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Hi Everyone, Todd from Better Records here. We wanted to thank Michael for the posts and for putting up this test, and also thank everyone who played the files and commented. We enjoyed reading all the responses and appreciate the consideration. If you ever want to run your own "Hot Stamper test", you know where to find us!

... the true Hot Stamper of this particular LP (for me and 51% of listeners) is very easy to find new and sealed online, and with all sides playable, from several stores carrying Analogue Productions LP's. And that's a great thing for all of us music lovers who want the best sounding records. I suppose that anyone who prefers the original pressing can also find one without much trouble... I'd say, get both! :D

I really enjoyed 1) that you wanted to conduct some research on Mr. Port's Better Records, and 2) your even-handedness. I've purchased a few titles from the site, and while I find some of the pricing laughably audacious, value (like beauty) is in the eyes of the beholder. However, anecdotally, I come away with the sense that Mr. Port CONSISTENTLY favors the used LPs he sells compared to re-issues. The weakness in his analysis is that in those instances, he generally summarily dismisses the reissues. But if "hot stampers" actually exist, I don't see how he can categorically dismiss reissues without sampling a wide variety of them. It would seem a "hot stamper" with "tubey" "master tape" sound could exist on a reissue also, but I'm not aware of him making that kind of discovery. Draw your own conclusions as to where the economic incentive and conflicts of interest might lay in his recommendations (and pricing!)

I knew that the first one was an original. It's more open and airier, but lacks as much depth and macro-dynamics. When the second one musically swells, it really swells outward and you feel the lower soundswaves swell outward. In the same passage, the first one just never opens up outwardly with spatial volume the way the second one does. The orchestral layers are also more specific with the second one. In spite of that, I certainly enjoy the top end openness and air of the first one and wish the second one had a bit of that. Musically speaking, however, the second one gets more of the intention of the music across.

On noise alone it's unsurprising to learn file 1 was the old disk, not because old disks "must" be noisy but we all surely hope new disks ... aren't.

But I still say that the old disk sounds more dynamic. This is especially so, since I normalized both files and yet File 1 seemed to reach crescendo more. What was interesting is that each seemed to possess details the other sometimes lacked, so I'm good with assuming they simply share a different response characteristic that presents itself at various points along the sample.

Overall, I'm pretty sure I responded more to what AnalogJ describes as file 1's openness and air (also, these ears thought they heard more separation) -- and if I'd listened more on a more resolving system likely would have preferred #2 more clearly.

pressing comparisons- not limited to this example- is differences in loudness, assuming that the louder sounding record usually has an 'edge.' Compensating for this can be tricky, since a db measurement taken at particular places in two (or more) copies may not reflect how loud the record is cut throughout (or so it seems to me).
I like good remasters for quiet surfaces and price. But, I tend to favor the 'right' early pressing as well, which usually means multiple copies. In some cases, you have little choice, e.g. a record that hasn't been redone or has been remastered from a questionable source.
The records I have the most copies of tend to be ones which weren't great recordings to begin with, but have music I care about.
I do find it interesting that the 'originals' in this case were mastered from tape copies.

I did purchase the AP vinyl and I did like it but, I found it to be a little bright. The SACD which I can remember cost me $11.99
at Tower years ago is smoother and still very very dynamic.
My cd player is a Modwright modded tube Sony XA5400ES.
My TT is a VPI Classic 1 w/ Shelter 501mk2 cart.
Sorry vinyl fans but there are great sounding vinyl records
and great sounding cds. I just won't get hung up in formats
whatever sounds great is all I care about.

I wonder whether AP uses a tubed chain in remastering and cutting. Similar to the Beatles reissue. As great as these reissues sound. A tubed record sounds always more human. Going for "feeling" and listened to the records several times you will always take the original LP, if that one was cut with a tubed chain.

