Hot Stamper Pressings of the Music of Igor Stravinsky Available Now
For our shootout years ago of The Firebird we had three minty, potentially hot copies of the Mercury with Dorati, as well as our noisy ref. (We have a noisy reference copy for just about every major title now. We have been doing these shootouts for a very long time. After thirty years in the record business we have accumulated a World Class collection of great sounding records that are just too noisy to sell.)
UPDATE 2024
This is no longer true. Our customers seem to be able to put up with surface noise on the records we offer if the price is low enough. Not actually low, just low enough. We have a section for records with condition issues, and there are 175 entries in it as of today, which turns out to be more than a quarter of all the Hot Stamper pressings on the site as a matter of fact.
We had one FR pressing and two of the later pressings with the lighter label, the ones that most often come with Philips M2 stampers. This is how we described the winner:
So clear and ALIVE. Transparent, with huge hall space extending wall to wall and floor to ceiling. Zero compression.
Lifelike, immediate, front row center sound like few records you have ever heard.
Rich, sweet strings, especially for a Mercury. This side really gets quiet in places, a sure sign that all the dynamics of the master tape were protected in the mastering of this copy.
What we didn’t say — and what we never say in the listings — is what the second tier copies didn’t do as well as the shootout winner.
We used to. When you read the older entries, most of the time they mention the shortcomings that caused one side or another to be downgraded by some amount, usually something like a half to a full plus.
Not all the top end, not all the bass, not as present, slightly smeary, slightly congested — the list of potential faults for any given pressing is long indeed. These are all the problems we listen for and it’s the rare copy that doesn’t suffer from one or more of them.
We decided years ago that it was better just to let you hear the two sides of the record for yourself and make your own judgments about the sound, rather than make clear to you what areas we felt needed improvement.
Consider this example. If on our system the bass was lacking compared to the very best, perhaps on your system the bass was fine, not an issue, good enough. Without the top copy to compare yours to, how would you know how much better the bass could possibly be?
A classic case of “compared to what?”
Shootouts are the only way to answer that question, which, as we never tire of saying, is THE most important question in all of audio. This is why we do shootouts, and why you must do them too, if owning the highest quality pressings is important to you.
Click on the following link to see more records for which we’ve detailed the strengths and weaknesses of a specific copy.
What We Heard on The Firebird
With all that in mind, only the Triple Plus (A+++) copy, as described above, did everything right.
There were two Double Plus (A++) copies, and each of them fell short in different ways.
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