One song and your system...
- Thread starter treitz3
- Start date
Thanks Mike. The increasing value really doesn't matter to me as I don't sell my LPs.
I have been lucky with regard to this issue. Relative recordings like Stravinsky Firebird Suite certainly have been the most demanding. If forced to chose...I am sure if my memory was better I make another choice. Alas it did not travel well to digital.
The Prestige recording of Flora Purim Butter Fly Dreams which I have posted twice before. Purim singing in Portuguese and Airto playing.cut#2
precision will make a system sing.
The Prestige recording of Flora Purim Butter Fly Dreams which I have posted twice before. Purim singing in Portuguese and Airto playing.cut#2
precision will make a system sing.
I agree....way too much pressure!
Unlike what appears to be most of you, I wouldn't choose a classical recordings as the people I know or would have in my home have no interest in it.
I would probably pick "Echoes" from the David Gilmour-Live In Gdansk vinyl boxset. I think one of the primary reasons for this is the emotion this cut brings to the fore. You get such a great sense of this when you truly sit back and relax. YMMV.
I have been trying, but have failed to come up with a shaded dog that beats the 45 rpm re- issue. The other issue is surface noise. I have found it difficult to find a quite shaded dog even when visually, they look close to near mint.
Try a 10s 10s LSC 2446 Scheherazade...
I have it 8s/8s in visually nm condit. It plays ex. My 45 rpm test press is a better listen..quieter..albeit more labor intensive...4 sides. Sonically I'm still trying to decide.
Look for a 1s 1s or a good white dog IF you cannot source a 10s10s. The 8s 8s won't give you the sonics. A few years back we AB'ed a 10s 10s against a white dog and the 45rpm Classic...the Classic came in a distant third that night.
What made the 10s stampers better ? I thought the lower the stamper number the better. I guess it all depends ?
John Rutter Requiem, Pie Jesu, Reference Recordings RR-57 - for my system
Felix Alexandre Guilmant Symphony No. 1 for Organ and Orchestra, Allegro; Chandos 9271 - for any self-proclaimed all-out assault. This is the one recording that the top-Spectral-Q7 audition last week just floored me. The same is also available for solo organ in RR-101.
Felix Alexandre Guilmant Symphony No. 1 for Organ and Orchestra, Allegro; Chandos 9271 - for any self-proclaimed all-out assault. This is the one recording that the top-Spectral-Q7 audition last week just floored me. The same is also available for solo organ in RR-101.
Generally, the lower the stamper # the better. BUT not always, in this instance, the 10s10s ( which was produced in FAR lower #'s than the 1s1s) is the holy grail. I'm not sure as to what allows the 10s10s to beat out the 1s1s...however, in side by side comparison, the 10s10s has more bottom end punch, a wider and slightly deeper soundstage, strings are even more realistic ( which is really saying something as the 1s1s is no slouch in this area) and placement of instruments is slightly ( very slightly) more defined.
The white dog is also a good pressing to acquire...HP actually preferred it to the 1s1s shaded pressing ( i do not, BUT I do hear how great it is).
BTW, a "supposed" 10s10s just sold on ebay...trashed cover and again a "supposed" mint record. ( which I HIGHLY doubt as IME a trashed cover holds a trashed record..even IF it looks to the naked eye to be otherwise...which is why I did not join on the fray to acquire).
the following was borrowed from Arthur's site:
"As stated by the late Jack Pfeiffer, the Producer of many of the original RCA "Shaded Dogs", in his last interview (with Michael Fremer of The Tracking Angle):
Fremer: "So the people that think the originals are the holy grail, those are the magic, they're mistaken?"
Pfeiffer: "They are totally mistaken."
Pfeiffer: "They (the "original" RCA Shaded Dogs) had to be tailored to the deficiencies of the cutting and the playback system of the day. We used to listen to lacquers... on our own systems, you know, in the office and also at home, and we'd make judgments about... whether the compression was too great or whatever, because when the mix down was made to make the production master, they tried to limit the bass, they tried to limit the dynamics, and to some extent, they tried to limit the high frequency content at the end because they knew that that was going to be on the inside (center) of the record."
"As stated by the late Jack Pfeiffer, the Producer of many of the original RCA "Shaded Dogs", in his last interview (with Michael Fremer of The Tracking Angle):
Fremer: "So the people that think the originals are the holy grail, those are the magic, they're mistaken?"
Pfeiffer: "They are totally mistaken."
Pfeiffer: "They (the "original" RCA Shaded Dogs) had to be tailored to the deficiencies of the cutting and the playback system of the day. We used to listen to lacquers... on our own systems, you know, in the office and also at home, and we'd make judgments about... whether the compression was too great or whatever, because when the mix down was made to make the production master, they tried to limit the bass, they tried to limit the dynamics, and to some extent, they tried to limit the high frequency content at the end because they knew that that was going to be on the inside (center) of the record."
