WHITE HOT Stamper sound for the Bruch side of this original RCA Shaded Dog, one of the best Heifetz concerto titles of all time. (I’m trying to think of a Heifetz title that sounds better and coming up blank.)
This was our shootout winner on side two, beating all comers, earning our highest grade, the full Three Pluses (our blue ribbon, gold medal, and best in show all wrapped into one). The sound is nothing short of DEMO DISC QUALITY.
If you want to demonstrate the magic of Living Stereo recordings, jump right to the second movement of the Bruch. The sonority of the massed strings is to die for. When Heifetz enters, the immediacy of his violin further adds to the transcendental quality of the experience. Sonically and musically it doesn’t get much better than this, on Living Stereo or anywhere else.(more…)
Another in our series of Home Audio Exercises with advice on what you should be listening for when critically evaluating this kind of recording.
Do you want a recording that is going to put your system to the test? Well this is that record! That violin is REAL. As you compare equipment or tweak your system, you will hear the sound of that violin change and it should be obvious when it gets better and when it gets worse. (more…)
This copy had practically no smear on either the violin or the orchestra. Try to find a violin concerto record with no smear. We often say that Shaded Dogs, being vintage All Tube recordings, tend to have tube smear. But what about the ’70s Transistor Mastered Red Label pressings – where does their smear come from?
Let’s face it: records from every era more often than not have some smear and we can never really know what accounts for it. The key thing is to be able to recognize it for what it is. (We find modern records, especially those pressed at RTI, to be quite smeary as a rule. They also tend to be congested, blurry, thick, veiled, and ambience-challenged. For some reason most audiophiles — and the reviewers who write for them — rarely seem to notice these shortcomings.)(more…)
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…)
The reproduction of the violin here is superb — harmonically rich, natural, clean, clear, resolving. What sets the truly killer pressings apart is the depth, width and three-dimensional quality of the sound, as well as the fact that they become less congested in the louder passages and don’t get shrill or blary. The best copies display a Tubey Magical richness — especially evident in the basses and celli — that is to die for.
Big space, a solid bottom, and plenty of dynamic energy are strongly in evidence throughout. Practically zero smear, exceptional resolution, transparency, tremendous dynamics, a violin that is present and solid — this copy takes the sound of the recording right to the limits of what we thought possible.(more…)
This early Shaded Dog pressing of a 1958 recording has surprisingly good Super Hot stamper sound on side two. On the second side the sound opens up and is very sweet, with the violin becoming much more present and clear. The whole of side two is transparent with an extended top. Usually the earliest Living Stereo titles suffer from a lack of top end extension, but not this one.
Maybe the 1S is that way. For some reason audiophiles tend to think that the earliest cuttings are the best, but that’s just another Record Mythin our experience, easily refuted if you’ve played hundreds of these Living Stereo pressings and noted which stampers sound the best and which do not.
The 1S pressings do not win all that many shootouts around here. Of course, to avoid being biased the person listening to the record doesn’t know the stamper numbers, and that may help explain why the 1S loses so often!(more…)
Classic Records ruined this album, as expected. Their version is dramatically more aggressive, edgy and smeared than the better vintage pressings. In fact it’s just plain awful, like most of the classical recordings they remastered.
We have a section for all the Classical Records we have reviewed on the site to date.
Classic remastered this title in the ’90s — it’s one of the better Heifetz recordings. As expected, their version was awful, as bad as LSC 1903, 1992, 2129 and others too numerous to list.
It’s both aggressive and lacking in texture at the same time, the worst of both worlds. Bernie’s cutting system is what I would call Low Resolution — the harmonics and subtleties of the sound simply disappear. If you have the Classic, do your own shootout. We guarantee any Hot Stamper pressing will murder theirs.(more…)