CS 6337. This Minty looking London Whiteback LP has THE MOST AMAZING SCOTTISH FANTASIA I have ever heard! Folks, it doesn’t get any better than this. I would say this is one of the five best sounding violin recordings I have ever heard. Interestingly, the violin sound that we typically put up with is found on side two of this very album. It’s easy to forget that there are actually records that sound like side one, and that side two really isn’t the way an orchestra is supposed to sound.
The Hindemith side is weak on this pressing. The Bruch found here is musically every bit as good as the famous Heifetz recording (LSC 2603) and so is the sound. (The sound is actually better I would guess, but without a Hot Copy of 2603 — very hard to find, by the way — I can’t really make that claim honestly.)
Violin concerto fans will love this one, especially those who appreciate the real thing and not the typically shrill and aggressive sound of most of the modern 200 gram reissues by you know who.
Performed by the London Symphony Orchestra, this record also features Hindemith’s Violin Concerto (1939).
This is an Older Classical/Orchestral Review
Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we started developing in the early 2000s and have since turned into a veritable science.
We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)
We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.
Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions, up against a number of other pressings. We award them sonic grades, and then condition check them for surface noise.
As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us could ever come along to do the kind of work we do.
The term “Hot Stampers” gets thrown around a lot these days, but to us it means only one thing: a record that has been through the shootout process and found to be of exceptionally high quality.