Sometimes - Various - Hot Tracks 18-3 (Vinyl, LP) download full album zip cd mp3 vinyl flac
Tom Port thinks a thousand bucks is a bargain to hear a classic rock opus sound better than you've ever heard it sound before—stoned or sober. Nab an early pressing of an iconic title produced under ideal conditions, take really really good care of it for 40 years, and maybe it'll be judged a hot stamper worth four figures.
Scott Hull, a recording engineer Sometimes - Various - Hot Tracks 18-3 (Vinyl owns Masterdiskone of the world's premier mastering facilities, compares producing a vinyl record to making wine.
Everything matters, from plating the lacquers to various molding issues to the quality of the vinyl pellets. Selling these artifacts at these prices requires more than a list of customers with too much disposable income. It takes hard work, chutzpa and catalog copy that ignites neural brush fires in the amygdala.
Port had me at "killer pressing. Although Better Records offers jazz, blues, classical, and the occasional genre novelty faux-Polynesian exotica is a recurring guilty pleasureinvariably it's nostalgic classic rock albums like that Stones semi-classic from that become hot stampers.
The painstaking process begins by scouring the used market—from Salvation Army bins to eBay—for a dozen or more clean copies of an album. Grunt work completed, the hot stamper king and his minions meet in the Better Records listening room for a round of tests dubbed a "Shootout. By the standards of your stereotypical tube-loving, power-junkie audiophile, the amp Port uses as the hub of his Shootout machine is shockingly ordinary: a s Japanese integrated transistor amp rated at a feeble 30 watts per channel, a typical thrift-store find.
That can sound nice, but I need accuracy. The other components are much more upscale. Everything has been carefully selected for sonic neutrality. This isn't about conjuring mega-bass or shimmering highs. The goal is flat frequency response, getting as close as possible to the sound on LP) original master tape.
Nothing added or subtracted. When the shootout finally gets underway, lights are dimmed, eyelids fall and ears peak. With each cut sampled, the usual things are carefully pondered: presence, frequency extension, transparency, soundstage, texture, tonal correctness, and an elusive quirk called "tubey magic" seriously. Every element is scrutinized in granular detail. If opinions diverge or memories fail, reference copies are pulled from the archive to check benchmarks.
It's tedious work. When the grades are tabulated, a sonic pecking order emerges:. It's tempting to dismiss hot stampers as pseudoscience, like cryogenically treated speaker cablespower amp fuses zapped with Tesla coilsand every other confidence scheme devised to separate affluent middle-aged audiophiles from the contents of their wallets. Talk to enough studio engineers and record plant technicians, though, and it becomes apparent that the aural disparity between records that Tom Port prattles on about really does exist.
Industry experts agree that copies of the same album can, and often do, sound different; sometimes a little, sometimes a lot. Not just from copy to copy, and from side A to side B, but from track to track, and, yes, even within the same track. In fact, vinyl records made on the same stamper, during the same production run also can vary in sound quality. Other copies, bearing different record labels, pressed in different countries, using different equipment and personnel, will impart their own sonic flavor, which only muddles the issue further.
Only the producer, the mastering, and cutting Sometimes - Various - Hot Tracks 18-3 (Vinyl really know what that record was supposed to sound like. Most members of hobbyist web forums who discuss vinyl records are vehemently anti-hot stamper. It's the exorbitant markup, of course, that provokes all the outrage.
The first pressing, mastered by a young Bob Ludwigbeats every other pressing and reissue by a wide margin. This record is easily identified by scanning the matrix, a product code located in the run-out area next to the label.
Known among dealers as the "hot mix," it has such energy and dynamic range that when it was released it caused the needles on cheap record players to literally jump out of the grooves. This happened when Ahmet Ertegun, the president of Atlantic Records, brought a copy home to his daughter. Judging the record defective, he immediately ordered a new pressing with the signal dialed down and compressed. Ludwig would later lament that this version " sounded puny and aghh! MFP more Get stock updates for Hot Hits.
Contact Us. Sell us your Rare Hot Hits items today Contact our team of experienced buyers who will be pleased to quote for any top Sometimes - Various - Hot Tracks 18-3 (Vinyl items.
Simply download our easy to complete form here. We buy all over UK including Knocknahilan. Collectors Stores. If I donate to you will you be interested in getting it for us. Just suggesting. If you donate for this one please put in the note that it is for Hot Tracks. I tipped your jar and sent you an email. Please forward any responses to my email. Love Hot Tracks.
I hope you will continue to offer some of these beautiful compilations, so deserving of being LP) again after all this time. Thank you for sharing this issue of Hot Tracks. Great job! I bought one issue of Hot Tracks back in as I can I remember it was like 25 dollars. It was expensive but I enjoyed every track in my boombox while it lasted. God, how I worship you!!!! I was devastated when Hot Tracks folded after being absorbed by Select Mix. Such memories and incredible mixes.
Hinkle who formed Ultimix, Joseph Watt, who formed Razormaid! Bring it on!!!! Some are so rare fans keep them off from the circle like hell, LP). For some reason, I passed up on many of the Hot Tracks mixes and went with Razormaid.
Not sure why, that was some time ago. Thanks for this one. Hot Tracks and Disconet were always in my crates.
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