- This superb classical masterpiece makes its Hot Stamper debut with outstanding Double Plus (A++) sound from start to finish – fairly quiet vinyl too
- With huge amounts of hall space, weight and energy, this is DEMO DISC QUALITY SOUND by any standard
- When the brass is the way it is here – rich and clear, not thin and shrill – you have yourself a top quality DG pressing
- Very little smear to the strings, horns or piano
- Presenting THE sleeper Tchaikovsky Violin Concerto recording of the (previous) century
- One of the better sounding copies we played with outstanding Double Plus (A++) sound throughout
- The orchestra is big, rich and tubey, yet the dynamics and transparency are first rate
- One of the most shockingly REAL and full-bodied violins we have yet to hear on record
- This superb TAS List Piano Concerto recording finally arrives on the site with outstanding Double Plus (A++) sound and vinyl that’s about as quiet and scratch-free as we can find it
- With huge amounts of hall space, weight and energy, this is DEMO DISC QUALITY SOUND by any standard
- Some old record collectors (like me) say classical recording quality ain’t what it used to be – here’s all the proof anyone with two working ears and top quality audiophile equipment needs to make the case
Harry Pearson put this recording on his TAS List of Super Disc LPs, and with good reason — the sound is wonderfully relaxed and natural. This Shaded Dog pressing is exceptionally lively and dynamic. The sound is BIG and BOLD, enough to fill up your listening room and then some. The piano is clean and clear, and the strings are rich and textured.
The great Artur Rubinstein’s performance of these wonderful works is superb.
Our Shaded Dog pressing here offers plenty of Living Stereo Magic. This wonderful record boasts a natural orchestral perspective and superb string tone. It also presents the listener with a correctly-sized piano, which is fairly unusual for Rubinstein’s recordings. (more…)
- An outstanding copy of this wonderful classical recording with solid Double Plus (A++) sound from start to finish – fairly quiet vinyl too
- Some audiophiles buy organ records to show off their subwoofers, and records like this can do that, but records this good have musical qualities far beyond simple demonstrations of bass reproduction – with this pressing you can feel the cool air in the hall!
- With this pressing you can feel the cool air in the hall, something no Telarc or audiophile organ record can offer
- Karl Richter understands this music and makes it come alive in a way I’ve never heard any other musician manage to do – the Decca engineers are of course a big help too
For those of you who think technology marches on — which of course it does in some ways — this 1954 recording shows that they could capture the authentic sound of the real instrument with the equipment of the day. Maybe they could even capture it better back in those days. I certainly can’t think of a better organ record than this, and musically I don’t think there are too many organists in Richter’s class.
This copy had practically no smear on either the violin or the orchestra. Try to find a violin concerto record with no smear. We often say that Shaded Dogs, being vintage All Tube recordings, tend to have tube smear. But what about the ’70s Transistor Mastered Red Label pressings – where does their smear come from?
Let’s face it: records from every era more often than not have some smear and we can never really know what accounts for it.
The key thing is to be able to recognize it for what it is. (We find modern records, especially those pressed at RTI, to be quite smeary as a rule. They also tend to be congested, blurry, thick, veiled, and ambience-challenged. For some reason most audiophiles — and the reviewers who write for them — rarely seem to notice these shortcomings.)
Of course, if your system itself has smear it becomes that much harder to hear the smear on your records. Practically every tube system I have ever heard had more smear than I could tolerate – it comes with the territory. And high-powered transistor amps are notoriously smeary, opaque and ambience-challenged. Our low-powered, all-transistor rig has no trouble showing us the amount of smear on records, including those that have virtually none.
