Demo Discs for Size and Space – Orchestral

Stravinsky / The Firebird – Dorati

More of the music of Igor Stravinsky (1882-1971)

Reviews and Commentaries for The Firebird

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  • One listen to either side of this pressing and you’ll see why this is one of the Top Mercury Titles of All Time
  • The Heavy Vinyl reissues – at 45 or 33, on one disc or four, makes no difference – barely begin to capture the energy and drive Dorati brings to the work
  • “The magic lies in the elaborate orchestration and the excitingly uneven rhythmic writing. Stravinsky changes the orchestration of his themes at each repetition, breaks them down into their constituent parts, pushes their accents across the bar-line, and moves them out of sync with their own accompaniments.”

Neither side has peak distortion or Inner Groove Distortion of any kind, which is rare for this exceptionally dynamic title in our experience.

Both sides are so clear, ALIVE, and transparent, with huge hall space extending wall to wall and floor to ceiling. Zero compression.

This pressing boasts rich, sweet strings, especially for a Mercury. Both sides really get quiet in places, a sure sign that all the dynamics of the master tape were protected in the mastering of this copy. (more…)

Carl Orff / Carmina Burana / Jochum – Amazing on DG Vinyl

More of the Music of Carl Orff (1895-1982)

More Orchestral Spectaculars

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  • A superb copy of this strikingly original work with outstanding Double Plus (A+++) sound from start to finish – the orchestral power of display here is really something to hear if you have the system for it
  • This spectacular recording is big, clear, rich, dynamic, transparent and energetic – here is the analog sound we love
  • We’ve auditioned quite a number of recordings of the work, and as far as we are concerned, on the right pressing this is the best sounding version that exists on vinyl
  • “With the direction of Eugen Jochum and the bonus of the incomparable rich, powerful voice of baritone Dietrich Fischer-Dieskau, this 1968 performance is a classic, and very probably the best, recording of the opera.”

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Sergio Mendes – Room Treatments Bring Out The Big Speaker Whomp Factor

More Sergio Mendes and Brasil ’66

Reviews and Commentaries for Sergio Mendes and Brasil ’66’s Debut

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Only the best copies are sufficiently transparent to grant the listener the privilege of hearing all the elements laid out clearly, each occupying a real three-dimensional space within the soundfield. 

With recent changes to some of our room treatments, we now have even more transparency in the mids and highs, while improving the whomp factor (the formula goes like this: deep bass + mid bass + speed + dynamics + energy = whomp) at the listening position.

There’s always tons of bass being produced when you have three 12′ woofers firing away, but getting the bass out of the corners and into the center of the room is one of the toughest tricks in audio.

For a while we were quite enamored with some later pressings of this album — they were cut super clean, with extended highs and amazing transparency, with virtually none of the congestion in the loud parts you hear on practically every copy.

But that clarity comes at a price, and it’s a steep one. The best early pressings have whomp down below only hinted at by the “cleaner” reissues. It’s the same way super transparent half-speeds fool most audiophiles. For some reason audiophiles rarely seem to notice the lack of weight and solidity down below that they’ve sacrificed for this improved clarity. (Probably because it’s the rare audiophile speaker that can really move enough air to produce the whomp we are talking about here.)

But hey, look who’s talking! I was fooled too. You have to get huge amounts of garbage out of your system (and your room) before the trade-offs become obvious. When you find that special early pressing, one with all the magic in the midrange and top without any loss of power down below, then my friend you have one of those “I Can’t Believe It’s A Record” records. We call them Hot Stampers here at Better Records, and they’re guaranteed to blow your mind.

Funky Brazilian Music For Audiophiles

This is one of my favorite albums, one which certainly belongs in any Audiophile’s collection. Better sound is hard to find — when you have the right pressing. Unfortunately those are pretty hard to come by. Most LPs are grainy, shrill, thin, veiled and full of compressor distortion in the louder parts: this is not a recipe for audiophile listening pleasure.

But we LOVE this album here at Better Records, and have since Day One. One of the first records I ever played for my good audio buddy Robert Pincus (Cisco Records) to demonstrate the sound of my system was Sergio’s syncopated version of Day Tripper off this album. That was more than thirty years ago, and I can honestly say I have never tired of this music in the decades since.

