We review yet another mediocre Speakers Corner Heavy Vinyl reissue.
We recently gave the Heavy Vinyl pressing from Speakers Corner, the same one that we had previously recommended back in the ’90s, a sonic grade of C+.
To our ears now it has many more shortcomings than it did back then, which we discuss below.
So often when we revisit the remastered pressings we used to like on Heavy Vinyl we come away dumbfounded — what on earth were we thinking? These are not the droids sounds we are looking for. Perhaps our minds were clouded at the time.
Below are some thoughts from a recent classical listing that we hope will shed some light on our longstanding aversion to the sound of modern remasterings.
What is lost in these newly remastered recordings? Lots of things, but the most obvious and bothersome is TRANSPARENCY. Modern records are just so damn opaque. We can’s stand that sound. It drives us crazy. Important musical information — the kind we hear on even second-rate regular pressings — is simply nowhere to be found. That audiophiles as a whole — including those that pass themselves off as the champions of analog in the audio press — do not notice these failings does not speak well for either their equipment or their critical listening skills.
It is our contention that no one alive today makes records that sound as good as the ones we sell. Once you hear this Hot Stamper pressing, those 180 gram records you own may never sound right to you again. They sure don’t sound right to us, but we are in the enviable position of being able to play the best properly cleaned older pressings (reissues included) side by side with the new ones, where the faults of the current reissues become much more recognizable, even obvious. When you can hear them that way, head to head, there really is no comparison.
A Lost Cause
The wonderful vintage disc we are offering here will surely shame 100% of the Heavy Vinyl pressings ever made, as no Heavy Vinyl pressing — not one — has ever sounded especially transparent or spacious to us when played against the best Golden Age recordings, whether pressed back in the day or twenty years later.
Many of the major labels were producing superb classical records well into the ’70s. By the ’90s no one, and we really do mean no one, could manage to make a record that compares with them.
Precisely the reason we stopped carrying The Modern LP Pressing — it just can’t compete with good vintage vinyl, assuming that the vinyl in question has been properly mastered, pressed and cleaned.
This is of course something we would never assume — we clean the records and play them and that’s how we find out whether they are any good or not. There is no other way to do it — for any record from any era — despite what you may have read elsewhere.
The sonic signature of the modern Heavy Vinyl Classical Reissue in Four Words: Diffuse, Washed Out, Veiled, and Vague.
Here are some of our reviews and commentaries concerning the many Heavy Vinyl pressings we’ve played over the years, well over 200 at this stage of the game. Feel free to pick your poison.
One final note of honesty. Even as recently as the early 2000s we were still somewhat impressed with many of the better Heavy Vinyl pressings. If we had never made the progress we’ve worked so hard to make over the course of the last twenty plus years, perhaps we would find more merit in the Heavy Vinyl reissues so many audiophiles seem to prefer.
We’ll never know of course; that’s a bell that can be unrung. We did the work, we can’t undo it, and the system that resulted from it is merciless in revealing the truth — that these newer pressings are second-rate at best and much more often than not third-rate or worse.
Setting higher standards — no, being able to set higher standards — in our minds is a clear mark of progress. We know that many of our customers see things the same way.