Keep in mind that one thing live music never has is smear of any kind. Live music is smear-free. It can be harmonically distorted, hard, edgy, thin, fat, dark, and all the rest, but one thing can never be is smeary. That is a shortcoming unique to the reproduction of music, and one which causes many of the pressings we sell to have their sonic grades lowered. (more…)
- An outstanding pressing of Heifetz’s amazing 1958 recording for RCA in glorious Living Stereo sound, earning solid Double Plus (A++) grades on both sides – fairly quiet vinyl too
- A superb pressing, with lovely richness, warmth, and real immediacy throughout – the overall sound is rich, sweet and Tubey Magical
- Heifetz is a fiery player – this pressing will allow you to hear the subtleties of his bowing in a coherent, natural and realistic way
- The texture and harmonic overtones of the strings are near perfection – as we listened we became completely immersed in the music on the record, transfixed by the remarkable virtuosity he brings to this difficult and demanding work
For those of you who have only the Classic pressing, with this pressing you are in for a world of better sound. The Classic is both aggressive and lacking in texture at the same time, the worst of both worlds. Bernie’s cutting system is what I would call Low Resolution — the harmonics and subtleties of the sound simply disappear. (more…)
- This wonderful Living Stereo pressing makes its Hot Stamper debut with outstanding Double Plus (A++) sound from start to finish
- A truly superb recording with huge, spacious, dynamic, lively sound – Tubey Magical richness is a big plus too
- These performances by Heifetz and the Boston Symphony under the baton of Charles Munch are some of the best we’ve ever heard – Heifetz is on fire with passion for these exciting pieces
No violin concerto recording can be considered to have the real Living Stereo sound if the violin isn’t right, and fortunately this violin is very very right, with the kind of rosiny texture and immediacy that brings the music to life right in your very own listening room.
- This wonderful classical masterpiece makes its Hot Stamper debut with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish
- Both sides boast full brass and especially clear, solid, present piano, one with practically no trace of vintage analog tube smear
- It’s an extraordinary recording, and so amazing on this pressing that after playing it, you may agree with us that few other classical Demo Discs are in its league
- Dynamic, huge, lively, transparent and natural – with a record this good, your ability to suspend disbelief will require practically no effort at all
- Incredible Shootout Winning Triple Plus (A+++) sound or close to it on both sides and reasonably quiet DG vinyl make this one powerful Demo Disc set
- Without a doubt some of THE BEST SOUND we have ever heard for this recording!
- The huge space of a real concert hall seemingly transported right into your listening room
- Richter is magnificent – our favorite performance of the Tchaikovsky First bar none
This reasonably quiet White Hot Stamper DG pressing has without a doubt some of THE BEST SOUND we have ever heard for this recording! Dynamically, Powerfully Hot, with the huge space of a real concert hall seemingly transported right into your listening room. With this copy, all you need do is close your eyes and your speakers will disappear, replaced by Karajan and the VSO at the height of their glorious powers.
On both sides the piano is weighty, solid and powerful. Once the needle has dropped you will quickly forget about the sound and simply find yourself in the presence of some of the greatest musicians of their generation.
Audio Myths Exploded
Yes, both the originals and the reissues can be good on this record. Don’t buy into that audiophile canard that “original equals better.”
Two Stunning Sides
Really, really BIG and really, really CLEAR like no other copy we played. It’s nothing less than phenomenal! Lively, present and real, with sweet strings and a big bottom end.
The piano is clearly present and solid. The heavy compression of most copies is much less of a problem here; the levels stay correct right through to the big finish (which is really really big).
If you have the transparency in your system to be able to hear it (we didn’t even three years ago), listen for how clearly both the left and right hand can be heard at the piano. It’s shocking how big and clear these sides are, yet still as rich and as solid as any we played. That’s what we call White Hot Stamper sound.
What to Listen For (WTLF)
The pizzicato playing of the strings early in the piece are a great test. Transients, transparency and spaciousness will vary dramatically in these three areas on every pressing you play. This one excelled in every one of these areas. A true Demo Disc.
THE Tchaicovsky First Piano Concerto Recording
Since this is our favorite performance of the Tchaikovsky First Piano Concerto of all time. Even the copies with minor shortcomings in the sound are so good that we quickly find ourselves ignoring them and being lost instead in the performance. (more…)
- This stunning vintage RCA Living Stereo pressing boasts wonderful Double Plus (A++) sound throughout, with vinyl that is as quiet as any Shaded Dog from 1961 is ever going to play
- This pressing has the real Living Stereo magic in spades, but unlike most of the RCA concerto recordings, Richter, the brilliant soloist featured here, is not overly spotlighted, hence the much more natural “concert hall” sound
- The piano is part of the orchestra, and properly sized, allowing the contributions of the other musicians in the orchestra to be heard more clearly, laid out as they are so elegantly across a huge and deep Boston Symphony Hall stage