Hot Stamper Pressings Featuring the Violin Available Now
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.
UPDATE 2022
In 2007 we rarely had the number of copies sufficient to carry out a serious shootout, which meant that records such as this one would be auditioned and, if they sounded good, sold on the basis of having good sound.
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.
Starting all the way back in the 80s we had been in the business of selling Living Stereo and other vintage Golden Age pressings.
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.
UPDATE 2025
The comments about later stampers — 10s to 20s — being the best are definitely not true.
Early stampers most of the time do better than later stampers.
And the right early stampers for LSC 2446 are much better than even the best of the later ones.
Check out all the stamper sheets we post and see for yourself.
For those of you who might be interested, we talk about the pros and cons of the 1S stamper in a number of listings here on the blog.
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 all of the records we sell are cleaned, then auditioned under rigorously controlled conditions up against 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.
Further Reading