in 1929 Leopold Stokowski did a recoding of Carnival of the animals in which each cutting machine had it's own microphone, many years later both discs were played back together and recorded so the sound was carefully balanced
Thank you for doing this series. I have found that the DG's can be broken down into about 5 distinct "eras" that can be seen in the label variations. The blue tulips and the later "Urheber" labels seem to be the best sounding.
Thanks for your channel. Great to hear about records other than the usual suspects that get reissued time aften time again. I have been collecting for 40 years, and some of the best bargains I have come across are EMI budget labels - Classics for pleasure, Greensleeves and Eminence. You can find these in bargain bins for as little as £1. Some of them sound incredible. Examples: Mahler 6/Barbirolli cfp ( whoa!!), Elgar VC/ Bean cfp, Elgar Falstaff/Handley cfp, Beethoven & Brahms cycles/ Jochum Eminence, Mozart Requiem /de Burgos cfp, Russian showpieces/ Roshtdestvensky cfp , Bruckner 8/ Karajan cfp, Vaughan Williams 4+6/ Berglund Eminence + 100s more. German EMI pressings are generally inferior to English , but if you can find late undigitalized German pressings they are often magnificent . You can tell them by having llarge dog labels on the LPs Examples Barbirolli/ Butterfly , Klemperer/ Don Giovanni, Complete Strauss Tone poems / Kempe( 10 LPs), Bruckner 7/ Klemperer, VW 1-9/Boult on fewer LPs than the English SLS box Greensleeves ESDs are wonderful and cost pennies. Fore some reason, I find that they can play scores of times without deteriation or accumulation of pops and crackle. Keep up the good work!
Glad you mentioned the Chesky label. The obvious one that stands out is the Sibelius 2nd Symphony with Sir John and RPO. I think this was originally a Readers Digest release. My favourite recording of that particular work.
Thanks for your great talks.You and David Hurwitz are are fantastic channels for a great fan of classical cd.s. like me.I have collected cds since their introduction in the early 1980s.We live in a golden age for cds---NAXOS,BIS.LYRITA,CHANDOS,DUTTON,HYPERION,SOMM AND ALBION are wonderful companies producing high quality cds covering a wide repertoire..ROBERT J.PARRY.NORFOLK,U.K.
I am most flattered you would put me in David's company - I barely approach his level of knowledge and "gift of the gab". I hugely enjoy his videos and always learn something. Thank you for your support. Yes indeed, we live in a golden age for classical CDs and records.
@@musiconrecord6724 Well you are in David's company in my house. When my wife sees me on RUclips she always asks me if I'm listening to, "your American, or your Englishman"(and don't worry I don't think there is anyone on the planet with his gift of the gab). Thoroughly enjoying your talks, keep 'em coming
@@dridgus Thanks so much! Another sure way to let your wife know who are are watching would be to partake of a proper English tea as you view my channel (don't skimp on the clotted cream).
Thank you so much for this video, love all of your content! I have a question about very early London ffrr pressings (deep red label) in regards to classical music. I understand they were distributed by Decca for the US market? Can one assume they sound similar to early Decca pressings? All the best and thank you!
So London versions of Decca titles are identical to the UK pressings PROVIDED the record label itself says "Made in England" or "Made in UK" etc. Avoid any Londons that do not have that info. like the plague. The Londons were pressed at the same time as the Deccas. Later on many Deccas were pressed in the Netherlands and then distributed in UK and US. If they are first pressings and pressed in Netherlands then that is your best choice. If they are reissues of earlier Deccas/Londons then try and track down earlier Made in England pressings. The Ace of Diamonds versions are often identical to the SXL versions, and cost a fraction of the price. Discogs is always a very good source of information regarding the provenance of each record's pressing.
I'm really enjoying your video series. Please keep it up. Our tastes in music and performances and recordings seem to be very similar. Do you by any chance read or contribute to SymphonyShare or RMCR?
The main loss of quality in any vinyl pressing is ‘groove cramming’ - attempting to put too much recorded material onto a single side. When The Beatles were pressing ‘Hey Jude’ (a seven-minute recording) onto a single 45 RPM, they a actually decreased the groove spacing for the main part of the song, then crammed the grooves on the na na na repeating section at the end. This was done to preserve the quality for the sections Paul was singing. Subsequent pressings of any recording can be made better or worse depending on how the grooves are spaced.
Correction - - I should have typed ‘increased the grooves on the part Paul was singing’, in other words, larger groove spacing - better fidelity / bass frequencies, etc. A record player needle vibrating through wider grooves can reproduce a wider range of frequencies.
Thanks so much! It's just a matter of time.... If you're interested, I took part in a fun livestream yesterday over on the Jazz Bums channel. We covered a ton of stuff.....
