_Performers – Heifetz

Brahms / Violin Concerto – Is the 1s Pressing Always the Best?

Hot Stamper Pressings that Sound Their Best on the Right Reissue

Records We’ve Reviewed that Sound Their Best on the Right Reissue

This early Shaded Dog pressing of a 1958 recording has surprisingly good sound on side two. On the second side the sound opens up and is very sweet, with the violin becoming much more present and clear. The whole of side two is transparent with an extended top. Usually the earliest Living Stereo titles suffer from a lack of top end extension, but not this one.

Maybe the 1s is also that way. For some reason audiophiles tend to think that the earliest cuttings are the best, but that’s just another Record Myth in our experience, easily refuted if you’ve played hundreds of these Living Stereo pressings and noted which stampers sound the best and which do not.

The 1s pressings do not win all that many shootouts around here.

Less than half the time, probably closer to a quarter or a third.

Of course, to avoid being biased, the person listening to the record doesn’t know the stamper numbers, and that may help explain why the 1s loses so often.

If you are interested in finding the best sounding pressings, you have to approach the problem scientifically, and that means running Record Experiments.

Practically everything you read on this blog we learned through experimentation.

When we experimented with the Classic Records pressing of LSC 1903, we were none too pleased with what we heard. Our review is reproduced below.

The Classic reissue of LSC 1903 was a disaster: shrill, smeary and unmusical.

(In a recent commentary we went into some detail about Bernie Grundman’s shortcomings as a mastering engineer for those of you who might be less familiar with his more recent work. He was great in the ’70s, but the work he did in the ’90s leaves a lot to be desired.)

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 and how revealing your system is.

My guess is that the CDs are probably better sounding. That’s probably the first place to go, considering Classic’s track record and the fact that CDs are cheap now because nobody wants them anymore. 

If you must have Heifetz’s 1958 performance, our advice is to buy the CD.

We know for a fact that the Living Stereo CD of Reiner’s Scheherazade is dramatically better than the awful Classic Records pressing of it, TAS Super Disc Listing or no TAS Super Disc Listing.

As you may know, Classic is a label which we found very hard to like right from the beginning. We like them even less now. They may have gone out of business but their bad records are still plentiful on ebay and you can actually still buy some their leftover crap right from the world’s biggest retailer of bad sounding audiophile records, Acoustic Sounds.

If you don’t care how bad your records sound, Chad Kassem is your man.


Tchaikovsky – Better Front Ends Actually Reduce Surface Noise

The Music of Tchaikovsky Available Now

Living Stereo Orchestral Titles Available Now

200+ Reviews of Living Stereo Records

No marks that play appreciably but that RCA vinyl is up to its old tricks again. Mint Minus Minus with constant light surface noise underneath the music in the quieter sections is the rule here. The first half inch of side two is where you will notice it the most. We are of the opinion that good sound and good music allow you to pretty much ignore surfaces such as these, scratches being another thing entirely of course. If there is any problem we offer a money back guarantee on this one.

Better Front Ends

I would make the further point that the better your front end is the less likely you are to have a problem with vinyl like this, which is the opposite of what many audiophiles perceive to be the case. In other words, some of the cheaper tables and carts seem to make the surface noise more objectionable, not less. On the other hand, some pricey cartridges — the Benz line comes to mind — are consistently noisier than those by Dynavector, Lyra and others, in our experience anyway.


FURTHER READING

Revolutions in Audio, Anyone?

Making Audio Progress 

Unsolicited Audio Advice

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Classic Records and Audio Progress

Hot Stamper Pressings Featuring the Violin

Superb Recordings with Jascha Heifetz Performing

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 reproduced properly. 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.)

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Tchaikovsky / Violin Concerto / Heifetz / Reiner

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

Hot Stamper Pressings Featuring the Violin

  • 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, transfixed by the remarkable virtuosity Heifetz brings to this difficult and demanding work
  • There are about 100 orchestral recordings that offer the discriminating audiophile pressings with the Best Performances and Top Quality SoundThis record has earned a place on that list.

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Beethoven – Putting Your System to the (Violin and Piano) Test

Hot Stamper Pressings with Jascha Heifetz Performing

Reviews and Commentaries for Recordings Featuring Jascha Heifetz

Do you want a recording that is going to put your system to the test? Well this is that record! That violin is REAL. As you compare equipment or tweak your system, you will hear the sound of that violin change and it should be obvious when it gets better and when it gets worse. 

The piano is also very well recorded. If you lose some body to the piano you’re probably going in the wrong direction. But since that direction would make the violin almost unbearable sounding, I’m going to guess that would be easily recognized as a mistake.

