This London Whiteback LP (CS 6594) has Super Hot Stamper sound on side two, which is where the Dvorak Serenade for 10 wind instruments, cello and bass can be found. It has lovely space and depth, with dead on tonality and lots of Tubey Magic.
If you love the sound of wind instruments (and who doesn’t? British Band Classics springs immediately to mind as one of the most enjoyable classical recordings I own), then this just may be the classical chamber recording for you.(more…)
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. (more…)
This is a handy record for VTA setup as well. Listen for fullness and solidity, especially in the piano, although a rich, full sounding clarinet is a joy here as well.
Some of the copies lacked the weight and solidity to balance out the qualities of transparency and clarity. The resulting sound is less natural, with the kind of forced detail that CDs do so well, and live music never does. There is a balance to be found.
The right VTA will be critical in this regard. When you have all the space; the clearest, most extended harmonics; AND good weight and richness in the lower registers of the piano, you are where you need to be (keeping in mind that it can always get better if you have the patience and drive to tweak further). (more…)
What I hear on this pressing is sound that is absolutely free from any top end boost, much the way live music is. There’s plenty of tape hiss and air; the highs aren’t rolled off, they’re just not boosted the way they normally are in a recording.
A few years back I had a chance to see a piano trio play locally; they even performed a piece by Schubert. The one thing I noticed immediately during their performance was how smooth and natural the top end was. I was no more than ten feet from the performers in a fairly reverberant room, and yet the sound I heard was the opposite of what passes in some circles for Hi-Fidelity.
This is the OPPOSITE of those echo-drenched recordings that some audiophiles seem to like, with microphones placed twenty feet away from the performers so that they are awash in “ambience.” If you know anything about us, you know that this is not our sound.
I have never heard live music sound like that and that should settle the question. It does in my mind anyway. The CHESKY label (just to choose one awful audiophile label to pick on) is a joke and always will be. How anyone buys into that phony sound is beyond me, but any audio show will prove to you that there is no shortage of audiophiles who love the Chesky “sound”, and probably never will be.(more…)