Extraordinary recordings on vinyl

...this may help...

My definition of thin or sterile is not a lack of bass but a lack of "soul". This "soul" is the essence of music. To me it (is) the hard to explain (in words) factor that finds whatever is within us and somehow gels with what the artist is trying to convey. It's what makes (me) bob my head or tap my feet or get goose bumps when listening, and I don't feel the need to think about taking the lp off my tt. This, along with how it would sound "live" is key. (When I attend a live show, I've never come away with thinking about air or bloom, to me that is a part of the listening at home experience that is a plus to some or a minus to others). Maybe a better definition would be artificial. Listening to music live compared to listening to the RO lp in my system is like night and day. (Aren't we suppose to be concerned with recreating music in our homes as it would sound live?) Also, thin and sterile, to me is a'kin to someone scratching their fingernails across a blackboard, a memory I didn't like in grade school and one I don't care for now.

I focused my response above on "soundstage" since that is what you seemed to say was your priority in making a judgement on an extraordinary lp recommendation. If you'd care to expand on that one point, we could focus more on our differences regarding the RO lp.

...it seems (to me) that you're making short, general statements (confusing the main point you posted) and not responding fully to the point that you made, all the while, again, avoiding the main issue I had with your original post? Shew!!!

...I'm calming down now..

So many things affect Soundstage from associated equipment to room acoustics to proper toe in of speakers. In one of your posts I commented on adjusting the VTA of your tone arm for the optimum sound from your table. It is key and that is the reason I moved on from that tonarm. It is to demanding to keep it in proper tune. Don't get me wrong it is one of the best bargins out there and I still own mine but the arm I have now is low maintence. I have been playing with the VTA on my tonearm for a week and it is locked in now. Albums that were unlistenable able 2 weeks ago (Killer/Alice, The Pretenders/ Nautilus Super Disc) now are sublime.90% of all recordings on my analog extend beyond my speakers and with proper VTA my obsession with owning an Original pressing is abated. I will take a 2nd pressing on a table with proper VTA over an original pressing with a arm where the VTA is slightly off.
In re:to soul in music it means to me can you feel or hear the emotion in the recording.
In re:to sterile sounding to me it sounds to clean stripped of it's emotion.
I think we have hi jacked this thread enough so let's let this be the end of our discussion. Happy listening partner.

Qdrone: In the thread you referred to, the topic was more about different pressings of a particular lp.. You (seemed) to ask if I made any adjustments to my arm in making comparisons to the green label re-issue of "Beautiful Loser" vs. the original orange label copy. My response was no. ( I think all will agree that in making comparisons to different lps, (all other things being equal), that you shouldn't change anything (except VTA if the lps were thicker by comparison). In the case you mentioned, the lps were the same thickness so, any adjustment wouldn't have been a fair comparison!

Anyway, I agree that we should move on. I do appreciate the lively discussion. Thanks.

Sorry... regarding the ET (2.5 arm optimized for high pressure), in my almost 30 years of experience with this arm, it is "key" that you really have it set up correctly, with an excellent/dry/ air source then and only then can one be confident in it's abilities on an ongoing basis. This is of coarse, my opinion. You do seem to make one think that the only difference between the ET and the other tonearm you are using is VTA. I find that to be misleading. I'm not sure if you've contributed to the (ET thread) or not. I think you should check it out.

A new recommendation:
Hot Tuna (S/T) "recorded live at the New Orleans House, Berkeley" (early black label pressing)