Records that Are Good for Testing Orchestral Depth, Size and Space

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

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

More Stamper and Pressing Information

In 2015 we wrote:

There are certain stampers that seem to have a consistently brighter 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.

On the other hand, 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 resolving, clear, accurate upper midrange and an even more extended top end, the stampers that we used to find “brighter than ideal” are almost always just too damn bright, period.

We will never buy another copy with those stampers if we can help it.

We was wrong and we don’t mind admitting it. We must be learning something in our shootouts, right?. We ran an experiment, we discovered something new about this album, and that should be seen as a good thing.

If you have been making improvements to your system, room, electricity, etc., then you too own records which don’t sound as good as you remember them. You just don’t know which ones they are, assuming you haven’t played them in a while.

One Stamper to Rule Them All

Which leaves one and only one stamper that can win a shootout. There is 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.

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Iberia on Classic Records – What, Specifically, Are Its Shortcomings?

The Music of Claude Debussy Available Now

Album Reviews of the music of Claude Debussy

An Audiophile Hall of Shame pressing and another Classic Records LP debunked.

The Classic of LSC 2222 is all but unlistenable on a highly resolving, properly setup hi-fi system.

The opacity, transient smear and loss of harmonic information and ambience found on Classic’s pressing was enough to drive us right up a wall. Who can sit through a record that sounds like that?

The Classic reissue has plenty of deep bass, but the overall sound is shrill and hard and altogether unpleasant. The better bass comes at a steep price.

Way back in 1994, long before we had anything like the system we do now, we were finding fault with the “Classic Records Sound” and said as much in our catalogs. (Sometimes. Sometimes we were as wrong as wrong can be.)

With each passing year — 29 and counting — we like that sound less.  The Classic may be on Harry’s TAS list — sad but true — but that certainly has no bearing on the fact that it’s not a very good record.

For a better sounding recording of Iberia, click here.

Here Are More Titles that Are Good for Judging These Recording Qualities

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Mussorgsky – Big Speakers, Loud Levels and More Power to the Orchestra

Hot Stamper LPs that Should Be Played on Big Speakers at Loud Levels

More Recordings that Sound Their Best on Big Speakers at Loud Levels 

The darker brass instruments like tubas, trombones and french horns are superb here. Other Golden Age recordings of the work, as enjoyable as they may be in other respects, do not fully reproduce the weighty quality of the brass, probably because of compression, limiting, tube smear, or some combination of the three.

The brass on this record has a power like practically no other. It’s also tonally correct. It’s not aggressive. It’s not irritating. It’s just immediate and powerful the way the real thing is when you hear it live. That’s what really caught my ear when I first played the recording.

There is a blast of brass at the end of Catacombs that is so big and real, it makes you forget you’re listening to a recording. You hear every brass instrument, full size, full weight. I still remember the night I was playing the album, good and loud of course, when that part of the work played through. It was truly startling in its power.

Back then I had the Legacy Whisper speaker system, the one with eight 15″ woofers. They moved air like nobody’s business. If you want to reproduce the power of the trombone, the loudest instrument in the orchestra, they’re the speaker that can do it.

Some of Ansermet’s recordings with the Suisse Romande are absolutely the best I’ve ever heard. It was a magical combination of the right hall, the right engineers, the right orchestra and the right technology — the pure tube ANALOG technology of the ’50s and ’60s!

Dynamics

Another thing this recording has going for it is dynamic power. This is a dynamic piece of music. Few recordings I have ever heard have the dynamic contrasts that this one does. It really gets loud when it needs to. The best pressings sound completely uncompressed. Although I’m sure there has to be compression of one kind or another, the listener is rarely made aware of it.

Dynamics such as these are thrilling. They let the music come alive. Here at Better Records we are fans of big speakers and loud music and that combination is exactly what allows this record to be as powerful and moving as it is. We love that sound and have been proselytizing for equipment capable of recreating it in the home for more than 30 years.

How on earth is a speaker system like this one going to reproduce the power of all that brass?

The big finish with cymbal crashes and that amazing gong is worth the price of the album — when and if you can find one that’s not compressed and distorted from bad mastering or abuse. If you can find a more thrilling climax to a more powerful orchestral work, you must have one helluva classical collection. My hat’s off to you.

