Heavy Vinyl Mediocrities

Grieg / Peer Gynt – Speakers Corner Reviewed, with Handy VTA Advice

More of the music of Edvard Grieg (1843-1907)

Reviews and Commentaries for the Music of Edvard Grieg

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Reviews and Commentaries for Peer Gynt

Sonic Grade: C+

The Fjeldstad has long been one of our favorite performances of Peer Gynt here at Better Records. 

This record is handy for VTA set-up as well, a subject discussed below in our listing from 2010.

The sound is excellent for a modern reissue*, but in the loudest sections the orchestra can get to be a bit much, taking on a somewhat harsh quality. (The quieter passages are superb: sweet and spacious.)

So I adjusted the VTA a bit to see what would happen, and was surprised to find that even the slightest change in VTA caused the strings to lose practically all their rosiny texture and become unbearably smeared.

This is precisely why it’s a good heavy vinyl recording for setting up your turntable. If you can get the strings to play with reasonably good texture on this record you probably have your VTA set correctly. (more…)

Gounod / Ballet Music from Faust / Gibson – Classic Records Reviewed

More of the music of Georges Bizet (1838-1875)

Reviews and Commentaries for Guonod / Faust Ballet Music

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Sonic Grade: C

Classic Records did a passable job with LSC 2449, one of their better efforts, but of course it has almost none of the sweetness, richness and ambience that the best RCA pressings have, and they have them more often than not in abundance.

Their version is not awful, like most of the classical recordings they remastered, and considering that the original goes for many, many hundreds of dollars, might be worth picking up at a reasonable price.

Most audiophiles (including audiophile record reviewers) have never heard a classical recording of the quality of a good original. 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 as soon as we had a chance to play them.

I’m not sure why the rest of the audiophile community was so easily fooled (HP, how could you?), 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.)

And the fact that so many of them are currently on the TAS List is a sad comment on how far the mighty have fallen.

FURTHER READING

Classical Living Stereo Titles Available Now

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The Beach Boys / Pet Sounds – DCC Reviewed

More The Beach Boys

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Sonic Grade: D to C+

Not long ago [2014 or so] we pulled out the three copies we had in our leftover stock of DCC vinyl and gave them a spin. They weren’t awful, but they weren’t very good either. They sounded like most Heavy Vinyl we’ve played over the years: airless, blurry, smeary, two-dimensional, dull and opaque.

Not surprisingly (to us anyway) one copy was quite a bit better than the other two. I would say that the sound of the three copies would plot on a curve from about a D to maybe a C+, so let’s figure the average would be around a C- or so.

I’d be surprised if the DCC Gold CD didn’t sound better. More often than not it does. (Kevin Gray’s lousy cutting system would not be involved and that is almost a guarantee that the sound would improve markedly.)

The no-longer-surprising thing about our Hot Stamper pressings of Pet Sounds is how completely they trounce the DCC LP. Folks, it’s really no contest. Yes, the DCC is tonally balanced and can sound decent enough, but it can’t compete with the best “mystery” pressings that we sell. It’s missing too much of the presence, intimacy, immediacy and transparency that we’ve discovered on the better Capitol pressings.

As is the case with practically every record pressed on Heavy Vinyl over the last twenty years, there is a suffocating loss of ambience throughout, a pronounced sterility to the sound. Modern remastered records just do not BREATHE like the real thing. Good EQ or Bad EQ, they all suffer to one degree or another from a bad case of audio enervation. Where is the life of the music? You can try turning up the volume on these remastered LPs all you want; they simply refuse to come to life.


FURTHER READING

Basic Concepts and Realities Explained 

Frequently Asked Questions (FAQ) 

Important Lessons We Learned from Record Experiments 

Key Tracks for Critical Listening 

Making Audio Progress  (more…)

Bizet / Carmen Fantaisie on Speakers Corner Vinyl

More of the music of Georges Bizet (1838-1875)

More Performances by Ruggiero Ricci

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Sonic Grade: C

Speakers Corner remastered this title back in the ’90s and did a decent enough job. I would guess my grade would be about a “C.” We carried it and recommended it at the time. I doubt if I would have very many kind things to say about it now. We’ve played an enormous number of superb classical records in the last ten years or so, raising the bar dramatically higher than it used to be.

To illustrate what we don’t like about these Heavy Vinyl pressings, even when they’re good, we have reproduced our review for the Speakers Corner pressing of The Tale of the Tsar Saltan which we played in a recent shootout against the vintage Londons we had on hand.

We cracked open the Speakers Corner pressing in order to see how it would fare up against our wonderful sounding Londons. Here’s what we heard in our head to head comparison.

The soundstage, never much of a concern to us at here at Better Records but nevertheless instructive in this case, shrinks roughly 25% with the new pressing; depth and ambience are reduced about the same amount. Similar and even more problematical losses can be heard in the area of top end extension. But what really bothered me was this: The sound was just so VAGUE.

There was a cloud of musical instruments, some here, some there, but they were very hard to SEE. On the Londons we played they were clear. You could point to each and every one. On this pressing it was impossible.

Case in point: the snare drum, which on this recording is located toward the back of the stage, roughly halfway between dead center and the far left of the hall. As soon as I heard it on the reissue I recognized how blurry and smeary it was relative to the clarity and immediacy it had on the earlier London pressings. I’m not sure how else to describe it – diffuse, washed out, veiled. It’s just vague.

This particular Heavy Vinyl reissue is more or less tonally correct, which is not something you can say about many reissues these days. In that respect it’s tolerable and even enjoyable. I guess for thirty bucks that’s about the most you can hope for.

But… when I hear this kind of sound only one word comes to mind, a terrible word, a word that makes us recoil in shock and horror. That word is DUB. This reissue is made from copy tapes.

