Better Records White Hot Stampers: Now the Story Can Be Told!


Just got shipping notification, so now the story can be told!

  Better-Records.com is a small, incredibly valuable yet little known company run out of Thousand Oaks, CA by Tom Port. The business started out many years ago when Tom Port noticed no two records sound quite the same. Evidently Tom is a sound quality fanatic on a scale maybe even higher than mine, and he started getting together with some of his audio buds doing shoot-outs in a friendly competition to see who has the best sounding copy.   

Over time this evolved into Better-Records.com, where the best of the best of these shoot-outs can be bought by regular guys like me who live for the sound, but just don't have the time or the drive to go through all the work of finding these rare gems.

The difference in quality between your average pressing and a White Hot Stamper is truly incredible. If you don't have the system or the ears of course you may never notice. If you do though then nothing else comes even close.   

Tom will say things like only one in twenty copies is Hot Stamper worthy. This doesn't even come close to conveying the magnitude. Last night for example, wife and I were listening to our White Hot Stamper of Tchaikovsky 1812. Then we played another White Hot Tchaikovsky. Then we played the Tchaikovsky tracks from my copy of Clair deLune.  

Without hearing a White Hot you would think Clair de Lune is about as good as it gets. After two sides of Tom's wonders it was flat, dull, mid-fi. Not even in the same ball park. And yet this is quite honestly a very good record. How many of these he has to clean, play, and compare to find the rare few magical sounding copies, I don't even know!  

Copies of Hot Stamper quality being so hard to find means of course they are not always available. This is not like going to the record store. There are not 50 copies of Year of the Cat just sitting around. Most of the time there are no copies at all. When there are, they get snapped up fast. Especially the popular titles. Fleetwood Mac Rumours, Tom Petty Southern Accents, whole bunch of em like this get sold pretty fast even in spite of the astronomically outrageous prices they command. Then again, since people pay - and fast - maybe not so outrageous after all.   

So I spent months looking, hoping for Year of the Cat to show up. When it did, YES! Click on it and.... Sorry, this copy is SOLD! What the...? It was only up a day! If that!  

Well now this puts me in a bit of a spot. Because, see, besides loving music and being obsessed with sound quality, I'm also enthusiastic about sharing this with others. With most things, no problem. Eric makes an endless supply of Tekton Moabs. Talking up Tekton or Townshend or whatever has no effect on my ability to get mine. With Better-records.com however the supply is so limited the last thing I need is more competition. Bit of a bind.   

Even so, can't keep my big mouth shut. Been telling everyone how great these are. One day someone buys one based on my recommendation, Tom finds out, next thing you know I'm a Good Customer. What does that mean? Well is there anything you're looking for? Year of the Cat. That's a hard one. Tell me about it. Might take a while. Take all the time you need. Just get me one. Please. Okay.  

That was months ago. Other day, hey we're doing a shoot-out. No guarantees but should be able to find you one. So for the last few days I was all Are we there yet? Are we there yet? And now finally, like I said, shipped!  

So now I have my Grail, and the story can be told. Got a nice little collection of Hot Stampers, and will be adding more, but this for me is The One. Might not be for you, but that is the beauty of it all. Many of us have that one special record we love. If you do too, and you want to hear it like listening to the master tape, this is the way to go.
128x128millercarbon
@millercarbon;
Not all preowned copies are 'used'. Just recently I sold a Kinks LP that I purchased used because when I removed the disc from the sleeve it was still sealed in a clear perforated plastic inner sleeve (thought it may have been a contracted Columbia pressing). The plastic inner sleeve (bad idea BTW) full size @ top perforation with a rounded bottom. Many of the items in my collection have only been played once (so many records, so little time). Clean all new vinyl regardless if it looks clean or not. The disc release debris is present. However at times I do play them right out of the jacket to drag the grooves (if you call 1.4g dragging) and then clean stylus and disc. In summary, there are thousands of gradients for a 'used' record, they must be played!
@millercarbon & audioguy85;
Couldn't agree more. Why bother acquiring a AAA recording only to convert it to AAD (please see 'loaf of bread' analogy)?? Sure, streaming is convenient but not for "listening to music". For background noise at a party or driving or jogging yes.
@mapman;
No, playing an LP only once for digital copying does not make you a bad audophile. You're preserving them for a future someone to get a NEAR MINT copy. 'Digital conversion' would come under bad audiophile description if that what you're using for "listening purposes".  
A lot of my early audiophile years were spent needlessly worrying about my oh so fragile vinyl. So all my records were dubbed to open reel tape. At 7.5ips my Pioneer RT-1011L was very good, but if you sat and listened in a quiet room it was still pretty impressive how much better the record sounded. Tape is good. Records? Spellbinding.

Dubbing was nice. It allowed me to listen to more music with fewer interruptions, and kept my valuable records safe from harm at wild parties, of which there were quite a few back then. One guy shattered my turntable dust cover when he nearly passed out after a big bong hit.

So it’s not like there’s no value in dubbing to tape. But, digital? To quote Brando https://youtu.be/VKcAYMb5uk4?t=8

Seriously though, all these people worrying about record wear, this is like not driving a new GT3 for fear of rock chips. Reality check: it was made to drive. Records are made to play. So play them. Over and over again.



MC ...

You would love my promo copy of Brubeck’s "Jazz Impressions of The USA," and my "Best of America" LP. The Brubeck album, recorded in the early 50s, never came out in stereo. Paul Desmond’s alto sax just hangs in the air between the speakers in all of the glory that can only come from the soul of Paul Desmond. On the America album, the harmony on "Sandman" is uncanny. Both albums would be considered to be Hot Stampers by my estimation.

And speaking of Fleetwood Mac’s "Rumours," I may have sent you a "special" CD of it. If so, get out your old Oppo and compare it with your White Hot Stamper. You may be pleasantly surprised. :-)

Frank
Hey glunson!
Thanks for the Muppet Show link.
What a wonderful laugh!
Did you know that the Lime in the Coconut song was Nilsson’s tribute to his cocaine addition? The lime and coconut referenced the method for refining coke!
Now Better Records...
Chuck, I listened to your raves about BRs. I tried 3 White Hot Stampers. Sent them all back. Yes, they were a step up in quality BUT, just like justifying a bit of powder and a bit of a cool high for $100, $200+ for 40 minutes of cool sound, to me, is not worth it.
I got an old Elvis and a Carly Simon and the voice was neat but the accompaniment was the same as regular. And, as I upgrade my front end I enjoy almost all of my previously “bad recordings”. Now it is rare that I find a bad one. Sure, it has taken $60k in TT, arm, cartridge and preamp. But that money is invested in stuff that lasts for years not minutes.
HOWEVER, now that I hear so many fellow ‘philes raving, I am moved to try BRs again. Try another line of audio coke.