Vinyl Review: James Newton Howard & Friends – Sheffield Lab 23 – Released1983

Lab 23 – James Newton Howard & Friends – 1983

Vinyl

Vinyl surface noise: 4+    (not pops and clicks)

Dynamic Range: 5-

Stereo Imaging: 4+

Image depth/perspective: 4

Overall frequency response: 5-

CD23 – James Newton Howard & Friends – 1983

 Plastic – CD

Surface noise:  N/A

Dynamic Range: 4+

Stereo Imaging: 4+

Image depth/perspective: 4

Overall frequency response: 4+

Side One

1. Caesar
2. Gone Buttlefishin’
3. She
4. L’Daddy

Side Two

1. Tandoori
2. Borealis
3. E Minor Shuffle
4. Slippin’ Away II
5. Amuseum

Recorded: December 16, 17, 19, 1983 at the Sheffield Lab Studios at MGM in Culver City, California. It contains high energy rock instrumentals composed for synthesizers (Yamaha DX7, DX9 & GS1), drums and percussion.

Hi Fi Answers is quoted as saying ” The sound is fabulous……makes your other albums dreadfall by comparison!” and “……..the playing is tight, and when I say tight I mean tight, jazzy rock”.

The CD version of this album is from the Audiophile Reference Series, and was created using the original, JVC 900 digital two track, reference master, session backup tape. It was this tape that was directly transferred to the JVC 900 Compact Disc Master.

So which did I prefer? Read on.

Both versions are excellent examples of the musicians, engineers and each mediums capabilities. For those of you who are not familiar with the now famous composer James Newton Howard, click here.

The Vinyl

Outstanding yes. But there is a certain ‘sameness’ to each track, being all electronic instruments excepting the kit and percussion .

It’s dynamic! A great recording with lots of drive, sounding just as I would have expected if I had been there in the control room. The stereo imaging is rock solid and pin-point with the drum kit being recessed behind the synth line up. There is plenty of studio reverb and ambience which is especially noticeable on the snare drum and synths. The bass lines are clean, tight and well integrated with the kick drum, which really punches it out on S1T4 and S2T5. However, I felt it lacked just a little in the bottom register. Cymbals are detailed and clean as is the tambourine, wood blocks, and chimes. Synths are powerful and clean providing the leads, rhythms and bass lines for all tracks. It might have just been me, but the snare seemed to almost play a lead roll in many of the tracks being very powerful and prominent, almost driving some tracks along.

Overall a very tight musical performance, providing several upbeat and slower demo worthy tracks. There are no signs of compression, with plenty of dynamics on all tracks, especially the closing kick drum beat on S2T5!

The Plastic (CD)

In spite of all the processing that this digitized disc has been through, it sounds excellent, and is very close to the original vinyl pressing.  It has the added advantage of no surface noise but just lacks a little, and I mean a little, of the impact of the vinyl. With a less dynamic feel and having a fuller bass line and heavier kick drum, both of which I would decribe as beeing less tight, together with a less detailed top end. Some listeners may feel that what I refer to as being fuller and heavier bass, as being a slightly extended bottom end.

The CD level was very similar to the level I got off the vinyl, so no adjustments were required in order to maintain my SPL at the MLP of about 100dB.

The recording was as open as a book, stereo imaging was absolutely precise, with a respectable depth perspective for the kit. Top was detailed, the mid range well defined and not too forward. The synths were clean and crisp and the bass was extended and well integrated with the kick drum that shined on S1T4, S2T4 and S2T5. Just like the vinyl.

Comparing vinyl and CD pressings of the same session often results in notable differences, because the two process  are very different, as are the signal processing chains. The myriad of signal processing applied to the production of a CD compared to that of vinyl is to say the least, huge.  The ADC/DAC and mastering differences can really impact the final listening experience, taking it to shores that are well distant to what was actually created in the studio control room.  Well, I am happy to say that in this case, the transition from vinyl to plastic preserved much of the original intent and studio feel.

My Oppo 203 analog output providing an extremely similar sound to that of the vinyl or its HDMI DSD output having just a little less top end and detail. Both Oppo 203 outputs sounding more detailed, and with a more extended bottom end, when compared to my Denon A100 using either the DL3 with DSD or its analog outputs.

Both releases are excellent. Reminding me once again of all the years I worked  in the professional recording and studio environments.

These releases are first rate examples of what direct to disc offers the listener, and I would not hesitate to use either to show what direct to disc on vinyl, and tape/CD, can achieve. The vinyl just edging out the CD version. Ultimately it all depends upon the quality of you’re digital to analog conversion and vinyl signal chains.

If you can’t get a vinyl copy of this excellent recording, the CD is a great ‘runner up’.  It also has the advantage of lower background noise, and the convenience of jumping between, and replaying tracks, without leaving your seat!

If synths and a driving rock sound is your kind of music, listening heaven awaits you.

Purchase vinyl and CDs from Discogs, and CDs from Sheffield Lab.

See my other vinyl reviews here.