More Classical and Orchestral Recordings
- Boasting two STUNNING Shootout Winning Triple Plus (A+++) Living Stereo sides, this original Shaded Dog pressing is the BEST we have ever heard
- It’s also fairly quiet at Mint Minus Minus, a grade that even our most well-cared-for vintage classical titles have trouble playing at
- Explosive dynamics, huge space and size, unerringly correct tonality, this is a Demo Disc like no other
- Shockingly real – proof positive that the cutting systems of the day are capable of much better sound than some audiophiles might think – if more evidence of that fact is what you’re after, see here and here
- It has all the Living Stereo magic one could ask for, as well as the bass and dynamics that are missing from other Golden Age records
- If you’re a fan of orchestral showpieces such as these, this Living Stereo from 1959 belongs in your collection.
This record is designed to show off the Living Stereo sound at its best and it succeeds magnificently. The full range of colors of the orchestra are presented here with remarkable clarity, dynamic contrast, spaciousness, sweetness, and timbral accuracy.
If you want to demonstrate to a novice listener why modern recordings are unsatisfactory, all you have to do is play this record for them. No CD ever sounded like this.
Just play “Gnomus” to hear The Power of the Orchestra, Living Stereo style.
The fourth and fifth movements of “Capriccio Espagnol,” the second track on side one, sound superb, clearly better here than on the Shaded Dog pressings we played a few years ago (which were terrible and never made it to the site. Great performance but bad mastering of what obviously was a very good master tape).
You can also hear the Living Stereo sound especially well on the excerpt from “The Fourth of July” performed by Morton Gould. It’s one of the best sounding tracks here.
When “in-the-know” audiophiles discuss three-dimensionality, soundstaging and depth, they should be talking about a record that sounds like this.
What The Best Sides Of Destination Stereo Have to Offer Is Not Hard to Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1959
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we’ve heard them all.
Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.
Tube smear is common to most vintage pressings. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.
What We’re Listening For On Destination Stereo
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Powerful bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Performers
- Artur Rubinstein, piano
- Boston Pops conducted by Arthur Fiedler
- RCA Victor Symphony Orchestra conducted by Kiril Kondrashin
- Chicago Symphony Orchestra by Fritz Reiner
- Morton Gould and his Orchestra
- Symphony of the Air conducted by Alfred Wallenstein
- Boston Symphony Orchestra conducted by Charles Munch
Played Versus Heard
Please note that we should — but too often don’t — make a vitally important distinction between two words we tend to use interchangeably on the site. There is an important difference between the sound of records that we’ve played and the sound that we’ve heard.
The stereo, the listening room, our cleaning technologies and who knows what else are all undergoing constant changes. This means that we may have played a better pressing in the past but couldn’t hear it sound as good as it does now. The regular improvements we make in all areas of playback make sonic comparisons over time all but meaningless.
A Must Own Living Stereo from 1959
A record as good as Destination Stereo belongs in every serious audiophile’s collection. Others that belong in that category can be found here.
Side One
Gayne Ballet Suite: Sabre Dance
Rimsky-Korsakoff – Capriccio Espagnol: 4th and 5th Movements
Mussorgsky- Ravel – Pictures At An Exhibition: Gnomus
Adler-Ross – Hernando’s Hideaway (from the musical “The Pajama Game”)
Prokofieff – Lieutenant Kije: Troika
Side Two
Aaron Copland – Rodeo: Hoe-Down
Saint-Saens – Piano Concerto No. 2: 2nd Movement
Morton Gould – Fourth Of July
Berlioz – Overture To The Roman Carnival
Further Reading
- Collecting better sounding records
- Demo Disc quality orchestral recordings
- Well recorded classical albums from the core collection available now