Powerful Bass

The third quality this record has is tremendous, powerful deep BASS. As you know, bass drum thwacks are called for throughout this composition. This is one of the few recordings where those bass notes don’t get “clipped” because the cutting amplifiers have run out of juice. That’s a sound that’s common to many Living Stereos. We put up with it because we like all the other qualities they have, but it’s a shortcoming of many of the tube cutting amplifiers from that era. The deep bass on this record is prodigious, as Dr. Strangelove might say. It really rocks the room.

If you prize Golden Age richness, lushness and Tubey Magic, this copy is going to be hard to beat. The hall is huge with tremendous depth and lovely reverberation. (Our Disney Hall here in L.A. does not have this kind of sound, I regret to say.)

Production and Engineering

James Walker was the producer, Roy Wallace the engineer for these sessions from 1958 in Geneva’s glorious Victoria Hall. It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording.

The gorgeous hall the Suisse Romande recorded in was possibly the best recording venue of its day, perhaps of all time. More amazing sounding recordings were made there than in any other hall we know of. There is a solidity and richness to the sound that goes beyond all the other recordings we have played, 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 weight and power of the brass, combined with timbral accuracy of the instruments in every section.

Further Reading

Bizet-Shchedrin / As Tough a Test Disc As Any We Know

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

More Turntable Setup Advice

If I had only one record to bring to someone’s house in order to evaluate their equipment, a killer copy of this Bizet-Shchedrin record would certainly be at the top of my list. (Here are some others.)

If you can make this record sound the way it should, your stereo is cookin’.

If you are having problems, this record will show them to you in short order.

Many copies are bright in the upper-midrange, sounding as nasally and artificial as a bad Mercury or London. Many lack weight down low. The lower strings and heavier percussion play a crucial role in balancing out the upper strings and lighter percussion, so without enough going on down low, the sound skews upwards in an artificial way.

If your copy has either of these problems don’t use it to set up or tweak anything in your system.

Use one of our Hot Stampers, the hotter the better.

The sound of the best copies is rich, full-bodied, incredibly spacious, and exceptionally extended up top. There is a prodigious amount of musical information spread across the soundstage, much of it difficult to reproduce. Musicians are banging on so many different percussive devices (often at the back of the stage, exactly where they should be) that getting each one’s sonic character to clearly come through is a challenge. And when you’ve met it, a thrill.

If you’ve done your homework with VTA, Azimuth, Anti-Skate and Tracking Weight, this is the record that will make clear just how much you’ve accomplished.

Neutrality Is Key

But boy is it a difficult record to reproduce. You better have everything working right when you play this one — it’s guaranteed to bring practically any audiophile system to its knees. And if you have any peaky audiophile wire in your system, the kind that is full of detail but calls attention to itself, you are in big trouble with a record like this.

More than anything, this is a record that rewards your system’s neutrality.

The recording has tremendous transients and dynamics. Be prepared to have trouble tracking it. In that respect it’s a prime candidate for table, cartridge and system tweaking.

If you have the kind of big system that a record like this demands, when you drop the needle on the best of our Hot Stamper pressings, you are going to hear some amazing sound.

Further Reading

Tchaikovsky / Swan Lake – Fistoulari Conducts Our Favorite Recording of the Highlights

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

More Imported Pressings on Decca and London

Kenneth Wilkinson engineered this album for Decca in 1961, and, as usual, he did a great job.

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.

Highlights of the recording include huge amounts of bass; a clear snare at the back of the hall (a good test for transparency, of both the record and of your system and room); full-bodied horns and strings which never become blary or shrill; and of course huge amounts of space.

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.)

Quality record production is a lost art, and it’s been lost for a very long time.

Like Live Music

In my notes I remarked that when the music is quiet the sound is so spacious, clear, and sweet it will have you thinking you are sitting in the concert hall.

One thing live classical music does much better than any recording in my experience is that it gets very, very quiet, yet stays clear and spacious.

None of the thousands of classical recordings I have heard to date reproduce that quality completely, but this one gets awfully darn close. Other records with that live music quality can be found here.

