Hot Stamper Pressings of the Music of Rimsky-Korsakov Available Now
Sonic Grade: C (at most)
Year ago we cracked open the Speakers Corner pressing shown here in order to see how it would fare up against a pair of wonderful sounding Londons we were in the process of shooting out at the time.
Here’s what we heard in our head to head comparison.
The soundstage, rarely much of a concern to us at here at Better Records but nevertheless instructive in this case, shrinks roughly 25% with the new pressing. Depth and ambience are reduced by about the same amount.
But what really bothered me was this:
The sound was just so VAGUE.
There was a cloud of musical instruments, some here, some there, but they were very hard to SEE. On the Londons we played they were clear. You could point to each and every one. On this pressing that kind of pinpoint imaging was simply nowhere to be found. (Here are some other records that are good for testing vague imaging.)
Case in point: the snare drum, which on this recording is located toward the back of the stage, roughly halfway between dead center and the far left of the hall. As soon as I heard it on the reissue I recognized how blurry and smeary it was relative to the clarity and immediacy it had on the earlier London pressings we’d played. I’m not sure how else to describe it — diffuse, washed out, veiled — just vague.
(Here are some other records that are good for testing the sound of the snare drum.)
This particular Heavy Vinyl reissue is more or less tonally correct, which is not something you can say about many reissues these days. In that respect it’s tolerable and even enjoyable. I guess for thirty bucks it’s not a bad deal.
But… when I hear this kind of sound only one word comes to mind, a terrible word, a word that makes us recoil in shock and horror. That word is DUB. This reissue is made from copy tapes, not masters.
Copies in analog or copies in digital, who is to say, but it sure ain’t the master tape we’re hearing, of that we can be fairly certain. How else to explain such mediocre sound?
Yes, the cutting systems being used nowadays to master these vintage recordings aren’t very good; that seems safe to say.
Are the tapes too old and worn?
Is the vinyl of today simply not capable of storing the kind of magical sound we find so often in pressings from the 50s, 60s and 70s?
Could the real master tape not be found, and a safety copy used to master the album instead?
To all these questions and more we have but one answer: we don’t know.
We know we don’t like the sound of very many of these modern reissues and I guess that’s probably all that we need to know about them. If someone ever figures out how to make a good sounding modern reissue, we’ll ask them how they did it. Until then it seems the question is moot. (Someone did, which proves it can be done!)
Back in 2011 we stopped carrying Heavy Vinyl and most other audiophile LPs of all kinds. (These we like.)
So many of them don’t even sound this good, and this kind of sound bores us to tears.
Hot Stamper Pressings of Soul, Blues, R&B, etc. Available Now
Sundazed’s reissue gives the original a run for the money and remains true to the original, though it suffers in the bass, which while deep and reasonably well defined, is not as tightly drawn or focused. The upper mids on the original also bloom in a way that the reissue’s don’t, giving the reissue a slightly darker, recessed sound, but there’s still sufficient energy up there since Dylan’s close-miked vocals pack an upper midrange punch. If the vocals or harmonica sound spitty and unpleasantly harsh, it’s your system, not the record [!] – though there’s plenty of grit up there. On the plus side, the overall clarity and transparency of the reissue beats the original. [!] A really fine remastering job.
The engineering duties were handled by 