Heavy Vinyl

"Second Winter' was on 2 LP's - one side of one LP was blank."

larsman-

Yeah,  my original post didn't come out as it should have-"not exactly the same but that would be Second Winter." Half the time I'm posting, it's from my phone while standing in an airport line or packed in a shuttle bus.  Proofreading/editing sometimes not done!

I haven't noticed a correlation between a record's thickness and its' sound quality. 

@grossman616 

Great quote from Boris The Blade.  👍 

In the early 1980s, Mobile Fidelity Sound Labs released a limited series of 200gm Ultra High Quality Recordings. One of the reported advantages of such heavy vinyl was that this greater mass of vinyl would absorb vibrations generated in the LP by the stylus as it travelled along the groove, decreasing the transmission of such vibrations back into the stylus where they would otherwise degrade the analogue signal.  These pressings, along with MFSL’s standard half-speed releases, utilized JVC’s proprietary vinyl.  Compared to the standard MFSL pressing, the UHQR of The Beatles’ “Sargent Pepper’s” (I’m fortunate to have both) is across-the-board better sounding.  Most notable is a striking increase in soundstage depth, this most appreciated on “Within You and Without You”.

Does such esoterica serve as a reason for current heavy vinyl pressings?  It doesn’t make sense that, in light of the Loudness Wars/overwhelming compression, most labels would consider this to be of importance, much less even be aware of such theories.  Save for the likes of Analogue Productions and such, it’s most certainly a cash grab.

@vinylandtubes. There is a certain logic to the "absorb vibrations" theory. But of course that is going to be system dependent according to how the record interfaces with the platter material. I agree that a lot of the "heavy vinyl" marketing of a lot of commercial releases is for marketing purposes. However, to be fair, I have come across some commercial releases - the Plant / Krauss Raising Sand album and Jackson Browne's Downhill from Everywhere, both of which have exceptionally good quality pressings. I wonder if that's because the artists involved are the kind of people whom one might expect to take more than a passing interest in how their work is presented?