Tchaikovsky / 1812 – A Must Own Performance by Alwyn on Decca

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

Reviews and Commentaries for the 1812 Overture

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Years ago we found a very special copy of this album in a shootout and gave it a grade of A++++. We don’t give out that grade anymore, but we gave it out to this side one back in the day. We describe what let this copy earn that grade below.

A BEYOND White Hot Quadruple Plus side one – hear Tchaikovsky’s 1812 in Demo Disc sound. This is the most exciting and beautifully played 1812 we know of, with the best sound ever to boot on this copy. This is an exceptional Decca remastering of a superb Golden Age recording on very good vinyl.

The WHOMP FACTOR on this side one has to be heard to be believed. If you’ve got the woofers for it this record is going to rock your world!

Side One (1812 Overture)

Off the charts, the best we have ever heard this work sound. Big, rich, clean and clear barely begins to do this side justice. The strings are wonderfully textured and not screechy in the slightest.

The brass is big and clear and weighty, just the way it should be, as that is precisely the sound you hear in the concert hall, especially that part about being clear: live music is more than anything else completely clear. We should all strive for that sound in our reproduction of orchestral music.

Not many recordings capture the brass this well. (Ansermet on London comes to mind of course but many of his performances leave much to be desired. Here Alwyn is on top of his game with performances that are definitive.)

Here’s what you get on this side one:

The most dynamic sound we have ever heard for any side of this album.

The most weight and power we have ever heard for the 1812, and as you can imagine, for this work to have the kind of power this pressing has was nothing less than a THRILL to hear. Who knew? Until we played this copy, not us!

The most depth and space we have ever heard on this album.

To earn our coveted Three Plus (OR BETTER) rating here at Better Records all you have to do is be the best copy we’ve ever played. Just be right in every way (or almost every way; no record can be perfect, but some, such as this one, seem to us to get pretty darn close). (more…)

Bernstein – The Music of Leonard Bernstein / Rogers

More music written or performed by Leonard Bernstein (1918-1990)

More Orchestral Spectaculars

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  • A STUNNING pressing with Shootout Winning Triple Plus (A+++) sound or close to it throughout – a true Orchestral Demo Disc from 1961
  • As I write this, dollar for dollar this is probably the best sound for the money on the site
  • The Symphonic Dances from “West Side Story” sound superb here – big, rich and Tubey Magical
  • The performances are superb – energetic as befits most of the music, yet lyrical when the score calls for it
  • Vibrant orchestrations, top quality sound and fairly quiet surfaces combine for an astounding listening experience
  • Big speakers and loud levels are the sine qua non for the proper reproduction of this album

This London Phase 4 British import has some of the most SPECTACULAR sound I have ever heard reproduced from disc. The sound is so BIG and BOLD that it handily puts to shame 95% or more of all the Golden Age Shaded Dogs, London Bluebacks, Mercury Living Presence’s, EMI’s and Decca’s we’ve ever played. If we had a Classical Top 100 list, this record would belong in a Top Ten taken from it, right near the top judging by what I heard when I played it.

If you have a system with the speed, power, and size to play this record properly (yes, you will need all three and a whole lot more), it’s hard to imagine it would not qualify as the best-sounding orchestral recording you’ve ever heard.

Demo Disc barely begins to do it justice. What sound. What music. What a record!

Side two is where the some of the best orchestral action can be found, and it is presented here with SPECTACULAR AUDIO FIDELITY the likes of which you may have never experienced. (more…)

Varese et al. / Percussion Music / New Jersey Percussion Ensemble

TAS List Records Available Now

Reviews and Commentaries for TAS Super Disc Recordings

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WHITE HOT stampers on side one of this CRAZY FUN 20th Century Percussion Music album, featuring classical works which rely almost exclusively on percussion (piano and voice also make appearances). My favorite piece here may be Ionisation, which uses real sirens (the Old School ones cranked by hand) as part of Varese’s uniquely specialized instrumental array.

