What is the best sounding vinyl?


Please post your recommendations.

:thumbsup:

klimt

As Jasonbourne71 has said, Sheffield direct-to-disc. I have several of those, ones I got back in 1988. They are exceedingly hard to beat. I have a Thelma Houston album on that label and it is spooky how "present" she seemed with WATT/Puppies from 1988. I can only imagine what she'd sound like with the electronics and speakers of today!

I've found IMPEX to be pretty good. I have several. And Three Blind Mice has good recordings of Japanese jazz.

Many folks at Impex came from Cisco, after the latter discontinued operations.  So, that is to say that old Cisco pressings are very good.  For example, the Cisco pressing of Aja is highly sought after.

I've also found that Living Stereo pressings are very good.

During the oil embargo in the early 70s, some record pressing plants used recycled, chipped-up vinyl from old records, which included bits of the center paper labels, so you can sometimes see tiny paper bits in the 'grooves' of records pressed during that time period.

Someone pointed out that playing a vinyl album made from the Audiophile Reference Vinyl Compound would need a good turntable, perhaps:

Clearly, a record of this caliber would render all conventional turntables hopelessly inadequate. To realize even a fraction of its potential, one would need something like the Schrödinger Reference Continuum turntable, machined from a single block of dark matter and suspended on an active anti-gravity platform to eliminate tectonic micro-vibrations. The bearing would be lubricated with the tears of retired mastering engineers, while platter speed would be regulated by an atomic clock synchronized to pulsars. The accompanying Heisenberg Quantum Tracking Arm would simultaneously follow all possible groove paths until observation collapses the waveform into the correct one, while the Koetsu Black Hole Signature Diamond Infinity cartridge, featuring a cantilever grown from carbon nanotubes harvested from a Dyson sphere, would dynamically adjust its output according to the emotional content of the recording.

The signal would then pass through the CERN Large Hadron Phono Collider phono stage, whose quantum-entangled gain stages preserve the LP’s full 347 dB dynamic range and bass extension to the Earth’s core. Reviewers have reported hearing conversations between musicians during lunch breaks, detecting the exact moment the mastering engineer considered a career change, and identifying whether the vocalist had coffee or tea before the session. One reviewer summarized the experience perfectly: “The system disappeared completely. Then the room disappeared. Then causality disappeared.”

Of course, after investing nearly $19,000 in the LP package and several million dollars in the playback chain, the true bottleneck would inevitably be discovered: the stock power cord on the router. As everyone knows, the emotional state of the recording engineer cannot fully emerge until the Ethernet switch has been cryogenically treated, demagnetized every thirty minutes, and supported on three titanium cones. Until then, you're probably hearing no more than two percent of what the record is truly capable of delivering. The final upgrade, naturally, would be relocating the entire system to a vacuum chamber at the Earth–Moon L2 Lagrange point, where the photons negotiating with reality can finally arrive unimpeded. Only then could one fairly judge whether the optional Cryogenic Quantum Demagnetization Package was worth the extra $3,995.