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Who on Earth Could Possibly Take the Sound of this Ridiculous Remaster Seriously?

Hot Stamper Pressings on Decca and London Available Now

There actually is such a person who does exactly that, can you imagine?

Only an Audiophile True Believer could be fooled by sound so ridiculously unnatural.

But the world is full of such people. They bought into the audiophile BS of Mobile Fidelity in the 80s and apparently haven’t learned much since.

Now they think Heavy Vinyl is the answer to the world’s problems. The more things change…

If your stereo is any good at all, you should have no trouble hearing the sonic qualities of this album we describe below. If you are on this blog, and you have tried some of our Hot Stamper pressings, there is a good chance you’re hearing pretty much what we’re hearing. Why else why would you pay our prices?

One thing I can tell you: we would never charge money for a record that sounds as weird and wrong as this MoFi.

A well-known reviewer has many kind things to say about this pressing, but we think it sounds like a hi-fi-ish version of a 70s London, which means it’s opaque and the strings are badly lacking in Tubey Magical sheen and richness.

The bass is like jello on the MoFi, unlike the real London, which has fairly decent bass.

If an audiophile reviewer cannot hear the obvious faults of this pressing, I would say there’s a good chance one or both of the following is true:

  1. His equipment is not telling him what the record is really doing, and/or,
  2. His listening skills are not sufficiently developed to notice the shortcomings in the sound.

The result is the worst kind of reviewer malpractice.

But is it really the worst kind? It seems to be the only kind!

MoFi had a bad habit of making bright classical records. I suppose you could say they had a bad habit of making bright records in general. A few are dull, some are just right, but most of them are bright in one way or another.

Dull playback equipment? An attempt to confuse detail with resolution? Whatever the reasons, the better and more accurate your equipment becomes, the more obvious this shortcoming will be. My tolerance for their phony EQ is at an all time low. But hey, that’s me.

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Mussorgsky et al. / Night On Bare Mountain / Solti

More of the music of Modest Mussorgsky (1839-1881)

Hot Stamper Pressings of Orchestral Spectaculars Available Now

  • This vintage London pressing of these Russian Orchestral Showpieces earned STUNNING Shootout Winning Triple Plus (A+++) grades or close to them on both sides
  • Big and dynamic as all get out – the work is performed with a speed and precision that will make your jaw drop
  • Tons of energy, loads of rich detail and texture, superb transparency and excellent clarity – the very definition of DEMO DISC sound
  • Solti is clearly the man for this music – he’s on fire with this fiery material

Don’t go looking for the Tubey Magic of an earlier era. What you get instead is super-low distortion, full-bandwidth sound with deep powerful bass and more transparency than most later Londons.

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Festival of Russian Music – Reviewed in 2008

Living Stereo Orchestral Titles Available Now

200+ Reviews of Living Stereo Records

Excellent sound, more mid-hall than some other RCAs. This is the Victrola version of the Shaded Dog of Festival.

Some of these pieces are amazing in Reiner’s hands, Marche Slave, for example.

Russlan and Ludmilla is also superb here.

The sound is dynamic and powerful with very little distortion or noticeable compression.

Reiner is excellent on music like this.

It should go without saying that this pressing kills the awful Classic Records pressing.

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The Sound You Might Expect from Decca in 1967

More of the Music of Modest Mussorgsky

Released as Romantic Russia by Decca in 1967, this London can also be found with a different cover and a different catalog number, CS 6503.

DEMO QUALITY SOUND on side one — in some ways. Don’t go looking for the Tubey Magic of an earlier era. What you get instead is super-low distortion, full-bandwidth sound with deep powerful bass and more transparency than most later Londons.

Solti is clearly the man for this music! He’s on fire with this fiery material. THIS is the way you want to hear Russian orchestral showpieces — played with verve and dynamically ALIVE. (more…)