For Tom Port, modern vinyl is all show and no soul. But is his old-school approach really worth the price?
While many celebrate the vinyl revival, Tom Port of Better Records sees a looming problem. In his view, the very technology meant to bring vinyl to a new generation is secretly destroying its soul.
Port’s controversial solution? A return to purist analog methods and the sale of carefully picked “hot stampers” at very high prices.
Yet, of course, not everyone agrees.
The Threat of Modern Technology
Port has spent decades finding what he thinks are the best-sounding vinyl records.
Over time, he realized one thing: digital technology makes vinyl records less genuine.
According to Port, only records made with purely analog processes can capture the “full depth and quality” of the original recording. Every step, from making the record to playing it on a turntable, must be free of digital tools to keep what he calls the “true analog sound.”
In fact, Port argues that even popular reissues that claim to be “from the original master tapes” often fall short. He finds these records to be “dull” and lacking in the dynamic range that older, analog pressings offer.
“Those records sound horrible,” he shares. “A flea market copy of Sweet Baby James will sound better than any new 180-gram version.”
To him, it’s not about getting as close to the master tape version as possible. It’s about getting as close to the “best possible sound.”
“What do we care what the master tapes are? If the master tape was terrible and the mastering engineer fixed it, should we say, “Oh, you shouldn’t have done that. You should have left it all screwed up”?” he shares.
“Some person in charge of releasing this record says, “This is a more accurate reflection of the master tape than the one that people like, that Rudy Van Gelder might have cut.”
And I go, “Well, that’s a nice thought. What do I care? I want the best-sounding record.” ”
Port believes vinyl’s magic is in the small details from old-school analog recording and pressing methods. And, it’s heavily influenced by specific production details – the stamper used, the condition of the pressing equipment, even the room temperature during pressing.
This attention to detail, he argues, results in a richer, more dynamic sound than what modern reissues usually offer.
For instance, he points to ‘Led Zeppelin II,’ where he thinks the original ‘RL/SS’ pressing sounds better than any new reissue can.
The “Hot Stamper” Concept
According to Port, the quality of records can vary even among different pressings of the same album.
That’s why, Port’s business model revolves around what he calls “hot stampers” – A.K.A. vinyl records he claims sound better than other pressings of the same album.
To find these, Port conducts extensive “shootouts,” where he compares many copies of the same album to see which sounds best.
This process isn’t just about finding better-sounding copies. It’s also about helping listeners understand what makes a record sound great.
“Therefore, when people get a copy, particularly a shootout winner, they really are getting a top copy of that record.” he explained.
“I mean, a lot has gone into producing that one record, not just the shootout that produced the record but all the work that was done to be able to do the shootout in the first place. You know, that’s a big deal.”.
The High Costs of Pursuing Vinyl Authenticity
As you might guess, Port’s hot stampers are very expensive. Records like Pink Floyd’s “Meddle” sell for around $500, while rarer finds like The Who’s “Tommy” can cost over $1,000.
But Port defends these prices, saying they’re a good deal given the better sound quality.
“I want the best, and that’s exactly what should be driving you.” he says.
“You get this very special record. You may have only five of them in your whole collection. But those five are like a drug. They’re just so beyond anything you’ve ever heard, and you just can’t believe it.”
And, to justify these prices further, Port explains the extensive process behind each hot stamper.
For one, beyond finding and buying the records, his team spends a lot of time cleaning and preparing them. They use special equipment like the Odyssey RCM MKV to make sure each record is in the best shape before calling it a hot stamper.
Controversy and Criticism
Of course, Port’s strong views against new vinyl pressings have made him a controversial figure.
Some critics argue that his refusal to see any good in digital technology and new production methods only shows that he’s stubborn and unwilling to accept new audio technology.
But, most of the criticism is about how subjective Port’s approach is.
They say that the differences he claims between pressings might not be as clear to the average listener as he thinks. This has led some audiophiles to call Port’s offerings a “confidence scheme” that takes advantage of people’s desire for the best sound at any cost.
As Jonathan Weiss, owner of Oswalds Mill Audio, once said:
“This guy is the poster child for everything that’s wrong with the business. He caters to the worst fears and anxieties of audiophile victims. It’s really absurd.”
Even industry professionals like Scott Hull, a recording engineer and owner of Masterdisk, are doubtful.
While Hull admits that sound quality can vary among records, he’s wary of the “Hot Stamper” grading system.
Despite the backlash, Port remains unapologetic. Instead, he openly mocks his detractors, particularly those who advocate for newer pressing technologies.
“Heavy vinyl is just a gimmick, like gold-plated CDs,” he says.
Regardless of the controversy, Port has cultivated a loyal following of customers willing to pay premium prices for his “Hot Stampers.” For these clients, the quest for vinyl authenticity that Port champions is worth the cost and controversy.
In fact, some 20-30 customers reportedly spend up to $100,000 a year on hot stampers from Better Records.