David Gilmour’s solos in particular… the long, winding soundscapes are constantly enthralling.”
  • If you’re a fan of the band, and what audiophile wouldn’t be?, this classic from 1975 belongs in your collection.
  • The complete list of titles from 1975 that we’ve reviewed to date can be found here.
  • A permanent member of our Rock and Pop Top 100 and, on big speakers at loud levels, a Demo Disc of the Highest Order

The sound of this very special import pressing is HUGE, open, and spacious like nothing you have ever heard.  It’s also exceptionally transparent, with substantial amounts of depth and three-dimensionality.

There is a huge room around the drums that we guarantee you have never heard sound as big and real as it does on this very record.

Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings).

Here is the size, energy, and presence to bring the music out of the speakers and right into your listening room! (more…)

Letter of the Week – “Wish You Were Here is maybe the best sounding record I’ve ever heard…”

More Letters and Commentaries for Wish You Were Here

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom,  

I want to say a big THANK YOU for the Hot Stampers you sent to me.

Wish You Were Here is maybe the best sounding record I’ve ever heard (as you know I have a lot of Hot Stampers). I’m so amazed and lucky – I can’t describe it. The copy sounds out of this world with soooo well-defined bass, stunning clarity, warmth and richness, immediacy, astonishing transparency…

It murders my old copy.

Another Passenger and Honky Chateau are also Demo Discs of the highest order. 

Erik S.


FURTHER READING

New to the Blog? Start Here

More Hot Stamper Testimonial Letters

Basic Concepts and Realities Explained

Letter of the Week – “Where should everything be on the ‘stage?'”

Pink Floyd Hot Stamper Pressings Available Now

Letters and Commentaries for Wish You Were Here

One of our good customers had some questions about the Hot Stamper pressing he had purchased:

Hey Tom, 

Hope you are fine! Please let me ask for a bit of help/advice. It may seem to be a stupid question, but it is essential to me to get clarity about my room and treatments.

It is about Wish you were here, the song on side two of the album. Got the white hot and it is sounding phenomenal.

Now my questions: It is about 1) the „huuhh“ followed by the 2) harrumph and the following 3) two tunings of the guitar.

1) Until yesterday the „huuhh“ was coming out between the loudspeaker, with small changes in the room treatment it is now coming from right, which sounds good. The accoustik guitar intro came before and comes after the changes from between the speakers. So my question: Should the „huuhh“ come from the middle or from the right. When coming from right the sound in general sounds more dynamic to me.

Hans,

Let me tell you what I can say without going back into the studio to play the record. These are some things that are generally true.

You are probably correct I am guessing. The reason for that is that the guitar is miked but not the vocal, meaning the vocal may be displaced in the soundstage due to phase issues. It is off-axis to the mic, and therefore “out somewhere,” not where the guitar is, because only the guitar is directionally miked.

2) The harrumph comes from the right side, right?

3) The two guitar tunings: first comes from the upper middle of the stage, the second comes from the right upper side, correct? Especially those two guitar tunings are in my opinion extremely fragile to changes, really minor changes in room acoustic and speaker placement, I would say half of a cm or so are enough for changes where they come from.

Would be great, if you can give me some input here. All in all, if half a year ago somebody would have told me my stereo sounds like it does now, I would have told him, that’s impossible. Now, I want even more, and the more I do, the more I am convinced that the room with the treatments together with speaker placement are the critical point.

All of this gets at the same questions – where should everything be on the “stage?”

The danger is making these judgments with one record is that you never want to optimize one record, only to find out afterwards that it sounds good but others you own don’t. Here is an old commentary about that:

In 2005, I Fell Into a Common Audiophile Trap

BS&T is a tough test too:

The Blood, Sweat and Tears Turn Up Your Volume Test

So the best thing to do is get all your hardest test records out and start playing them and making notes as you make changes to your system.

You are correct that speaker placement is very important. Room treatments too. I would add electricity to that list.