The balance between those two instruments on this recording is perfection, so if you get this record right, you’re making progress of the most important kind: toward musical naturalness.

Otherwise this violin, at least on the Kreutzer Sonata, is going to tear your head off.

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Sibelius – Violin Concerto / Heifetz / Hendl

Hot Stamper Pressings Featuring the Violin

Superb Recordings with Jascha Heifetz Performing

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  • This copy of the Sibelius Violin Concerto boasts outstanding Living Stereo sonics from 1960 and a fiery performance from Heifetz
  • It’s some of the best sound we have ever heard for the work, right up there with the Ricci on Decca/London
  • The nothing less than breathtaking performance by Heifetz may raise this one to the rank of First Among Equals for those of you who prize immediacy and energy in your violin recordings
  • If you have one of our killer Hot Stampers of the Beethoven or Tchaikovsky violin concertos, you know exactly the sound I am talking about
  • “In the easier and looser concerto forms invented by Mendelssohn and Schumann I have not met a more original, a more masterly, and a more exhilarating work than the Sibelius violin concerto.”

Early Shaded Dog pressings of Heifetz’s records are known to have rarely survived in audiophile playing condition. Top quality early pressings in clean condition come our way at most once a year, which means shootouts for them get done infrequently. There are literally thousands of clean, vintage classical pressing sitting in our stockroom waiting for a few more copies to come our way so that we can finally do a shootout.

This copy plays quite well for a Shaded Dog. Side one plays Mint Minus Minus all the way through, with a little extra tickiness creeping in at the very end of the side.

Side two I am happy to report plays even quieter. It starts out Mint Minus Minus, but roughly three quarters of an inch into the side it begins to play more in the range of Mint Minus to Mint Minus Minus, and does so for the remainder of the side.

It’s practically impossible to hear that kind of string sound on any recording made in the last thirty years (and this of course includes practically everything pressed on Heavy Vinyl). It may be a lost art but as long as we have these wonderful vintage pressings to play it’s an art that is not being lost on us.

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Beethoven / Violin Concerto / Heifetz – On an Outstanding White Dog Pressing

More of the music of Ludwig van Beethoven (1770-1827)

More Recordings Featuring the Violin

  • Our vintage White Dog pressing of this brilliant Living Stereo recording — from 1956! — boasts solid Double Plus (A++) sound throughout
  • Heifetz’s violin is immediate, real and lively here – you are in the presence of greatness with this copy
  • The orchestra is wide, tall, spacious, rich and tubey, and transparency, the hallmark of the vintage vinyl pressing, especially one in Living Stereo, is first rate
  • Hard to find them without marks or groove damage, but here is one without either, and the sound is magnificent (which is the hardest thing of all to find)

The reproduction of the violin here is superb — harmonically rich, natural, clean, clear, resolving. What sets the truly killer pressings apart is the depth, width and three-dimensional quality of the sound, as well as the fact that they become less congested in the louder passages and don’t get shrill or blary.

The best copies display a Tubey Magical richness — especially evident in the basses and celli — that is to die for.

Big space, a solid bottom, and plenty of dynamic energy are strongly in evidence throughout. Little smear, exceptional resolution, transparency, tremendous dynamics, a violin that is present and solid — the best copies take the sound of the recording right to the limits of what we thought possible.

Heifetz is a fiery player. On a good pressing such as this one, you will hear all the detail of his bowing without being overpowered by it. As we listened we became completely immersed in the music on the record, transfixed by the remarkable virtuosity he brings to such a difficult and demanding work. (more…)

Violin Recordings and the Problem of Smear

More Hot Stamper Pressings of Violin Recordings

Living Stereo Titles Available Now

This Shaded Dog pressing of LSC 2129 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 it 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.

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We Make the Case that Even CDs Have Better Sound than LPs from Classic Records

brahmvioli_1903_debunk

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 profoundly 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, and one is actually quite good. 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.

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Beethoven / Violin Concerto – Classic Records Reviewed

Hot Stamper Pressings Featuring the Violin

Reviews and Commentaries for Recordings Featuring Jascha Heifetz

Sonic Grade: D

Hall of Shame pressing and another Classic Records LP debunked.

It is an airless fraud, a cheap fake reproduction that’s incapable of fooling anyone with two good ears, a properly set up stereo and a decent collection of Golden Age violin concertos. 

The Classic pressing of this album does not present the listener with the sound of a real, wood instrument bowed by horsehair in physical space

Notes from a Recent Hot Stamper Pressing (more…)