40 years ago, Bruce Springsteen released his album “Born in the U.S.A.”, which catapulted him to mega stardom. For his 40th birthday, the album is being re-released in a special remastered edition on red vinyl.
This album begs the question: should I buy a remastered vinyl edition?

Before answering this question for this album, I suggest you take a look at what has already been done, for example, with The Police’s album “Greatest Hits”, which offers a remastering adapted to today’s music and requirements in terms of sound balance, while retaining great dynamics.
As far as our album is concerned, let’s start by comparing the digital editions to understand what’s going on. Indeed, as the graph below shows, the digitally remastered version is affected by the war of volumes, as confirmed by the graph and the DR measurements, which for the original version go from DR13 to the mastered DR9 version.

So we can only hope that the vinyl master will be different and offer better quality.
A comparison of the original 1984 Japanese vinyl with the remastered 2024 vinyl reveals several discrepancies.

The first and most important is the difference in level: the 2024 remastered version has a sound level 5 to 6 dB lower than the original vinyl. This difference is enormous, and means that the sound level has to be turned up considerably to achieve the same intensity and rendering as the original version. This also makes surface noise more present.

However, even when the sound level is turned up, something is missing. Indeed, the Vinyl of 2024 has a reduced dynamic range compared to the original Viny, with here a DR12 compared to the DR14 of the original.

This low engraving level, accompanied by a DR lower than the DR of the original version, shows that the master used was based on the dynamic-compressed digital remastering.

In fact, dynamically compressed files require a lower sound level to be burned on vinyl, particularly to ensure a duration of over twenty minutes per side.
The work on this vinyl record shows exactly what not to do, because in no way do we respect the properties of vinyl records.
Today, everything is driven by profit and yield, and we no longer strive for maximum quality.
The major labels are keen to optimize costs and therefore reduce the amount of work involved in mastering. In the case of this album, we would have had to start from the master tape, which has all its dynamics, and do two new remasterings, one digital and one for analog media, without high compression of dynamics.

For this review, you will find 4 versions tested: Japanesed vinyl record 1984, red vinyl remastered, CD and Tidal Max.

Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.

The album is composed of 12 tracks:

1. Born In The U.S.A.
2. Cover Me
3. Darlington County
4. Working On The Highway
5. Downbound Train
6. I’m On Fire
7. No Surrender
8. Bobby Jean
9. I’m Goin’ Down
10. Glory Days
11. Dancing In The Dark
12. My Hometown

Summary, scoring and Samples

Ed 1: CD reissue – 1984

Presentation

Reissue of the original CD (ref: 5099708630423)

Waveform and Spectrum: DR13

The CD waveform shows a high dynamic range confirmed with DR13.

The spectrogram of the CD shows that the signal goes up to 22 kHz (yellow arrow) and that there is no signal above this frequency (white arrow), due to the 44.1 kHz sampling frequency used.

Synthesis and listening

It’s a very energetic version on CD, with maximum precision and detail. The 1984 vinyl is a little softer by comparison. This is the best digital version we’ve tested.

Rating:

• Dynamic: ●●●●o (4)
• Bandwidth: ●●●●o (4)
• Restitution: ●●●●o (4)

Sample : Born In The U.S.A.” 16 bits 44.1 kHz:

Ed 2: Tidal MAX Flac – 2024

Presentation

This is the Tidal Max presented in FLAC 24 bits 96 kHz.

Waveform and Spectrum: DR9

Unlike the CD, the waveform here is limited in dynamic range to increase the loudness of the album. This is confirmed by the DR9 dynamic range measurement!

The spectrogram of the stereo version of Tidal Max (2024) shows that the signal goes up to 22 kHz (yellow arrow) and that there is signal above this frequency (white arrow), due to the 96 kHz sampling frequency used.

Synthesis and listening

We can see the work that has gone into this digital version, with a reworked tonal balance and the use of a high-resolution 24-bit 96 kHz format. But unfortunately, all this work is compromised by the use of dynamic limiters, which reduce the overall dynamic range of the album in order to achieve a softer, higher level.

Rating:

• Dynamic: ●●ooo (2.5)
• Bandwidth: ●●●●● (5)
• Restitution: ●●●oo (3)

Sample : Born In The U.S.A.” 24 bits 96 kHz:

Ed 3: Japanese vinyl record – 1984

Presentation

The vinyl record is composed of 1 LP in 33.33 rpm, the vinyl record containing 12 tracks (ref:28AP 2850). The vinyl record comes with obi strip, English lyrics insert and Japanese lyrics insert.

Waveform and Spectrum: DR14

The waveform of the Japanese vinyl record version good dynamics, as the graphs below confirm, with a dynamic range of at DR14.

The graph of the spectrogram of the vinyl recod show that the frequencies of the audio signal rise above 20 kHz (yellow arrow). The signal above 20 kHz (white arrow) is due to the signal present above 20 kHz and to the distortion caused by the vinyl playback principle. A spurious frequency peak can be seen at 30 kHz (black arrow).

Synthesis and listening

A very fine pressing, quieter than the 2024 edition (which has a sound level 6 db lower). All the album’s dynamics can be found here, with the original sound balance. It remains superior to the 2024 version, even if the addition of bass on the new version is a good idea.

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●● (5)
• Surface noise: ●●●●o (4.5)
• Restitution: ●●●●o (4)

Sample : Born In The U.S.A.” 24 bits 96 kHz:

Ed 4: Red Translucent Vinyl remastered – 2024

Presentation

The vinyl record is composed of 1 Red Translucent LP in 33.33 rpm, the vinyl record containing 12 tracks (ref:196588751615). The vinyl record comes with Gatefold.

