Top Engineers – Roy Wallace

Perhaps This Explains Why This Decca Reissue Sounds So Good

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This Decca reissue is spacious, open, transparent, rich and sweet. Roy Wallace was the engineer for these sessions from 1955 to 1961 in Geneva’s glorious sounding Victoria Hall.

It’s yet another remarkable disc from the Golden Age of Vacuum Tube Recording, with the added benefit of mastering using the more modern cutting equipment of the ’70s, 1972 to be exact. (We are of course here referring to the good modern mastering of 40+ years ago, not the mediocre-at-best modern mastering of today.)

The combination of old and new works wonders on this title as you will surely hear for yourself on both of these superb sides.

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.
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Beethoven’s Symphony No. 6 with Ansermet – Our Favorite for Performance and Sound

More of the music of Ludwig van Beethoven (1770-1827)

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Beethoven / Symphony #6 (Pastoral) / Ansermet

 

  • The texture on the strings is captured perfectly – this is an area in which modern pressings fail almost completely
  • Everything sounds so right on this record, so much like live music, there is almost nothing to say about the sound other than You Are There
  • Recorded in Geneva’s exquisite Victoria Hall in 1959, this is a top performance from Ansermet and the Suisse Romande, the best we know of

Everything sounds so right on this record, so much like live music, there is practically nothing to say about the sound other than You Are There.

This is the kind of record that will make you want to take all your heavy vinyl classical pressings and put them in storage. None of them, I repeat none of them, will ever begin to sound the way this record sounds. Quality record production is a lost art, and it’s been lost for a very long time.

The texture on the strings is captured perfectly; this is by the way an area in which modern pressings fail almost completely. We have discussed this subject extensively on the site. The “rosin on the horsehair” is a sound that is apparently impossible to encode on modern vinyl.

Other Pressings (more…)

Iberia from 1960 – Amazing on the Original and the Right Reissues Too

1960 – A Great Year for Top Quality Recordings of Timeless Music

When you look closely at all the great records that were released that year — some of which can even be purchased in Hot Stamper form on this very site — you may come to agree with us that 1960 was a wonderful year for recorded music.

Click HERE to see the records currently on the site that were recorded or released in 1960.

And HERE to see the records from 1960 that we’ve reviewed, a substantially larger group as you can imagine, with more than 90 entries at the time of this writing.

 

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 A Top Quality Reissue

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 A Wonderful Original

More of the music of Isaac Albeniz (1860-1909)

James Walker was the producer, Roy Wallace the engineer for these sessions from May of 1960 in Geneva’s glorious sounding Victoria Hall. It’s yet another remarkable Demo Disc from the Golden Age of Vacuum Tube Recording Technology, with the added benefit of mastering using the more modern cutting equipment of the ’70s. (We are of course here referring to the good modern mastering of 30+ years ago, not the bad modern mastering of today.)

The combination of old and new works wonders on this title as you will surely hear for yourself on both of these better than Super Hot sides.

The sound of this copy is so transparent, undistorted, three-dimensional and REAL, without any sacrifice in solidity, richness or Tubey Magic, that we knew we had a real winner on our hands as soon as the needle hit the groove.

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.

Side One – Iberia (1-4)

A huge hall, correct string tone, spacious and open as practically any orchestral recording you can find! (more…)

The Tale of Tsar Saltan and Our Rare Four Plus Grade

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See all of our Rimsky-Korsakov albums in stock

  • This AMAZING side one with the complete Tsar Saltan was so good we gave it our rare Four Plus (A++++) grade
  • We freaked out when we heard this side – it took the sound beyond anything we had ever experienced for the work
  • It’s so rich and real, with huge WHOMP factor down low, as well as clear, uncolored brass and robust lower strings – wow!
  • We figure about one out of a hundred sides earn our Four Plus grade – you can’t get much more rare than that

We award this copy’s side one our very special Four Plus (A++++) grade, which is strictly limited to pressings (really, individual sides of pressings) that take a recording to a level never experienced by us before, a level we had no idea even existed. We estimate that about one per cent of the Hot Stamper pressings we come across in our shootouts earn this grade.

This London pressing contains a stunningly BEAUTIFUL Tale of the Tsar Saltan Suite. It’s clearly one of the great Demo Disc Quality recordings from the Golden Age (or any age for that matter), with everything that a top Golden Age Orchestral recording should have: all the magic; all the timbral and harmonic subtlety; all the sweetness and warmth; all the Tubey Magical richness.

All that and more. Folks, this is the kind of record that makes you sit up and take notice. Finally, HERE is the kind of sound that can bring an orchestra to life in your very own listening room. (more…)

Rimsky-Korsakov / Scheherazade / Ansermet / Suisse Romande

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I attended this Dec. 2013 concert; it was a thrill like no other. (Well, maybe The Planets.)

“Guest conductor Rafael Frühbeck de Burgos’s attention to detail delivers the razzle dazzle and also discovers renewed radiance in ‘Scheherazade.'”

