We have just recently moved our record business to our new Shopify store. None of the links to the old site will work anymore. We apologize for the inconvenience and hope to be able to rectify the situation soon. For now please check out Better Records, Mach II, home of the ultimate vinyl pressing, the White Hot Stamper.
Tom Port – Better Records
This RCA Plum Label Victrola LP has many shortcomings, but its strengths more than compensate for them. The MIDRANGE is pure MAGIC. The sweet, textured strings, the back of the stage percussion, the placement of the orchestral sections in the soundstage, the performance itself — all combine to make you forget you are listening to an old, somewhat flawed record. What has been captured in the grooves of the vinyl allows the listener to do what few recordings can — suspend his disbelief.
It’s not an old record. It’s living, breathing music being performed in the present, at this very moment. It’s happening — one is under the sway of Bizet’s music just as if one were attending the live event. The mind has somehow lost track of the fact that its owner is sitting at home. The listener is transported by the sound, mentally, not physically, to a plane where the real world has no meaning, where music is the only reality.
I played this record and made critical notes for a while. At some point I lost interest in that activity. I simply began to marvel at what the Decca engineers had managed to do: draw me in completely.
Enough about me.
Here are the comments for the other copy of 1108 we just put up.
This RCA Plum Label Victrola LP, the budget reissue of the incredibly rare LSC 2449, has some of the best and worst Golden Age sound I’ve ever heard. It has most of the magic of the Hot domestic VICS copy I rave about.
When a cutting amplifier runs out of juice, the bass simply “clips”. The beginning of the bass note is heard, and then it just stops. A fair number of RCA Shaded Dog originals have this problem. The cutting amplifiers of the day were often not up to the job.
It’s amazing to me that few collectors of these records even know what I’m talking about when I mention this shortcoming. They just assume it’s something in the recording perhaps. But it’s not. Often times it is simply stamper variations that separate the clipped records from the unclipped records.
And of course, the more compression that’s used, the less likely that the amplifiers will clip at all. But that’s obviously not the solution. And of course if you play records like this back on say, Quads,a notoriously compressed and bass shy speaker to begin with, you’ll never notice any of this.
But side two actually sounds quite good. Not as good as the best Shaded Dog copies possibly, but since those are $1000 and up, this has to be considered a good alternative at a fair price.
Lots of Living Stereo magic and a wonderful performance by Gibson make this record easy to recommend.