Labels With Shortcomings – Classic Records – Classical

Rimsky-Korsakov – Scheherazade – A Classic Records Disaster

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

Scheherazade 

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Sonic Grade: F

Hall of Shame pressing and another Classic Records LP debunked.

In 2009 or 2010, during our testing of the TT Weights turntable products, the record I played again and again — close to a hundred times over the course of two days — was a wonderful White Dog pressing of LSC 2446. The sound was glorious, some of the best reproduction of large orchestra I have ever heard.  

(Harry Pearson disgraced himself even further by putting this Classic Record on his TAS List of Super Discs.)

A week later I was still testing the system, and again using Scheherazade. A friend brought over his Classic pressing, probably the same one I would have sold him in the mid-’90s. Now we could compare the two.

It was a massacre. The sound on the reissue is simply AWFUL. (more…)

Sibelius / Finlandia / Mackerras – Classic Records Debunked

More of the music of Jean Sibelius (1865-1957)

Finlandia / Mackerras

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Sonic Grade: F

Hall of Shame pressing and anothe Classic Records LP debunked.

Classic Records, as expected, ruined this album. Their version is dramatically more smeared and low-rez than our good pressings, 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 anything other than a nominal price.

Classic Records — Let’s Try and Forget The (Dreadful) Sound

If you’re tempted to pick one up for a few bucks to hear how badly mastered their version is, go for it. If you actually want a record to play for enjoyment, don’t bother — it’s a complete waste of money. (more…)

Liszt, Enesco, Smetana / Rhapsodies – Stokowski – Classic Records Reviewed

More Franz Liszt’s music

Rhapsodies – Stokowski

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Sonic Grade: F

Hall of Shame pressing and another Classic Records LP debunked. (The cover is clearly the original Living Stereo cover by the way.)

The lower strings are wonderful on the original — wall to wall, with that rosiny texture we love. I wrote at the time — this is twenty or so years ago — that the Classic pressing took that rich, dark sound and brightened it up, naturally ruining it in the process. Cellos and double basses just don’t sound like that. On the best pressings of LSC 2471 their timbre is Right On The Money. Of course, that’s is the real thing, not some audiophile rebutchering. 

Now if you’re a Classic Records fan, and you like that brighter, more detailed, more aggressive sound, the original is probably not the record for you.

We don’t like that sound and we don’t like most Classic Records. They may be clean and clear but where is the RCA Living Stereo Magic that made people swoon over these recordings in the first place? Bernie manages to clean that sound right off the record, and that’s just not our idea of high-fidelity, sorry. (more…)

Gaite Parisienne with Fiedler – More Smeary Dreck from Classic Records

More Jacques Offenbach (1819-1880)

More Gaite Parisienne / Fiedler

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Sonic Grade: F

Another Classic Records LP found wanting. 

The last time I played the Classic I thought it was a smeary mess, as awful as their awful Scheherazade (both shamefully on the TAS List as I recall). If I were to play it today I’m guessing it would join the other Classic Records entries in our Hall of Shame. 

 I love Fiedler’s performance and the 1954 two track RCA Living Stereo sound but finding an original Shaded Dog pressing in clean condition under $500 with the right stampers (something above 10 as a rule) is all but impossible nowadays.

If you want to go that way more power to you. 

This 1954 2-track recording is RCA’s first stereo recording of the work. 1954. Can you believe it? Two mics and two channels and it blows away 99% of all the classical recordings ever done! Some old record collectors and tube lovers say classical recording quality ain’t what it used to be. This record proves it.

Classic Records Stops Making Bad Records But Acoustic Sounds Picks Up Where They Left Off

classicclaritybox

DATELINE 8/29/2010

Classic Records has officially gone under. They will not be missed, not by us anyway, except for this reason: to borrow a line from Richard Nixon, I guess we won’t have Classic Records to kick around anymore. We’ve been beating that dead horse since the day they started back in 1994. There are scores of commentaries on the site about their awful records for those who care about such things.

The last review we wrote for the remastered Scheherazade, which fittingly ended up in our Hall of Shame, is one in which we awarded it an equally fitting sonic grade of F.

TAS Superdisc List to this day? Of course it is!

With every improvement we’ve made to our system over the years, their records have somehow managed to sound progressively worse. (This is pretty much true for all Heavy Vinyl pressings, another good reason for our decision to stop carrying them in 2010.) That ought to tell you something. Better audio stops hiding and starts revealing the shortcomings of bad records. At the same time, and much more importantly, better audio reveals more and more of the strengths and beauty of good records.

