Is It REALLY Audiophile？!
United States of Analog | July 17, 2023
🎙️ Early Video Analysis
What is this video about?
This video explores what makes a vinyl record truly “audiophile quality.” The host Bob examines whether records marketed as audiophile actually deserve that designation, and presents his own definition: any record that makes your system sound better than usual. He plans to showcase four different records representing different categories – definitely audiophile, maybe audiophile, hidden audiophile, and a mystery fourth record with a personal story.
What gear, products, or brands are discussed?
- The Cars self-titled album (Rhino reissue) – 180 gram vinyl, cut from original analog master tapes by Kevin Gray at Coherent Audio, heavyweight gatefold jacket, limited numbered edition of 5,000 copies, many damaged in shipping due to cheap packaging
- Creedence Clearwater Revival “Willy and the Poor Boys” (Abbey Road Studios reissue) – 180 gram audiophile quality vinyl, half-speed mastering, blue colored vinyl, 50th anniversary version
- Mobile Fidelity Original Master Recording of The Cars – Mentioned as upcoming comparison
What are the host’s main opinions or takes so far?
- An audiophile record is any record that makes your system sound better, regardless of marketing claims [00:02:02]
- “Always bet on black” when it comes to vinyl – colored vinyl might be noisier, especially red vinyl [00:06:04]
- Half-speed mastering can enhance detail but might lose bass punch in rock albums [00:07:14]
- Young bands should study Creedence not just musically but for the business lessons about losing control of their music [00:08:32]
What are the host’s strong recommendations?
- Strong recommendation: The Cars Rhino reissue mastered by Kevin Gray – calls it “100% audiophile” and “the definitive version” [00:04:23]
- Strong recommendation: The CCR “Willy and the Poor Boys” half-speed mastering from Abbey Road – “sounds very very good, the best I’ve ever heard it” [00:07:46]
What interesting vinyl records, albums, or music discussed?
- The Cars self-titled album – Classic debut album, limited edition reissue
- CCR “Willy and the Poor Boys” (1969) – Contains hits like “Fortunate Son,” “Down on the Corner,” “Midnight Special,” “Cottonfields” – host’s childhood favorite originally owned on cassette [00:05:24]
Were there any funny moments, strong opinions, or memorable quotes?
- “Well slow down Sparky. You may not know what you’ve got” [00:00:17]
- On red vinyl: “I’m sure it’s psychological and I would need many more years of therapy to figure that out” [00:06:22]
- Stumbles over the word “epochal” calling it “apocryphal” multiple times [00:06:36]
- Personal anecdote about recreating the Beatles’ Abbey Road album cover with his sons [00:08:01]
Summary
The video begins with host Bob addressing new vinyl collectors who may be confused about what makes a record truly “audiophile.” He establishes his personal definition: any record that makes your audio system sound better than usual, transforming it into something you’d want to demonstrate to others. While acknowledging traditional audiophile markers like heavy vinyl, tip-on jackets, and famous mastering engineers like Kevin Gray, he emphasizes that the listening experience matters most.
Bob showcases two records representing different levels of audiophile quality. The first is The Cars’ self-titled album, a limited Rhino reissue of 5,000 copies mastered by Kevin Gray on 180-gram vinyl. Despite shipping issues that damaged many copies, he praises his pristine copy as the definitive version and plans to compare it with a Mobile Fidelity pressing. He expresses some criticism of Rhino’s cheap packaging that led to widespread damage.
The second record is Creedence Clearwater Revival’s “Willy and the Poor Boys,” a 50th anniversary reissue featuring half-speed mastering by Abbey Road Studios on blue 180-gram vinyl. Bob shares personal nostalgia for this album from his youth and discusses the trade-offs of half-speed mastering – enhanced detail versus potential loss of bass punch. He recommends this particular pressing while acknowledging the ongoing debate about half-speed mastering techniques. The segment concludes with Bob reflecting on CCR’s business struggles and their value as a cautionary tale for young musicians about maintaining control over their work.
⏱️ Mid-Video Analysis
What gear, products, or brands are discussed in this portion?
- [00:10:50] Bruce Springsteen “Darkness on the Edge of Town” (half speed mastered, late 70s pressing)
- [00:09:59] Bruce Springsteen “Born to Run” (half speed mastered)
- [00:11:34] Billy Cobham “Spectrum” on clear vinyl with Atlantic label
- [00:12:18] Rhino “Be Good to Your Ear” series
- [00:11:28] Kevin Gray mastering (Coherent Audio)
- [00:11:48] Studio deck turntable (mentioned in passing)
What are the host’s key findings, verdicts, or opinions?
- [00:09:29] First record discussed: “Could be audiophile, maybe not” but at least it’s half speed mastered on 180 gram vinyl
- [00:10:04] Half speed mastering on Bruce Springsteen records seems “a little overkill” for wall of sound productions that weren’t going for audiophile recording originally
- [00:11:44] Billy Cobham Spectrum is “100% audiophile” despite not being marketed as such
- [00:12:14] Describes Billy Cobham as “the fusion between jazz and rock and roll”
- [00:13:17] Sometimes expensive “certified audiophile” records can be disappointing with surface noise, while cheaper records can sound amazing
Were there any listening tests or sound quality observations described?
- [00:09:23] First record “sounds super live, like they were making it up in the studio as they went along”
- [00:11:52] Billy Cobham “sounded amazing” on his turntable
- [00:12:38] Billy Cobham record is “dead quiet”
- [00:13:08] Describes disappointing expensive audiophile records with “all kinds of surface noise” and high noise floor
Were there any price/value assessments?
