Definitive Audiophile pressings

Turbo said:
Most likely. What's throwing me off is that mine has these 36322.1 (side A) and 36632.2 (side B) etchings that I'm not finding on any discogs entry. But everything else matches the Rhinos.

Anyway, all this to say it sounds really great for the price. And the vinyl is dead quiet, which is essential for this album since it has several low volume moments.
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Mine is the same. I am assuming it is the 2014 version. Has the same runout etchings you have - 36322
 
MikeH said:
I’ve been impressed by all the RunOutGroove stuff I have. I have the MoFi superfly so skipped this one but the self-titled Curtis is great and so is the Baby Huey and Mingus.
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I would have bought that Butterfield Blues Band RSD they put out either way, but I'm glad you praised them on here because that's what made me grab that Mingus when I saw it for $25 in a sale. I've already spun it a couple times through and it's a better recording than the BBB, but both are quality and I'll definitely pickup any other ROG that I'm interested in. Next on my list is their version of The Sun, Moon & Herbs, but I wasn't quick enough on the one I found so I'm still looking for a reasonable priced copy.
 
Hemotep said:
I would have bought that Butterfield Blues Band RSD they put out either way, but I'm glad you praised them on here because that's what made me grab that Mingus when I saw it for $25 in a sale. I've already spun it a couple times through and it's a better recording than the BBB, but both are quality and I'll definitely pickup any other ROG that I'm interested in. Next on my list is their version of The Sun, Moon & Herbs, but I wasn't quick enough on the one I found so I'm still looking for a reasonable priced copy.
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RunOutGroove is one of the best labels out there IMO. The “vote” system is pretty cool and they’re very transparent about their sourcing. Packaging and pressings are almost always top tier, with some great bonuses. Very excited for SuperFly to come in!
 
Colonel4Bin said:
RunOutGroove is one of the best labels out there IMO. The “vote” system is pretty cool and they’re very transparent about their sourcing. Packaging and pressings are almost always top tier, with some great bonuses. Very excited for SuperFly to come in!
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Morphine's Cure for Pain is another fantastic RunOutGroove pressing. I had a 2011 pressing prior to this one and it literally was one of the worst sounding records I'd ever heard. There was so much clipping and distortion it was ridiculous. The RunOutGroove pressing is killer.

www.discogs.com

Morphine - Cure For Pain

View credits, reviews, tracks and shop for the 2021 Vinyl release of "Cure For Pain" on Discogs.
www.discogs.com www.discogs.com
 
MikeH said:
Intervention does a similar thing with their release details. Hoping that the MoFi stuff at least causes more companies to be more transparent.

The most interesting part of the MoFi "scandal" is that there doesn't seem to be a rhyme or reason to which pressings of theirs sound best based on what the sources are. Some of the best sounding MoFis came from DSD64. Some of their worst sounding cuts were AAA. I'm hoping that this at least will make more people think that digital sources aren't some kind of audiophile boogeyman anymore. Based on comments on reddit/some FB groups though, not sure that's what most people have taken away from it. Lots of comments about MoFi putting SACDs on vinyl or people saying that since they used DSD they could have made limitless amounts of records.
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The amount of stupid and snake oil plus more money than sense in the audiophile world is ASTOUNDING...
 
Russ I said:
Morphine's Cure for Pain is another fantastic RunOutGroove pressing. I had a 2011 pressing prior to this one and it literally was one of the worst sounding records I'd ever heard. There was so much clipping and distortion it was ridiculous. The RunOutGroove pressing is killer.

www.discogs.com

Morphine - Cure For Pain

View credits, reviews, tracks and shop for the 2021 Vinyl release of "Cure For Pain" on Discogs.
www.discogs.com www.discogs.com
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The loss of Mark Sandman still hits me so hard. I got to see Morphine a few times but the last time they came thru my neck of the woods there was something 'much more pressing' that made me skip the show with the thought 'I'll catch 'em next time around.' A few months later Mark dropped dead on stage in Italy.

Always, always, go to the show.

I wish we could get a vinyl version of The Night. This song from that record sums up everything that made Morphine sublime in 4 minutes...

 
I just picked up the Coltrane "My Favourite Things" 60th. Sounds lovely but I'm trying to understand the differences between the Mono / Stereo. I like the Stereo more immediately but that might have to do with my setup - (I don't have a Mono stylus or anything other than a mono switch on my amp).

Are these two different recording sessions like the Beatles records or is this the same recording just converted/folded down into Mono/Stereo? Anyone know what the subtle differences are?
 
uvwxVinyl said:
I just picked up the Coltrane "My Favourite Things" 60th. Sounds lovely but I'm trying to understand the differences between the Mono / Stereo. I like the Stereo more immediately but that might have to do with my setup - (I don't have a Mono stylus or anything other than a mono switch on my amp).

Are these two different recording sessions like the Beatles records or is this the same recording just converted/folded down into Mono/Stereo? Anyone know what the subtle differences are?
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The Beatles stuff isn’t always different sessions but different mixes.

The mix here is different, regardless of having a mono switch, the musicians especially Coltrane are hard panned so it sounds like he is off on one side of the room - I want to say the right.

