Hot Stamper Pressings of the Music of Georges Bizet Available Now
Speakers Corner remastered this title back in the 90s and did a decent enough job. I would guess my grade would be about a “C.” We carried it and recommended it at the time. I doubt if I would have very many kind things to say about it now. We’ve played an enormous number of superb classical records in the last ten years or so, raising the bar dramatically higher than it used to be.
To illustrate what we don’t like about these Heavy Vinyl pressings, even when they’re good, or decent as in the case of this title, we have reproduced our review for the Speakers Corner pressing of The Tale of the Tsar Saltan which we had played in a recent shootout against the vintage Londons we had on hand.
We cracked open the Speakers Corner pressing in order to see how it would fare up against our wonderful sounding Londons. Here’s what we heard in our head to head comparison.
The soundstage, never much of a concern to us at here at Better Records but nevertheless instructive in this case, shrinks roughly 25% with the new pressing; depth and ambience are reduced about the same amount. Similar and even more problematical losses can be heard in the area of top end extension. But what really bothered me was this: The sound was just so VAGUE.
There was a cloud of musical instruments, some here, some there, but they were very hard to SEE. On the Londons we played they were clear. You could point to each and every one. On this pressing it was impossible.
Case in point: the snare drum, which on this recording is located toward the back of the stage, roughly halfway between dead center and the far left of the hall. As soon as I heard it on the reissue I recognized how blurry and smeary it was relative to the clarity and immediacy it had on the earlier London pressings. I’m not sure how else to describe it – diffuse, washed out, veiled. It’s just vague.
This particular Heavy Vinyl reissue is more or less tonally correct, which is not something you can say about many reissues these days. In that respect it’s tolerable and even enjoyable. I guess for thirty bucks that’s about the most you can hope for.
But… when I hear this kind of sound only one word comes to mind, a terrible word, a word that makes us recoil in shock and horror. That word is DUB. This reissue is made from copy tapes.
Copies in analog or copies in digital, who is to say, but it sure ain’t the master tape we’re hearing, of that we can be fairly certain. How else to explain such mediocrity of sound?
Yes, the cutting systems being used to master these vintage recordings aren’t very good; that seems safe to say. Are the tapes too old and worn? Is the vinyl of today simply not capable of storing the kind of magical sound we find so often in pressings from the 50s, 60s and 70s?
To all these questions and more we have but one answer: we don’t know.
We know we don’t like the sound of very many of these modern reissues and I guess that’s probably all that we need to know about them. If someone ever figures out how to make a good sounding modern reissue we’ll ask them how they did it. Until then it seems the question is moot.
Back in 2011 we stopped carrying Heavy Vinyl and other audiophile LPs of all kinds. So many of them don’t even sound this good, and this sound bores us to tears.
What We Offer
If you want to know what you’re missing, there is only one approach that works, and it involves two things that have made the modern world what it is today: empirical findings based on the use of the scientific method.
Any other approach is doomed, not to failure, but to findings that are neither reliable nor repeatable.
We are the only record dealers who use the scientific method, and that one fact, more than any other, explains why we can sell the best sounding pressings in the world. We alone are able to show you what you have been missing. Or, put another way, we can make clear to you that do not need to settle for the second- and third-rate sound you have been living with because you didn’t know anything better.
We didn’t know much of anything better until about twenty-odd years ago ourselves.
Before that, we had raved about the Speakers Corner pressing of the Tsar Saltan. Its shortcomings are glaringly obvious to us now, but they weren’t back then. We didn’t have the stereo, we didn’t have the cleaning system, and we didn’t have the critical listening skills to be able to recognize its numerous and serious shortcomings.
Then, in the early 2000s, we started doing shootouts.
These “record experiments” taught us many important lessons.
The process of playing copy after copy of the same record and cataloging the differences we heard made us better listeners.
We took our critical listening skills and applied them to our stereo in order to get as many colorations and limitations out of it as possible.
Through all this work we came to have an appreciation for the fundamentals of collecting better sounding records.
However, without a staff of ten finding, cleaning and playing records for you, most audiophiles will have a hard duplicating our results.
But they can certainly do a lot better using our approach than any other, an approach which will put them well ahead of all the audiophile reviewers and forum posters in the world combined.
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