- [00:12:30] Billy Cobham Spectrum cost “under $25, I think it was $22”
- [00:12:33] Calls the Billy Cobham record “what a deal to get a pure audiophile mastering”
- [00:12:57] Mentions expensive audiophile records that “cost $150” but can be disappointing
- [00:12:45] “Sometimes you get a Billy Cobham for $21 and it sounds like a $150 record”
Any vinyl records, albums, or music discussed?
- [00:09:08] Unnamed record with Vietnam War era impact and imagery
- [00:10:50] Bruce Springsteen “Darkness on the Edge of Town”
- [00:09:59] Bruce Springsteen “Born to Run”
- [00:11:34] Billy Cobham “Spectrum” – described as jazz-rock fusion from when host was in high school
Any audiophile tips, advice, or how-to content?
- [00:11:18] Look at the run-out groove inscriptions to find mastering engineer information that may not be advertised
- [00:11:44] Kevin Gray’s initials “K.G.C.A” (Kevin Gray Coherent Audio) indicate quality mastering
- [00:11:24] Save hype stickers by peeling them off shrink wrap and sticking them elsewhere
Any memorable quotes or strong takes?
- [00:10:22] “I’m not throwing shade at the boss, he’s my favorite artist”
- [00:12:04] “I was Mr. Rock and Roll and I wasn’t going to play any jazz or anything that sounded like jazz”
- [00:13:36] “Makes you wonder why you’re in this game. Well, you’re in this game because you love it and them’s are the chances you take”
Summary
In this portion of the video, the host continues evaluating whether various vinyl records qualify as “audiophile” releases. He discusses the long history of half speed mastering, showing Bruce Springsteen albums from the late 70s, though he questions whether this technique benefits recordings that were originally produced with Phil Spector’s “wall of sound” approach rather than audiophile intentions. Despite being a huge Springsteen fan, he suggests the half speed mastering might be “overkill” for these particular albums.
The host then highlights Billy Cobham’s “Spectrum” as a hidden gem that doesn’t advertise itself as audiophile but actually is one. Through detective work examining the run-out groove, he discovered Kevin Gray’s mastering credits, making this a legitimate audiophile pressing despite the lack of marketing. He admits to being late to appreciate this jazz-rock fusion album, having dismissed it in high school due to his strict rock-and-roll preferences, but now recognizes it as an exceptional recording that sounds amazing on any turntable.
The discussion concludes with a philosophical reflection on the unpredictable nature of audiophile vinyl collecting. The host contrasts expensive records marketed as premium audiophile releases that can disappoint with surface noise and quality issues, against budget finds like the $22 Billy Cobham album that delivers $150-level sound quality. He acknowledges this uncertainty as part of the hobby’s appeal, emphasizing that collectors persist because of their love for music despite the risks involved in each purchase.
🏁 Final Thoughts & Verdict
What gear, products, or brands are discussed in this final portion?
- [00:13:48] UHQR (Ultra High Quality Record)
- [00:14:05] Target exclusive Erykah Badu record on lemonade vinyl (heavyweight vinyl)
- [00:15:39] Drum machines (mentioned in studio context)
What is the host’s final verdict or conclusion?
The host doesn’t provide a definitive verdict on audiophile gear in this portion. Instead, he uses the example of a dirty, noisy UHQR that costs $150 but sounds like a $20 record to illustrate that price doesn’t always correlate with sound quality [00:13:48-00:13:56].
Any final tips, caveats, or advice for viewers?
- [00:13:48-00:13:56] Even expensive audiophile records (UHQR) can sound poor if they’re dirty and noisy, regardless of the premium price paid
- [00:14:22-00:14:27] The Target exclusive Erykah Badu record is noted as “not the usual Target fare,” suggesting it’s worth seeking out despite being from an unexpected retailer
How did the video wrap up?
[00:17:45-00:18:12] The host transitions from his personal story to ask viewers for engagement in two ways: first, to let him know if they want more personal celebrity stories or prefer technical content focused on “numbers and figures,” and second, to share their best audiophile vinyl recordings and explain why they’re exceptional. He closes with his standard channel sign-off: “Until next time, I’ll see you in the United States of Analog.”
Any memorable closing quotes or strong final opinions?
- [00:13:52-00:13:56] “You paid $150 but it sounds like a $20 record. Does that make sense? Well, I hope so.”
- [00:17:23-00:17:27] “If wishes were fishes we’d all need a net” – wondering if this phrase from his mother made it into an Erykah Badu song
- [00:17:49-00:17:54] “If you like that kind of personal stuff, let me know. If you just want me to stick to numbers and figures, I can do that too.”
Summary
This final portion of the video takes an unexpected turn from technical audiophile discussion to personal storytelling. The host begins by making a practical point about audiophile records – that even premium UHQR pressings can sound terrible if they’re in poor condition, regardless of their $150 price tag. He uses a Target exclusive Erykah Badu record as a counterexample of good sound quality from an unexpected source.
The bulk of this section consists of a detailed personal anecdote about working as a cinematographer on the documentary “Before the Music Dies” about 10 years ago. He recounts filming Erykah Badu in a Dallas recording studio, describing her intense creative process and magnetic presence. The story’s highlight involves Badu inviting him to sit with her and asking him to share sayings from his mother and grandmother, which she wrote down in a notebook – presumably for potential lyrical inspiration.
The video concludes with the host acknowledging this departure from typical audiophile content and asking viewers to weigh in on whether they prefer personal stories or technical analysis. He also solicits recommendations for listeners’ best audiophile vinyl recordings, creating engagement while maintaining the channel’s core focus on high-quality audio. This blend of personal narrative with audiophile passion gives the channel a more intimate, storytelling dimension beyond pure gear reviews.
Analysis generated from archived transcripts. Channel: United States of Analog — hi-fi gear reviews, vinyl, and audiophile culture.