But the main reason audiophiles will love this album is not the music, but the SOUND. Ionisation has amazing depth, soundstaging, dynamics, three-dimensionality and absolutely dead-on tonality — it’s hard to imagine a recording that allows your speakers to disappear more completely than this one. And the bottom end is BIG and powerful, probably the main reason the album has been on the TAS Super Disc for decades. If you’ve got full range speakers with big woofers and like to play your music loud, this record will give your system quite a workout.

With the invention of new instruments and increased cross-cultural exchange in the 20th century, composers’ interest in writing for percussion exploded, creating a uniquely modern genre that embraced both the future and the ancient past. The New Jersey Percussion Ensemble was founded in 1968 to perform this new literature, here performing works by Varèse, Cowell, and others.

It also makes a superb test disc. Subtle changes in your equipment can have a big effect on recordings like this. The instrumental palette is large and colorful, giving the critical listener plenty to work with.

And this copy is perfect for testing because is is nearly FLAWLESS in its sound on side one. No other copy could touch it. Many copies are not especially transparent, spacious or three-dimensional, and lack extension on both ends of the frequency spectrum.

The SPEED of the percussion is also critical to its accurate reproduction. No two pieces of electronics will get this record to sound the same, and some will fail miserably. If vintage tube gear is your idea of good sound, this record may help you to better understand where its shortcomings lie. (more…)

Chabrier / Orchestral Music – Ansermet

More of the music of Emmanual Chabrier (1841-1894) 

Reviews and Commentaries for Chabrier’s Orchestral Music

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  • This superb Chabrier album contains our favorite Espana Rhapsody, and this copy lets you hear it with outstanding Double Plus (A++) sound or BETTER and exceptionally quiet vinyl on both sides
  • The “Espana” rhapsody for orchestra in Nearly White Hot stamper sound here is guaranteed to blow your mind
  • This spectacular Demo Disc recording is big, clear, rich, dynamic, transparent and energetic – HERE is the sound we love
  • All the energy and power of Chabrier’s remarkable orchestration, thanks to the brilliant engineering of Roy Wallace
  • Ansermet’s Chabrier disc has long been a favorite of ours here at Better Records – this copy will show you why

If you want a classical record to TEST your system, if you want a classical record to DEMO your system, you will have a hard time finding a better pressing than this very copy.

Who can resist these sublime orchestral works? To quote an infamous (around here) label, they are an audiophile’s dream come true. The Track Listing tab has extensive background information on most of these works.

So clear and clean, and spread out on such a huge stage, either one or both of these sides will serve you well as your go-to reference disc for Orchestral Reproduction.

Listen for the waves of sound in Espana — only the best copies bring out the energy and power of Chabrier’s remarkable orchestration. (more…)

Holst and Previn – A Planets for the Ages

More on The Planets

More of the music of Gustav Holst (1874-1934)

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  • 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…)

Ansermet’s Scheherazade – Yes, Sometimes There Is Only One Set of Magic Stampers

More of the music of Rimsky-Korsakov (1844-1908)

Reviews and Commentaries for the music of Rimsky-Korsakov

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In 2015 we wrote:

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.

We recently did the shootout again, and now with a much more clear, accurate upper midrange and an even more extended top end, the stampers that we used to find “brighter than they should be” are almost always just too damn bright, period. We will never buy another copy with those stampers.

We was wrong and we don’t mind admitting it.

Which leaves one and only one stamper that can win a shootout. Another stamper we like well enough to offer to our discriminating customers, but after that it is all downhill, and steeply.

Of course the right stampers are the hardest ones to find too. All of which explains why you rarely see a copy of the album for sale on our site. (more…)

Stravinsky / The Firebird / Dorati

More on The Firebird

More of the music of Igor Stravinsky (1882-1971)

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White Hot Front Row Center sound on side one – amazingly lifelike. One listen to either side and you’ll know this is one of the Top Mercury Titles of All Time. Dorati breathes life into the work as only he can. This is the first time the Mercury Firebird has ever made it to the site, and this copy is killer.

Side One

So clear and ALIVE. Transparent, with huge hall space extending wall to wall and floor to ceiling. Zero compression.

Lifelike, immediate, front row center sound like few records you have ever heard.

Side Two

Rich, sweet strings, especially for a Mercury. This side really gets quiet in places, a sure sign that all the dynamics of the master tape were protected in the mastering of this copy. (more…)