Advice – What to Listen For – Classical Records

Stockhausen / Noda – Zyklus & Eclogue on Direct to Disc (Reviewed in 2011)

More Audiophile recordings

More Stockhausen / Noda

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A distinguished member of the Better Records Orchestral Music Hall of Fame.

This RCA 45 RPM Direct-to-Disc fulfills the promise of both the direct to disc recording medium AND the 45 RPM cutting speed so much in vogue these days. As with the Virtuoso Guitar record we listed today, the sound is simply SUPERB — open, dynamic and distortion free. This is a real DEMO DISC, no doubt about it.

I’ve known this record had top quality sound for decades; we started way back in 1987 selling these kinds of audiophile pressings and this one was clearly a Top Title even back then. I’m happy to say that, unlike most of the audiophile pressings we used to sell, this title has actually gotten BETTER with time. 

Side One

A++ or Better — it’s so good who can say for sure what the grade is? We get one of these in about every six to twelve months, and in that time many changes to the stereo and room have been made, so comparisons with previous pressings get tricky.

Here’s what we can say: this record is DYNAMIC, with huge amounts of space and real TRANSIENTS. It’s about as much like Live Music as any record you are likely to own. Play this one for your CD loving friends and watch their jaws drop.

Side Two

A++ or better again. We’re not that crazy about the flute on this side but the percussion is SUPERB.

TRACK LISTING

Side One

Zyklus

Side Two

Eclogue

The Dvorak Violin Concerto with Accardo on Philips – Was Sound This Good Still Possible in 1980?

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You’ll find amazing nearly White Hot Stamper sound on side two of this exceptionally quiet Philips recording.

Yes, it was still possible to record classical music properly in 1980, though few labels managed to do it.

A SUPERB performance from Salvatore Accardo, certainly competitive with the best we have heard.

Yes, it was still possible to record classical music properly in 1980, though not many labels managed to pull it off. (Londons from this era are especially opaque and airless. We find them as irritating and frustrating as most of the Heavy Vinyl releases being foisted on the audiophile public today.) (more…)

Iberia (LSC 2222) on Classic Records – Part of the First Batch of Their RCA Reissues from 1994

More of the music of Claude Debussy

More Iberia

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Sonic Grade: F

Hall of Shame pressing and another Classic Records LP debunked.

The Classic of LSC 2222 is all but unlistenable on a highly resolving system. The opacity, transient smear and loss of harmonic information and ambience found on Classic’s pressing is enough to drive us right up the wall. Who can sit through a record that sounds like that? Way back in 1994, long before we had anything like the system we do now, we were disparaging the “Classic Records Sound” in our catalogs.

With each passing year — 24 and counting — we like it less. 

The Classic may be on Harry’s list — sad but true — but that certainly has no bearing on the fact that it’s not a very good record. (more…)

Arthur Fiedler Conducts Our Favorite Night on Bald Mountain – for DG!

More Modest Mussorgsky

More Danse Infernale / Fiedler

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  • Our favorite performance of Night on Bald Mountain in Double Plus (A++) sound is back, guaranteed to blow your mind (and maybe a woofer or two)
  • Side one also boasts an excellent Danse Macabre, with a powerful finish that may remind you of the thrill of live orchestral music
  • Side two of this amazing sleeper LP contains a wonderfully exciting Sorcerer’s Apprentice, also in very good sound
  • Watch your levels on this record – it’s dramatically more DYNAMIC than most Golden Age recordings

If you like Orchestral Spectaculars, have we got the record for you!

This pressing clearly has DEMONSTRATION QUALITY SOUND — not in every way, but in some important ways. The ENERGY of both the sound and the performances is truly awesome. Fiedler brings this music to LIFE. (more…)

The Rapture of the Purely Musical Experience

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This work is more often than not recorded with harsh sound. The exciting orchestration must surely be very difficult to capture on tape. But Mercury here seems to have managed to do it, a feat few others can claim.

