Hot Stamper Histories

Mahler / Symphony No. 1 / Solti – Reviewed in 2010

More of the music of Gustav Mahler

Symphony No. 1 / Solti

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A distinguished member of the Better Records Orchestral Music Hall of Fame.

The sound is AMAZING on this is a Minty Decca Black and Silver LP.

This is my favorite Mahler 1st.

Guaranteed to trouce the Decca 180g pressing or your money back.

Chet Atkins – The Other Chet Atkins

More Chet Atkins 

More The Other Chet Atkins 

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

It seems as though Bill Porter just doesn’t know how not to make an amazing sounding Living Stereo recording. Everything the guy touches is GOLD! Need a refresher course in tubey magic after playing too many modern recordings or remasterings? These records are overflowing with it. Rich, smooth, sweet, full of ambience, dead-on correct tonality — it’s all here.

I suppose we owe a debt of gratitude to Harry Pearson for pointing out to us with his TAS List what a great record this is, although I’m pretty sure anybody playing this album would have no trouble telling after a minute or two that this recording is very special indeed. (more…)

Debussy / Clair de Lune / Agoult – Our Shootout Winner from 2011

More of the music of Claude Debussy 

Clair de Lune / Agoult 

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  • A KILLER sounding copy with Shootout Winning Triple Plus (A+++) sound on the second side and solid Double Plus (A++) sound on the first
  • These sides are incredibly rich, sweet and full-bodied yet still very clean, clear and spacious; Demo Disc sound throughout!
  • I can’t imagine a more beautiful record, both in terms of the programme and the sound; this record is a wonderful example of what the Decca recording engineers (Kenneth Wilkinson in this case) were able to capture on tape
  • This is the exact same recording as the famous Living Stereo Clair De Lune, LSC-2326, but with a couple of extra tracks included

Transparent and spacious, wide and naturally staged, clean yet rich, with zero coloration, there is nothing here to fault. Nearly Triple Plus all the way. So relaxed and natural you will soon find yourself lost in the music.

It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording. We were impressed with the fact that it excelled in so many areas of reproduction. The illusion of disappearing speakers is one of the more attractive aspects of the sound here, pulling the listener into the space of the concert hall in an especially engrossing way.

The 1959 master has been transferred brilliantly using “modern” cutting equipment (from 1970, not the low-rez junk they’re forced to make do with these days), giving you, the listener, sound that only the best of both worlds can offer.

What the best sides of this superb pressing have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1959 (or even as late as 1970, which is when this pressing was released)
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional space of the concert hall

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the above.

Critically Important Adjustments (for Critical Listeners)

This is an excellent record for adjusting tracking weight, VTA, azimuth and the like. Classical music is really the ultimate test for proper turntable/arm/cartridge setup (and evaluation). A huge and powerful recording such as this quickly separates the men from the boys stereo-wise. Recordings of this quality are the reason there are $10,000+ front ends in the first place. You don’t need to spend that kind of money to play this record, but if you do, this is the record that will show you what you got for your hard-earned money.

Ideally you would want to work your setup magic at home with this record, then take it to a friend’s house and see if you can achieve the same results. I’ve done this sort of thing for years. Sadly, not so much anymore; nobody I know can play records like these the way we can. Playing and critically evaluating records all day, every day, year after year, you get pretty good at it. And the more you do it, the easier it gets.

Properly set VTA is especially critical on this record, as it is on most classical recordings. The smallest change will dramatically affect the timbre, texture and harmonic information of the strings, as well as the rest of instruments of the orchestra.

Heavy Vinyl

You can be pretty sure of two things when you hear a record of this quality: one, the original won’t sound as good, having been cut on cruder equipment.

And two, no modern recutting of the tapes (by the likes of Speakers Corner for example, but you can substitute any company you care to name) could begin to capture this kind of natural orchestral sound.

I have never heard a Heavy Vinyl pressing begin to do what this record is doing. The Decca we have here may be a budget reissue pressing, but it was mastered by real Decca engineers, pressed in England on high quality vinyl, from fairly fresh tapes (twelve years old, not fifty years old!), then mastered about as well as a record can be mastered. The sound is, above all, REAL and BELIEVABLE.

Engineering

Kenneth Wilkinson engineered in Walthamstow Assembly Hall. There is a richness to the sound that is exceptional, yet clarity and transparency are not sacrificed in the least.

It’s as wide, deep and three-dimensional as any, which is, of course, all to the good, but what makes the sound of these recordings so special is the timbral accuracy of the instruments in every section.

