The legendary Ansermet recording from 1960 shown above is the best sounding Beethoven 9th we have ever had the pleasure to audition here at Better Records.
Ansermet’s performance is clearly definitive to my ear as well. The gorgeous hall the Suisse Romande recorded in was possibly the best recording venue of its day, possibly of all time; more amazing sounding recordings were made there than any other hall we know of.
Both sides are big, rich and clear, and both were showing us pretty much everything that’s good about a vintage symphonic recording.
To get the chorus to play cleanly right to the very end is difficult for any vinyl pressing and this one is no exception. The chorus should play mostly without distortion or congestion even in the loudest parts, but we can’t say there won’t be a trace of one or both.(more…)
We’ve long been huge fans of this album both musically and sonically. It’s the kind of recording where the sound JUMPS out of the speakers. It reminds me of Crime Of The Century that way. It’s also one of the most DYNAMIC popular recordings I know of. If this album doesn’t wake up your system, it’s time to scrap it and start over! Musically it’s one of my all time favorite albums, a real Desert Island disc.
Incredible Stereo Separation
One of the many elements that combine to push this album well beyond the bounds of most popular recordings is the thought and care that went into the soundstaging. Listen to the stereo separation on any track — the sound of each instrument has been carefully considered within the context of the arrangement and placed in a specific location within the soundfield for a reason — usually that reason is for MAXIMUM EFFECT.
That’s why we LOVE 10cc. Their recordings from this era are an audiophile dream come true. Compare that to some of the stereo mixes for the Beatles albums, where an instrument or vocal seems to panned to one channel or another not because it SHOULD be, but because it COULD be. With 10cc those hard-left, hard-right effects make the songs JUMP. They call attention to themselves precisely because the band is having a blast in the studio, showing off all the tricks they have up their sleeves. They want you to get as big a kick out of hearing them as they did conjuring them up.
This is no recreation of a live musical event, nor is it trying to be one. It’s a pair of pop lunatics let loose in their own multi-track studio doing whatever the hell they damn well please with songs they wrote and on which they play all the instruments (with the exception of some of the drum parts). That’s why this recording has such energy — it’s two guys in their very own candy store havin’ a ball, with no one around to tell them they can’t.