They feature many excellent recordings that mostly have not been reissued before. But I find the quality of the vinyl itself varies enormously. Have you been having good luck on that front?
@@musiconrecord6724 Sorry for my late answer...yes, I was lucky. F.e. I'm listening to Faurés Requiem right now (Willcocks, with the wonderfull boys choir). The vinyl etc. is perfect. Thanks for your channel, it belongs to the best on youtube.
I kept 2 pressings of the same recording to prove the point. ASD 2586 UK issue Roussel Cello Concertino etc Orchestre De Paris Cond Jean - Pierre Jaquillat and the EMI French pressing 2C 063-10546. The French pressing sounded dull and muffled. The sonics are not at all clear unlike the ASD issue.
I am a little surprised. With EMI often the country of origin pressings are superior to the British ones: eg. the marvelous box sets of Richard Strauss with Rudolf Kempe and the Dresden Staatskapelle, where the German pressings are to be marginally preferred to the English SLS box sets. TBH, so much of all this is just trial and error, comparing different versions from different countries.
There are too many variables when trying to relate label graphics to actual pressing information; one must refer to the stampings on the dead wax to determine. Also, I must take issue with your reporting that "...different pressings are mastered differently..." which, when take on the general level, is inaccurate at best. The actual mastering is an almost unchangeable event in the chain of production. To change the mastering of a great recording requires an executive decision and one not taken lightly. Different pressings to not call for different mastering. A master is an almost constant factor whereas pressings are a world of invariables. The labels alone tell a limited story. You may have a vast knowledge of musicianship however you lack technical prowess.
in 1929 Leopold Stokowski did a recoding of Carnival of the animals in which each cutting machine had it's own microphone, many years later both discs were played back together and recorded so the sound was carefully balanced
Just discovered your channel and it is an absolute joy. Thank you!
Thanks so much for watching!
Thank you for doing this series. I have found that the DG's can be broken down into about 5 distinct "eras" that can be seen in the label variations. The blue tulips and the later "Urheber" labels seem to be the best sounding.
What a superb walk through the ages of classical recordings and the technology used. Thank you
Thanks for your channel. Great to hear about records other than the usual suspects that get reissued time aften time again. I have been collecting for 40 years, and some of the best bargains I have come across are EMI budget labels - Classics for pleasure, Greensleeves and Eminence. You can find these in bargain bins for as little as £1. Some of them sound incredible. Examples: Mahler 6/Barbirolli cfp ( whoa!!), Elgar VC/ Bean cfp, Elgar Falstaff/Handley cfp, Beethoven & Brahms cycles/ Jochum Eminence, Mozart Requiem /de Burgos cfp, Russian showpieces/ Roshtdestvensky cfp , Bruckner 8/ Karajan cfp, Vaughan Williams 4+6/ Berglund Eminence + 100s more.
German EMI pressings are generally inferior to English , but if you can find late undigitalized German pressings they are often magnificent . You can tell them by having llarge dog labels on the LPs Examples Barbirolli/ Butterfly , Klemperer/ Don Giovanni, Complete Strauss Tone poems / Kempe( 10 LPs), Bruckner 7/ Klemperer, VW 1-9/Boult on fewer LPs than the English SLS box
Greensleeves ESDs are wonderful and cost pennies. Fore some reason, I find that they can play scores of times without deteriation or accumulation of pops and crackle.
Keep up the good work!
Glad you mentioned the Chesky label. The obvious one that stands out is the Sibelius 2nd Symphony with Sir John and RPO. I think this was originally a Readers Digest release. My favourite recording of that particular work.
It's Sir John.
Thank you for bringing the remastered Toscanini set to my attention. It sounds unbelievably good for an 80+ year old recording.
Yes it's terrific! Thanks so much for watching and commenting!
You have a great channel. Learning a lot from your knowledge of records.Thank you.
Thank you so much for watching.
Thank you for beethoven Toscanini tip!! I happened to have in vinyl from the classical collection/ Olympic records! I am directly diving into it!!!
The Pristine remastering is incredible.
Thanks for your great talks.You and David Hurwitz are are fantastic channels for a great fan of classical cd.s. like me.I have collected cds since their introduction in the early 1980s.We live in a golden age for cds---NAXOS,BIS.LYRITA,CHANDOS,DUTTON,HYPERION,SOMM AND ALBION are wonderful companies producing high quality cds covering a wide repertoire..ROBERT J.PARRY.NORFOLK,U.K.
I am most flattered you would put me in David's company - I barely approach his level of knowledge and "gift of the gab". I hugely enjoy his videos and always learn something. Thank you for your support. Yes indeed, we live in a golden age for classical CDs and records.