Personally I liked file #1, so obviously the original it had more detail more air around the instruments seemed so much more realistic, but I dare not say I thought file #2 was without merit perhaps a more modern presentation would be more than fair. We have to think about what they knew about microphone placement that we seem think we are now to clever for. Thank you again Analogue Planet for providing an insight into recorded music and a wonderfull forum to participate in. Mr Fremmer I really hope you enjoy your visit down here to oz.

I think that it proves the point when the scores are this close that the one that each of us prefers is probably a better match to the systems that we listen to each of the tracks on. That has always been my contention on this reissue wagon we are so firmly on at $30 and up for a new release. The nuances that may be revealed on your system may be masked or not so apparent on mine. It doesn't mean that one should not be a customer, but I am learning to live and enjoy copies of works I now own even if it is not the latest and greatest. Thinks that our host hears on his system will be totally lost on any of the gear I own. This is all still great fun and a great exercise for audiophiles to participate in.

I am still really enjoying the Alan Rouse engineered Beatles stereo remasters from 2008? even though I know that the new vinyl ones are excellent.I am very happy with the 9 I own.Too much other new music to buy.

Sorry if this has been answered before but how close are you getting with your transcriptions to the sound of the record?

If you play back the record and the 24/96 file (or 24/192) back to back with levels matched can you tell the difference? How close is it if you hear a difference, roughly?

Thanks!

I own a70s Red Seal repress of this title and the SACD. I never ever play that SACD. I'll have to compare Michael's rips to my Red Seal lp!

Admittedly I might be a little biased but even after swapping the channels of your recordings mine sounds better to me. :)

https://drive.google.com/file/d/0B2ceYgRGBXdbZGw4eW5uSFMwNkU/view?usp=sh...

Any thoughts on the Chesky reissue (from the '90s, I think)? IMO the Chesky Living Stereo reissues are closest to the originals in terms of "atmosphere" (which characteristic is what I think distinguishes the Living Stereo's in general from the Merc Living Presence "in your face" recordings). BTW though an opera singer (and 20-year member of the Chicago Symphony Chorus), my favorite piece, and the one that probably steered me toward classical, is Scheherazade. My dad, an ardent Depression-era blue-collar socialist, would only play the Russian warhorses. When I was probably two years old (would've been 1950-51), in an attempt to become a Living Mono recording no doubt, I attempted to take a spin on the turntable and broke the machine. I don't recall having another hi-fi in the house until I was about 10, but Rimsky-Korsakov's strong, very Russian opening chords, a love for the classics, (as well as a red mark on my behind) stayed with me.

In the following article

http://www.analogplanet.com/content/scheherazade-living-stereo- reissue-sounds-best-analogue-productions-goes-dogs

you said, "As for the sound, well I get into arguments all to (sic) often with people who insist originals are always better. If after comparing this reissue to the original they still think so, they are hopelessly prejudiced. This reissue easily beats the original I have in every category.p> Of course the original can't begin to approach the 200g QRP pressing quality, especially in terms of velvet-black backgrounds and perfect surfaces. The reissue is far more dynamic, the low frequency extension complete, and most importantly the instrumental textures and tonalities are rich, full and spectacularly transparent. All of the delicacy, three-dimensionality and transparency promised but only partly delivered by the original is fully communicated on this Analogue Productions reissue."

Has your opinion changed, or were you just trying to validate your opinion?

I happen to agree with you. I also believe that the only reason the results ended in a virtual tie was because the votes for the original pressing picked up after the identities of the files were revealed in several posts. The fanatics (or friends of Better Records) jumped on the bandwagon once they were sure which file was which.

In this same article

http://www.analogplanet.com/content/scheherazade-living-stereo-reissue-s...

you said, "Both will be separately reviewed [referring to LSC-2201 & LSC-2463]. All twenty five will be, in fact."

I don't find any of those promised reviews on this site. I believe eleven Living Stereo re-masterings have now been released by Analogue Productions. Some are now also available as hybrid 3-channel SACD's sourced from the original analog tape recordings before they were mixed down to 2-channel.

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While it's true that Tim DeParavicini produced those, Europadisc pressed them during a period when vinyl super mario bros production was challenging.

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