Interesting record. The first side sounds about like what one would expect from an old Columbia six-eye mono piano recording — not bad but not particularly good either, with a tonally correct but rather small and distant piano in the middle of a big room.
Imagine our surprise and delight when we flipped the record over and heard a shockingly ROBUST, CLEAR and PRESENT piano, sounding pretty much — if one were to close one’s eyes — like a real piano in a practice hall. We call it at least Super Hot Stamper sound. Without more copies to compare it to, this may be for all practical purposes As Good As It Gets.
We are not always enamored of original vintage pressings, but in this case, on at least side two, we heard the sound we were looking for. It’s doubtful we would hear that sound on many of the reissues. We’ve played a few and they sure never sounded like this!(more…)
This London Whiteback pressing of CS 6173 has SUPERB SOUND! Like its brother, CS 6172, recorded by Richter in 1954, probably on the same day, the sound of this early stereo 2 mic recording is amazingly spacious and rich.
The original Large Tulip early pressings are the best on this record, right?
Nope. It’s just another Record Myth, as explained in the commentary for our recent Hot Stamper 2-pack. That pair of pressings was all the proof we required to back up our contention that either label can be the best on this classic DG recording. Original is better? Again, not so much. Original can be better fits more with our experience.
To pull off this kind of Mind Boggling sound from start to finish we combined an amazing side one on the Large Tulips label with an amazing side two on the Small Tulips label. And what a finish — side two earned a grade of A+++, being a full step above even our hottest other side two, and we played a lot of copies, more than a dozen in fact. (more…)
Classical music is unquestionably the ultimate test for proper turntable/arm/cartridge set-up. The Liszt recording you see pictured is a superb choice for adjusting tracking weight, VTA, azimuth and the like.
One of the reasons $10,000+ front ends exist is to play large scale, complex, difficult-to-reproduce music such as Liszt’s two piano concertos. You don’t need to spend that kind of money to play this record, but if you choose to, it would surely be the kind of record that can show you the sound your tens of thousands of dollars has paid for.
It has been my experience that cheap tables more often than not collapse completely under the weight of a mighty record such as this. (more…)