A few years ago, I use to correspond with TP about music and such. One time I remember asking about the Herron phono stage, (which he use to sell). He told me he wasn’t a proponent.
I believe that was when I quit my correspondence.
I actually purchased my EAR 834P from him. When I received it, to my surprise, he had enclosed a used Amperex Bugle Boy at an extra $50.00 charge. When I inquired about it he did not make any apologies. I accepted it and never did business with him again. Life's too short.
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bdp24,
The last time I saw a picture of his set-up, he had a VPI TNT sitting on cinderblocks close behind his big Legacy speakers. (Not that there's anything wrong with that?)
You've led an interesting life. I always enjoy reading about your experiences.
Cheers! |
I can't be 100% certain. However, I do know from years of reading, buying, and so on that TP had a business relationship with Steve Hoffman at some point. More important, TP has said that the guy that is the head of Impex, Robert Pincus, was his main influence/mentor in his whole business plan of Hot Stampers/dead wax info, and IMPEX is an off-shute of Cisco (another Steve Hoffman label).
Lots of interesting affiliations going on here that would lead anyone to believe my point.
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@tablejockey,
What I found very interesting was...Tom Port makes his business on rejecting heavy weight re-issues, yet on the rear lp jacket of the DCC, EJ "Madman.." he gets a credit by "archival cutting consultant". What the _ell?
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@tablejockey, You misread, I have the DCC .
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@tablejockey,
I found my personal holy grail "Madman". I’ve always been disappointed in this lp and as such, rarely played it. I figured that I’d never find a great sounding original maybe ever, or at least without spending a lot of time and money. I knew that if a DCC copy ever came my way, I’d go for it. Well, I did and I got it.
Compared to my two copies, the DCC is in a whole ’nother world! The orchestra is all encompassing with a wide/full/airy soundstage. The drums, when allowed to shine, come bursting out of the speakers. This lp is very dynamic! I can now understand how this music could be a challenge for the engineers to get the mix right. I’m very happy.
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Side 2of GBYBR.....Elton’s vocal range is fully expressed. Elton’s low range is presented with a palpability that is unforgettable. The expansive soundstage is a thing to behold.
These were my thoughts from the next room. Gotcha!
Still very true!
I will compare to my early MFSL later. This DJM has an "ease of presentation" that is palpable.
BTW, ..comparing these two titles is great form of the complete differences of one to another!
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I put on my "Madman"/DJM lp. (Same label as above). It has all of the hallmarks of an all analog pressing. The negatives are this, the soundstage height is seemingly being crushed by a weight coming from the ceiling. Destroying all of the air/bloom and expansive soundstage that could have been.
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tablejockey,
At the time I bought that "Aqualung" lp, there were little options for re-masters as there are now. I remember contacting ED regarding one tick on the lp. I made the mistake of disclosing that I had used LAST on the lp. This was his "out", saying he was not a proponent. I think he learned well from his former master, Chad.
I feel much, much better now after your experience.
Happy Listening!
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Putting on my GBYBR/DJM lp. The label is tri-colored. The top 1/3rd is black, then a thin white strip is on an angle, the rest is yellow. My "Madman" copy has the same label w/ Strawberry in the dead wax. I believe this was the name of the recording studio?
This was all back in the glory days for vinyl. The presses were running non-stop.
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I admit I took the plunge on a "Hot Stamper" years ago. CSN&Y "4 Way Street" for $125.00. I want to hear something before I critique it and I figured this title would be a good one since my feeling was it would be difficult to find in good shape. ( If you need a good laugh, listen to the intro to "Don't Let It Bring You Down.)
I find it to be very transparent and has a very nice you-are-there quality. The bass could be more infectious and I wish the soundstage was slightly wider but it was a live recording from the 70's. I really have no regrets on that purchase. To be a regular Better Records customer, I'd have to be an investment banker that had little time for play.
Thinking about my most expensive lp purchases, almost 30 years ago I bought a used MOFI "Aqualung from Elusive Disc for $120.00. I still consider that to be the biggest rip-off I've experienced. Of coarse he had just separated from Chad and I guess had to build capitol. I have a long memory.
My most costly purchase when cost per song is the consideration is the 10" single song lp of Trixie Whitley "I'd Rather Go Blind". I think it was around $23.00 shipped? |
tablejockey, Thanks for your interest. I pulled out my U.S. copy? I write this because it is somewhat interesting in that it has the feel (the outer jacket being of thinner cardboard stock, normally associated with UK pressings but is on the MCA label.) The actual record label is black with white printing. Both of my copies have the several pages of pictorial inserts. The original lp inner sleeve is solid black w/ MCA printed all over in white lettering. I put on side two and the difference was immediate. The soundstage was compressed drastically on this MCA pressing. There is no bloom, no presence, not a trace of the "goodness" that I just heard from my DLM copy. A total let-down! The bass response doesn't rise to the level an audiophile would like to hear on either pressing.
My DJM was full of bloom/air, wide soundstage, musically satisfying, very fulfilling as a listener. I certainly don’t consider it as a jump the shark title, by a long shot! This label is mostly black with yellow highlights. My memory says that even these DJM labels can vary in their looks.
I dig what you are saying about finding my/your own hot stamper.
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To get back to Elton John lps on DJM.. it's been years since I listened to various labels/pressings and so on, but what I remember is, even on DJM, there are sonic differences in various pressings of the same title just as there are in the U.S.
I just put on my DJM of "Don't Shoot Me..." to start to familiarize myself again. |
Actually the David Lindley lps are some of my latest bin finds..
El Rayo-X S/T" , "Win This Record!" & "Very Greasy"
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