- 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.”
The darker brass instruments like tubas, trombones and french horns are superb here. Other Golden Age recordings of the work, as enjoyable as they may be in other respects, do not fully reproduce the weighty quality of the brass, probably because of compression, limiting, tube smear, or some combination of the three.
The brass on this record has a power like practically no other. It’s also tonally correct. It’s not aggressive. It’s not irritating. It’s just immediate and powerful the way the real thing is when you hear it live. That’s what really caught my ear when I first played the recording.
There is a blast of brass at the end of Catacombs that is so big and real, it makes you forget you’re listening to a recording. You hear every brass instrument, full size, full weight. I still remember the night I was playing that album, good and loud of course, when that part of the work played through. It was truly startling in its power. (Back then I had the Legacy Whisper speaker system, the one with eight 15″ woofers. They moved air like nobody’s business. If you want to reproduce the power of the trombone, the loudest instrument in the orchestra, they’re your man.)
Sonic Grade: F
There is simply an amazing amount of TOP END on the original pressing we played a while back (reviewed below). Rarely do I hear Golden Age recordings with this kind of ENERGY and extension up top.
This is of course one of the reasons the Classic reissue is such a disaster. With all that top end energy, Bernie’s gritty cutting system and penchant for boosted upper midrange frequencies positively guarantees that the Classic Reiner Sound will be all but unplayable on a good system.
Boosting the bass and highs and adding transistory harshness is the last thing in the world that The Reiner Sound needs.
You may have read on the site that, unlike many soi-disant audiophiles who buy into HP’s classical choices, I am not the biggest Reiner fan. On these works, though, I would have to say the performances are Top Drawer, some of the best I have ever heard. The amount of energy he manages to coax from the Chicago Symphony Orchestra is nothing less than BREATHTAKING.
This TAS List Super Hot stamper side one has some of the best sound we have ever heard for the Shaded Dog Reiner/CSO Pictures, and side two, although it starts out a little weak, gets going soon enough and earns a Super Hot Stamper sonic grade as well.
Side one is open and natural in the best Living Stereo tradition, with rich lower strings that have virtually no Golden Age smear. Turn it up and listen for the big cymbal crashes — that’s the sound we love. It’s so good it even allows me to enjoy Reiner’s performance, never one of my favorites.
A++, transparent and free from smear, not many copies are going to beat this one! A little more top would have been nice.
Listen to: Samuel Goldenburg und Schmuyle
Superb sound! The brass and strings on this part of the work are as good as it gets. No smearing of the brass — it’s clean and clear like it is in the concert hall. We’re so used to hearing it wrong that it takes a record like this to remind us how good a full brass choir can really sound. (more…)
- An outstanding copy of this superb release with solid Double Plus (A++) sound on both sides – exceptionally quiet vinyl too
- This spectacular Demo Disc recording is big, clear, rich, dynamic, transparent and energetic – here you will find some of the best orchestral Hot Stamper sound we offer
- With so many quiet passages, records that play better than Mint Minus Minus are tough to come by in this world – this one is exceptional indeed
- The sound of the orchestra is dramatically richer and sweeter than you will hear on most pressings — what else would you expect from Decca’s engineers and the Suisse Romande?
The sound is clear, with wonderful depth to the stage. As a rule, the classic ’50s and ’60s recordings of Ansermet and the Suisse Romande in Victoria Hall are as big and rich as any you may have ever heard. These recordings may just be the ideal blend of clarity and richness, with depth and spaciousness that will put to shame 98% of the classical recordings ever made. (more…)
Some records never justified the time and money required to find Hot Stamper pressings of them in order to make it worth our while to do them again. This is one such album, and the link above will take you to many more
This Philips recording from 1970 on exceptionally quiet Dutch vinyl has SUPERB Super Hot Stamper sound on side one for one of Ravel’s best known piano works, the Piano Concerto in G. Most Philips records are much too thick, dull and opaque to be taken seriously, by us anyway. (In this respect they have many sonic attributes in common with Londons from the ’70s and ’80s.)
Dropping the needle on this pressing, however, was a pleasant surprise. It’s big and spacious on side one, with zero smear on a piano that is both full and clear.
This is a difficult combination to achieve in our experience, and the kind of sound we do not hesitate to praise highly here at Better Records.
To us it sounds right, and when the sound is as right as it is here, the wonderful piano music of Ravel can really work its magic. (more…)
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
Even twenty years ago reviewers noted that tracks on compilations such as this had better sound than the albums from which they were taken, proof that they were listening critically and comparing pressings.
What happened to reviewers of that caliber?
I can tell you what happened to them: they left audio, driven out according to the principle that underlies Gresham’s Law: bad reviewers drive out good ones. Which leaves you with the type that can’t tell how truly awful most modern Heavy Vinyl Reissues are. A sad state of affairs if you ask me, but one that no longer impacts our business as we simply don’t bother to buy, sell or play most of them.
Reviewer malpractice? We’ve been writing about it for more than 25 years.
This reasonably quiet RCA Shaded Dog LP has DEMONSTRATION QUALITY SOUND on BOTH sides. It is without a doubt THE best sounding copy we have ever heard*.
White Hot, with some of the best 1959 Living Stereo we’ve ever heard. Explosive dynamics, HUGE space and size, with unerringly correct tonality, this is a Demo Disc like no other. When “in -the-know” audiophiles discuss soundstaging and depth, they had better be talking about a record that sounds like this. Shockingly real – proof positive that the cutting systems of the day are capable of much better sound than we normally assume. (more…)
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…)
DEMO QUALITY SOUND!
Boy does this record ever sound good! It’s alive. Dynamic and immediate, like a good Mercury but with plenty of ambience and sweet strings — the best of both worlds.
This is one of the great RCAs. Classic Records did a passable job with this title, which is about the best they ever do. It’s a far cry from the sound heard here but for those of you who do not want to spend the money, or insist on quiet surfaces, check that one out.
The performance is excellent as well, and of course the Ravel Concerto is a piece of music that belongs in any serious collection. (more…)