That is very interesting. Perhaps I will stop trying to buy shaded dog unless the issue was never reissued.
I have lots of Shaded Dog, Living Presence, 35mm recordings transferred to vinyl (mostly Command), etc., in excellent condition.
They're fun to have - and prove that it's definitely not necessary to have a complete frequency spectrum in order to recreate enjoyable music. I have a mono Annie Fischer with Klemperer, Mint, that doesn't have anything on it above 6,7kHz, and even later on, as lathes got more precise, you would have a hard time finding content above 14kHz on stereo issues.
Even LPs from the 1970s, from the respectable brands, will give people something to think about if they look at how they measure, compared to how our heads make them sound.
Pfeiffer isn't alone in setting the record straight, in that respect. A Decca engineer who was one of the last to do lacquers for them breathed a sigh of relief when he could transfer to CDs, declaring mastering for vinyl to be sheer nonsense compared to the many sacrifices and compromises one had to make.
But we hear what we want to hear, and I enjoy playing my vinyl records, of which I have loads.
They're fun to have - and prove that it's definitely not necessary to have a complete frequency spectrum in order to recreate enjoyable music. I have a mono Annie Fischer with Klemperer, Mint, that doesn't have anything on it above 6,7kHz, and even later on, as lathes got more precise, you would have a hard time finding content above 14kHz on stereo issues.
Even LPs from the 1970s, from the respectable brands, will give people something to think about if they look at how they measure, compared to how our heads make them sound.
Pfeiffer isn't alone in setting the record straight, in that respect. A Decca engineer who was one of the last to do lacquers for them breathed a sigh of relief when he could transfer to CDs, declaring mastering for vinyl to be sheer nonsense compared to the many sacrifices and compromises one had to make.
But we hear what we want to hear, and I enjoy playing my vinyl records, of which I have loads.
Good and honest post. It is also my opinion that the Living Presence CDs are superior to the original Vinyls. I will leave it at that, lest this devolves into an analog vs digital slug fest..
To show the capabilities of my Magnepan? Gee. that's a tough one. But 1 LP that never ceases to amaze me at what my 'bass shy' Maggies can do is Saul Goodman's Mallets Melody and Mayhem on Columbia 6 eyes Stereo. The first cut Scherzo for Percussion is a jaw dropping cut, though short, and the Maggies open up like crazy. Side 3 cut 4 Parade has marching soldiers stomping their feet like those changing of the guards thing in some park. Very realistic. I never imagine the Maggies to handle the 'lows' that well and the dynamics too is above expectation.
But 1 LP that never ceases to amaze me at what my 'bass shy' Maggies can do is Saul Goodman's Mallets Melody and Mayhem on Columbia 6 eyes Stereo. The first cut Scherzo for Percussion is a jaw dropping cut, though short, and the Maggies open up like crazy. Side 3 cut 4 Parade has marching soldiers stomping their feet like those changing of the guards thing in some park. Very realistic. I never imagine the Maggies to handle the 'lows' that well and the dynamics too is above expectation.
Most of the time, the preference for LP or CD will be strongly influenced by the whole playback system. The usual comparison of listening to both versions in the same system is not fair, as the system itself will influence the result.
Also, digital playback is under continuous evolution - and this is particularly notorious in the SOTA and unhappily very expensive systems, such as the DCS's and Metronome's. The few times I listened to these units in appropriate systems, I was really impressed with the quantity of extra information and realism they can deliver over the more affordable players. Although there is still a few aspects where IMHO vinyl scores better, good digital, even in CD format, has shown to be much better than we could have assumed ten years ago.
One aspect if critical in digital - system synergy and room matching. SOTA digital playback seems to need much more optimization than analog playback.
BTW, I do not own a Vivaldi or a Kalista. But they are in my dream list ...
Also, digital playback is under continuous evolution - and this is particularly notorious in the SOTA and unhappily very expensive systems, such as the DCS's and Metronome's. The few times I listened to these units in appropriate systems, I was really impressed with the quantity of extra information and realism they can deliver over the more affordable players. Although there is still a few aspects where IMHO vinyl scores better, good digital, even in CD format, has shown to be much better than we could have assumed ten years ago.
One aspect if critical in digital - system synergy and room matching. SOTA digital playback seems to need much more optimization than analog playback.
BTW, I do not own a Vivaldi or a Kalista. But they are in my dream list ...
Frantz, you are absolutely entitled to your opinion....However, IMO, the Mercury CD's are but a pale shadow of their vinyl counterparts. A clear case of YMMV
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