This side one is truly DEMONSTRATION QUALITY, thanks to superb low distortion mastering. It’s yet another very exciting Mercury recording. The quiet passages have unusually sweet sound. This kind of sound is not easy to cut. This copy gets rid of the cutter head distortion and coloration and allows you to hear what the Mercury engineers accomplished. (more…)

Finlandia – Striving for Orchestral Clarity with Decca and Failing with RCA

 

More of the music of Jean Sibelius (1865-1957)

More of the music of Edvard Grieg (1843-1907)

 

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The original RCA Living Stereo pressings we played in our 2014 shootout were not competitive with the best Deccas and London reissues.

Original is better? In our experience with Finlandia, not so much.

 

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The record you see above is yet another wonderful example of what the much-lauded Decca recording engineers were able to capture on analog tape all those years ago. The 1961 master has been transferred brilliantly using “modern” cutting equipment (from the early-’70s, not the low-rez junk they’re forced to make do with these days), giving you, the listener, sound that only the best of both worlds can offer.
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What to Listen for on EMI’s Wonderful Prokofiev’s Symphony No. 1 with Previn

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That’s an easy one: The all-too-common ’70s EMI harshness and shrillness. We could never understand why audiophiles revered EMI as a label to the extent that they did back in the day. I chalk it up, as I do most of the mistaken judgments audiophiles make about the sound of records, my own included (we do have a We Was Wrong section right on the site, the only one of its kind to my knowledge), to limited equipment, bad rooms and poor record cleaning.

If you had vintage tube equipment back in the ’70s — McIntosh, Marantz, etc. (I had an Audio Research D-75a and later a D-76a) — the flaws heard on most copies of this record wouldn’t be nearly as offensive as they are to those of us playing them on the much more revealing systems of today.

Working in impossibly complicated and unpredictable combination, today’s modern systems, painstakingly set-up through trial and error, in heavily treated rooms, using only records that have been subjected to the most advanced cleaning technologies — these are what make it possible to know what your records really sound like.

These are what make it possible for us to do our job. You, of course, have the option of hearing our records any way you like on your system and in your room; the cleaning and evaluation of the sound has been done.
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VTA – A Few Moments of Experimentation Can Really Pay Off

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Another in our series of Home Audio Exercises with specific advice on What to Listen For (WTLF) as you critically adjust your VTA.

Experimenting with the VTA for this record we found a precise point where it all came together, far beyond whatever expectations we might have had at the time, which revealed a violin floating between the speakers, an effect that as audiophiles we appreciate for the magic trick that it is.

The sound of the wood of the instrument became so clear, the harmonic textures so natural, it was quite a shock to hear a good record somehow become an amazing one. All it took was a few moments of experimentation.

With the right VTA setting we immediately heard more harmonic detail, with no sacrifice in richness. That’s the clearest sign that your setup is right, or very close to it.
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Our Favorite Recording of Scheherazade

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I attended this Dec. 2013 concert; it was a thrill like no other. (Well, maybe The Planets.)

“Guest conductor Rafael Frühbeck de Burgos’s attention to detail delivers the razzle dazzle and also discovers renewed radiance in ‘Scheherazade.'”

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We did a monster shootout for this music in 2014, one we had been planning for more than two years. On hand were quite a few copies of the Reiner on RCA; the Ansermet on London (CS 6212, his second stereo recording, from 1961, not the earlier and noticeably poorer sounding recording from in 1959); the Ormandy on Columbia, and a few others we felt had shown potential.

The only recordings that held up all the way through — the fourth movement being THE Ball Breaker of all time, for both the engineers and musicians — were those by Reiner and Ansermet. This was disappointing considering how much time and money we spent finding, cleaning and playing those ten or so other pressings. (more…)

Today’s MoFi Mess Is Pictures at an Exhibition

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Sonic Grade: D

A Hall of Shame pressing and another MoFi LP debunked.

The MoFi mastering here is a joke. All that phony boosted top end makes the strings sound funny and causes mischief in virtually every other part of the orchestra as well. Not surprisingly, those boosted highs are missing from the real EMIs.

MoFi had a bad habit of making bright classical records. I suppose you could say they had a bad habit of making bright records in general. A few are dull, some are just right, but most of them are bright in one way or another. Dull playback equipment? An attempt to confuse detail with resolution?
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