Note that the big finale at the end of side two is loud and HUGE on this album. There is a touch of compressor overload, but no actual inner groove distortion. At first we thought the former may have indeed been the latter because we had a copy or two with chewed-up inner grooves.

This one plays clean to the end, and boy does it get loud and powerful at the climax of the work.

All the qualities we look for in a classical recording are here:

  • lovely string tone and texture,
  • rich tonality,
  • a big hall,
  • no smear,
  • superb transparency

How many classical records have all of these qualities in such abundance?

One out of a hundred? If that!

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Strauss / Also Sprach Zarathustra – Our First Classic Records Review

Hot Stamper Pressings of Living Stereo Titles Available Now

Reviews and Commentaries for Hundreds of Living Stereo Records

Way back in 1994, long before we had anything like the system we do now, we were finding fault with the “Classic Records Sound.”

With each passing year — 28 and counting — we like that sound less.  Some Classic Records pressings may be on Harry’s TAS list — disgraceful but true — but that certainly has no bearing on whether or not they are very good records. 

I had a chance to play LSC 1806 (pictured above) not long ago and I was dumbfounded at how bright, shrill and aggressive it was.

I still remember playing my first Classic Records title, their first release, which would probably have been in 1994. The deep bass of the organ at the start of Also Sprach Zarathustra, the horns and the tympani blasting out from a dead silent background, put a lump in my throat. Had they actually managed to remaster these old recordings so well that the vintage pressings I was selling for such high prices would soon be worthless? I really do remember having that thought race through my mind.

But then the strings came in, shrieking and as bright as the worst Angel or DG pressing I’d ever heard. It was as if somebody had turned the treble control up on my preamp two or three clicks, into ear-bleeding territory. All my equipment at the time was vintage and tube, and even though my system erred on the dark side tonally, the first Classic release was clearly off the charts too bright and transistory, with none of the lovely texture and sheen that RCA was famous for in the early days of Living Stereo.

I knew right then that my vintage record business was safe.

Here is our review from the ’90s, written shortly after the release of Classic’s first three titles. (With minor additions and changes for clarity and context.)

Hall of Shame Pressings, Every One

I’m reminded of the nonsense I read in TAS and elsewhere in the mid-’90s regarding the reputed superiority of the Classic Records Living Stereo reissues. After playing their first three titles: 1806, 1817 and 2222 (if memory serves), I could find no resemblance between the reviews I read and the actual sound of the records I played. The sound was, in a word, awful.

To this day I consider them to be the Single Worst Reissue Series in History.

[To be fair, Analogue Productions probably now holds that crown.]

When Harry Pearson (of all people! — this is the guy who started the Living Stereo craze by putting these forgotten old records on the TAS list in the first place) gave a rave review to LSC 1806, I had to stand up (in print anyway) and say that the emperor clearly had removed all his clothes, if he ever had any to begin with.

This got me kicked out of TAS by the way, as Harry does not take criticism well. I make a lot of enemies in this business with my commentary and reviews, but I see no way to avoid the fallout for calling a spade a spade.

Is anybody insane enough to stand up for LSC 1806 today? Considering that there is a die-hard contingent of people who still think Mobile Fidelity is the greatest label of all time, there may well be “audiophiles” with crude audio equipment or poorly developed critical listening skills, or both (probably both, as the two go hand in hand), that still find the sound of the shrill, screechy strings of the Classic pressing somehow pleasing to the ear. Hey, anything is possible.

As I’ve said again and again, the better a stereo gets, the more obvious the differences between good vintage pressings and most current reissues become. Modest front ends and mediocre playback systems can disguise these differences and mislead the amateur audiophile.

And the “professional” too. We’ve all had the experience of going back to play a record from years ago that we remember as being amazing, only to find it amazingly bad.

The Japanese Led Zeppelin series from the ’90s comes immediately to mind. How could my system have been so dull that those bright pressings actually fooled me into thinking they sounded good all those years ago? I’ve done a few Mea Culpas over the years, and that’s one of the bigger ones.

Remember when Chesky Records were all the rage? Does anybody in his right mind play that shit anymore?

