Side two of this copy from our 2016 shootout provides a clear example of the effect known as the “The Violin That Ate Cincinatti.”
Yes, it may be oversized, but it’s so REAL and IMMEDIATE and harmonically correct in every way that we felt more than justified in ignoring the fact that the instrument could never sound in the concert hall the way it does here — unless you were actually playing it (and even then I doubt if it would be precisely the same sound — big, but surely quite different)(more…)
We were impressed with the Speakers Corner pressing when it came out back in the day. We’ve come to learn that it is such an exceptional recording that even their second rate remastering of it was still capable of producing a very good sounding record.
One of the ways you can tell how great a recording this is is simply this: as soon as the needle hits the groove you are immediately involved in the music, listening to each of the lines created by the five preternaturally gifted players, all the while marveling at Schubert’s compositional skills.
That’s what a good record is supposed to do. That’s supposedly why we’ve dumped so much money into all this fancy equipment. Because if you have records like this, and the equipment (fancy or otherwise) to play them, you will find yourself being transported to the musical space of the performance in a way that other recordings (read: Heavy Vinyl) simply will not allow you to be.(more…)
Both sides of this promo London Blueback pressing of piano and cello music have SUPERB sound. If you’re a fan of the cello, the piano, or chamber works in general, you will have a hard time finding a better sounding recording than this.
Notice especially that there is practically no smear on the piano — the notes are clear, with their transients fully intact, something one rarely hears anywhere but in the live setting. The tonality of the piano is also correct from top to bottom.
But the real surprise here is how unusually natural the cello sounds — more like the real instrument and less like the typical recording of it.
Normally when recording the cello the microphones are placed fairly close to the instrument. This often results in what’s known as the “proximity effect”, which simply describes a boost in the lower frequencies relative to the more linear response of the microphone when placed at a distance.
The famous Starker cello recordings on Mercury — you know the ones, the orginals and even the reissues sell for hundreds and hundreds of dollars — suffer from this effect, which audiophiles seem to prefer. (The Mercury heavy vinyl reissues, at least the ones I played, were ridiculously fat and bloated in the bottom. Audiophiles did not seem to mind much, judging by the apparently strong sales and the rave reviews I read. Bass shy systems, and that means most of the systems owned by audiophiles, probably benefited from the bass boost. Systems with lots of large woofers — at least in our case — would of course make the sound of these pressings positively unbearable. That indeed was our experience.)(more…)
3S/ 4S RCA Shaded Dog. The sound is actually quite decent when you INVERT the ABSOLUTE PHASE. If you cannot or will not do that, this record will not sound good — it’s somewhat hard and bright. It will never be a Top Shaded Dog but it is a good one with the absolute phase inverted.
This record is third in a series of masterpieces for violin and piano.
This exceptionally rare early London pressing features Double Plus (A++) sound or BETTER and includes a wonderful performance of the Saint-Saens Violin Concerto No. 3
This is a spectacular recording – it’s big, clear, rich, dynamic, transparent and energetic, and is guaranteed to put to shame any Heavy Vinyl pressing of orchestral music you own
Campoli brings his warmth, feeling, and technical precision to these classical masterpieces
The Decca engineers captured the correct amount of detail in the bowing and fingering – it’s not overdone as it is in so many records that many audiophiles prefer, with the mics much too close to the strings
This is a WONDERFUL sounding violin concerto recording. It has TUBEY MAGIC as well as MUSIC to die for. What”s most interesting about the sound is how well the violin is integrated into the orchestra. On most RCAs, just to pick one golden age label to use as an example, the violin is typically hugely oversized and placed far in front of the orchestra. Not so here. The violin is of a whole with the orchestra, which makes for a much more natural and relaxed presentation.
The orchestra is a bit compressed, something engineers of the day were fond of doing. The violin tone however, as well as its dynamic contrasts, are PERFECTION. This is a Decca recording and the keyword here is NATURAL. So musical and involving too. All in all a lovely record.(more…)
This White Hot Two-Pack of the most well-known and beloved violin concerto in the classical repertoire gives you a TOP performance with TOP quality sound from first note to last. No single copy had two sides as good as these, so we’ve combined two LPs to bring you the best Tchaicovsky Violin Concerto ever to hit the site.
In choosing these two sides we put special emphasis on the sound of the violin. Many copies suffered from a slight screechiness to the sound of the instrument, but we present here a violin that is rich and sweet, yet retains the full pallette of its complex harmonics.
Side One – Record One
A++, with Tubey Magic to die for. The sound is rich, with a bit of tube smear that does little damage to the overall sound. Big space, a solid bottom, and plenty of dynamic energy are in evidence throughout the side. There’s so much energy that, in comparison to some copies, this side almost sounded like it was running fast!
Side two of this LP earned a grade of A+ — it’s too smeary and dark for our taste.(more…)
A distinguished member of the Better Records Orchestral Music Hall of Fame.
This Hot Stamper London Whiteback is certainly no Demo Disc by any means. That said, the sound is quite good, with correct tonality from top to bottom. The perspective is somewhat recessed and the sound could use more top end extension, but the instruments sound natural and musical and that alone puts it well ahead of the pack in the world of classical recordings. Relaxed and enjoyable throughout.
As I recall the performance here is a bit more lively than it is on the famous RCA (LSC 2424).