August 25th was kind of a BIG DAY in the world of this reel-to-reel rambler. One of my absolute favourite albums of the noughties – The White Stripes’ Elephant – was announced for release not only as a UHQR 2 x 45rpm vinyl edition, but also as an Analogue Productions Ultra Tape. For some reason the latter wasn’t shouted about too loudly, but we interested parties sure noticed it in ‘the small print’!
So I didn’t waste a minute and put my order straight in (since these kinds of things have a terrible habit of selling out like hotcakes).
So, what we have here from Analogue Productions is a 1:1 copy of the original master tape. To be specific, I understand that either Sterling Sounds’ hugely talented Ryan K. Smith or else Analogue Productions’ Matthew Lutthans made a 30ips ¼” ‘working master’ direct from the original, and then Lutthans makes the Ultra Tape copies directly from this 1st generation ‘production master’. Assuming my understanding is correct, then the tape that you buy (and the one I’ve had the great good fortune to have just been listening to) is an actual second generation copy of the original master tape. If you want to check this out, here’s the video announcement which includes a fly-on-the-wall look at the record cutting session at Sterling Sound.
Now, in most circumstances, a first or second generation tape is often used as a production master, from which an LP lacquer will then be cut, and / or a digital transfer taken for production of whatever digital medium the album is intended for. So in this case you’re actually getting that bit closer to the actual original. What you have, what you can actually own and listen to whenever you choose is something that only a very privileged few would normally hear (basically The White Stripes themselves, Jack and Meg White, the original production team and the team at Sterling Sound where the original master was sent and remastered by Ryan K. Smith).
2023 is the 20th anniversary of Elephant’s release and to celebrate, there have been various new releases. One was a special new XX mono-remix version of the album on vinyl that came out in March (which I don’t have) and another was an April re-release of the original stereo version (which I do have). If you follow my YouTube channel you’ll know that I was seriously impressed with this latter release. If not and you want to check it out, here it is below.
However, that in no way diminished my utter joy when Chad Kaseem at Acoustic Sounds announced that he was not only making a UHQR release, but also the zenith of all formats: an Analogue Productions Ultra Tape!
In other words, expectations were high. Very, very high. So how does it stack up…
How do the UHQR vinyl and Ultra Tape sound?
Well, since this is a reel-to-reel blog, I’m going to concentrate more on the Ultra Tape. But that said, for readers who don’t have the considerable budget required, or indeed the requisite equipment (a 2-track, 15ips, CCIR reel-to-reel tape player), then I’ll briefly mention the UHQR vinyl edition too.
In short, the UHQR vinyl is jaw-droppingly good. Does it match the Ultra Tape? No, but it does come extremely close, I’ll give you that. How close exactly, I hear the pedants ask (and I count myself among you!). Well, let’s say for the sake of argument that the previous ‘standard’ releases of this album, whether the original vinyl or the CD, or even the April 2023 anniversary edition, attain a comparative sound quality score of around 60-70% (and I know that sounds like I’m being harsh here because Elephant is an AMAZING sounding album, but bear with me because the rationale is that I need wiggle room for comparative purposes). So then I’d say that the new UHQR vinyl achieves something like 90%, because it’s an amazing upgrade from all of the other the existing releases (hence the need to start ‘harsh’!). And of course the Ultra Tape, which is the reference, scores the reference-level 100%. So you see, the new UHQR vinyl really is that much of an advance, and that close to the tape.
Where does the sound quality manifest itself?
Elephant is a downright dirty, grungy and devilishly powerful album. The sound is immense (particularly given that there are only two performers). The weight and power of Meg White’s drums are earth-shaking. Much of this is due to skilful use of compression and limiting – woah there, now don’t panic, we’re talking about incredibly useful creative production tools here, not the fabled ‘audiophile nasty’ volume-wars mastering compression! Jack White’s guitars, meanwhile, vary from being as clean as a whistle, sensitive, delicate and full of tonal colour, to downright filthy dirty and monstrously powerful. Try to imagine, if you will, that Jack’s guitar pick is tearing out out Beelzebub’s fingernails while Meg’s bass drum is a giant boot kicking the prince of darkness decisively where the sun don’t shine, and you’ll get the gist of it.
And yet, there’s more – much more. While all of this tumultuous grunge is going on with the full force of its incredible power, weight, depth, texture and detail, what’s perhaps even more impressive is how, above and around this monumental tempest, both the UHQR vinyl and the Ultra Tape reveal so much more clarity. It’s like you get a direct view, and a laser-sharp one at that, right into the production. You can hear each layer, each element of the mix. Nothing overpowers anything else. And so, while the weight and power of the bass drum might be happily demolishing the foundations of your house, Jack’s vocal line will be sweetly tickling the back of your neck. It’s almost like they’re doing it on purpose, the demons!
How do the UHQR and the Ultra tape differ?
Basically it’s mostly a matter of levels. The UHQR vinyl undoubtedly shows you so much more than you’ve ever seen before (and heard, obviously, but I’m saying ‘seen’ deliberately since it’s that visceral, laying bare the whole landscape of the recording and production). The Ultra Tape, meanwhile, kind of gives it to you absolutely completely, wholly, in reality. That sounds pretty woolly, and I’ll admit that I’m struggling slightly here to put it into words, so let me try to unpack that a bit more…
Where on the UHQR you marvel at the shape and colour, the intonation and expression of Jack’s vocal, when you switch over to the Ultra Tape, you then add to that the ability to hear him as a concrete physical presence – like a very solid hologram standing there right in in front of you. You can hear behind him, and as a result he stands out as a real physical entity, standing in your listening room. The same effect happens with the guitars, keyboards and drums. It’s pretty wild. They’re all so darned solid it’s uncanny (and if you happen to have smoked or drunk a certain something before listening, I swear you’ll be getting up and searching the room just to be sure there’s no-one else in it). The bass drum in particular sounds so much weightier than on vinyl, even though the UHQR already is leaps ahead of the earlier releases. The guitars are revealed in even more texture and colour. The spaces between notes are blacker, the air in the recording studio is captured and is utterly charged – the effect is kind of like when you see dust particles floating in a shaft of sunlight.
This is by far the best this recording has ever sounded and will ever sound. Frankly, there are only two things that could possibly beat it: the original master, and (if my understanding is correct), the 30ips ‘working master’ copy from which the Ultra Tapes are made. (I guess inviting Jack and Meg over for a private gig could swing it too…).
I’ve made a video of this review so if this ramble has whetted your appetite then do check it out.
Before you go, can I just say two more things. First, if you’re lucky enough to own, or have access to, a 15ips, 2-track, CCIR tape player, then buy this Ultra Tape! You will not regret it. This is one of those tapes which, apart from listening to again and again, you’ll play for any and every visitor and it’ll stop them in their tracks. Jaws will fall open and air guitars and drums will come out to play. Seriously, press play and try to resist – it’s impossible! This could well be the party tape to beat all party tapes.
Second, if you don’t yet have that tape-playing capability, then buy the UHQR vinyl. But don’t hang around, these are going to sell out fast! It’s as close as you’ll ever get to tape and is one of the most awesome sounding vinyl LPs you’ll ever hear.
Thunderously good!!
As the saying goes, ‘buy now or cry later’. Here’s the link: https://store.acousticsounds.com/index.cfm?get=results&artistid=5173&LabelID=507
Dave Denyer: The Reel-to-Reel Rambler 