thick-sound

The records linked here have what we refer to as “thick” sound.

Thin sound is even worse, but the best records are neither thick nor thin. They are just right.

Live At The Village Gate on Audio Fidelity Heavy Vinyl

Hot Stamper Pressings of Jazz Albums Available Now

An Audiophile Hall of Shame pressing. It’s yet another Disastrous Heavy Vinyl release with godawful sound.

What a murky mess. Hard to imagine you couldn’t find a common domestic pressing that wouldn’t sound better.

I mention throughout this blog that, starting in the ’90s, the records put out by Cisco, DCC, S&P and finally Audio Fidelity had to fight their way through Kevin Gray’s opaque, airless, low-resolution cutting system. We discuss that subject in some depth here.

Compressed, thick, dull, opaque, and almost completely lacking in ambience, this record has all the hallmarks of a Modern Heavy Vinyl Reissue pressed at RTI.

The average ’70s pressing on the Atlantic Red and Green label will kill this audiophile piece of junk, and it’s unlikely to cost you more than ten bucks. Whatever you do, don’t waste your money on this incompetently remastered reissue.

For 35 years we’ve been helping music loving audiophiles the world over avoid bad sounding records.

To see the records with bad sound or bad music we’ve reviewed that weren’t marketed to audiophiles, click here.

It’s yet another public service from Better Records, the home of the best sounding records ever pressed. Our records sound better than any others you’ve heard or you get your money back.

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Giant Steps – Thick and Dull, Sorry, Not Really Our Sound

More of the Music of John Coltranecoltranegiant45x

John Coltrane – Giant Steps / Rhino 45 RPM 2 Disc Set 

The sound of the 45 RPM 2 disc version cut by Bernie Grundman does not exactly tickle our fancy. It sounds thick, dull, and entirely too smooth.

It reminds us of the awful Deja Vu Bernie remastered years ago for Classic Records.

As is the case with so many of the Heavy Vinyl reissues released these days, the studio ambience you hear on these pressings is a pitiful fraction of the ambience the real pressings are capable of revealing. Real pressings like, you know, the ones mass-produced by Atlantic, original and reissue alike. What’s Bernie’s excuse?

Rhino bills their releases as being pressed on “180 gram High Performance Vinyl.” However, if they are using “performance” to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins.

If you are stuck in a Heavy Vinyl rut, we can help you get out of it. We did precisely that for these folks, and we can do it for you.

(Like the gentleman who sent me the Steppenwolf album, you may of course not be aware that you are stuck in a rut. Most audiophiles aren’t.)

The best way out of that predicament is to hear how mediocre these modern records sound compared to the vintage Hot Stampers we offer.

Once you hear the difference, your days of buying newly remastered releases will most likely be over.

Even if our pricey curated pressings are too dear, as a Brit might put it, you can avail yourself of the methods we describe to find killer records on your own.

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Ravel, Saint-Saens et al. / Tzigane, Havanaise / Kyung-Wha Chung

Hot Stamper Orchestral Imports on Decca & London

This 1979 London original English pressing of violin showpieces (reviewed in 2012) has Super Hot Stamper sound on side two, which came as a bit of a shock to us after playing side one, which is as congested and opaque as one would expect from such a late London recording.

A great many Decca recordings from the Seventies are not to our liking, for reasons we lay out here.

Side two is fabulous — full-bodied, rich and sweet. Even though it may have been recorded in 1977, the engineer is Kenneth Wilkinson, and the hall is Kingsway — not many bad recordings can be attributed to either.    

But bad mastering or bad pressing quality are surely not the fault of either. When the record doesn’t come out of the oven right, the sound is going to suffer, and the sound on this side one is insufferable all right.

But side two is GLORIOUS, with wonderful music played with skill and feeling. (more…)

Atlantic Crossing – Thick, Dull and Dubby on British Vinyl

Another Well Recorded Album that Should Be More Popular with Audiophiles

The copies we liked best were the biggest and richest, the least thin and dry. Many of the brighter copies also had sibilance problems which the richer and tubier ones did not.

On some of the Rod Stewart albums that we happen to know well, the British pressings are clearly superior; the first two Rod Stewart albums come immediately to mind. After that, strange as it may seem, all the best pressings are domestic. This album is certainly no exception.

I remember bringing back a few Brit copies from England many years ago and being surprised that they were so thick, dull and dubby sounding. Of course, they were; the album was recorded right here in the good old US of A. The master tapes are here. The Brit pressings sound dubby because they are made from copy tapes.

If there is any doubt, the following is a list of the studios in which Atlantic Crossing was recorded.

  • A&R, NY
  • Criteria, Miami, FL
  • Wally Heider, Los Angeles, CA
  • Hi Recording and
  • Muscle Shoals Sound, AL

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The Cars on Nautilus – Ouch!

More of the Music of The Cars

Sonic Grade: F

This Nautilus Half-Speed Mastered LP is pure mud — compressed, thick and congested, a disaster on every level, much like their atrocious remastering of Candy-O.

Is it the worst version of the album ever made? Hard to imagine it would have much competition.

If you own this Audiophile BS pressing (NR-14) and you can’t hear what’s wrong with it, you seriously need to consider ditching your current playback system and getting another one.  It is doing you no favors.

Our Nautilus pressing here is yet another one of those Jack Hunt turgid muckfests (check out City to City #058 for the ultimate in murky sound), is incapable of conveying anything resembling the kind of clean, clear, oh-so-radio-friendly pop rock sound that producer Roy Thomas Baker, engineer Geoff Workman and the band were aiming for.

