I would also say that beware you are buying records just because they are mastered by a certain person or reissued by a certain label. Are you playing new expensive reissues once placing them on the shelf and seldom if ever playing them again?
Twice last year I went through my collection and any expensive reissues purchased because of the above reason rather than the artist/music that don’t get played I sold on.
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Yes, I have the Classic 140g pressing of My Generation and it’s great, they did it on 180 or 200 as well but not sure that made it any better.
IMO the source material and mastering standards are more important than the weight of vinyl.
Sadly some record companies these days don’t grasp that and think they can get away with (and obviously do) pressing any old questionable source on to “180g vinyl” and putting a sticker on the cover proclaiming something like “Pressed on 180g Audiophile vinyl”.
I have some excellent sounding thin vinyl pressings and some awful heavier vinyl pressings and vice versa.
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Yes I agree, it’s not just who did the mastering work etc but the source material that they were tasked to work from. As the saying goes you can’t make a silk purse from a sows ear.
That said I would have to say that everything I have bought that has been mastered by Kevin Gray at Cohearent is consistently excellent, Music Matters, Tone Poet, BN80, The Kinks Box (allowing for the limitations of the recordings)…
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Indeed, some of the best pressed albums were the ones from the '70s and early '80s from the likes of Mobile Fidelity, Nautilus, Canadian A&M Audiophile series etc. pressed on JVC vinyl - so thin it was nearly translucent when held up to the light. And then later there were the LPs from Nimbus, which were beautifully pressed on relatively thin virgin vinyl.
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Also worth remembering is that record presses have to be properly set up, it’s no use pressing “180g Audiophile Vinyl” records on a press set up or designed for say 120g records and vice versa. I think this may acount for a lot of the faulty pressings around these days, non fill and dishing for example.
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Not one of the most famous Nimbus pressings. It would be hard to improve on the original which was beautifully recorded by Bruce Swedien using Acousonic Recording Process which he developed especially for Quincy Jones but Nimbus have improved it not by much but enough.
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Great record!
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the dynamics are outstanding vs the original. I agree, great record too.
I would like that the other Herbie Hancock be released too on analogue productions. Only this one unfortunately for now.
I am looking to get a nice LP of this.
Analogue Productions 2LP 33rpm I think is still available at £55, there is also a forthcoming 4LP 45rpm version from Analogue Productions at £135 pre order!
Would appreciate if anyone has any thoughts to share on the above, do you own the AP 33rpm cut and is it any good?
Thanks
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Isn’t this coming out soon as an MFSL one step? It will be suitably expensive…
i have the 33 rpm analog productions. Very very good sound and music too.
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Hi Richard, those MFSL One Steps are very expensive, are they worth it do you think?
They are indeed rather expensive. I’ve only been tempted to buy one of them so far - the Simon & Garfunkel Bridge Over Troubled Water. I’m almost ashamed to admit I haven’t got around to opening it and playing it yet, so I couldn’t really say just how worth it (or not) they are…
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That’s an odd choice for MFSL to put out. I have read that much of the S&G re issue catalogue is in very poor SQ due to masters being no longer available and subsequently all manner of sources of dubious probity have been used to re issue S&G material. Unless of course MFSL have been able to track down a decent source, be interesting to find out.
Addendum, I just looked on MOFI website and they claim to have used the Original Master and " Not for nothing is Bridge over Troubled Water one of the finest-sounding albums ever made". When you’ve got around to listening to it I will be interested in your thoughts.
Thanks
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