If you have the Direct Disc Labs half-speed you have one truly awful record in your collection, so sucked out in the midrange, so compressed everywhere, what the hell were they thinking making this rockin’ album sound like that? It’s positively disgraceful. It makes MoFi look like they knew what they doing, and we know that sure isn’t true.
In truth we did not actually have a copy of the MoFi handy for this shootout, but in our defense let us just say that we’ve heard their pressing many times over the course of the last twenty years. It’s better than the DD Labs version but not good enough for me to want to play it — compressed and sucked-out like practically every record they ever made, just not as badly as the DD Labs version.(more…)
This commentary was written after a review I spotted online prompted me to crack open one of the Classic Records 200 gram Peter Gabriel titles and play it. Let’s just say the results were less than pleasing to the ear. Bernie Grundman had worked his “magic” again and as usual I was at a loss to understand how anyone could find his mastering in any way an improvement over the plain old pressings.
I had a discussion with a reviewer for an audiophile web magazine concerning his rave review for the Peter Gabriel records that Classic pressed. I just played one, and it’s not as bad as I thought it would be. But of course it’s not right either. Not surprisingly, reviewers have a tendency not to notice these things. I’m not exactly sure how these people are qualified to review records when the most obvious tonal balance problems seem to go unnoticed, but I can hardly be surprised.
A Bad Record Tells You… What?
Which brings up something else that never fails to astonish me. How can an equipment review be trusted when the reviewer uses bad sounding records to evaluate the equipment he is testing? Aren’t we justified in assuming that if said reviewer can’t tell he is listening to a bad recording, he probably can’t tell whether the equipment under review is any good either?
A bad recording tells you nothing about the equipment it is playing on. Worse, it might complement the faults of the gear and end up sounding tonally correct. If you use So Long So Wrong as a test disc, what are you testing for, the bad sounding vocals or the bad sounding guitars?
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.
These are just some of the recordings by Count Basie that we’ve auditioned recently and found wanting. Without going into specifics we’ll just say these albums suffer from poor performances, poor sound, or both, and therefore do not deserve a place in your collection, and may even belong in our Hall of Shame.
A Free Service provided to the Audiophile Public, courtesy of Better Records.
By the time the guitars at the end of the title track fade out you will be ready to take your heavy vinyl Classic and ceremoniously drop it in a trashcan. (Actually, the best use for it is to demonstrate to your skeptical audiophile friends that no heavy vinyl pressing can begin to compete with a Hot Stamper from Better Records. Not in a million years.)
Over the course of the last 25 years we was wrong three ways from Sunday about our down-and-out friend Aqualung here. We originally liked the MoFi. When the DCC 180g came along we liked that one better, and a few years back I was somewhat enamored with some original British imports. Wrong on all counts. After playing more than two dozen pressings, it’s pretty clear that the right domestic pressings KILL any and all contenders. (more…)
The sound of the 45 RPM 2 disc version cut by Bernie Grundman does not exactly tickle our fancy. It sounds thick and dull, much like the Deja Vu Bernie remastered years ago for Classic Records.
As is the case with so many of the Heavy Vinyl reissues released these days, the studio ambience you hear on these pressings is a pitiful fraction of the ambience the real pressings are capable of revealing, the ones mass-produced by Atlantic, original and reissue alike.
Rhino bills their releases as being pressed on “180 gram High Performance Vinyl.” However, if they are using “performance” to refer to sound quality, we have found the performance of their vinyl to be quite low, lower than the average copy one might stumble upon in the used record bins.
This new Universal Super DeLuxe import LP appears to be the regular vinyl version that, for all we know, might actually still be in print in Europe. It appears to have been specially pressed on heavy import vinyl for our domestic market as part of the new Universal Heavy Vinyl series. Either that or it’s being made from the old metalwork for the LP that would have been available most recently in Europe (out of print by now I should think).
Which is a very long-winded way of saying that it is not in any real sense remastered, if such a claim is being made for it or the series. Rather it has simply been repressed on Heavy Vinyl in Europe and imported to the states. None of which is either here nor there because the record is an absolute DISASTER.