Copies in analog or copies in digital, who is to say, but it sure ain’t the master tape we’re hearing, of that we can be fairly certain. How else to explain such mediocrity of sound?

Yes, the cutting systems being used to master these vintage recordings aren’t very good; that seems safe to say. Are the tapes too old and worn? Is the vinyl of today simply not capable of storing the kind of magical sound we find so often in pressings from the ’50s, ’60s and ’70s?

To all these questions and more we have but one answer: we don’t know. We know we don’t like the sound of very many of these modern reissues and I guess that’s probably all that we need to know about them. If someone ever figures out how to make a good sounding modern reissue we’ll ask them how they did it. Until then it seems the question is moot.

Back in 2011 we stopped carrying Heavy Vinyl and other Audiophile LPs of all kinds. So many of them don’t even sound this good, and this sound bores us to tears. (more…)

Classic Records – More of the Same Old Same Old

More Cannonball Adderley

More Miles Davis

Reviews and Commentaries for Somethin’ Else

addersomet_classic

Sonic Grade: C

Another Classic Records LP that’s hard to get excited about.

There are certainly some incredible sounding pressings of this album out there, but who has the resources it takes to find them? Most of the original Blue Notes we come across these days turn out to have mediocre sound, and many of them have severely damaged inner grooves. Even the mintiest looking copies often turn out to be too noisy for most audiophiles, Blue Note vinyl being what it is.

This is of course why the hacks at Classic Records did so well for themselves [until they went under] hawking remastered versions of classic albums pressed on new, quieter vinyl.

The problem is that most of their stuff just doesn’t sound all that hot, this album included. We’ve played it; it’s decent, but any Hot Stamper will show you just how much music you are missing.

If you want to hear this album with amazing fidelity but don’t want to spend the time, money and energy collecting, cleaning, and playing mostly mediocre copies until you luck into a good quiet one, a Hot Stamper pressing is the only way to go.


FURTHER READING on Heavy Vinyl

Classic Records – Classical 

Classic Records – Jazz  (more…)

Bruce Springsteen / Born To Run – Bernie Grundman’s Standard Operating Procedure Strikes Again

More Bruce Springsteen

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If you own the Classic Records reissue from the early 2000s, hearing a Hot Stamper pressing is bound to be a revelation.

Their pressing was as dead as a doornail – more thick, opaque and compressed than most originals, which of course have problems in all three areas to start with. Bernie did the album no favors, that I can tell you.

Head to head in a shootout, our Hot Stampers will be dramatically more solid, punchy, transparent, open, clear and just plain REAL sounding, because these are all the areas in which heavy vinyl pressings tend to fall short.


FURTHER READING

Classic Records – Rock and Pop 

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The Definitive Vinyl Version? – Perhaps There Is a Third Way

More Joni Mitchell

Reviews and Commentaries for Blue

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The letter you see reproduced down below got me to thinking.

If I had to choose one record that separates the men from the boys, the stereos that really work from the phony, lifeless audiophile systems you might read about in the magazines or hear at an audio show, Blue would make a darn good choice.

The problem there is that you have to be one serious record collector to have a great copy of Blue. But good pressings are out there, if you can clean and play them properly. This is why we created the Blue Game. It can be done, and we can help you get there, but most of the work has to be done by you.

Naturally we are happy to do the shootouts for you and charge you the pretty penny the winners command, but for those of you who want to find out what’s wrong with the new Blue and don’t want to buy a Hot Stamper from us, there is a third way: Blue, The Game.

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Sarah Vaughan / The Lonely Hours on Classic Records

More Sarah Vaughan

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Classic Records remastered this album back in the day, and I can see why: the average pressing on Roulette is borderline unlistenable. Of course we didn’t know that when we started this shootout. We had found a nice sounding copy and subsequently went on the hunt for more. Little did we know how wide the variation in sound quality we would find on the original Orange Label pressings. There was simply no denying that many of the copies we played were just too thin, shrill and pinched in the midrange to be of any interest to our audiophile customers.

As mediocre as Bernie’s Classic cutting may be, it’s still better than the average Roulette original one might throw on the turntable.

And you can forget the monos completely; they were by far the worst sounding of them all.

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The Modern Heavy Vinyl Reissue – Audiophile Blessing or Curse?

More of The Who

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The run of the mill heavy vinyl pressing is so dull and opaque that we think the run of the mill CD, on average, will sound better.

In this letter Dan tells us of his disappointment with the new reissues he’s been trying:

… And thanks again for that amazing “Who’s Next” record. It was startling to hear the difference between that and the Classic – and that was one of the better modern audiophile records! I can’t tell you how many modern reissues I’ve bought over the past couple months that have lost, and lost badly, to just my one single original or early pressing of an album. Reissues by AC/DC, The Who, ZZ Top, The Rolling Stones, and Patti Smith have all failed miserably against my merely average sounding originals.
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VTA Adjustment on Crosby Stills and Nash – Using the Classic Records Heavy Vinyl LP

More Crosby, Stills and Nash

More VTA Adjustment

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This commentary from way back when (2005!) describes how to go about adjusting your VTA for 200 gram vinyl, using the CSN track Helplessly Hoping from the first album.

Helplessly Hoping is a wonderful song with plenty of energy in the midrange and upper midrange area which is difficult to get right. Just today (4/25/05) I was playing around with VTA, having recently installed a new Dynavector DV-20x on my playgrading table (a real sweetheart, by the way), and this song showed me EXACTLY how to get the VTA right.

VTA is all about balance. The reason this song is so good for adjusting VTA is that the guitar at the opening is a little smooth and the harmony vocals that come in after the intro can be a little bright. Finding the balance between these two elements is key to getting the VTA adjusted properly. (more…)