Hot Stamper Classical and Orchestral Pressings Available Now
Advice – What to Listen For on Classical Records
The Classic reissue of LSC 1903 is a disaster: shrill, smeary and unmusical.
In these four words we can describe the sound of the average Classic Records Living Stereo pressing.
The best Heifetz records on Classic were, if memory serves, LSC 2734 (Glazunov), LSC 2603 (Bruch) and LSC 2769 (Rozsa).
They aren’t nearly as offensive as the others. If you can pick one up for ten or twenty bucks, you might get your money’s worth depending, I suppose, on how critically you listen to your classical records.
The CDs are better for all I know. That’s probably the first place to go, considering Classic’s generally poor track record.
The Living Stereo CD of Reiner’s Scheherazade is dramatically better than the awful Classic Records pressing of it.
Audiophiles who cannot hear what is wrong with the Classic pressing need to find themselves a nice — even one that’s not so nice — RCA White Dog pressing to see just how poorly the Classic stacks up.
The solo violin in the left channel at the opening of the first movement should be all it takes.
Anyone has ever attended a classical music concert should recognize that the violin on any of the Heavy Vinyl pressings of the recording is completely wrong and sounds nothing like a violin in a concert hall would ever sound.
And I mean ever.
No matter where you sit.
No matter how good or bad the hall’s acoustics.
It is dark and veiled and overly rich, lacking in overtones.
Solo violins in live performance never sound that way.
They are clear, clean and present. You have no trouble at all “seeing” them clearly.
My best sounding White Dog pressing had that kind of clear and present sound for the violin.
Neither of the Heavy Vinyl reissues I auditioned did.
A pressing of Scheherazade that fails to reproduce the solo violin, the voice of the young lady herself, fails utterly and completely, no matter how big and powerful and rich the opening brass may be.