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We did a monster shootout for this music in 2014, one we had been planning for more than two years. On hand were quite a few copies of the Reiner on RCA; the Ansermet on London (CS 6212, his second stereo recording, from 1961, not the earlier and noticeably poorer sounding recording from in 1959); the Ormandy on Columbia, and a few others we felt had shown potential.

The only recordings that held up all the way through — the fourth movement being THE Ball Breaker of all time, for both the engineers and musicians — were those by Reiner and Ansermet. This was disappointing considering how much time and money we spent finding, cleaning and playing those ten or so other pressings.

Here it is a year later and we’re capitalizing on what we learned from the first big go around, which is simply this: the Ansermet recording on Decca/London can not only hold its own with the Reiner on RCA, but beat it in virtually any area. The presentation and the sound itself are both more relaxed and natural, even when compared to the best RCA pressings.

The emotional content of the first three movements (all of side one) under Ansermet’s direction are clearly superior. The roller coaster excitement Reiner and the CSO bring to the fourth movement cannot be faulted, or equaled. In every other way Ansermet’s performance is the one for me.

Both Sides

Superb! Big brass, so full-bodied and dynamic, yet clear and not thick or overly tubey. Lots of space as is usually the case with Ansermet’s recordings from this era.

Both sides here are BIG, with the space and depth of the wonderful Victoria Hall that the L’Orchestre De La Suisse Romande perform in. As a rule, the classic ’50s and ’60s recordings of Ansermet and the Suisse Romande are as big and rich as any you’ve heard. On the finest pressings (known around these parts as Hot Stampers) they seem to be the ideal blend of clarity and richness, with depth and spaciousness that will put to shame 98% of the classical recordings ever made.

The solo violin is present and so real you will have a hard time believing it.

This copy is huge in every dimension, just as all the best ones always are, with maximum amounts of height, width, and depth. The transparency is also superb — you really hear into this one in the way that only the best Golden Age recordings allow.

Side Two Coupling Work

Borodin: Prince Igor – Polovtsian Dances

The Borodin is amazing on this pressing’s side two!

Huge scope — depth and width like you will not believe, perfect for this music. The voices in the chorus are clearly separated out and so big and rich! Open and sweet in the best Golden Age tradition, as well as smooth and natural, like live music should be.

Awful Shaded Dogs

The somewhat shocking news is just how awful most Shaded Dog copies of LSC 2446 are. Even the ones with the “right” stampers are often far from what they should be. It is my heretical opinion that only one or two out of ten copies of the RCA vinyl will beat the Living Stereo CD, and no reissue of any kind can touch it. The CD sounds right. Most vinyl pressings do not.

As is so often the case, hearing the phenomenally good pressings is what truly makes all the time and effort we put into the shootout worthwhile.

Ansermet’s performance with the Suisse Romande here may not have the uncanny precision of Reiner’s with the CSO, but he does manage to bring out most of the more lyrical elements that seem to hold less interest for Reiner.

The key element is the brass — it must have tremendous weight and power, otherwise the proceedings become thin and lose their energy. Consequently, the copies without good weight to the brass and richness in the lower strings fared poorly in our shootout.

Lessons Learned, 2015

There are certain stampers that seem to have a consistently brighter-than-it-should-be 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.

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.

See more of the music of Rimsky-Korsakov in stock

 

The Best Bolero on Vinyl

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More Recordings Made in Victoria Hall

Including this amazing Bolero, the best copy we’ve ever heard!

  • Both sides here earned our highest grade of Triple Plus, making this the best copy to ever hit the site
  • Full, rich, spacious, BIG and present, with energetic performances the likes of which you may have never heard
  • Side one has outstanding depth – the snare drum sounds like it’s located at least fifty feet behind the speakers
  • One of the best Ansermet recordings with the Suisse Romande from Victoria Hall – best performances too

Side two sounded so much better than any copy I have ever heard that I was sorely tempted to give it our coveted Four Plus grade, for the kind of sound that breaks all the rules. Cooler heads have since prevailed, but that doesn’t detract in the least from side two of this remarkable pressing, which has by far the best sound for The Sorcerer’s Apprentice I have yet to hear.

We are rarely able to find a quality recording or performance of Bolero or The Sorcerer’s Apprentice, so this pressing comes as a welcome addition to the classical offerings on the site. (more…)

One of the Greatest Beethoven Ninths on Vinyl – Ansermet in 1960

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The legendary Ansermet recording from 1960 shown above is the best sounding Beethoven 9th we have ever had the pleasure to audition here at Better Records.

Ansermet’s performance is clearly definitive to my ear as well. The gorgeous hall the Suisse Romande recorded in was possibly the best recording venue of its day, possibly of all time; more amazing sounding recordings were made there than any other hall we know of.

Both sides are big, rich and clear, and both were showing us pretty much everything that’s good about a vintage symphonic recording.

To get the chorus to play cleanly right to the very end is difficult for any vinyl pressing and this one is no exception. The chorus should play mostly without distortion or congestion even in the loudest parts, but we can’t say there won’t be a trace of one or both. (more…)