Demo Discs for Size and Space

Turntable Tweaking Advice – Try This at Home, It Worked for Us

Turntable Tweaking Advice

Try This at Home, It Worked for Us

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The Mapleshade website has a piece of audio advice that caught the eye of one our customers, who sent me the excerpt below.  

Like most advice, especially Audio Advice, we find that some of it accords well with our own experience and some of it clearly does not. The relationship of good to bad is hard to determine without making a more careful study, but let’s just say that there is plenty of both and leave it at that. That being the case, we thought it would be of service to our customers to break it down in more detail, separating the wheat from the chaff so to speak.

More Audio Advice

We’ve also added a customer’s letter at the end of the commentary.

Here is the complete quote: (more…)

Harry Belafonte – Belafonte at Carnegie Hall – Our Shootout Winner for 2018

 


Our White Hot Shootout Winner for 2018

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  • This later black label pressing boasts excellent sound, with a shootout-winning Triple Plus (A+++) side three and excellent Double Plus (A++) grades or close to it for sides one, two and four
  • You’ll hear a very large group of musicians bring their wonderful energy to this music, all backing Harry live on the stage in real time and in ANALOG
  • Harry Pearson made his reputation bringing this kind of amazing recording to the attention of the audiophile public, and for that we owe him a debt of gratitude
  • 5 stars: “The granddaddy of all live albums, this double-LP set captures the excitement of a Harry Belafonte concert at the height of his popularity.”

See all of our Harry Belafonte albums in stock

Harry Pearson brought this record to the attention of audiophiles with his TAS list a long time ago, and rightfully so: it’s an amazing recording.

We happen to love the music too, which makes it one of the most recommendable records we have ever offered. If you can find a better combination of demo disc sound, with music worth the hassle and expense of reproducing it properly, more power to you. We sure can’t.

Because this is a live recording, because it has lots of natural instruments as well as a vocal, because it was recorded in the Golden Age by one of the greatest labels of all time, RCA, by Bob Simpson no less — for this and many other reasons, it has to be considered one of the most amazing recordings in the history of the world.

That said, it is our contention (and the basis of our business model) that the brilliant quality of the recording can only be appreciated if you have the pressing that captured the sound that the engineers recorded. In other words, a Hot Stamper. (more…)

The Hi-Lo’s – And All That Jazz

Some sections on our site are hard to find. Here’s one with lots of cool records in it:

Forgotten Vocal Classics

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The Hi-Lo’s – And All That Jazz

A distinguished member of the Better Records Rock and Pop Hall of Fame .

This Columbia Six-Eye LP has TWO STUNNING SIDES, easily the best we heard in our entire shootout! This is a superb recording, and a copy like this is a true Demo Disc. The vocals are perfection, and every instrument sounds correct and REAL here, with the transparency and clarity to put you right there with the players.

More Pop & Jazz Vocal LPs

Side One

A+++, absolutely amazing! Stunningly clear and high-rez with no shortage of energy or tubey magic, this is As Good As It Gets (AGAIG) — which is very good indeed.

Side Two

A++ to A+++, an incredible sounding side in its own right. Side one might have a slight advantage in terms of transparency, but otherwise the sound here is very similar.

Background Story

An audiophile friend of mine played me this record on his big system in a huge dedicated sound room and the effect was glorious. The Hi-Lo’s are a white-bread vocal group from the ’50s that made a lot of forgettable easy listening albums. But one time they hooked up with Marty Paich and his Dek-Tette, which included players like Herb Gellar, Bill Perkins, Bud Shank, Jack Sheldon — top West Cost jazz players all — and recorded this album of standards.

What really makes this album exceptional is the recording itself. The voices are uncannily real. When the jazz musicians take their solos the sound of their instruments is right on the money. You will have a very hard time finding better sound anywhere, especially considering how beautifully spread out the players are on such a wide and deep soundstage.

Marty Paich Is an Arranging Genius

The high point here is Then I’ll Be Tired Of You. The sound is so perfectly suited to the song — everything is exactly where you want it to be, and Marty Paitch’s arrangement is constantly surprising.

The first track on side one is very reminiscent of Art Pepper Plus Eleven, another Marty Paich arranging job that ranks with the best large jazz ensemble works ever recorded.

A Planets for the Ages

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Beyond White Hot

  • After a lengthy shootout hiatus we proudly present the best side two of this album to hit the site since 2013
  • Out Of This World sound on side two, where it earned a Four Plus sonic grade for its MINDBLOWING orchestral power
  • Side one earned a seriously good grade of Double Plus (A++) – it’s rich, clear and dynamic, with weighty brass
  • A TAS List Super Disc, with a performance by Previn and the LSO that’s as spectacular as the sound
  • This copy has some condition issues – those of you looking for a quiet copy will have to wait for the next shootout in 2018 or thereabouts

This copy has a side two that is so off the charts we ended up giving it Four Pluses. A Four Plus copy has to meet a standard higher than our regular top grade, and we define that standard as “better than we ever imagined any copy could ever sound.” (more…)

Rimsky-Korsakov / Scheherazade / Ansermet / Suisse Romande

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I attended this Dec. 2013 concert; it was a thrill like no other. (Well, maybe The Planets.)

