![]() ![]() Last but not least, balance - All the elements from top to bottom should be heard in harmony with each other.Good top-end extension to reproduce the harmonics of the instruments and details of the recording, including the studio ambiance.Present, breathy vocals - A veiled midrange is the rule, not the exception.It needs weight down low to rock the Shelly Yakus wanted it to. More bass and tighter bass - This is fundamentally a pure rock record.The bigger the speakers you have to play this record, the better. A bigger presentation - More size, more space, more room for all the instruments and voices to occupy.Less grit - Smoother and sweeter sound, something that is not easy to come by on The Wild Heart.What We’re Listening For On The Wild Heart Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way. There you find something special - something you can’t find on most copies. The first step is to go deep into the sound. Once your ears are completely tuned to what the best pressings do well that the others do not do as well, using a few specific passages of music, it will quickly become obvious how well any given pressing reproduces those passages. If you have five or ten copies of a record and play them over and over against each other, the process itself teaches you what’s right and what’s wrong with the sound of the album. Then we unplugged everything in the house we could get away with, carefully warmed up the system, Talisman’d it, found the right VTA for our Triplanar arm (by ear of course) and proceeded to spend the next couple of hours playing copy after copy on side one, after which we repeated the process for side two. We cleaned them as carefully as we always do. We recently did one of our regular shootouts for The Wild Heart using early domestic pressings that we’ve learned from experience have the potential for Hot Stamper sound. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does. No doubt there’s more but we hope that should do for now. Transparency and resolution, critical to hearing into the three-dimensional studio space.Natural tonality in the midrange - with all the instruments having the correct timbre.Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low.Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes as late as in 1983 The most Tubey Magic, without which you have almost nothing. ![]() The biggest, most immediate staging in the largest acoustic space.What The Best Sides Of The Wild Heart Have To Offer Is Not Hard To Hear They’ve made some great records together, Damn the Torpedoes being the best of the batch for sonics. Nothing surprising there this album, like Petty’s, was produced and engineered by the same team, Jimmy Iovine and Shelly Yakus. In short, the best copies demonstrate the sound one could expect to hear on a good Tom Petty album. The energy of her performance drives the music the way you want it to. They’re smooth and full-bodied in the midrange. They open up on the top end and go down deeper on the bottom. They’re big and rich, not thin nor harsh. It’s easy to spot the good-sounding copies. 4 stars: “The Wild Heart sold to the faithful - it made the Top Ten, sold over a million copies, and spawned three Top 40 hits… if you loved Bella Donna, you would like The Wild Heart very much.”.Features a host of stellar guest musicians, including Tom Petty, Mick Fleetwood, Steve Lukather (Toto), and even Prince, though he wasn’t credited on the album.The spacious size, vocal presence, bottom end weight and (relative) warmth throughout are exactly the sound you want for The Wild Heart.This outstanding early Modern Records pressing boasts Double Plus (A++) sound from start to finish. ![]()
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