sh-dog-bad

These two dozen or so RCA Living Stereo pressings on the Shaded Dog label were disappointing.

Don’t Waste Your Money on this RCA from 1960

Hot Stamper Pressings of the Music of Modest Mussorgsky Available Now

Never liked the performance. The sound can be quite good on the best pressings, but too many copies are congested in the loudest passages.

We recently found a pressing that was quite a bit better than the other Reiner pressings we had on hand, which simply means that good pressings exist, but they are very hard to find.

However, without a good cleaning, this record is very unlikely to sound right on high quality modern equipment.

There are quite a number of other vintage classical releases that we’ve run into over the years with similar shortcomings.

For fans of vintage Living Stereo pressings, here are some to avoid.

Some audiophiles may be impressed by the average Shaded Dog pressing, but I can assure you that we here at Better Records are decidedly not of that persuasion.

Something in the range of five to ten per cent of the major label Golden Age recordings we play will eventually make it to the site. The vast majority just don’t sound all that good to us. (Many have second- and third-rate performances and those get tossed without ever making it to a shootout.)

It may be on the TAS super disc list, but that doesn’t mean the sound is up to our standards.

We much prefer Muti’s performance from 1979 for EMI.

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Don’t Waste Your Money on this Living Stereo from 1962

Hot Stamper Pressings of Living Stereo Titles Available Now

LSC 2612, released in 1962 on the Shaded Dog label, offers Handel’s Water Music and Royal Fireworks with Stokowski conducting, engineered by one of the greats, Robert Simpson.

The sound is terrible however.

The copies we had on hand were loud and crude, with steely strings and not much in the way of hall space. In other words, LSC 2612 seems to suffer from the “old record” sound that we’ve found on many of the hundreds of vintage pressings we’ve auditioned over the years as we were looking for top quality recordings to put in our Hot Stamper shootouts.

If you want a good Water Music, the right stamper pressings of the Philips recording with Leppard are the best we’ve ever played.

The Shaded Dog of LSC 2612 might be passable on an old school system, but it was too unpleasant to be played on the high quality modern equipment we use.

Leave this RCA to the collectors. Some audiophiles are of the opinion that vintage Living Stereo recordings on the original label can do no wrong, but we have never subscribed to that view.

There are quite a number of other records that we’ve run into over the years with similar shortcomings. Here are some of them, a very small fraction of what we’ve played, broken down by label.

  • London/Decca records with weak sound or performances
  • Mercury records with weak sound or performances
  • RCA records with weak sound or performances

1962 was a phenomenal year for audiophile quality recordings – we’ve auditioned and reviewed more than one hundred and twenty titles as of 2024, and there are undoubtedly a great many more that we’ve yet to discover.

When it comes to classical and orchestral titles, more than a dozen are so good that we would consider them Must Owns.

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Grieg / Peer Gynt Suites – Were We Wrong? Probably

Hot Stamper Pressings of the music of Edvard Grieg Available Now

Below are the notes for a later pressing we played many years ago. I doubt if we would like this Red Seal pressing much now. The later RCA pressings we’ve played lately left much to be desired.

I get the feeling it lacks Tubey Magic, as well as weight in the lower registers, and we are much less tolerant of those two shortcomings now than we were then.

Our review from 2008

Fiedler is wonderful here, which is to be expected. What’s unusual about this Red Seal is how good the sound is. It’s extremely transparent and tonally correct.

It sounds to me like a flat transfer.

Some tubey colorations would be nice, especially in the louder passages.

The sound also lacks a bit of weight in the bottom end.

But these faults are mostly made up for by the tremendous clarity and freedom from distortion that this pressing has. I doubt if the Shaded Dog has those qualities.

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Audiophiles Should Give Reiner’s Rossini Overtures a Miss

More of the music of Gioachino Rossini (1792-1868)

None of the pressings we played of this RCA were remotely competitive with Maag and the PCO on London.

The sound of this RCA was consistently boxy and congested, a case of the “old record” sound we find on countless vintage pressings. The world is full of bad records. We’ve suffered through them by the thousands.

Only an old school audio system can hide the faults of a pressing such as this. The world is full of those too, even though they might comprise all the latest and most expensive components.

There are quite a number of Golden Age pressings that we’ve run into over the years with obvious shortcomings.

Here are some of them, a very small fraction of what we’ve auditioned, broken down into the three major labels that account for most of the best classical and orchestral titles we’ve had the pleasure to play.

  • London/Decca records with weak sound or performances
  • Mercury records with weak sound or performances
  • RCA records with weak sound or performances

We’ve auditioned countless pressings in the 37 years we’ve been in business — buying, cleaning and playing them by the thousands.

This is how we find the best sounding vinyl pressings ever made, through trial and error. It may be expensive and time consuming, but there is simply no other method for finding better records that works. If you know of one, please write me!

We are not the least bit interested in records that are “known” to sound the best.

Known by whom? Which audiophiles — hobbyists or professionals, take your pick — can be trusted to know what they are talking about when it comes to the sound of records?

I have never met one, outside of those of us who work for Better Records. I remain skeptical of the existence of such a creature. The audiophile experts and reviewers I’ve encountered on the web seem hopelessly lost to me.

UPDATE: 2024

Woops, I take that back. I have met one, a certain Mr. Robert Brook. He has been conducting his own shootouts for a few years now and has made his findings available on his blog, The Broken Record. This is information you can trust.

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Audiophiles Should Give Monteux’s Surprise and Clock Symphonies a Miss

Hot Stamper Pressings of the Music of Joseph Haydn Available Now

None of the pressings we played of this RCA (LSC 2394) were remotely competitive with Fjelstad’s recording for RCA from 1959.

The sound of the RCA Shaded Dog we played was consistently compressed and veiled, a case of the “old record” sound we find on far too many vintage pressings.