I said so in my review of the 45 RPM Tillerman:

Recently I was able to borrow a copy of the new 45 cutting from a customer who had rather liked it. I would have never spent my own money to hear a record put out on the Analogue Productions label, a label that has an unmitigated string of failures to its name. But for free? Count me in!

The offer of the new 45 could not have been more fortuitous. I had just spent a number of weeks playing a White Hot Stamper Pink Label original UK pressing in an attempt to get our new Playback Studio sounding right.

We had a lot of problems. We needed to work on electrical issues. We needed to work on our room treatments. We needed to work on speaker placement.

We initially thought the room was doing everything right, because our Go To setup disc, Bob and Ray, sounded super spacious and clear, bigger and more lively than we’d ever heard it. That’s what a 12 foot high ceiling can do for a large group of musicians playing live in a huge studio, in 1959, on an All Tube Chain Living Stereo recording. The sound just soared.

But Cat Stevens wasn’t sounding right, and if Cat Stevens isn’t sounding right, we knew we had a Very Big Problem. Some stereos play some kinds of records well and others not so well. Our stereo has to play every kind of record well because we sell every kind of record there is. You name the kind of music, we probably sell it. And if we offer it for sale, we had to have played it and liked the sound, because no record makes it to our site without being auditioned and found to have excellent sound.

And as for your stereo being so much better than you thought it could ever be, I wrote about that twenty years ago!

The Myth of Diminishing Returns in Audio

Hope all this helps. Feel free to email me anytime.

Best, TP


FURTHER READING

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What We Think We Know about Pink Floyd’s Amazing Wish You Were Here Album from 1975

Pink Floyd Hot Stamper Pressings Available Now

Letters and Commentaries for Wish You Were Here

We have added some moderately helpful title specific advice at the bottom of the listing for those of you want to find your own Hot Stamper pressing.

This is the perfect example of everything we look for in a recording here at Better Records: it’s dynamic, present, transparent, rich, full-bodied, super low-distortion, sweet — good copies of this record have exactly what we need to make us audiophiles forget what our stereos are doing and focus instead on what the musicians are doing.

For those of you who aren’t familiar with the album, Pink Floyd managed to record one of the most amazing sounding records in the history of rock music. The song Wish You Were Here starts out with radio noise and other sound effects, then suddenly an acoustic guitar appears, floating in the middle of your living room between the speakers, clear as a bell and as real as you have ever heard. It’s obviously an “effect,” but for us audiophiles it’s pure ear candy.   

The Seventies – What a Decade!

Tubey Magical Acoustic Guitar reproduction is superb on the better copies of this recording. Simply phenomenal amounts of Tubey Magic can be heard on every strum, along with richness, body and harmonic coherency that have all but disappeared from modern recordings (and especially from modern remasterings).

This is some of the best High-Production-Value rock music of the ’60s and ’70s. The amount of effort that went into the recording of this album is comparable to that expended by the engineers and producers of bands like Supertramp, The Who, Jethro Tull, Ambrosia, Yes and far too many others to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.

Big Production Tubey Magical British Prog Rock just doesn’t get much better than Wish You Were Here.

A Big Speaker Record

Let’s face it, this is a BIG SPEAKER recording. It requires a pair of speakers that can move air with authority below 250 cycles and play at loud levels. If you don’t own speakers that can do that, this record will never really sound the way it should.

It demands to be played LOUD. It simply cannot come to life the way the producers, engineers and artists involved intended if you play it at moderate levels.

This is also the kind of recording that caused me to pursue Big Systems driving Big Dynamic Speakers. You need a lot of piston area to bring the dynamics of this recording to life, and to get the size of all the instruments to match their real life counterparts.

For that you need big speakers in big cabinets, the kind I’ve been listening to for more than forty years. (My last small speaker was given the boot around 1974 or so.) To tell you the truth, the Big Sound is the only sound that I can enjoy. Anything less is just not for me.

Size and Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.

Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean British original copies with which to do a shootout? These records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of original pressings of Classic Rock albums.

One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it’s an entirely different – and dare I say unforgettable — listening experience. (more…)