MHS remastered the original 1967 Melodiya tape in 1979, dramatically improving upon the sound of the version that I knew on Angel, which shouldn’t have been too hard as the Angel is not very good.
Wait a minute. Scratch that. MHS didn’t cut the record, an engineer at a mastering house did. Fortunately for us audiophiles, the job fell to none other than Bill Kipper at Masterdisk.
Think what a different audio world it would be if we still had Bill Kipper with us today, along with the amazingly accurate and resolving cutting system he used at Masterdisk. There are no records being produced today that sound remotely as good as this budget subscription disc. Furthermore, to my knowledge no record this good has been cut for more than thirty years. The world is awash in mediocre records.
The likes of Bill Kipper are no longer with us, but we can all be thankful that we still have the records he and so many other talented engineers mastered all those years ago, to enjoy now and far into the future.(more…)
This Columbia Six-Eye original pressing (MS 6204) has an especially lovely side one. The extended tape hiss is a dead giveaway that this copy has the high frequencies that are going to let the violin harmonics come through beautifully, and they do!
Once we had our VTA adjusted precisely for this pressing, the texture on the strings came through gloriously. Of course getting the VTA right resulted in more transparency and ambience as well, with huge amounts of space around the players. The result: a Super Hot Side One, no doubt about it!(more…)
This Columbia 360 label pressing (MS 6204) has an especially lovely side two. The extended tape hiss is a dead giveaway that this copy has the high frequencies that are going to let the violin harmonics come through beautifully, and they do! The sound is mid-hall on both sides, but side two is richer than side one, less edgy and more relaxed, which is all to the good.
Both sides feature virtuoso playing, with plenty of rosiny texture to the violins. The vinyl is also very quiet, mostly mint minus.(more…)
With two Triple Plus (A+++) shootout winning sides, this collection of violin showpieces simply could not be beat
This copy was dramatically fuller, richer, tubier and smoother than the others we played, and ALIVE with pyrotechnic fireworks on side one
A superb 1963 Living Stereo recording with Tubey Magic to die for, one of the best violin recordings we have ever offered
The highlight for us on a collection like this is always going to be The Introduction and Rondo Capriccioso, “one of Saint-Saëns’ few genuine showpieces.”
The violin here is superb — rich, smooth, clear, resolving. What sets the truly killer pressings apart is the depth, width and three-dimensional quality of the sound. The Tubey Magical richness is to die for. This record sounds like a Living Stereo recording from 1963 in all the best ways.
Big space, a solid bottom, and plenty of dynamic energy are strongly in evidence throughout. Zero smear, high-rez transparency, tremendous dynamics, a violin that is present and solid — it takes the sound of this recording beyond what we thought was possible.(more…)
Side two of this copy from our 2016 shootout provides a clear example of the effect known as the “The Violin That Ate Cincinatti.”
Yes, it may be oversized, but it’s so REAL and IMMEDIATE and harmonically correct in every way that we felt more than justified in ignoring the fact that the instrument could never sound in the concert hall the way it does here — unless you were actually playing it (and even then I doubt if it would be precisely the same sound — big, but surely quite different)(more…)
CS 6337. This Minty looking London Whiteback LP has THE MOST AMAZING SCOTTISH FANTASIA I have ever heard! Folks, it doesn’t get any better than this. I would say this is one of the five best sounding violin recordings I have ever heard. Interestingly, the violin sound that we typically put up with is found on side two of this very album. It’s easy to forget that there are actually records that sound like side one, and that side two really isn’t the way an orchestra is supposed to sound.
The Hindemith side is weak on this pressing. The Bruch found here is musically every bit as good as the famous Heifetz recording (LSC 2603) and so is the sound. (The sound is actually better I would guess, but without a Hot Copy of 2603 — very hard to find, by the way — I can’t really make that claim honestly.)
Violin concerto fans will love this one, especially those who appreciate the real thing and not the typically shrill and aggressive sound of most of the modern 200 gram reissues by you know who.
Performed by the London Symphony Orchestra, this record also features Hindemith’s Violin Concerto (1939).