*Clarity" vinyl LPs and a wall of noise

[jadis]

I do, some exhibit more noise than others (particullary Claudia Gomez LP).

Is the Clarity Record company that released Claudia Gomez and Mary Stallings the same as the Clarity vinyl referred here as being noisy? I have those Clarity Records from the 90s and the vinyl is very quiet.

 

[flez007]

Not sure Phil, but I will double-check.. Just after posting the Claudia Gomez line I took the record out and inspect it, it has many hours on it and might be the cause of above-average noise.

 

[MylesBAstor]

Is the Clarity Record company that released Claudia Gomez and Mary Stallings the same as the Clarity vinyl referred here as being noisy? I have those Clarity Records from the 90s and the vinyl is very quiet.

Nope

Clarity Vinyl was essentially done by the Ed Woods aka Ed Wodjniak, the same person who did Crystal Clear D2D Records; only he changed his name. Lot's of theories why. And I always thought he was really deceitful with the LP as it was a digital recording put out on vinyl. Never mentioned til someone brought it up later.

The Clarity Vinyl being referred to hear was a proprietary clear vinyl formulation without carbon black developed by Michael Hobson and Classic Records.

 

[flez007]

Thanks Myles, and sorry for the confusion.

 

[jadis]

Thanks for the info too, Myles. Which was the digital recording, the Clarity Recordings of the 90s? I would have thought it was analog.

 

[MylesBAstor]

Thanks for the info too, Myles. Which was the digital recording, the Clarity Recordings of the 90s? I would have thought it was analog.

Well the Mary Stallings was definitely a digital recording. Can't speak to the others.

 

[jadis]

Well the Mary Stallings was definitely a digital recording. Can't speak to the others.

I see. I have the 2 single sided Mary Stallings and the Claudia. The recording engineer was Bob Porter and Paul Stubblebein did the editing. Tim de Paravicini mastered the disc for both. Though only the Claudia album mentioned that it was mastered from 1/2" two track MR-70 Analogue Master Tape.

 

[mep]

I see. I have the 2 single sided Mary Stallings and the Claudia. The recording engineer was Bob Porter and Paul Stubblebein did the editing. Tim de Paravicini mastered the disc for both. Though only the Claudia album mentioned that it was mastered from 1/2" two track MR-70 Analogue Master Tape.

Now that would peg my expectation bias meter.

 

[DaveyF]

Guys, like most things in our hobby, I do NOT think you can take for granted anything in regards to quality that a reviewer has gushed about in print. IMO, one has to listen for oneself with one's own ears, to determine the quality and validity of the claim. I'm sure we can all count the several times that we have been disappointed by a product that we have bought that has failed to live up to the 'hype'.

The really unfortunate thing about acquiring vinyl, is that you never really know what to expect until the piece is on your platter and both sides have been heard. I think I was the first to slam the new Tea pressing over on A'gon. I was met with flames and other nasty comments Truth be told, the QRP 'Tea' is a disgrace and if I was the distributor, I would be ashamed to have this 'garbage' under my name.

I haven't heard all of the Clarity pressings, but the one's that I have heard were very mediocre at best, the noise floor does seem to be a problem-- in this instance, i was lucky enough to hear them on another a'philes system and so had no temptation to acquire them.

BTW, this issue is nothing new, several years ago, I hunted down the Blue Max LP that was at the time being highly touted by none other than HP. For those in the know, this LP is nothing special....However, I went by the 'hype' and didn't listen to the LP before purchase....BIG mistake to the pocketbook.

Too bad that buying LP's has to be such a 'crap-shoot'

 

[garylkoh]

Too bad that buying LP's has to be such a 'crap-shoot'

That's why I started the thread Hot Pressings. I'm hoping that the collective knowledge here will steer me away buying too many duds.

 

[puroagave]

two certainties buying new LPs today: you'll over-pay for music compared to other formats and too often they're not any better than early non audiophile pressings.

 

[Johnny Vinyl]

two certainties buying new LPs today: you'll over-pay for music compared to other formats and too often they're not any better than early non audiophile pressings.

I agree somewhat, but also disagree. Have you seen some of the prices for used orginal pressings? And while they may be better, there is no guarentee you're getting a good copy despite the seller's claim it's VG+ or MN-. I think its just as much of a crapshoot.

 

[puroagave]

or you can spend a bundle and go straight to tom port for hot pressings...and if you already have multiples of a ceratin LP he'll sell you the *right* stamper/matrix number

 

[MylesBAstor]

two certainties buying new LPs today: you'll over-pay for music compared to other formats and too often they're not any better than early non audiophile pressings.