The recording has copious amounts of Analog Richness and Fullness to start with. Adding more is not an improvement; in fact it’s positively ruinous.

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Peter Gabriel – Direct Disk Labs Half-Speed Reviewed

More of the Music of Peter Gabriel

Reviews and Commentaries for the Music of Peter Gabriel

Sonic Grade: D

The Direct Disk Labs half-speed here is thick, compressed and lifeless, though fairly rich tonally, a key quality the best UK pressings always have. The good UK pressings — on the original tan label, avoid the blue label reissues, they suck — are full of luscious Tubey Magic.

This is in fact the only Peter Gabriel recording that has that vintage Tubey Magical Analog sound. The worst recording of his first five, So, has the least amount. It is digital, and it sounds like it’s digital, but that is not the kiss of death if you can find a good domestic pressing of it and clean it right.

You could do worse I suppose, but too much of the life of the music will be lost when playing this poorly remastered pressing.  Did they have a good British tape to work with? It doesn’t sound like it.

Is it better than the average domestic pressing, the ones that are clearly made from dubbed sub-generation tapes? Maybe, in some ways, but both this half-speed and the domestic pressings should be avoided by audiophiles looking for top quality sound.

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How Do You Like Your Sky Dive – Blurry, Thick, Veiled, Dull or Slow?

Hot Stamper Pressings of the Music of Freddie Hubbard Available Now

That’s too often the sound we hear on the Heavy Vinyl records being pressed these days. From time to time we get hold of some to audition just to see what they’ve done with (to?) the titles we know well.

We sure don’t have any intention of selling them. That would violate our principles. And the very name of our operation: Better Records. It’s rare for anything pressed on Heavy Vinyl to qualify as a Better Record, which is why so many of them can be found in our Heavy Vinyl disasters section.

Not sure why so few reviewers and audiophiles notice these rather obvious shortcomings, but we sure do, and we don’t like it when records sound that way.

But that sound can be found on plenty of vintage pressings too. We should know, we’ve played them by the tens of thousands!

Smear is by far the most common problem with the copies we played. When the transient bite of the trumpet is correctly reproduced, maintaining its full-bodied tone and harmonic structures, you know you have a very special copy of Sky Dive (or First Light or Red Clay, etc., etc.).

When the sound is blurry, thick, veiled, dull or slow, you have what might be considered something more like the average copy.

Rudy gets one hell of a lively trumpet sound in this period of his career. If you have a good pressing of one of his early ’70s jazz recordings the sound can be positively EXPLOSIVE, with what feels like all the size and power of live music.

If you don’t have a hot copy of Red Clay, get one. It’s some of the best funky jazz ever recorded. No collection should be without it.

Fresh Cream – A DCC Disaster

Hot Stamper Pressings of British Blues Rock Albums Available Now

Is it the worst version of the album ever made?

That’s hard to say. But it is the worst sounding version of the album we’ve ever played, and that should be all any audiophile contemplating spending money on this kind of trash needs to know.

Compressed, thick, dull, opaque, and almost completely lacking in ambience, this record has all the hallmarks of the Modern Heavy Vinyl Reissue.

Whether made by DCC or any other label, starting at some point in the mid-’90s, many remastered audiophile pressings started to have a tonal shortcoming that we found insufferable from day one: they are just too damn smooth.

Almost any domestic or British original pressing of Fresh Cream will be better in almost every way. Read our Hot Stamper review below for the full story. 

UPDATE

[This is an old review. We buy very few domestic pressings of Fresh Cream. They are often noisy, and they don’t sound remotely as good as the right British imports, including some late reissues. But anything beats the DCC LP.

It is, in our experience, the worst version ever.

Our Hot Stamper Commentary from 2008

AN EXCEPTIONAL SIDE ONE BACKED WITH GREAT SIDE ONE, both on surprisingly quiet vinyl! We just finished a shootout for this hard-rockin’ debut album and were delighted to hear how good this music can sound on the right pressing. This copy has the kind of bottom end that this music absolutely demands but is sadly missing in action from most of the pressings we played. If your Cream record can’t rock, remind me, what exactly is the point again? (more…)

Van Halen on DCC – Not My Idea of Good Sound

Hot Stamper Pressings of the Music of Van Halen Available Now

As I recall it isn’t very good — thick and dull and closed-in; in other words, boring as all get out — but, in its defense, I confess I played it quite a while ago.

If your copy sounds better, more power to you.

But I bet it doesn’t.

Any copy we sell is guaranteed to blow the doors off of it — as well as any other pressing you own — or your money back.

Here are other records, many of them on Heavy Vinyl or Half-Speed Mastered, that we found to have similar shortcomings. They are, to one degree or another:

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Folk Singer – Another Muddy MoFi

More of the Music of Muddy Waters

An Audiophile Hall of Shame pressing and another MoFi LP reviewed and found wanting.

The MoFi is thick, fat and murky, with much less transparency than the Classic release (which is no award winner either).

The typical album MoFi remastered on Anadisq suffered from many or most of the long list of shortcomings you see below. If you want to avoid records with these faults, you would be well advised to avoid any of the records we’ve linked to.

Is this the worst sounding pressing of Folk Singer ever made?

That’s hard to say. But it is the worst sounding version of the album we’ve ever played, and that should be fair warning for any audiophile contemplating spending money on this kind of trash.