_Conductors – Fistoulari

Ballet Music From The Opera – Skip the Dreadful Sounding Classic Records LP

Hot Stamper Living Stereo Orchestral Titles Available Now

Hot Stamper Pressings of Orchestral Spectaculars Available Now

Sonic Grade: F

Hall of Shame pressing and another Classic Records Classical LP debunked.

Classic Records ruined this album, as anyone who has played some of their classical reissues should have expected. Their version is dramatically more aggressive, shrill and harsh than the Shaded Dogs we’ve played, with almost none of the sweetness, richness and ambience that the best RCA pressings have in such abundance.

In fact their pressing is just plain awful, like most of the classical recordings they remastered, and should be avoided at any price. 

Apparently, most audiophiles (including audiophile record reviewers) have never heard a top quality classical recording. If they had, Classic Records would have gone out of business immediately after producing their first three Living Stereo titles, all of which were dreadful and labeled as such by us way back in 1994. I’m not sure why the rest of the audiophile community was so easily fooled, but I can say that we weren’t, at least when it came to their classical releases. 

We admit to having made plenty of mistaken judgments about their jazz and rock, and we have the We Was Wrong entries to prove it.

The last review we wrote for the remastered Scheherazade, which fittingly ended up in our Hall of Shame, with an equally fitting sonic grade of F.

TAS Superdisc List to this day? Of course it is!

With every improvement we’ve made to our system over the years, their records have managed to sound progressively worse. (This is pretty much true for all Heavy Vinyl pressings, another good reason for our decision to stop buying them in 2007.) That ought to tell you something.

Better audio stops hiding and starts revealing the shortcomings of bad records. At the same time, and much more importantly, better audio reveals more and more of the strengths and beauty of good records.

Which of course begs the question of what actually is a good record — what it is that makes one record good and another bad — but luckily for you dear reader, you are actually on a site that has much to say about those very issues.

There are scores of commentaries on the site about the huge improvements in audio available to the discerning (and well-healed) audiophile. It’s the reason Hot Stampers can and do sound dramatically better than their Heavy Vinyl or Audiophile counterparts: because your stereo is good enough to show you the difference.

With an Old School Audio System you will continue to be fooled by bad records, just as I and all my audio buds were fooled twenty and thirty years ago. Audio has improved immensely in that time. If you’re still playing Heavy Vinyl and Audiophile pressings, there’s a world of sound you’re missing. We would love to help you find it.

One amazing sounding Orchestral Hot Stamper pressing might just be what it takes to get the ball rolling.

(more…)

Ballet Music From The Opera – Listening for Smear and Compression

Hot Stamper Pressings of Living Stereo Recordings Available Now

200+ Reviews of Living Stereo Records

This Super Rare, Highly Collectible copy of LSC 2400 has vintage RCA Golden Age sound, for better and for worse. Even though the album was recorded by Decca, it’s got a heavy dose of Living Stereo Tubey Magic. There will never be a reissue of this record that even remotely captures the richness of the sound found here.  

And the hall is HUGE — so spacious and three-dimensional it’s almost shocking, especially if you’ve been playing the kind of dry, multi-miked modern recordings that the ’70s ushered in for London and RCA. (EMI is super spacious but much of that space is weird, coming from out of phase back channels folded in to the stereo mix. And often so mid-hall and distant. Not our sound, sorry.)

Side One

Big and lively. The Tubey Magic colorations are a bit much for us, with too much tube smear on the strings and brass to earn more than a single plus.

Side Two

Even bigger and more spacious, with some smear from compression of course, but the quiet passages are magical.


This Recording Is Good for Testing the Following Qualities:

Ambience, Size and Space

Compression 

Smear


FURTHER READING

New to the Blog? Start Here

Basic Concepts and Realities Explained

Important Lessons We Learned from Record Experiments 

More Classical and Orchestral Commentaries and Reviews

Tchaikovsky / Swan Lake Highlights / Fistoulari

More of the music of Peter Ilyich Tchaikovsky (1840-1893)

More Imported Pressings on Decca and London

  • An outstanding copy of Fistoulari’s powerful and exciting recording with Double Plus (A++) sound or BETTER throughout
  • So transparent, dynamic and REAL, this copy raises the bar for the sound of ballet music on vinyl
  • One of the most popular ballets in the world, presented here with out-of-this-world Decca engineered All Tube Chain sound from 1961 – it’s a match!
  • For the Highlights of Swan Lake, we know of no better performance, and we certainly know of no better sounding recording on vinyl
  • It took us years to find enough copies to do this shootout – not many copies will play as quietly as this one, and many of them will have their inner grooves destroyed by the mistracking tonearms of the day
  • The big finish at the end of the second side is so powerful it might just take your breath away – show me a modern remastering with that kind of sound and I will eat it
  • “It is a superb account of Swan Lake, perhaps better than most recordings out there. Maestro Fistoulari and the Concertgebouw Orchestra of Amsterdam are in top form.”
  • If you’re a fan of delightful orchestral showpieces such as these ballet highlights, this LP from 1961 belongs in your collection
  • The complete list of titles from 1961 that we’ve reviewed to date can be found here.