Yes and no At their worst, most reissued LPs are still far better than the digital reissue. As pointed out, unless you find a reputable dealer, finding an original pressing in good shape is a crap shoot. And try and find jazz LPs in good shape! They usually are trashed. Don't forget also, it's the wide availability of vinyl that keeps turntable manufacturers alive and still producing their wares.

 

[Johnny Vinyl]

or you can spend a bundle and go straight to tom port for hot pressings...and if you already have multiples of a ceratin LP he'll sell you the *right* stamper/matrix number

Thanks, but no thanks!

 

[jazdoc]

two certainties buying new LPs today: you'll over-pay for music compared to other formats and too often they're not any better than early non audiophile pressings.

I agree somewhat, but also disagree. Have you seen some of the prices for used orginal pressings? And while they may be better, there is no guarentee you're getting a good copy despite the seller's claim it's VG+ or MN-. I think its just as much of a crapshoot.

New vinyl issues are typically more expensive than their digital counterparts. With new alternative/pop releases, I've found it is kind of a crap shoot. I always buy the vinyl when available, because I like the format better for musical/aesthetic reasons and want to support the medium. I would say that on average, new vinyl sounds better than their comparable digital releases. That may be more of a commentary of the sad state of contemporary recording techniques.

But sometimes you are pleasantly surprised. Three of my favorite 2011 releases "Father, Son & Holy Ghost" by Girls, "Head & The Heart" and "Grown Unknown" by Lia Ices are demo quality LPs. The double LP pressing of Yuck's eponymous debut and the "Rome" by Danger Mouse and Daniel Luppi are also excellent pressings of great music.

OTOH, "Dirty Radio" by Sallie Ford is one of my favorite new releases and it sounds like it was recorded in a phone booth with warped vinyl to boot! But even that pressing sounds like an audiophile recording when compared to Phosphorscent's "Taking It Easy" which was one of my favorite 2010 releases.

Even at $50 a pop, the MusicMatters Blue Note and AP reissues are good values considering the reissue quality, scarcity of the original material and inflation. While conceding that prices for used LPs have risen, if you are patient and develop a list of trusted Ebay sellers, you can still get great music for fair prices. Just don't expect Mint original Blues Notes for $30. And no, I'm not sharing my list of favorite sellers!

 

[MylesBAstor]

just don't expect mint original blues notes for $30.

HELL no!

 

[mep]

My local LP store sells a fair amount of jazz LPs (new/sealed) for around $14.00. The majority I have bought sound fantastic and have quiet surfaces. I don't bother to complain about the few warped ones I get now and then.

 

[Johnny Vinyl]

My local LP store sells a fair amount of jazz LPs (new/sealed) for around $14.00. The majority I have bought sound fantastic and have quiet surfaces. I don't bother to complain about the few warped ones I get now and then.

Mine does as well, and I picked up a few in the last year or so, but sorry guys...I'm all jazzed out for now. That's probably sacrilege for many an audiophile, but I can only take so much jazz.

 

[puroagave]

Yes and no At their worst, most reissued LPs are still far better than the digital reissue. As pointed out, unless you find a reputable dealer, finding an original pressing in good shape is a crap shoot. And try and find jazz LPs in good shape! They usually are trashed. Don't forget also, it's the wide availability of vinyl that keeps turntable manufacturers alive and still producing their wares.

yes, we had that discussion before. its just that my "expection bias" is really high nowadays and if it sounds like im talking outta both sides of my mouth I am. I do LOVE vinyl, always have but for different reasons than sound quality. im probably in the minority on this but the world needs more new $15-20 LP offerings than $50 ones. It better blow me away for $50 and be flawless on all levels. i assumed most if not all here have been collecting for years, and years and the reissues merely represent filling holes or adding a special pressing of a beloved album. but im seeing different buyers, relatively new audiophiles starting a brand new vinyl collection paying $50 for records of old music thats still available on other formats at dirt cheap prices (used CDs for instance). i wouldnt spend $50 on a reissue of s '70s rock album of dubious sound quality to begin with but it seems thats what people want.

As far as blue notes are concered im over it, i still play them but wont pay premium prices for music ive play-graded over and over again when i did it for money. its sorta like drinking the same wine everyday or ordering the same meal at the same restaurant over and over again - to me listening to music shouldnt be a static proposition, discovering new (to me) music is way more rewarding.