@@musiconrecord6724 Well you are in David's company in my house. When my wife sees me on RUclips she always asks me if I'm listening to, "your American, or your Englishman"(and don't worry I don't think there is anyone on the planet with his gift of the gab). Thoroughly enjoying your talks, keep 'em coming
@@dridgus Thanks so much! Another sure way to let your wife know who are are watching would be to partake of a proper English tea as you view my channel (don't skimp on the clotted cream).
Good question
I vaguely recall someone recovering "accidental stereo" from early Duke Ellington recordings, but the details escape me.
Thank you so much for this video, love all of your content! I have a question about very early London ffrr pressings (deep red label) in regards to classical music. I understand they were distributed by Decca for the US market? Can one assume they sound similar to early Decca pressings? All the best and thank you!
So London versions of Decca titles are identical to the UK pressings PROVIDED the record label itself says "Made in England" or "Made in UK" etc. Avoid any Londons that do not have that info. like the plague. The Londons were pressed at the same time as the Deccas. Later on many Deccas were pressed in the Netherlands and then distributed in UK and US. If they are first pressings and pressed in Netherlands then that is your best choice. If they are reissues of earlier Deccas/Londons then try and track down earlier Made in England pressings. The Ace of Diamonds versions are often identical to the SXL versions, and cost a fraction of the price. Discogs is always a very good source of information regarding the provenance of each record's pressing.
I'm really enjoying your video series. Please keep it up. Our tastes in music and performances and recordings seem to be very similar. Do you by any chance read or contribute to SymphonyShare or RMCR?
No. Not aware of either......
The main loss of quality in any vinyl pressing is ‘groove cramming’ - attempting to put too much recorded material onto a single side. When The Beatles were pressing ‘Hey Jude’ (a seven-minute recording) onto a single 45 RPM, they a actually decreased the groove spacing for the main part of the song, then crammed the grooves on the na na na repeating section at the end. This was done to preserve the quality for the sections Paul was singing. Subsequent pressings of any recording can be made better or worse depending on how the grooves are spaced.
Correction - - I should have typed ‘increased the grooves on the part Paul was singing’, in other words, larger groove spacing - better fidelity / bass frequencies, etc. A record player needle vibrating through wider grooves can reproduce a wider range of frequencies.
Any plans on coming back to YT? I treasure your output.
Thanks so much! It's just a matter of time.... If you're interested, I took part in a fun livestream yesterday over on the Jazz Bums channel. We covered a ton of stuff.....
@@musiconrecord6724 I watched it. Thoroughly enjoyed it.
Thanks for the video although the sound is terrible, fix the mic distance.
Usually I have a lapel mic. - but didn't realize the connection was loose until after recording. Mea culpa!
I buy all Hi-Q-records I can get...they are all fantastic.
They feature many excellent recordings that mostly have not been reissued before. But I find the quality of the vinyl itself varies enormously. Have you been having good luck on that front?
@@musiconrecord6724 Sorry for my late answer...yes, I was lucky. F.e. I'm listening to Faurés Requiem right now (Willcocks, with the wonderfull boys choir). The vinyl etc. is perfect. Thanks for your channel, it belongs to the best on youtube.
Capitol, RCA and Columbia did a pretty nice job of making artificial stereo
I kept 2 pressings of the same recording to prove the point. ASD 2586 UK issue Roussel Cello Concertino etc Orchestre De Paris Cond Jean - Pierre Jaquillat and the EMI French pressing 2C 063-10546. The French pressing sounded dull and muffled. The sonics are not at all clear unlike the ASD issue.
I am a little surprised. With EMI often the country of origin pressings are superior to the British ones: eg. the marvelous box sets of Richard Strauss with Rudolf Kempe and the Dresden Staatskapelle, where the German pressings are to be marginally preferred to the English SLS box sets. TBH, so much of all this is just trial and error, comparing different versions from different countries.
Do you have link for that Ring Resounding documentary? Can’t seem to find it on RUclips. Thanks!
Alas, it seems to have been taken down. Grrrrr!!!
@@musiconrecord6724 No worries. Placed a hold at my local library for those 2 authors. Look like great reads. Thanks for letting us know about them.
There's ANOTHER reasons why some recordings can sound better. Your ears. Listening room. Time of day.
why are NZpressings so poor
I have the beethoven on d is si,ilar to the lp. Play on good equipment ,it should be good
There are too many variables when trying to relate label graphics to actual pressing information; one must refer to the stampings on the dead wax to determine. Also, I must take issue with your reporting that "...different pressings are mastered differently..." which, when take on the general level, is inaccurate at best. The actual mastering is an almost unchangeable event in the chain of production. To change the mastering of a great recording requires an executive decision and one not taken lightly. Different pressings to not call for different mastering. A master is an almost constant factor whereas pressings are a world of invariables. The labels alone tell a limited story. You may have a vast knowledge of musicianship however you lack technical prowess.