This London UK import is one of the best single-disc versions of the ballet we have ever played. This is the one folks, assuming you do not want a (nearly) complete performance of the work. (For that we recommend the 2 LP box set with Ansermet.)

Note that the big finale at the end of side two is loud and HUGE on this album. There is a touch of compressor overload, but no actual inner groove distortion. At first we thought the former may have indeed been the latter because we had a copy or two with chewed-up inner grooves.

This one plays clean to the end, and boy does it get loud and powerful at the climax of the work. (more…)

A Simple Test for Polarity – Listen to the Solo Violin

More of the music of Frederic Chopin (1810-1849)

More of the Music of Jacques Offenbach (1819-1880)

This is one of the pressings we’ve discovered with Reversed Polarity.

Both sides are reversed.

On side two, the Chopin side, notice how vague the solo violin is with the polarity wrong.

As soon as it is switched, a solid, real, natural, palpable violin pops into view.

That’s how you know when your polarity is correct, folks!

This Heavy Vinyl pressing is also quite vague, but you can reverse your polarity until the cows come home, it ain’t gettin’ any better.

Here are some other Records that Are Good for Testing Vague Imaging


The top end of this record is clear, clean and correct. No other copy sounded like this one on the first side. When you hear all the percussion instruments — the tambourines, triangles, wood blocks and what-have-you — you know instantly that they sound RIGHT.

The overall sound is very different from many of the other recordings of the work that we have offered in the past. Rather than smooth, rich and sweet, the sound here is big and bold and clear like nothing we have ever played.

This is Front Row Center sound for those whose systems can reproduce it.

And this is truly a top performance by Fistoulari and the Royal Philharmonic. I know of none better. For music and sound this is the one!

Tchaikovsky / Swan Lake / Fistoulari – Our Favorite Recording of the Highlights

More of the music of Peter Ilyich Tchaikovsky (1840-1893)

More Imported Pressings on Decca and London

Kenneth Wilkinson engineered this album for Decca in 1961.

It’s as wide, deep, and three-dimensional as any, which is, of course, all to the good, but what makes the sound of these recordings so special is the timbral accuracy of the instruments in every section.

Highlights of the recording include huge amounts of bass; a clear snare at the back of the hall (a good test of transparency of the record and of your system and room); full-bodied horns and strings which never become blary or shrill; and of course huge amounts of space.

This is the kind of record that will make you want to take all your heavy vinyl classical pressings and put them in storage. They cannot begin to sound the way this record sounds. (Before you put them in storage or on Ebay please play them against this pressing so that you can be confident in your decision to rid yourself of their mediocrity.)

Quality record production is a lost art, and it’s been lost for a very long time.

In my notes I remarked that when the music is quiet the sound is so spacious, clear, and sweet it will have you thinking you are sitting in the concert hall. One thing live classical music does much better than any recording in my experience is that it gets very, very quiet, yet stays clear and spacious. None of the thousands of classical recordings I have heard to date reproduce that quality completely, but this one gets awfully darn close.

Note that the big finale at the end of side two is loud and HUGE on this album. There is a touch of compressor overload, but no actual inner groove distortion. At first we thought the former may have indeed been the latter because we had a copy or two with chewed-up inner grooves.

This one plays clean to the end, and boy does it get loud and powerful at the climax of the work.

All the qualities we look for in a classical recording are found here:

  • lovely string tone and texture,
  • rich bass,
  • a big hall,
  • no smear,
  • lovely transparency

How many classical records have all these qualities? One out of a hundred?

(more…)

Ballet Music From The Opera / Fistoulari – Reviewed in 2013

Better than Super Hot Stamper sound on side one of this lovely Victrola reissue from 1960, one of the best in the entire series. Pay attention to the brass — yes, it may have some tubey smear, but listen to how HUGE and POWERFUL it is! Drop the needle on the first side and watch (or listen) as the sound comes jumping out of your speakers.

Modern records can’t do that.

These Decca-derived recordings are highly sought after, and with good reason. It’s hard to imagine a more wonderful audiophile disc, both in terms of the program and the quality of the sound.

This is the precisely the kind of big, bold, lifelike sound Decca engineers were able to capture on tape, and RCA mastering engineers were able to master from that analog tape, fifty or so years ago. (more…)

Offenbach & Chopin / Gaite Parisienne & Les Sylphides – Reverse Your Polarity

More of the Music of Jacques Offenbach (1819-1880)

This is one of the pressings we’ve discovered with Reversed Polarity.

