Our 2007 listing for this album presented it this way:
A 1S/1S Indianapolis pressing with A1 metal mothers from 1960 with sweet sound.
Perfectly fitting for these Baroque pieces recorded in Italy.
In 2007, we typically did not have the number of copies needed for a shootout, so records such as this one would be auditioned and, if they sounded good, sold on that basis.
We judged records like this one on their absolute sound as opposed to the Hot Stamper shootout approach we use today, which gives us the record’s relative sound.
1S doesn’t mean much to us now, and even back then we knew better than to put much stock in it.
We had been actively selling Living Stereo and other vintage Golden Age pressings starting in the late ’80s. We knew from playing scores of them that often the best sounding pressings had stampers between 10s and 20s. This was true for LSC 1817, 2446 and no doubt many others that I can no longer remember.
This commentary addresses the issue — or should I say the myth? — of the 1S stamper.
Our 2007 Review
For those of you who are fans of this kind of music, you will find much to like on this rare early pressing.
It’s the first stereo recording of Bach’s Second Orchestral Suite for Flute and Strings.
The Solisti di Zagreb comprises 7 violinists, 3 violists, two cellists, in addition to Janigro and one double bass player. This album features three outstanding soloists: Jean-Pierre Rampal on flute, Robert Veyron-Lacroix on harpsichord and Jelka Stanic on violin.
This is an Older Classical/Orchestral Review
Most of these older reviews are for records that did not go through the shootout process, the revolutionary approach to finding the best sounding pressings we started developing in the early 2000s. We found the records you see in these listings by cleaning and playing a pressing or two of the album, which we then described in the listing and priced according to how good the sound and surfaces seemed to us at the time.
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 then.
Nowadays, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions along with a number of other pressings, awarded sonic grades, then carefully condition checked 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 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, would ever be able to do the kind of work we do.
Every record we offer is unique, and 100% guaranteed to satisfy or your money back.