A short anecdote: A good customer called me up one night many years ago. He had just finished playing the Chesky pressing of Spain, and had pulled out his Shaded Dog original to compare. The sound of his Shaded Dog pressing was so much better that he took his Chesky and, with great satisfaction, ceremoniously dropped it in the trash can, noting, “Of course I could have sold it or traded it away, but nobody should have to listen to sound like that.”

Another anecdote: when Chesky first got started in the remastering business, a friend picked up their pressing of LSC 2150, Prokofiev’s Lt. Kije with Reiner. He played it for me when I came over to hear his system, and he and I were both shocked that his ’70s Red Seal pressing was better in every way.

We wanted to know: What kind of audiophile label can’t even go head to head with a cheap reissue put out twenty years after the initial release just to keep the bins stocked and satisfy the needs of the low-budget classical record buyer?

The answer: Plenty of them, and definitely Chesky. Playing most Classic Records classical titles is a painful experience these days. I do not recommend it to anyone with good equipment. If you love the Living Stereo sound and cannot afford vintage pressings, consider playing the CDs RCA remastered. The one I know well is clearly better than Classic’s and AP’s LP.

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Berlioz / Symphonie Fantastique – Gorgeous Living Stereo Strings

Hot Stamper Pressings of Living Stereo Recordings Available Now

More Records that Are Good for Testing String Tone and Texture

Gorgeous Golden Age Tubey Magical strings, lovely hall acoustics. The size and power of a large orchestra in Living Stereo sound. One of our favorite performances of Berlioz’s masterwork.

This is a piece that’s difficult to squeeze onto two sides of a single LP, as it clocks in at around 45 minutes, which means that the mastering engineer has three options when cutting the record: compress the dynamics, lower the level, or filter out the deep bass. The RCA mastering engineer for this pressing managed to hold on to the powerful dynamics captured by the Decca (as far as I know) recording team, seemingly without doing harm to dynamics, levels or deep bass. How, I have no idea.

Maybe it’s the gorgeous Living Stereo strings and hall acoustics that let us forget about the possibility of compromises occurring in other areas.

So open and spacious, with gorgeous, richly textured strings — this is the VIVID sound we love from the Golden Age!

The hall is huge, the brass solid and powerful, the top and bottom extends properly, the stage is wide and clear — what more can you ask for? 

Classic Records Pressings and Their Abysmal String Tone

Of course this was always the downfall of the Classic Records RCA remasterings. Their records had bass and dynamics, no one could deny it, but the strings were usually shrill and the hall practically non-existent. We found out just today [which was quite a while ago of course] that there is a new series of recuts coming from Acoustic Sounds. Based on their dismal track record I will be very surprised if they are much better than mediocre. We look forward to playing one or two.

Monteux Is The Man

According to the biographical sketch in Grove Dictionary of Music and Musicians, Monteux “was never an ostentatious conductor … [he prepared] his orchestra in often arduous rehearsals and then [used] small but decisive gestures to obtain playing of fine texture, careful detail and powerful rhythmic energy, retaining to the last his extraordinary grasp of musical structure and a faultless ear for sound quality.” – Wikipedia

Bach / The Fox Touch – Not As Good As We Thought, Sorry!

More of the music of J.S. Bach (1685-1750)

More Records that Are Good for Testing Orchestral Depth, Size and Space

The review reproduced below was written in 2010. Recently I have played copies of these Crystal Clear organ recordings and been much less impressed.

The ambience is a fraction of what it should be, and the reason I know that is that the vintage organ recordings I play have dramatically more size and space than these audiophile pressings do.

A classic case of Live and Learn. As we like to say, all these audiophile records sound great sitting on the shelf. When you finally pull one out to play it, you may find that it doesn’t sound the nearly as good as you remember, and that’s a good thing.

It’s a sign you are making progress in this hobby.

Ten years from now, if during that time you’ve worked hard on your stereo system, room, electricity and all the rest, your Heavy Vinyl pressings will also have plenty of flaws you never knew were there.

Our customers know what I am talking about. Some have even written us letters about it.

