Hot Stampers (Better Records) - One more question...

Technically, you can't declare they haven't scratched from a few bought a few years ago, BUT I'm all in that the thread is premised on a guess lacking any evidence whatsoever, and I STILL don't see how this guess is relevant to the "product versus service" concern, which I don't understand as even an issue, so maybe I need to just ignore this thread. I'm not putting any value into the product.

 

OK...but pricing has changed a tad since the 70's...and not everyone is equipped with hot stampers such as you seem to be.

 

I stand corrected.Good for him.

 

I doubt he's selling $700 records every day or shipping in massive numbers. This is a small business with employees and overhead. Should all successful entrepreneurs shut down and do volunteer work instead?

 

For me the so called "hot stamper" defies science. When vinyl is pressed whether it is first pressing the entire run should be identical. The concept that just one pressing out of the lot becomes a hot stamper does not hold up. Unless I mis-understand his business model and that all them would be considered "hot stampers" ?

 

Yeah, I get that. Still doesn't explain the markup from something that cost less than $10 to $700. Were not talking vintage instruments here, it's a slab of oil.

 

I agree with what you're saying. again, if people with a certain disposable income are willing to pay such a huge premium it is their business. Maybe I'm bitter because I could never justify paying that much for something that can be found in the used vinyl bins downtown. There are crazy Japanese audiophiles who fork out big bucks to have their home hydro lines upgraded so they get "clean" electricity to power their $100k audio systems. Prime candidates for Better Records.

 

Are there really employees too?

 

Well, he doesn't do it alone. I guess they could be volunteers but I doubt it.

 

A diamond is compressed carbon.

 

They are his little listening elves

 

It sorta' comes down to mastering/stampers used/what gen tapes available. LP's that look the same can have vastly different sonics.
The US may be worst for this due to the volume they stamped at back in the day.

 

I get that, but a run of pressed vinyl all done at exactly the same at the time, at the same plant on same machines, from exactly the same master, seems to me they would all be the same. Or does something magical happen where the audio quality somehow gets better on a one or two of the pressings?

 

In theory, you are right. But, I think the processes, involving temperature, cooling and the like can result in variations in the 'same' product, as well as how fresh the stamper is when a particular record is pressed. All could conceivably affect the sound quality.
I've never bought a record from Better Records and have no plans to, for a couple reasons: most of what he seems to offer are common classic rock records, which I'm more than "full up" with copies of, in some cases a dozen or more different pressings here (and some of those are "identical" copies); second, at a certain point, I'd rather spend my money on more different music than just trying to find the one needle in a haystack copy that outshines the others, though I certainly have spent time and money buying and comparing different pressings for records that I find sonically challenged, or that I like enough to go through the exercise myself.
Here's an analogy, given your user name (and i'm not trying to be snarky here): I bought a Telecaster after trying half a dozen in a large shop that had stock of new ones. Each one felt different, largely the neck and the action, even without the pick ups turned on and playing through an amp. I chose the one that 'felt' right. That's pretty subjective I guess, and not something that would be an absolute for everybody, like a "best" iteration. The point being that even among otherwise 'same' manufactured items, there are small differences.
I think there is also a neurotic aspect to this hobby: we see it displayed in endless gear cycling among the hi-end and I have no doubt that some listeners with a favorite bands/albums, would like the assurance that someone else has gone to the trouble of sorting out a 'best' copy. I will certainly take advice from friends about particular pressings, look at comparisons here on "best pressings" so I suspect a lot of us here are willing to go to some lengths to research and buy particular iterations of an album for best sonics. (And I don't consider this neurotic, just a willingness to seek out a better sonic presentation). Tom Port is taking that a step further, and for those that don't mind paying, I don't see any harm in it if he does provide a money back guarantee.
One thing I am sure of-- every time this topic comes up on any forum, it is sure to generate controversy. I wouldn't get too bent out of shape about it. In some cases, I'm buying a reissue that I know may not be the best iteration of a particular album simply because the record is collectible and costly and it's just not important enough for me, musically, to spend what it takes to get the "unobtanium" copy. On the other hand, I've lucked into more than a few great records over the years- rare, never played early pressings so it evens out if you buy enough records. I think each of us has a measure of what we think is reasonable given our pocket books and interest. I'm not going to begrudge someone who uses his service if that's what they want.

 

I wasn't aware that a hot stamper is defined this way. By reading Tom's sight, I thought he compared "different" pressings, and then decided which ones had the best chance of sounding the best. Over the past 3 years I've enjoyed reading your posts, and have learned a lot about record collecting. I've discovered some big differences between certain pressings of albums, that are very real, and obvious. I'm still looking for that magic copy of the CSN album that you have described. The Piros F cut, I believe.

 

So basically a record stamper and even a hot stamper can make for lesser records.

 

He compared different pressings not the matrix

 

How do you know that? I know plenty of record collectors / dealers who do it alone. They get help with the website design and hosting, a tax accountant- but they do the record hunting and flipping all by themselves.

 

Right that's what I said. So calling them hot stampers make little sense other than it sounds good.

 

I bought one of his records to see what the fuss was about-- a "white hot" copy of Linda Ronstadt's Prisoner in Disguise for $40, about the only reasonably priced thing he had. It was exactly what I expected: A good quality '70s original, nothing more or less, like dozens of others I own.

 

The stampers wear as they are used, sorta' why I collect WLP's.

 

His wife picks the hot stampers after coming home from the used vinyl bins, then he spins a wheel to determine pricing.

 

Stampers degrade over time and are replaced after a certain number of pressings. If they didn't degrade, there would be no need to replace them.

Based on that I have no problems in believing that the first 100 of a total run of maybe 1500 of a specific stamper might sound better than the last 100 of the same run.

Then again, hi-res digital versions from a perfect source stomps all over physical media when it comes to being true to the original sound.

 

Every Better Records thread features the same joke of "I've got a bunch of hot stampers in my collection!" Tom Port would not disagree with you. The difference between you and Tom is that he's shooting out a dozen-plus copies. And charging for the service. And he'll give you your money back if you think your copy beats his.

In a hobby where some drop $30k on cables, some clean their records before and after each playing, some adjust VTA before each record, etc, it amazes me that this topic always elicits such clutching of pearls.