This is the kind of record that will make you want to take all your heavy vinyl classical pressings and put them in storage. They cannot begin to sound the way this record sounds. (Before you put them in storage or on Ebay please play them against this pressing so that you can be confident in your decision to rid yourself of their mediocrity.)

Wilkie and the Decca Tree

Wilkinson discussed the use of the Decca tree in an interview with Michael H. Gray in 1987.

You set up the Tree just slightly in front of the orchestra. The two outriggers, again, one in front of the first violins, that’s facing the whole orchestra, and one over the cellos. We used to have two mikes on the woodwind section – they were directional mikes, 56’s in the early days. You’d see a mike on the tympani, just to give it that little bit of clarity, and one behind the horns. If we had a harp, we’d have a mike trained on the harp. Basically, we never used too many microphones. I think they’re using too many these days.

Wilkinson’s method of selecting recording venues was recounted in an article on concert hall orchestral sound written by the conductor Denis Vaughan in 1981:

I have recorded in many halls throughout Europe and America and have found that halls built mainly of brick, wood and soft plaster, which are usually older halls, always produce a good natural warm sound. Halls built with concrete and hard plaster seem to produce a thin hard sound and always a lack of warmth and bass. Consequently, when looking for halls to record in I always avoid modern concrete structures.

Wilkinson went on to engineer at hundreds of recording sessions. He was said to have worked with more than 150 conductors. He was the engineer most responsible for Richard Itter’s Lyrita recordings (which Decca produced). Itter always requested Wilkinson as engineer, calling him “a wizard with mikes.”

Wilkinson’s stereo recordings with the conductor Charles Gerhardt (including a series of Reader’s Digest recordings and the RCA Classic Film Scores series) and the producer John Culshaw made his name and reputation known to record reviewers and audiophiles. His legacy was extended by the fact that he trained every Decca engineer from 1937 onwards.

Wilkinson, always called “Wilkie” in the music business, was known as a straight-talking man, interested only in the quality of the work. The Decca producer Ray Minshull (1934–2007) recalled Wilkinson’s methods in an interview with Jonathan Valin in March 1993:

Everyone loved and respected Wilkie, but during a session he could be exacting when it came to small details. He would prowl the recording stage with a cigarette – half-ash – between his lips, making minute adjustments in the mike set-up and in the orchestral seating. Seating arrangement was really one of the keys to Wilkie’s approach and he would spend a great deal of time making sure that everyone was located just where he wanted them to be, in order for the mikes to reflect the proper balances.

Of course, most musicians had a natural tendency to bend toward the conductor as they played. If such movement became excessive, Wilkie would shoot out onto the stage and chew the erring musician out before reseating him properly. He wanted the musicians to stay exactly where he had put them. He was the steadiest of engineers, the most painstaking and the most imaginative. In all of his sessions, he never did the same thing twice, making small adjustments in mike placement and balances to accord with his sense of the sonic requirements of the piece being played.

His recordings were characterised by the producer Tam Henderson in an appreciation: “The most remarkable sonic aspect of a Wilkinson orchestral recording is its rich balance, which gives full measure to the bottom octaves, and a palpable sense of the superior acoustics of the venues he favored, among them London’s Walthamstow Assembly Hall and The Kingsway Hall of revered memory”.

On retiring, Wilkinson received a special gold disc produced by Decca with extracts of his recordings. He received three Grammys for engineering: 1973, 1975, and 1978. He also received an audio award from Hi-Fi magazine in 1981 and the Walter Legge Award in 2003 “…for extraordinary contribution to the field of recording classical music.”

TRACK LISTING

Side One

Thaïs – Meditation (Massenet)
Chant Sans Paroles, Op 2 No. 3 (Tchaikovsky) 
Pavane (Faure)
Dream Children, Op. 43, Nos. 1 And 2 (Elgar)
Suite Bergamasque – Clair De Lune (Debussy)

Side Two

Wachet Auf, Ruft Uns Die Stimme – Choral Variation (Bach)
String Quartet In D, Op. 11 – Andante Cantabile (Tchaikovsky)
Orfeo – Dance Of The Blessed Spirits (Gluck)
La Vierge – Dernier Sommeil De La Vierge (Massenet)

Hampton Hawes – At The Piano – Our Shootout Winner from 2008

More Hampton Hawes

More At The Piano

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A distinguished member of the Better Records Jazz Hall of Fame.

