This is one of the most phenomenal sounding records I have ever heard in my life. Take the best sound you ever heard from the best authentic Mercury classical record (not that Heavy Vinyl BS) and translate it into pop arrangements for clarinets, flutes, saxes, oboes, bassoons, and what do you have? Sound that leaps out of the speakers with absolutely dead on tonality.
But what is most shocking of all is how vivid and accurate the timbre of every instrument is.
Yes, it’s multi-miked, and sometimes the engineers play with the channels a bit much (especially at the start of the first track).
That said, if you have the system for it, it’s very possible you have never heard most of these instruments sound this real, as if you were standing right in the studio with them. It’s that crazy good.
Which brings up a question: Who but Better Records is finding incredible Demonstration Quality recordings like these nowadays?
Harry Pearson used to. Jim Mitchell did back in the ’80s.
Are the Audiophile Reviewers of today picking up the baton that the giants of the past have dropped at their feet.
I see little evidence of it. In fact I see none.
It took two copies to provide you with top sound on both sides. Clean stereo pressings are very hard to find. Most copies are mono, and most copies are beat, and that combination makes for some slim pickings indeed. This side two is not especially quiet but it’s the best we can find, and we hope that when you hear the glorious sound the surfaces will be easy to ignore. If not, send it back.
Side One – Record One
White Hot, and so rich and sweet it simply refused to get hard or harsh no matter how loud we played it. That means zero distortion and right-on-the-money tonality.
Side Two – Record Two
White Hot again, with zero smear, tons of space, and extension up high and down low like few records in our experience.
Absolutely amazing in every way. What a record. Or, in this case, two.