Hot Stamper - myth or reality?

Yes, I have no doubt that some pressings may be better than others. The question is: How do you know which ones they are? It's not like these Hot Stampers are identifiable because they are from master tapes, like MoFi, or heavy vinyl, or whatever. It's seems to be more like a hit or miss, no? If someone is selling a Hot Stamper at an exorbitant price b/c of its superior sonics, then wouldn't every LP from that pressing also have superior sonics?

The only one who sells Hot Stampers is Better Records. It's a name they coined and it doesn't exist anywhere else. They claim to do listening shootouts between numerous copies and they select the best-sounding copies to sell as Hot Stampers. They do offer money back if not satisfied.

I think Chayro is correct, that the term is used by Tom Port at Better Records to market particular copies that he and his staff have determined, based on listening, sound better than other copies of the same record. Without getting into the subject of copy to copy variability of the same exact pressing, there are huge differences in different pressings, and no general rule of thumb (well, maybe a couple), as to which pressings of a particular album have the 'best' sonics. You can do your due diligence through a number of sources, including Discogs, for listings of various pressings, (which sometimes, but not always,include matrix numbers and other deadwax information); Steve Hoffman forums, where folks will weigh in on the sonic differences between different pressings identified by deadwax info (largely of rock and pop from the 60's and 70's) and a few other fora where people who have listened and compared different pressings have weighed in, based on their listening comparisons. (Mike Fremer does this too, in some of his vinyl reviews).
My own experience has been that getting the 'right' pressing of particular record can make a dramatic difference in sonics. In many cases, these are not 'audiophile' pressings, but early pressings of 'regular' records that benefit from good mastering, an earlier generation of the tape or a confluence of other factors that make the particular pressing 'special' sonically. Unfortunately, for some of the most desirable rock records, this becomes expensive because there is a knowledgeable market for these pressings. But, there are many good 'standard issue' records from the late 60's and early 70's that sound great and don't cost a fortune.
I have, in a number of instances, a half dozen or more different pressings of the same record; even among the more desirable pressings, there are often trade-offs (e.g. an early UK Island Pink Label may sound more immediate but have more surface noise than a later pink rim). And, buying used records, you are always at risk on condition. Not visual, but what's in the grooves. Visual grading is almost useless.

Every record collector or anyone in pursuit of the best pressings should watch this in it's entirety. A Hot Stamper refers to the level of the volume the presser used the day he cut the master lathe. An amplified volume would in most cases sound better,an under amplified volume makes for a dull flat pressing where as there is a standard industry norm which is used mostly. Micheal Fremer weighs in on this on this link,he also weighs in on why you should avoid Record Club Pressings (Columbia,RCA and BMG)

https://www.youtube.com/watch?v=eKcV430APoo