This Contemporary Yellow Label LP has THE BEST SOUND and THE BEST MUSIC I have EVER heard on a Hampton Hawes album! When we dropped the needle on this one we could not believe our ears — it’s got The Big Sound, that’s for sure.

The piano has real weight, the bass is deep and tight, and the drums sound correct. The overall sound is rich, sweet, and tonally correct from top to bottom. It’s incredibly open and transparent — you hear tons of ambience. (more…)

Brahms / Piano Concerto #2 – Van Cliburn / Reiner / CSO – Reviewed in 2005

More of the music of Johannes Brahms 

More Piano Concerto #2 – Van Cliburn / Reiner / CSO 

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A distinguished member of the Better Records Orchestral Music Hall of Fame

This White Dog pressing is the best sounding copy I’ve ever heard, much better than the earlier pressings! The piano doesn”t break up like it does on those, especially in the second movement. Finally the piano sounds right – solid and with the correct overtones. It goes without saying that this is an exceptionally good performance as well. One of the best of the Cliburn recordings.

Elton John – Empty Sky – Our Shootout Winner from 2012

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Empty Sky

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

The undiscovered gem in the Elton John catalog! This original British Import demonstrates just how good a recording this is. The sound is excellent and the music is surprisingly good — and weird in a fun way! It certainly bears little relation to the middle-of-the-road pop songs Elton’s been making since the ’80s. These guys were young and figuring out their sound here, and this album takes Elton to some pretty interesting places. A fun debut album that is certainly worth a listen if you’re a fan of the classic albums that were to follow.

We’ve had dozens of these on our shelves for years but struggled to get this shootout done until recently. The main thing holding us back was how noisy most copies are, even the minty looking ones. Anyone who’s played DJM Brit pressings knows those guys had a very hard time pressing quiet vinyl. (more…)

Elton John – Elton John – Our Shootout Winner from 2011

More Elton John

Elton John – Elton John

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

This original DJM British pressing has a SUPERB Demo Disc Quality side two and a wonderful A++ side one! You could easily play a hundred records from the ’70s and not hear one that sounds this good. The richness and sweetness of this side have to be heard to be believed. We would be very surprised if this copy didn’t become your favorite Elton John record — it’s an absolute knockout.

As is usually the case for this album and specifically these Brit DJM pressings, the vinyl is a bit noisy — Mint Minus Minus with constant moderate surface noise under the music.

Folks, if you’re looking for Classic Rock that still appeals to sophisticated adults forty plus years after it came out, this is the album for you. It’s one of the four Classic Elton John records (five if you count GYBR) that belong in every right-thinking audiophile’s collection.* (more…)

Dan Hicks & His Hot Licks – Where’s The Money?

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Where’s The Money?

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

This live album has White Hot Stamper sound on side two, with sound that is rich, real and musical in ways that we have never heard ANY Dan Hicks record sound. Who knew it could sound like this? Certainly not us. 

The dryness, the flatness, the you-are-so-not-thereness of their studio recordings is nowhere in evidence on this side two, which is as good and probably better than any side we heard in our shootout. It’s not an easy record to find in clean condition in the first place.

Side Two

A+++ White Hot Stamper Good As It Gets sound, so transparent and full of life. The female singers’ voices are so clear, breathy and sweet on this copy, we were a bit taken aback. On a Dan Hicks record? That just never happens! (more…)

Chet Atkins – Travelin’ – Our Shootout Winner from 2011

More Chet Atkins 

More Travelin’ 

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

This original White Dog Black Label RCA pressing may not say Living Stereo on the label, but it sure has the kind of Living Stereo sound we audiophiles have come to love. It’s got the sound of RCA’s Nashville studios and Bill Porter’s engineering all over it, not to mention the kind of 1963 Tubey Magical Analog that would be long gone by the time the decade came to an end.

Along with George Harrison, who wrote the liner notes for Chet Atkins Picks on The Beatles, we’re proud to call ourselves Chet Atkins fans. (more…)

Sonny Rollins – Sound of Sonny – Reviewed in 2007

More Sonny Rollins

Sound of Sonny

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

Riverside White and Blue original 2 Mic Label Mono LP. Side one sounds like a typical old Riverside jazz record, but side two sounds EXCELLENT! I don’t know when I’ve heard an early Sonny Rollins record sound better. His horn is really full-bodied and dynamic and has amazing IMMEDIACY on some tracks. It makes side one sound sick in comparison. (more…)