The world is full of old records that just sound like old records. We’ve suffered through them by the tens of thousands.

Our website, as well as this blog, are devoted to helping audiophiles find pressings that don’t sound anything like the millions of run-of-the-mill LPs that have been stamped out for the last seven decades.

Even a million dollar stereo can’t make the average record sound good, and the more accurate and revealing the system, the more limited and lifeless the average record will show itself to be.

The White Dog pressing was even worse. It was hot, dry and flat. Who wants to play a record that sounds like that?

Only an old school audio system can hide the faults of pressings such as these. The world is full of those too, even though they might comprise all the latest and most expensive components.

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RCA Released this Awful Living Stereo Recording in 1958

Hot Stamper Pressings of the Music of Tchaikovsky Available Now

Some audiophiles buy albums based on their labels. For example, this pressing from the Golden Age of Living Stereo might appeal to a certain kind of audiophile who treasures LSC’s with the original Shaded Dog label.

More than that, he might limit himself to 1S Indianapolis pressings. Hoorah! What could be better?

However, many records from this era simply do not sound good, and this is one of them. We have never heard a good sounding copy of LSC 2216, and we’ve played quite a number of them over the decades we’ve been in the business of selling Golden Age classical records.

A copy came in just last week so I figured it was time to give it a spin and see if there was any reason to change my opinion. Hey, maybe this one had Hot Stampers! Can’t say it wouldn’t be possible. Unlikely, yes, impossible, no.

So here’s what I heard. No real top above 6k, hardly any bottom, dry and thin, but with a very wide stage – the textbook definition of “boxy sound.”

If you are a fan of Living Stereo pressings, have you noticed that many of them – this one for example – don’t sound good?

If you’re an audiophile with good equipment, you should have. But did you? Or did you buy into the hype surrounding these rare LSC pressings and just ignore the problems with the sound?

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Finlandia – Live and Learn

More of the music of Jean Sibelius (1865-1957)

More of the music of Edvard Grieg (1843-1907)

Years ago we noted how much worse the Classic Records pressing of our then current favorite Finlandia sounded when compared head to head with our best RCA Shaded Dog pressings.

We wrote:

Classic Records ruined this album. Their version is dramatically more smeared and low-rez than our good vintage pressings, with almost none of the sweetness, richness and ambience that the best RCA pressings have in such abundance.

Woops.

Turns out the RCA pressing we used to like was not as good as we thought, something we discovered to our chagrin in 2014.

Our current favorite pressing is on a Decca reissue label. Go figure.  When you hear how good this record sounds, you may have a hard time believing that it’s a budget reissue from 1970, but that’s precisely what it is.

Even more extraordinary, the right copies are the ones that win shootouts.

Want to find your own top quality copy?

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This Living Stereo from 1958 Didn’t Make the Grade

Hot Stamper Pressings of Living Stereo Records Available Now

Our notes for this copy of LSC 2177 read “blary, bright, not nearly as good as Anserment’s recordings,” which are the ones we compared it to, both the complete ballet and the highlights.

In other words, it just sounded like an old record.

If you are looking for a top quality pressing with a performance to match, we recommend two:

  1. The complete ballet on three discs with Anserment conducting, and/or
  2. The highlights, on a single disc, again with Ansermet conducting.

This Shaded Dog might be passable on an old school audio system, but it was unpleasant when played on the high quality modern equipment we use.

There are quite a number of other vintage classical releases that we’ve run into over the years with similar shortcomings. For fans of vintage Living Stereo pressings, here are some to avoid.

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Did We Get The Power of the Orchestra Wrong, or Are These Just Bad Stampers?

Hot Stamper Pressings of Living Stereo Recordings Available Now

In 2007, we wrote the following review for The Power of the Orchestra, VCS 2659:

DEMO DISC QUALITY ORCHESTRAL SOUND like you will not believe. We put two top copies together to bring you the ultimate-sounding Pictures At An Exhibition. Folks, it doesn’t get any better than this for huge orchestral dynamics and energy.

I confess I badly misjudged this record over the course of the last few years. I remember liking it in the early ’90s; at that time it was the only Golden Age recording of Pictures whose performance moved me. I never liked the famous Reiner, LSC 2201, and Ansermet’s performance on London also lacks drive and coherency in my opinion.

I then went on to extoll the many virtues of the recording, making special mention of the brass, dynamics and bass, which you can read about here.

More recently we played a copy of VCS 2659 in one of our regular Pictures at an Exhibition shootouts and were not the least bit impressed by it.

Side One:

Steely and opaque, not that good.

Side Two:

Strings are not very [unintelligible, might be bright], not much weight.

In other words, it just sounded like an old record.

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Don’t Waste Your Money on this Living Stereo with Munch from 1962

More of the Music of Franz Schubert

Some audiophiles buy albums based on their labels. For example, this Shaded Dog pressing of LSC 2522 from the Golden Age of RCA Living Stereo might appeal to a certain kind of audiophile who seeks out clean copies LSCs on the original label.

More than that, he might limit himself to the most sought-after 1S Indianapolis pressings. Hooray! What could be better?

However, many records from this era simply do not sound good, and this is one of them. We have never heard a good sounding copy of LSC 2522, and we’ve played plenty of them over the decades that we’ve been auditioning Golden Age Classical records for sale.

This Shaded Dog might be passable on an old school system, but it was too unpleasant to be played on the high quality modern equipment we use.

There are quite a number of other records that we’ve run into over the years with similar shortcomings. Here are some of them, a very small fraction of what we’ve played, broken down by label.

  • London/Decca records with weak sound or performances
  • Mercury records with weak sound or performances
  • RCA records with weak sound or performances, including many on the coveted Shaded Dog label

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