“Guest conductor Rafael Frühbeck de Burgos’s attention to detail delivers the razzle dazzle and also discovers renewed radiance in ‘Scheherazade.'”

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We did a monster shootout for this music in 2014, one we had been planning for more than two years. On hand were quite a few copies of the Reiner on RCA; the Ansermet on London (CS 6212, his second stereo recording, from 1961, not the earlier and noticeably poorer sounding recording from in 1959); the Ormandy on Columbia, and a few others we felt had shown potential.

The only recordings that held up all the way through — the fourth movement being THE Ball Breaker of all time, for both the engineers and musicians — were those by Reiner and Ansermet. This was disappointing considering how much time and money we spent finding, cleaning and playing those ten or so other pressings.

Here it is a year later and we’re capitalizing on what we learned from the first big go around, which is simply this: the Ansermet recording on Decca/London can not only hold its own with the Reiner on RCA, but beat it in virtually any area. The presentation and the sound itself are both more relaxed and natural, even when compared to the best RCA pressings.

The emotional content of the first three movements (all of side one) under Ansermet’s direction are clearly superior. The roller coaster excitement Reiner and the CSO bring to the fourth movement cannot be faulted, or equaled. In every other way Ansermet’s performance is the one for me.

Both Sides

Superb! Big brass, so full-bodied and dynamic, yet clear and not thick or overly tubey. Lots of space as is usually the case with Ansermet’s recordings from this era.

Both sides here are BIG, with the space and depth of the wonderful Victoria Hall that the L’Orchestre De La Suisse Romande perform in. As a rule, the classic ’50s and ’60s recordings of Ansermet and the Suisse Romande are as big and rich as any you’ve heard. On the finest pressings (known around these parts as Hot Stampers) they seem to be the ideal blend of clarity and richness, with depth and spaciousness that will put to shame 98% of the classical recordings ever made.

The solo violin is present and so real you will have a hard time believing it.

This copy is huge in every dimension, just as all the best ones always are, with maximum amounts of height, width, and depth. The transparency is also superb — you really hear into this one in the way that only the best Golden Age recordings allow.

Side Two Coupling Work

Borodin: Prince Igor – Polovtsian Dances

The Borodin is amazing on this pressing’s side two!

Huge scope — depth and width like you will not believe, perfect for this music. The voices in the chorus are clearly separated out and so big and rich! Open and sweet in the best Golden Age tradition, as well as smooth and natural, like live music should be.

Awful Shaded Dogs

The somewhat shocking news is just how awful most Shaded Dog copies of LSC 2446 are. Even the ones with the “right” stampers are often far from what they should be. It is my heretical opinion that only one or two out of ten copies of the RCA vinyl will beat the Living Stereo CD, and no reissue of any kind can touch it. The CD sounds right. Most vinyl pressings do not.

As is so often the case, hearing the phenomenally good pressings is what truly makes all the time and effort we put into the shootout worthwhile.

Ansermet’s performance with the Suisse Romande here may not have the uncanny precision of Reiner’s with the CSO, but he does manage to bring out most of the more lyrical elements that seem to hold less interest for Reiner.

The key element is the brass — it must have tremendous weight and power, otherwise the proceedings become thin and lose their energy. Consequently, the copies without good weight to the brass and richness in the lower strings fared poorly in our shootout.

Lessons Learned, 2015

There are certain stampers that seem to have a consistently brighter-than-it-should-be top end. They are tolerable most of the time, but the real magic can only be found on the copies that have a correct or even slightly duller top. Live classical music is never “bright” the way recordings of it so often are.

It’s rarely “rich” and “romantic” the way many vintage recordings are — even those we rave about — but that’s another story for another day.

See more of the music of Rimsky-Korsakov in stock

 

Expanding Space Itself on The Dark Side of the Moon

Dark Side of the Moon

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Recently we played a copy with all the presence, all the richness, all the size and all the energy we ever hoped to hear from a top quality pressing of Dark Side of the Moon. It did it ALL and then some. The raging guitar solos (there are three of them) on Money seemed to somehow expand the system itself, making it bigger and more powerful than I have ever heard. Even our best copies of Blood Sweat and Tears have never managed to create such a huge space with that kind of raw power. This copy broke through all the barriers, taking the system to an entirely new level of sound.

Take the clocks on Time. There are whirring mechanisms that can be heard deep in the soundstage on this copy that I’ve never heard as clearly before. On most copies you can’t even tell they are there. Talk about transparency — I bet you’ve NEVER heard so many chimes so clearly and cleanly, with such little distortion on this track. (more…)