Pink Floyd – Wish You Were Here

This is an unbelievable pressing. I own a UK A1/B3 and have owned Barry Carrollton issues as well. This is on par with the A1/B3, different but nearly just as good. Side 1 is just as good. Side 2 is nearly just as good. However for example the vocals on side 2 are better than the A1/B3 and are less dry. The transients are not as sharp. These are my two copies that I will keep without going any further into my search for the ideal mastering.

The last side, the uninterrupted Shine On You Crazy Diamond New Stereo Mix is worth the price of admission, Period !!!!!!!

I was asked what was my favorite Pink Floyd album and how much weed was smoked listening to it. The answers:
Wish you were here… and acres.
This is a great yellow pressing. So clean and so tasty!!!

hubi2
I’ve been reading your comments about testing seven different boxes with the same "bonfire" noise. I have the same EU edition, but my experience is the exact opposite: it plays dead quiet and sounds magnificent.

When you’ve tried seven copies without success, the issue is almost certainly not the vinyl batch, but how your specific setup and maintenance routine interact with this release.

For reference, I am running a Rega RP40 (upgraded with a Groovetracer subplatter/spindle), a Rega Ania Pro MC cartridge, and a Rega Aria Mk3 phono stage. My monitoring is a pair of Genelec 8361A calibrated with GLM software. This is an extremely transparent and revealing system.Here is why my copy is silent while yours isn't:Ultrasonic Cleaning is Mandatory: I ran all my LPs through a Degritter Mk2 ultrasonic cleaner before the first play.

Vacuum machines (like your Nessie) often fail to remove the microscopic factory residues and release agents found in the grooves of clear vinyl. These residues are exactly what cause the "crackle" you are describing.Static and Calibration: Clear vinyl is a magnet for static. Your 1984 Denon might be a classic, but if the VTA or anti-skating isn't perfectly dialed in for modern 180g clear pressings, the MicroLinear stylus will pick up every bit of surface friction. In a high-resolution system like mine (or yours, supposedly), any setup error is magnified.The Common Denominator: If seven boxes fail on the same turntable, the problem is the turntable or the cleaning method—not the record.

Before you blame the pressing plant again, I suggest you find someone with a Degritter and a modern, calibrated high-end rig to test your "bad" copies. You might be surprised to find they are actually flawless.

tomwebb101
Interesting comparison! However, I suspect your findings regarding the 2025 'Yellow Flame' treble might be more a result of your test gear than the lacquer cut itself.
Using a stock AT-LP5X with the VM95E to judge a high-energy Bernie Grundman cut is risky. The VM95E has a basic elliptical stylus, which often struggles with Inner Groove Distortion (IGD) and high-frequency tracking. What you describe as 'white noise' and 'distorted treble' in the 10-14kHz range is a classic symptom of a stylus that cannot accurately track the demanding modulations of a 'hot' master.
When you feed that tracking distortion into a high-gain tube stage like the Opera Consonance Reference 40, you are essentially amplifying those artifacts, which explains the 'unnatural' and 'smeared' soundstage you're hearing.
In my tests using a Rega Ania Pro (with a Vital fine-line stylus) and a pair of Genelec 8361A studio monitors, that 'distorted' treble is non-existent. Instead, it reveals a very smooth, airy, and detailed top end. The 2025 cut seems to demand much higher tracking ability than the 2011/2016 versions to sound right.
I’d wager that if you swapped that VM95E for a MicroLine (ML) or Shibata stylus, your 'white noise' would disappear and the depth would return! 🥱

Visually, this release is absolutely stunning. The yellow vinyl looks incredible on the turntable and really suits the warmth and atmosphere of Wish You Were Here.

Unfortunately, my pressing was let down by noticeable clicks and pops during the opening track on both sides, which was disappointing given the premium nature of the release. The surface noise is particularly frustrating on such a dynamic and immersive album where quiet passages matter.

That said, the mastering itself still sounds excellent underneath the noise, with plenty of depth and detail.

For comparison, I also purchased the 2016 pressing, which is virtually silent with no pops or clicks and provides a much cleaner listening experience overall.

If you’re a collector or Pink Floyd fan, the yellow vinyl edition is a beautiful piece to own visually.

I was extlucky ti get a near mint copy at my local recordstore for 10$ a couple years ago. And cannot believe how AMAZING this pressing sounds! OMG! I gadnt listened to it until now after having ut for a few yearsi ahd no idea how good of a deal i got on it or how good it was hong to sound.

Phenomenal sound

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I have this one rare picture vinyl in new and unplayed condition.

EMI Italy 1976 version. Highly recommend, it has very good recording and it has post card too