The sound on the record is excellent. It was engineered by Mark Levinson, on special equipment designed to create virtually noiseless ultra-low-distortion master tapes, without noise-reduction systems. It’s mastered by Robert Ludwig.
The first side contains Ravel’s Valses Nobles et Sentimentales played on the piano by Lois Shapiro. Side two contains her performance of Haydn’s Sonata No. 49.
You’ll find stunning sound on this vintage RCA Living Stereo pressing, with both sides winning our recent shootout and earning Triple Plus (A+++) grades for their superb sonics
These sides are wonderfully full-bodied and natural, using State-of-the-Art All Tube Living Stereo recording technology that was so advanced in 1960 it could transport a living, breathing Julian Bream directly from his studio into your listening room, 59 years later (!)
The set list comprises mainly baroque arrangements for classical guitar, including an especially lovely version of Ravel’s ‘Pavane Pour Une Infante Defunte’
Side one is White Hot, with some of the best 1959 Living Stereo we’ve ever heard. Explosive dynamics, HUGE space and size, with unerringly correct tonality, this is a Demo Disc like no other. When “in -the-know” audiophiles discuss soundstaging and depth, they had better be talking about a record that sounds like this. Shockingly real – proof positive that the cutting systems of the day are capable of much better sound than we normally assume.
This reasonably quiet RCA Shaded Dog LP has DEMONSTRATION QUALITY SOUND on BOTH sides. It is without a doubt THE best sounding copy we have ever heard*.(more…)
Side two here has a SUPERB sounding Bolero, and an EVEN BETTER Alborado del Gracioso, possibly the best we have ever heard. True A Triple Plus sound.
As you probably know, Bolero is very hard to find on vinyl properly performed with audiophile quality sound. The sound of Bolero here is excellent: very natural, not harsh at the end where the trombones comes in, and the not too compressed. (This is probably the biggest problem with most recordings of the work. Compression makes the quieter parts ravishingly open and clear, and positively ruins the climax with distorted compressor overload.)
Alborado… has some of the best sound we have heard on London. It’s spacious, dynamic and clear. With an extended top end the strings and horns sound harmonically correct. The orchestra from top to bottom is tonally correct as well.(more…)
This Philips recording from 1970 on exceptionally quiet Dutch vinyl has SUPERB Super Hot Stamper sound on side one for one of Ravel’s best known piano works, the Piano Concerto in G. Most Philips records are much too thick, dull and opaque to be taken seriously, by us anyway. (In this respect they have many sonic attributes in common with Londons from the ’70s and ’80s.)
Dropping the needle on this pressing, however, was a pleasant surprise. It’s big and spacious on side one, with zero smear on a piano that is both full and clear.
This is a difficult combination to achieve in our experience, and the kind of sound we do not hesitate to praise highly here at Better Records.
To us it sounds right, and when the sound is as right as it is here, the wonderful piano music of Ravel can really work its magic.(more…)
This 1979 London original English pressing of violin showpieces has Super Hot Stamper sound on side two, which came as a bit of a shock to us after playing side one, which is as congested and opaque as one would expect from such a late London recording. Side two is fabulous — full-bodied, rich and sweet. Even though it may have been recorded in 1977, the engineer is Kenneth Wilkinson, and the hall is Kingsway — not many bad recordings can be attributed to either.
But bad mastering or bad pressing quality are surely not the fault of either; when the record doesn’t come out of the oven right, the sound is going to suffer, and the sound on this side one is insufferable all right. But side two is GLORIOUS; it has wonderful music played with the greatest skill and feeling. (more…)
Nearly White Hot Stamper sound on this superb London Blueback pressing make it quite possibly the best complete Daphnis et Chloe we have ever heard.
Both sides here are BIG, with the space and depth of the wonderful hall that the LSO perform in. From my research it appears that John Culshaw may have produced the album, which surely accounts for the huge size and space, not to mention quality, of the recording. The sound is dynamic and tonally correct throughout. Without more copies on hand we feel it’s best to hold back half a plus on the sonic grade. That said, it’s clearly the best Daphnis et Chloe we’ve ever heard.
Please note that we should, but often don’t, make a vitally important distinction between two words we tend to use interchangeably. There is a 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 would now. The regular improvements we make in all areas of playback make sonic comparisons over time all but impossible.(more…)
This is a wonderful sounding performance of Ravel’s Piano Concerto, originally available on Shaded Dog (LSC 2271) and overflowing with Tubey Magical Living Stereo sound from 1958. The Victrola here is from 1964, and may or may not sound better than the average original RCA pressing. LSC 2271 is not a record we run into every day, so comparisons would be speculative to say the least.
What we can tell you is that our Victrola here is big, spacious, transparent and clear, with dead-on tonality throughout.
The overall sound seems to lack weight at first but with continued listening it appears to be the result of the orchestration being “lighter”, more appropriate to the jazz influences in the music. If you like Gershwin this piece will be right up your alley.(more…)
This White Hot EMI pressing has some of the loveliest orchestral music reproduction we’ve ever heard. Man, this copy sure has it going on: it’s super clean and clear, tonally correct from top to bottom, with all of the weight of the orchestra down low on both sides.
If you want a classical record to TEST your system, if you want a classical record to DEMO your system, you will have a hard time finding a better pressing than this very copy.
Debussy – Prelude A L’apres-midi D’un Faune is excellent here as well – it’s a piece we rarely have recordings of on the site.(more…)
The sound of this White Hot Stamper side two is SUPER TRANSPARENT — you can hear all the way to the back of the hall and then some! There’s so much ambience on this pressing it forced us to reevaluate the other copies in light of the sound we were discovering here.
As if that wasn’t enought, it had energy and immediacy we simply did not expect to hear. The sound is big and bold during the loud passages, but sweet and delicate when, for example, the woodwinds are spotlighted in the composition. (more…)