New Rhino Audiophile series announced: High Fidelity (inc. The Cars, John Coltrane) *

I finally got notice for the Cars and Jaco, but no Dead. Their handling of this has been truly baffling.

 

And finding clean original pressings, that are the right pressing too isn't that easy, especially if you aren't in a large city in the U.S. A clean U.S pressing of American Beauty isn't popping up for cheap in my small east coast Canadian city and the chance of it playing without noise or issues is even less even if I find one. That's why reissues are often the only viable option for many people.

 

My copy does not have the +1. I didn't hear any pressing defects. KG would have to change the eq for there to be a difference, right?

Again, My Rhino copy has a lack of mid bass and low mids. This eq brings out more detail. The Keyboards and the effects are more prominent. The drum and guitar sounds suffer a little from this.

The Mofi does have the mid bass and low mids. The Keyboards and effects do not stand quite as much on the Mofi. The drums and guitars benefit on the Mofi.

I can see why some people prefer the Rhino. It's clean and clear. I'm keeping both records. I'm not sure which version I will pull out the next time I listen, most likely the Mofi.

 

I felt the same way. The Bellman is good,but the RHF beats it.

 

Yep...

I think I understand the point of the fellow above, it's just that in my lowly opinion he is giving too much weight to the subtleties of room and treatments, which yes, of course they make a difference. BUT... still, I feel that anyone who has invested a significant amount, time, and research to set up their system (thus the equipment profile ) again is NOT going to be stupid enough not to adjust their room at least somewhat where they can indeed tell the differnce between pressings.

Again, I will take the opinion of someone here who 1) has a killer system, and 2) whom I already respect their opinions and impressions on vinyl, WAY more than wondering, 'Gee, I wonder how their room is set up...'

I'm not discounting the vital importance of room setup, but I AM thinking that I'll take a person's thoughts much more readily who has a great system and insightful comments, then someone perhaps who has a so-so system but a great room setup. That's all...

***EDIT

Also too, not really being a headphone guy, I would probably have to concede that with a high grade of quality headphones (and decent system!) that would I'm guessing likely be more closely accurate in comparing pressings, so I do think @Dansk has a good point!

 

I listened to AB again. I have been listening to this album since the 70s. I know it well. I have a green label OG and the ‘79 MFSL 33 and the remastered CD and DVD-A. The vinyl versions both have some minor surface noise here and there but are solid in the sound department. This is a good recording to begin with but this Rhino HF version is unique. A couple of observations…

bass is superb, you can follow Phil as he dances around, it’s deep and defined. You can hear the strings reverberate.

The vocals are clear and prominent but in a good way. Attics you can place everyone in the soundstage. It is pretty amazing.

Background instruments are 3D. I don’t recall ever hearing them so etched in space. Triangle, cymbal flourishes, shaker, organ, mandolin, so real.

Everything is balanced, bass, vocals, lead guitar, everything. Dead quiet vinyl.
This looks like my new go to when I want to listen to this album. Well done.

 

I never understand people who are SO dogmatic about their opinions (Geez, we don't see that anywhere, do we... ) It's like the word 'Compromise' or possibly seeing SOMETHING in the other person's thoughts of value simply doesn't exist. So narrow... and then just completely condemns the other's viewpoint. Weird...

Well, FWIW my friend, I think you yourself have been as polite and reasonable as you are able (I've seen you when your p*$$ed! ) Quite a contrast if I may say so...

 

Whoa! When I saw the 'Jamie' I thought, what did I do now! But, then I saw it was another Jamie with a different spelling

 

It's the Sales Stupid!

 

Oh really... Hmmm, not using them myself for serious listening I honestly didn't know that.

 

GO MAZZY GO, GO GO GO!

 

Or... Your internal organs...

 

Okay... sorry about all the (additional) silly comments...

First off, I am listening to KISS: Animalize (2014 vinyl) and it is kicking some SERIOUS @ss! Really... I think my balls are somewhere up behind the back of my neck (which actually could be aesthetically appealing if you think about it [Please don't! ]) BTW, the sound totally crushes any of Abbey Road's 1/2 speed efforts, at least of their Creatures of the Night (great album!) which sounded so flat and uninspired I sent it back.

Okay, back to business...

After warming up my system all day I did take some time to carefully compare the Candy-O original RTB vs. the Rhino High Fidelity pressing. Here is what I heard...

1st - There isn't a lot of tonal difference that I can notice on my system. BUT... @Tullman 's system is so exponentially higher than mine I'm not fit to swim in his P*$$... (odd simile/metaphor, sorry ) So, yes, I can totally understand on much better systems you might notice tonal differences, but on mine that admittedly is not its strongest point.

2) However, my system IS indeed designed to strongly favour and reveal differences in image and soundstage (feel free to check the link in my signature) and just going back and forth a couple of times (which sadly is my reputation with the ladies... ) I could most definitely hear the transients on the cymbals and the guitar strikes having much more extension than on the original. There was also a clear difference in front to back and side to side dimension to the sound. Now, not a huge difference, but on my system definitely noticeable. So, as good as the original is (and likely perhaps better tonally as @Tullman suggests) the clearer and much more dimensional sound of the Rhino would be my strong preference.