Waveform and Spectrum: DR12

The waveform shows two problems. The recording level is 5 to 6 dB lower than that of the 1984 vinyl record! And the dynamic range is also lower than that of the original vinyl record. These 2 characteristics seem to confirm the use of the dynamically compressed digital master for this cut.

The graph of the spectrogram of the vinyl recod show that the frequencies of the audio signal rise above 20 kHz (yellow arrow). The signal above 20 kHz (white arrow) is due to the signal present above 20 kHz and to the distortion caused by the vinyl playback principle.

Synthesis and listening

With its almost 6 dB lower level, it’s necessary to turn up the volume to regain some energy. But this vinyl edition, which is very successful in terms of presentation (record color and sleeve), lacks the dynamics of the original version, even if the bass is more pronounced. It’s a collector’s item, but the original version remains the most pleasant to listen to. And if you want a little more bass on the original version, just use the tone corrector if available on your amplifier.The paradox is that the louder the master, the lower the engraving level on the vinyl record!

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●● (5)
• Surface noise: ●●●oo (3.5)
• Restitution: ●●ooo (2.5)

Sample : Born In The U.S.A.” 24 bits 96 kHz:

So should you buy this remastered vinyl record? If you’re a collector, it’s a beautiful edition with a nice color for the vinyl record, but when it comes to listening, I can only recommend the original version. The increase in bass in the mastering version, which is not present on the original version, can be compensated for by a bass tone corrector on the amp. This makes for a more contemporary sound, while retaining all the original dynamics and therefore a better-quality rendering. Unfortunately, this is not an isolated case, and many vinyl records are burned from dynamically compressed masters that do not respect the intrinsic characteristics of the vinyl record. The original CD version brings all the dynamics and energy of this album.

Dynamic Range measurements and spectra are shown below.

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Measurements

Dynamic Range comparaisons

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

For our 4 editions reviewed have obtained the following Dynamic Range (DR) :

	CD reissue – 1984	Tidal MAX Flac – 2024	Japanese vinyl record – 1984	Red Translucent Vinyl remastered – 2024
Global	DR13	DR9	DR14	DR12
Min	DR12	DR8	DR12	DR11
Max	DR15	DR11	DR15	DR15
Born In The U.S.A.	DR13	DR8	DR14	DR12
Cover Me	DR14	DR8	DR14	DR12
Darlington County	DR14	DR8	DR15	DR12
Working On The Highway	DR13	DR8	DR13	DR12
Downbound Train	DR13	DR8	DR13	DR12
I’m On Fire	DR14	DR11	DR14	DR14
No Surrender	DR13	DR8	DR12	DR11
Bobby Jean	DR13	DR8	DR13	DR12
I’m Goin’ Down	DR14	DR9	DR14	DR12
Glory Days	DR12	DR8	DR13	DR11
Dancing In The Dark	DR14	DR8	DR14	DR11
My Hometown	DR15	DR10	DR15	DR15

As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.

Spectrum comparisons

The graph below compares the spectrum of the Japanese vinyl record – 1984 (white curve) with the spectrum of the CD reissue – 1984 (blue curve).The two versions are similar, with a slight difference in the lower frequencies of the spectrum (green zone) and above 15 kHz (yellow zone). The sound balance is therefore very similar between these two versions.

The graph below compares the spectrum of the Red Translucent Vinyl remastered – 2024 (white curve) with the spectrum of the Tidal MAX Flac – 2024 (blue curve).Both versions are similar, with a difference above 10 kHz (yellow zone) where the vinyl record is up to 5 dB higher.

The graph below compares the spectrum of the Red Translucent Vinyl remastered – 2024 (white curve) with the spectrum of the Japanese vinyl record – 1984 (blue curve).The two versions are similar, with a difference in the lower frequencies of the spectrum (up to 4 dB more for the 2024 vinyl record) (green zone) and above 10 kHz (up to 4 dB more for the 2024 vinyl record) (yellow zone). The sound balance is therefore different between these two versions.

The graph below compares the spectrum of the Tidal MAX Flac – 2024 (white curve) with the spectrum of the CD reissue – 1984 (blue curve).The yellow arrow shows the CD’s limit to 22 kHz due to its 44.1 kHz sampling frequency, unlike the Tidal version which continues up to 48 kHz, due to its 96 kHz sampling frequency.

Detail of the ratings :

• Dynamic :
  1. Significant dynamic compression, DR less than 7
  2. Compression of the present dynamics, DR between 7 and 9.
  3. Correct piece DR >=10
  4. No dynamic compression (DR >12), dynamic rendering
  5. No dynamic compression, high DR and very dynamic sound rendering
• Spectrum :
  1. Spectrum cut and less than 15 khz
  2. Spectrum cut at 15 khz
  3. Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
  4. Spectrum conforming to the original (but not HD)
  5. Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Surface noise (only for vinyl):
  1. Continuous audible noise
  2. Audible surface noise except on passages with a high level of noise
  3. Reduced surface noise, barely audible on low level crossings
  4. Low surface noise, very good quality
  5. Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
• Spatialization :
  • Between 0 and 5 for 5.1 or 7.1 channels configuration
  • Between 0 and 10 for Atmos configuration (7.1.4)
  • For more information on spatialization, you can read the article describing this parameter here.
• Restitution :
  1. Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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