(Which of course begs the question of what actually is a good record — what it is that makes one record good and another bad — but luckily for you dear reader, you are actually on a site that has much to say about those very issues. Every Hot Stamper commentary is fundamentally about the specific attributes that make one copy of a given album better than another, and how much of them you’re getting for your money with the unique pressing on offer.)

There are scores of commentaries on the site about the huge improvements in audio available to the discerning (and well-healed) audiophile as I’m sure you’ve read by now. It’s the reason Hot Stampers can and do sound dramatically better than their Heavy Vinyl or Audiophile counterparts: because your stereo is good enough to show you the difference.

With Old School equipment you will continue to be fooled by bad records, just as I and all my audio buds were fooled twenty and thirty years ago. Audio has improved immensely in that time. If you’re still playing Heavy Vinyl and Audiophile pressings there’s a world of sound you’re missing. We would love to help you find it.

One Hot Stamper just might be all it takes to get the ball rolling.

 

classic_records_acoustic

Oh no, someone is going to keep pressing Classic’s shitty records! And selling them!

And wouldn’t you know it’s the same guys who’ve been making bad records since before Classic got into the game.

I advised them to dump them in a landfill but they apparently had other ideas.

So now it’s one stop shopping for all the bad sounding Heavy Vinyl you might be foolish enough to buy. Or perhaps you were misguided by the ridiculous comments and reviews pedaled on audiophile websites extolling the virtues of these pressings.

Don’t believe a word of it. You can count the good sounding records put out by these guys on one hand.  I honestly cannot think of one I would have in my house to tell you the truth.

Ballet Music From The Opera on Classic Records Vinyl

More Ballet Music From The Opera / Fistoulari

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Sonic Grade: F

A Hall of Shame pressing and another Classic Records LP debunked.

Classic Records ruined this album, as one would 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. 

Most audiophiles (including audiophile record reviewers) have never heard a classical recording of this quality. 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.)

Heifetz on Classic – An Overview

brahmvioli_1903_debunk

 

The RCA pressing of the Brahms Violin Concerto with  Heifetz and Reiner you see pictured, LSC 1903, is yet another Hall of Shame pressing and yet another Classic Records LP debunked.

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

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. The CDs are better for all I know. That’s probably the first place to go, considering Classic’s generally poor track record.
(more…)

Shostakovich – The Age of Gold – Another Mediocre Classic Records Pressing

More Dmitri Shostakovich (1906-1975)

More The Age of Gold – Martinon

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Sonic Grade: D

Another Classic Records LP debunked. 

It’s been quite a while since I played the Classic pressing, but I remember it as fairly typical of their mediocre-at-best catalog, tonally fine but low-rez and lacking space, warmth and above all Tubey Magic. I don’t think I’ve ever played an original or a VICS reissue that didn’t sound better, and that means that the best grade to give Classic’s pressing is probably a D: below average.

We have a section for all the Classical Records we have reviewed on the site to date. (more…)

Tchaikovsky / 1812 Overture (LSC 2241) – Classic Records and the TAS List

 

More Tchaikovsky (1840-1893)

More 1812 Overture

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Sonic Grade: D

 Hall of Shame pressing and another Classic Records LP debunked.

HP put the Shaded Dog pressing (the only way it comes; there is no RCA reissue to my knowledge) on his TAS List of Super Discs, and with good reason: it’s wonderful! [We used to like it a lot more than we do now. Stick with the Decca Alwyn if you can find one that sounds like this one does.]

But for some reason he also put the Classic Records Heavy Vinyl reissue on the list, and that record’s not even passable, let alone wonderful. It’s far too lean and modern sounding, and no original Living Stereo record would ever sound that way, thank goodness. 

If they did few audiophiles would still be paying the top dollar collector prices that the Shaded Dog commands to this day.    (more…)

Iberia (LSC 2222) on Classic Records – Part of the First Batch of Their RCA Reissues from 1994

More of the music of Claude Debussy

More Iberia

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Sonic Grade: F

Hall of Shame pressing and another Classic Records LP debunked.

The Classic of LSC 2222 is all but unlistenable on a highly resolving system. The opacity, transient smear and loss of harmonic information and ambience found on Classic’s pressing is enough to drive us right up the wall. Who can sit through a record that sounds like that? Way back in 1994, long before we had anything like the system we do now, we were disparaging the “Classic Records Sound” in our catalogs.

With each passing year — 24 and counting — we like it less. 

The Classic may be on Harry’s list — sad but true — but that certainly has no bearing on the fact that it’s not a very good record. (more…)