Amazing in every way! The top end of this record is clear, clean and correct. No other copy sounded like this one on the first side. When you hear all the percussion instruments — the tambourines, triangles, wood blocks and what-have-you — you know instantly that they sound RIGHT.

The overall sound is very different from many of the other recordings of the work that we have offered in the past. Rather than smooth, rich and sweet, the sound here is big and bold and clear like nothing we have ever played.

This is Front Row Center sound for those whose systems can reproduce it!

And this is truly a top performance by Fistoulari and the Royal Philharmonic. I know of none better. For music and sound this is the one!

Side One

The Triple Plus sound makes this THE Gaite Parisienne to Own.

If you have a hot copy of LSC 1817 consider yourself very fortunate. If your copy of LSC 1817 has never thrilled you, then this pressing will beat the pants off it, as it is pretty darn THRILLING. Even if you do have a great 1817 I would still put this up against it and expect it to win the shootout.

It’s clear, clean and above all, TRANSPARENT. This is a claim no modern remastered record, in our opinion, can make. The energy is spectacular on this side. Not only that, but listen to the bite of the brass — that’s some high-rez sound! (more…)

Saint-Saens / Violin Concerto No. 3 & Chausson / Poeme – Milstein – Our Shootout Winner from 2013

Hot Stamper Pressings Featuring the Violin

This White Hot Stamper original Blue Angel pressing has some of the most exquisite sound for a violin/orchestral recording we have ever heard here at Better Records. I do not think there is any Heifetz album on RCA Shaded Dog (or otherwise) to compete with it. We would rank this Angel recording/pressing with the best of Rabin and Milstein on Capitol, as well as the wonderful Ricci and Campoli discs on London/Decca. In other words, this is one of the best sounding violin-led orchestral recordings we have yet to play, and we’ve played them by the hundreds and hundreds. (Practice makes perfect they say.)

So clear, so three-dimensional, so relaxed, rich and sweet — can it get any better? I’d have to say not much!

It’s the Chausson piece that earned our highest grade of Three Pluses, a work that is certainly less well-known than the legendary Saint-Saens Third. Both are superb examples of the kind of sophisticated, melody-driven music the French Romantic school was producing in the latter part of the 19th century. You may become as big a fan of the Chausson as we happily admit to being now, having heard this wonderful pressing. (more…)

Adam / Giselle / Fistoulari

Remastered by Philips from a Golden Age Classical Recording by Mercury, originally released in 1961.

This Mercury Golden Import 2 LP set has VERY GOOD sound. The average copy tends to be a bit dark and recessed, but this one is refreshingly free from those problems.

It’s not quite up to Hot Stamper status, but it is a very enjoyable record and worth picking up at the right price.

Offenbach / THE Gaite Parisienne to Own – A Classic Case of Reversed Polarity

More of the music of Frederic Chopin (1810-1849)

More of the Music of Jacques Offenbach (1819-1880)

  • This amazing Readers Digest disc has A+++ Out of This World Demo Disc sound for Gaite Parisienne
  • The dynamic energy, clarity and power of this work come through on this pressing like nothing you have ever heard
  • But only if you can reverse your polarity – if you can’t (or won’t) just forget hearing this record sound the way I describe it
  • “This is unpretentious, well-crafted music, and while it will not appeal to those exclusively interested in serious listening, it is undeniably masterful within its genre.”
  • More Classical ‘Sleeper” Recordings We’ve Discovered with Demo Disc Sound

Amazing in every way! The top end of this record is clear, clean and correct. No other copy sounded like this one on the first side. When you hear all the percussion instruments — the tambourines, triangles, wood blocks and what-have-you — you know instantly that they sound RIGHT.

The overall sound is very different from many of the other recordings of the work that we have offered in the past. Rather than smooth, rich and sweet, the sound here is big and bold and clear like nothing we have ever played.

This is Front Row Center sound for those whose systems can reproduce it!

And this is truly a top performance by Fistoulari and the Royal Philharmonic. I know of none better. For music and sound this is the one!

Side One

The Triple Plus sound makes this THE Gaite Parisienne to Own.

If you have a hot copy of LSC 1817, consider yourself very fortunate. If your copy of LSC 1817 has never thrilled you, then this pressing will beat the pants off it, as it is pretty darn THRILLING. Even if you do have a great 1817 I would still put this up against it and expect it to win the shootout.

It’s clear, clean and above all, TRANSPARENT. This is a claim no modern remastered record, in our opinion, can make. The energy is spectacular on this side. Not only that, but listen to the bite of the brass — that’s some high-rez sound!

IF…

If you can reverse your polarity. If you can’t the sound will be aggressive and vague in equal measure.

Chopin

A++ sound, in reversed polarity again. Rich and natural as befits the music.

Note how vague the violin solo is with the polarity wrong. As soon as it is switched a solid, real, natural violin pops into view.

That’s how you know your polarity is correct, folks!