Even without a switch, the mono should not do that but still be spacious and has a nice soundstage.
 
uvwxVinyl said:
I just picked up the Coltrane "My Favourite Things" 60th. Sounds lovely but I'm trying to understand the differences between the Mono / Stereo. I like the Stereo more immediately but that might have to do with my setup - (I don't have a Mono stylus or anything other than a mono switch on my amp).

Are these two different recording sessions like the Beatles records or is this the same recording just converted/folded down into Mono/Stereo? Anyone know what the subtle differences are?
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The Beatles also aren’t two different sessions. They did their recordings onto tracks. Them and George Martin made a mono mix from those tracks. The same tracks were then later handed to engineers who did unsupervised stereo mixes. Until white where both were by the band and Martin. And then after when the band and Martin did the stereo and there weren’t official mono mixes for the albums.
 
MikeH said:
I’ve been impressed by all the RunOutGroove stuff I have. I have the MoFi superfly so skipped this one but the self-titled Curtis is great and so is the Baby Huey and Mingus.
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I’m up to 10 ROG’s and I don’t remember a bad one. On top of the excellent mastering, Record Industry does all their pressings and they’ve stayed consistent with quality as far as I’m concerned. All of the packages are tip-on too.
 
Lee Newman said:
The Beatles stuff isn’t always different sessions but different mixes.

The mix here is different, regardless of having a mono switch, the musicians especially Coltrane are hard panned so it sounds like he is off on one side of the room - I want to say the right.

Even without a switch, the mono should not do that but still be spacious and has a nice soundstage.
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To add to this, MFT was likely recorded on an 8-track machine then mixed down to mono and stereo. So I believe it’s the same recording but different mix as @Lee Newman said. I prefer the mono on this one.
 
MikeH said:
To add to this, MFT was likely recorded on an 8-track machine then mixed down to mono and stereo. So I believe it’s the same recording but different mix as @Lee Newman said. I prefer the mono on this one.
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Unlikely Atlantic had 8 track at that time, it is at best 4 track and maybe even 2 track. Personally, I find the mono a bit on the flat side, but I have it and like it enough.
 
MikeH said:
I had read that Atlantic had 8 channel recording after 1958. But Hoffman himself said that, so who knows lol
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I honestly don't know, but it strikes me as odd that Atlantic would be 8 track at that stage. I doubt any multitracks exist anyways, all gone in the Atlantic fire.

But, you know, if Hoffman says so, it must be true...the audiophile Trump...until the next FBI raid at least.
 
MikeH said:
Intervention does a similar thing with their release details. Hoping that the MoFi stuff at least causes more companies to be more transparent.

The most interesting part of the MoFi "scandal" is that there doesn't seem to be a rhyme or reason to which pressings of theirs sound best based on what the sources are. Some of the best sounding MoFis came from DSD64. Some of their worst sounding cuts were AAA. I'm hoping that this at least will make more people think that digital sources aren't some kind of audiophile boogeyman anymore. Based on comments on reddit/some FB groups though, not sure that's what most people have taken away from it. Lots of comments about MoFi putting SACDs on vinyl or people saying that since they used DSD they could have made limitless amounts of records.
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One of the weirdest audiophile rabbit chases to me, going along with this line of thinking, is the concept of "getting the feel of being in the studio." HiFi systems sound so wildly different from studio monitors in treated control rooms, and if you're a musician tracking, you usually have your mix blasting in your headphones to hear over yourself! Haha. Such completely different environments - to me, my HiFi is the virtual antithesis of the studio! Anyway!
 
HayesWeighsIn said:
One of the weirdest audiophile rabbit chases to me, going along with this line of thinking, is the concept of "getting the feel of being in the studio." HiFi systems sound so wildly different from studio monitors in treated control rooms, and if you're a musician tracking, you usually have your mix blasting in your headphones to hear over yourself! Haha. Such completely different environments - to me, my HiFi is the virtual antithesis of the studio! Anyway!
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I always find it funny how often a musician will almost disown a recording because it doesn't sound like what they envisioned in their head (looking at you Kevin Shields). Peter Hook from Joy Division has often there were 2 bands, the live in your face Joy Division and the cold clinical studio version who was the live antithesis.

Then you toss in your own listening environment to the mix (no pun intended), it really does become very personal.
 
HayesWeighsIn said:
One of the weirdest audiophile rabbit chases to me, going along with this line of thinking, is the concept of "getting the feel of being in the studio." HiFi systems sound so wildly different from studio monitors in treated control rooms, and if you're a musician tracking, you usually have your mix blasting in your headphones to hear over yourself! Haha. Such completely different environments - to me, my HiFi is the virtual antithesis of the studio! Anyway!
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This is why the term "Audiophile" starts to get really irritating to me.

I don't need to feel like I'm sitting in the studio, I don't need to feel like I'm in the first 10 rows of a concert. I want the best "sound effect" of a given album. Meaning, separation of the instruments, some depth and space to the sound, realistic bass, and pleasant sounding vocals.

The problem with that, as you mentioned, is not only all systems are different, but our preferences are hugely individual. Not to mention, the "sound" the artist/group, put to tape/file or whatever (Echo & the Bunnymen)

We all know, or have experienced "low end" gear besting "better" gear, inexpensive pressings besting "audiophile" pressings, so just stop, STOP, and keep it real............for YOU ;)
 
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