- This wonderful classical release has long been a favorite of ours here at Better Records, and this pressing is outstanding, offering Double Plus (A+++) sound throughout
- The stereo sound here is Tubey Magical, lively and clear, with the kind of three-dimensionality that will fill your listening room from wall to wall that only the best vintage vinyl can offer
- A rare title and a very difficult one to find with audiophile quality playing surfaces – this is about as quiet as we can find them, folks
- “From the opening bars, Quartetto Italiano distinguish themselves as eminent interpreters of Debussy… The Ravel quartet also receives an outstanding treatment: atmospheric, rhythmically secure and supple.”
Sonic Grade: F
The Classic of LSC 2222 is all but unlistenable on a highly resolving, properly set-up hi-fidelity system.
The opacity, transient smear and loss of harmonic information and ambience found on Classic’s pressing was 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 finding fault with the “Classic Records Sound” and said as much in our catalogs.
With each passing year — 26 and counting — we like that sound less. The Classic may be on Harry’s TAS list — sad but true — but that certainly has no bearing on the fact that it’s not a very good record.
MORE RECORDS GOOD FOR JUDGING THESE QUALITIES
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 on the site. (more…)
White Hot Stamper sound on side two of this solo piano recording. It’s big, rich and above all REAL sounding, with natural studio space. The legendary soloist Leonard Pennario is presented here at the height of his powers. Superb choice of material, from Clair De Lune to Liebestraum to the Hungarian Rhapsody No . 2.
On the rare Stereo pressing of course — we want to hear all that studio space reproduced, just as your two ears would have heard it (more or less).
Graded Super Hot for the huge, solid-sounding piano, played with such verve and skill. The musical power on this side is stupendous.
Even better! No smear, with incredible clarity, and no sacrifice in weight or richness. (more…)
- With two Nearly Triple Plus (A++ to A+++) sides, this original stereo copy of CS 6248 is hard to beat
- This copy is HUGE, rich, clear, dynamic, with exceptionally three-dimensional hall space (the snare is WAY back there)
- Superb 1961 All Tube recordings of groundbreaking masterpieces by Debussy and Ravel
- The exceptionally natural recording Prelude to the Afternoon of a Faun lets you appreciate the wonder of the piece
Transparent and spacious, wide and naturally staged, clean yet rich, with zero coloration, there is nothing here to fault. Nearly Triple Plus all the way. So relaxed and natural you will soon find yourself lost in the music. (more…)
1S RCA Shaded Dog. This is an exceptionally good sounding copy, full of that RCA Living Stereo magic. Excellent performance from Reiner as well. On a work like La Mer the timbre of the instruments is critical to the enjoyment of the piece, as they often play solo and in small groupings. This record captures those qualities perfectly.
This record also includes Strauss’ Don Juan, which never sounds good on this title and is best left unplayed.
Presenting an exceptionally rare and very good sounding Decca Phase IV pressing (with the textured cover, ooh!), the first to ever hit the site. We have been on the lookout for this album for years and somehow cannot find any clean copies, other than this one of course.
Not to worry; this one will do nicely. Three of the six works here have SUPERB better than Super Hot Stamper sound. We went through them one by one and were rather surprised that the sound quality varied so much from track to track.
One might conclude from the variation in the sound that the album must be a compilation — so many of Herrmann’s albums are — but that is not the case, assuming the liner notes are to be believed.
Here’s what we heard, taken directly from our notes.
Satie / Gympnopedies I & II
A++ or better. Rich, smooth, sweet, big, natural, clear and very ANALOG. I don’t know when I’ve heard these famous works sounding better than they do here.
Debussy / Clair de Lune
A+, rich but a bit smeary, strings need more texture.
Debussy / Valse ‘la Plus Que Lente
No grade – Too murky.
Ravel / Five O’Clock Fox-Trot
A++ to A+++, with Demo Disc sound! So lively and clear, the sound will jump out of your speakers when you play this track! (more…)
This Decca reissue is spacious, open, transparent, rich and sweet. Roy Wallace was the engineer for these sessions from 1955 to 1961 in Geneva’s glorious sounding Victoria Hall.
It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording, with the added benefit of mastering using the more modern cutting equipment of the ’70s, 1972 to be exact. (We are of course here referring to the good modern mastering of 40+ years ago, not the mediocre-at-best modern mastering of today.)
The combination of old and new works wonders on this title as you will surely hear for yourself on both of these superb sides.
We were impressed with the fact that it excelled in so many areas of reproduction. The illusion of disappearing speakers is one of the more attractive aspects of the sound here, pulling the listener into the space of the concert hall in an especially engrossing way.
Athena, not a label we have ever associated with good sound!
But they did a great job on this album (or at least I thought so many years ago when I played it last. For purposes of this commentary, let’s assume the sound still holds up).
This is how to make a good audiophile record. Yes, there is such a thing. They may be rare but they do exist.
Take a good tape, hire someone who knows his way around a normal-speed cutting lathe (with 5800+ credits on Discogs I would hope he knows what he’s doing) as well as classical music (he cut a huge number of records for Nonesuch back in the day, which means he also can work fast and cheap), press it on good vinyl and let the audiophiles of the world enjoy it.
The Connoisseur Society original may in fact be better, but where are you going to find one?