Our old review, mea culpa

White Hot on both sides, a DEMO DISC quality organ Direct to Disc recording

Full, rich, spacious, big and transparent, with no smear

The size and power of a huge church organ captured in glorious direct to disc analog

We’ve never been fans of Crystal Clear, but even we must admit this recording is Hard To Fault

Are we changing our tune about Audiophile records? Not in the least; we love the ones that sound right. The fact that so few of them do is not our fault. 

The methods used to make a given record are of no interest whatsoever to us. We clean and play the pressings that we have on hand and judge the sound and music according to a single standard that we set for all such recordings. Organ records, in this case, get judged against other organ records. If you’ve been an audiophile for forty years as I have, you’ve heard plenty of organ records.

Practically every audiophile label on the planet produced at least one, and most made more than one. Some of the major labels made them by the dozen in the ’50s and ’60s, and many of those can sound quite wonderful.

Who made this one, how they made it or why they made it the way they did is none of our concern, nor in our mind should it be of any concern to you. The music, the sound and the surfaces are what are important in a record, nothing else.

Richter was making recordings of this caliber for London in the ’50s. Clearly the direct to disc process is not revelatory when it comes to organ records (or any other records for that matter), but finding vintage Londons with quiet vinyl that sound as good as this disc does is neither easy nor cheap these days, so we are happy to offer our Bach loving customers a chance to hear these classic works sounding as good as they can outside of a church or concert hall.

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Bach / Organ Music Volume 2 – Size and Space Are Key

More of the music of Johann Sebastian Bach (1685-1750)

More Records that Are Good for Testing Orchestral Depth, Size and Space

Rock and Jazz Records that Are Good for Testing Ambience, Size and Space

Some audiophiles buy organ records to show off their subwoofers. Exceptional pressings of exceptional recordings such as this one will allow you to do that, but the best of them have musical qualities far beyond simple demonstrations of bass fundamentals. Carl Weinrich understands this music perfectly and makes it come alive in a way I’ve rarely heard by other performers.

For those of you who think technology marches on — which of course it does in some ways — this 1963 recording shows that the RCA engineers were capable of capturing the authentic sound of the instrument with the vintage tube equipment available to them. In my opinion they could do it better back in those days.

Musically speaking there aren’t many organists in Carl Weinrich’s class. The only other Bach organ records of this caliber that we know of are the two volumes that Karl Richter recorded for Decca in the mid-’50s. You can’t go wrong with any of them. At least one belongs in any serious audiophile’s collection.

Size and Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.

Think about it: if you had only seven copies, you might not have stumbled upon the copy that sounded so exceptionally open and clear. And how many of even the most dedicated audiophiles would have more than one of two clean vintage pressings with which to do a shootout? These kinds of records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of vintage Living Stereo albums.

When you hear a copy do what this copy can, it’s an entirely different – and dare I say unforgettable — listening experience.

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A True Audiophile Pressing at 45 RPM to Shame Them All

More of the music of Sergei Prokofiev (1891-1953)

Reviews and Commentaries for the Music of Sergei Prokofiev

This Japanese 45 RPM remastering of our favorite recording of Prokofiev’s wonderful Lt. Kije Suite has DEMONSTRATION QUALITY SOUND. For starters, there are very few records with dynamics comparable to these. Since this is my favorite performance of all time, I can’t recommend the record any more highly. 

Most of what’s “bad” about a DG recording from 1978 is ameliorated with this pressing. The bass drum (drums?) here must be heard to be believed. We know of no Golden Age recording with as believable a presentation of the instrument as this.

The drum is clearly and precisely located at the back of the stage; even better, it’s as huge and powerful and room-filling as it would have been had you attended the session yourself. That’s our idea of hi-fidelity here at Better Records.

Real Dynamics

Over the course of this and many other shootouts, we’ve discovered that it’s practically impossible to find the right volume setting for this album. It’s so dynamic that no matter what volume you set it at the loud portions get too loud. There is a huge amount of deep bass on this recording and that, coupled with the practically unparalleled dynamics, means that you must have a great deal of amplifier power to reproduce this one properly. Either that or a very efficient speaker such as a horn. I confess I would need a great deal more power than I have at my disposal to get the climaxes of this recording to play cleanly.

The Best DG Recording

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