The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Mint Minus
Side Two: Mint Minus to Mint Minus Minus
- This outstanding pressing boasts solid Double Plus (A++) sound from first note to last - exceptionally quiet vinyl
- This shockingly well-recorded album is a big step up from many that followed, and surely the best sounding Floyd until Meddle came along four years later
- We made a huge breakthrough during our shootout, discovering a very special label and stampers that took the sound to a whole new level
- 5 stars: "The Piper at the Gates of Dawn successfully captures both sides of psychedelic experimentation — the pleasures of expanding one’s mind and perception, and an underlying threat of mental disorder and even lunacy; this duality makes Piper all the more compelling in light of Barrett’s subsequent breakdown, and ranks it as one of the best psychedelic albums of all time."
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Amazing sound for this classic early Floyd album featuring Syd Barrett! We did not expect to hear sound this good for the album. If you've played other versions of this one you're going to be surprised -- shocked even -- at how big, rich and solid the sound is. Astronomy Domine and Interstellar Overdrive are especially impressive. We don't think you'll have much luck finding a copy with even one side this good, let alone two!
Without a doubt, this is by far the best sounding early Floyd recording we've ever played -- the credit of course belongs with longtime Beatles engineer, Norman Smith.
Once the '70s arrive the band went on to release four of the best sounding albums of the decade: Meddle, Dark Side of the Moon, Wish You Were Here and The Wall. All four are in our Top 100. Dark Side I would put in any Top Ten worthy of the name.
The Beatles may have owned the '60s but the '70s clearly belong to Floyd.
Stick with the Brits
This vintage British pressing -- the only way to fly -- has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What the Best Sides of Piper at the Gates of Dawn Have to Offer Is Not Hard to Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1967
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. 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.
What We're Listening For on Piper at the Gates of Dawn
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- Astronomy Dominé
- Lucifer Sam
- Matilda Mother
- Pow R. Toc H.
- Take Up Thy Stethoscope and Walk
- Interstellar Overdrive
- The Gnome
- Chapter 2
- The Scarecrow
AMG 5 Star Rave Review
The Piper at the Gates of Dawn successfully captures both sides of psychedelic experimentation — the pleasures of expanding one’s mind and perception, and an underlying threat of mental disorder and even lunacy; this duality makes Piper all the more compelling in light of Barrett’s subsequent breakdown, and ranks it as one of the best psychedelic albums of all time.