This is a rare and very nice looking Capitol LP. The violin sounds rich and sweet, although the sound of the orchestra is a bit “old school” with too much congestion and distortion during the louder sections to qualify as a Hot Stamper were we to put this record in a shootout.
The much more revealing systems of today, like the one we employed to audition this very copy, simply make it too easy to spot its many faults.
We like old records because they have the potential to sound better than every other kind of record, including the ones that have been made and marketed to audiophiles over the course of the last thirty years or so.
We wrote about that subject in a commentary we call The Big If. An excerpt:
The best of the best vintage recordings are truly amazing if you can play them right. That’s a big if. In fact, it may just be the biggest if in all of audio.
We go on to discuss the wonderfully accurate timbre of the better vintage pressings, in contrast to the consistently inaccurate tonality of the Modern Heavy Vinyl pressing. It’s a long story but we think it is well worth your time if you are an audiophile looking for better sounding vinyl.
Michael Rabin managed to be one of the most talented and tragic violin virtuosi of his generation. Hailed as a child prodigy, his talent matured gracefully into an adult level, but he failed to follow in his emotional growth, resulting in a cutting short of his career. He never reached the age of 36, yet remains one of the most fondly remembered of virtuoso violinists for listeners and fellow musicians such as Pinchas Zukerman, with whom he shared a teacher.
This is an Older Classical/Orchestral Review
Most of the older reviews you see are for records that did not go through the shootout process, the revolutionary approach to finding better sounding pressings we started developing in the early 2000s and have since turned into a veritable science.
We found the records you see in these older listings by cleaning and playing a pressing or two of the album, which we then described and priced based on how good the sound and surfaces were. (For out Hot Stamper listings, the Sonic Grades and Vinyl Playgrades are listed separately.)
We were often wrong back in those days, something we have no reason to hide. Audio equipment and record cleaning technologies have come a long way since those darker days, a subject we discuss here.
Currently, 99% (or more!) of the records we sell are cleaned, then auditioned under rigorously controlled conditions, up against a number of other pressings. We award them sonic grades, and then condition check them for surface noise.
As you may imagine, this approach requires a great deal of time, effort and skill, which is why we currently have a highly trained staff of about ten. No individual or business without the aid of such a committed group could possibly dig as deep into the sound of records as we have, and it is unlikely that anyone besides us could ever come along to do the kind of work we do.
The term “Hot Stampers” gets thrown around a lot these days, but to us it means only one thing: a record that has been through the shootout process and found to be of exceptionally high quality.