Keep in mind though... as I think this is a good example of system dependance. With my tall multi-driver open baffle dipole line arrays with 13 drivers a side (which is why we designed it that way) I feel it honestly reveals differences in depth, soundstage and dimension. Now, I am absolutely NOT saying my system is all that great, it isn't. Many here have much higher quality components and drivers. But, I feel that if your system, say a 2-way or 3-way (I'm talking speakers here, cool it horndogs...) like most are, depending on how your system is set up you may not notice the differences in image and soundstage, but you might notice the tonal differences that @Tullman is talking about.

So, I would say just keep that in mind and perhaps that might explain the disparity in impressions here about that pressing.

I hope that helps in some way...

 

Is he slabbing them?

 

I have rips of both and I don't know what they're hearing, That said, "Glasser" is the digital files. Bellman is the vinyl. The reason why format matters is what delivers the intent and the precision, and the work that went into it before the well-known losses in the vinyl. If anyone wants to hear Dave's work, hear what he heard - get the files.

Again I have both. And I've heard the tape, live analog, and after we delivered to Airshow.

I would be curious what cartridge is employed - .

 

I acknowledge that here:

To which your response was:

You’re talking a bit in circles

Which is it? You should be able to compare the Glasser mastering and the KG mastering regardless of format, or comparing Bellman’s cut of Glassers mastering to KG’s cut isn’t fair because Bellman’s transfer to vinyl impairs the original files due to the formats limitations?

 

My copy of Candy-O arrived.
Sounds equally as impressive as the S/T as soon as you drop the needle.
Percussion is jumping off the speakers while you still hear the detail in the beats/taps.
Guitars and vocals absolutely pop with detail. Hifi they say!
It's crystal clean sounding, which I think throws many for a loop who are more geared to the 70s rock album sound.

Really good insert included with an interview of producer RT Baker. They talk about saturating the **** out of a 2" tape recording and the complex mic techniques of a 40 track machine from Stephens Electronics. A lot of similar recording techniques to Queen.
Always appreciate the extra behind the scenes insert these RHF are including with each album.

I haven't heard my mofi copy in a while but I'm confident this is the copy I'll keep going forward.
Glad to add this kickass reissue to my collection!

 

this was my experience as well.

 

Just a quick question to anyone .
What are the chances that Rhino does a 2nd pressing of Marquee Moon ? Maybe a different color variant ?
I know the run is limited to 5,000 and sold out and I'm kicking myself for not getting it .
Just curious ...
Thanks

 

It's still a young series. About one year old. I mean.....its hard to say 'never' when it means leaving money on the table...but they risk sour grapes from breaking the 'limited model' that makes people press the buy button. But like....name one company who hasn't done that....they just release another run of 'un-numbered' copies.

Shame to waste those stampers though...still a lot of life in them after 5,000 copies. So, although I don't have a crystal ball....I simply say...there's SOME hope? Lol that's the best I can do.

Or you could just strike now and grab the cheapest copy you can of Marquee Moon before the flippers REALLY sink their teeth in as people drive the price up by spending more....and set the market price higher. I'd say it's now or never. Mint one for $62USD on discogs right now. That's the cheapest one. I'm sure the 'cheapest' ceiling is only gonna get higher. I mean....I waited too long for The Cars S/T and paid more than that for my copy, and I'm still happy with it. It's one of my most played records and brings me joy! Best it's ever sounded...one of my favorite albums. So why not?

 

Probably will be re-released eventually without all the "extras" (no OBI, no booklet, standard sleeves, lesser pressing quality, and in colored vinyl )

 

anything is possible. A better question is , how long are you willing to wait?

they could have easily pressed more copies of Cars S/T due to its popularity, but haven’t. Yet.

 

You’re talking a bit in circles

Which is it? You should be able to compare the Glasser mastering and the KG mastering regardless of format, or comparing Bellman’s cut of Glassers mastering to KG’s cut isn’t fair because Bellman’s transfer to vinyl impairs the original files due to the formats limitations?[/QUOTE]

What's circular? Kevin AAA transfers Kevin AAA masters-Kevin AAA cuts. His chain. Stem to stern so to speak.

Glasser delivers ADD masters and after that it's not his chain. He masters for digital, using best practices for digital, then hands it off. If you want to hear "Glasser's" mastering listen to the 50th files. If you want to hear Kevin's mastering listen to the vinyl.
If you are listening to the 50th on vinyl you're hearing Glasser's digital - further mastered for vinyl/cut by BGM. Not his chain.
Plangent/Glasser Grateful Dead product is best heard digital, that's what we do. The 50th vinyl is excellent but it's not what Dave delivered, it's a revision, and subject to the well-known limitations of that format.

Couldn't be more clear. if you want to hear the 50th's Mastering listen to the files it was cut from rather than the vinyl result it was morphed into.

That said I've heard all formats and in my opinion, and one can disagree, the 50th is 'je's' fine.

 

Same here. I’m a lot more excited about this series than One Steps.

 

While I agree with all your points and I too prefer to just listen to the digital file a vinyl cut is sourced from in most cases (unless the vinyl mastering offers something unique)…
It makes you wonder then what is being left on the table with AAA tape to vinyl mastering.

if digitally sourced vinyl is “subpar to the original file” then how subpar is AAA vinyl to the tape??