Sonic Grade: D
This hi-fi-ish Doug Sax/ Acoustic Sounds butchering of Fremaux’s performance from 1971 is insufferable.
Can this possibly be the sound that EMI engineer Stuart Eltham was after?
Back in the day audiophiles in droves bought this pressing from all the major mail order audiophile record dealers (you know who I’m talking about), apparently not noticing the overblown bass and spark-spark-sparkling top end. Perhaps the same audiophiles who think that Mobile Fidelity makes good sounding records?
The Smile Curve
If you’ve spent any time on this site, you should know by now that many audiophile records sound worse than the typical CD. The typical CD does not have an equalization curve resembling a smile. The classic smile curve starts up high on the left, gets low in the middle, and rises again at the end, resulting in boosted bass, boosted top end, and a sucked out midrange — the Mobile Fidelity formula in a nutshell.
If your system needs boosted bass and highs, perhaps because your speakers are too small, well, I suppose you could try this Klavier pressing.
Better yet, fix your stereo so you won’t need phony audiophile records like this one to make it sound good.
We play mediocre-to-bad sounding pressings so that you don’t have to, a public service from your record loving friends at Better Records.
You can find this one in our Hall of Shame, along with more than 350 others that — in our opinion — qualify as some of the worst sounding records ever made. (On some records in the Hall of Shame the sound is passable but the music is bad. These are also records you can safely avoid.)
Note that most of the entries are audiophile remasterings of one kind or another. The reason for this is simple: we’ve gone through the too-often unpleasant experience of comparing them head to head with our best Hot Stamper pressings.
When you can hear them that way, up against an exceptionally good record, their flaws become that much more obvious and, frankly, that much more inexcusable.