I absolutely agree, I think I have been taking him for granted. The more I listen it seems to me he possesses a special kind of intimate nuance and fluidity. I just picked up his recording of schubert sonatas and german dances also on philips, it is just excellent.
Great to see somebody supporting European recordings here on the toob, look out for a label called "L'Oiseau Lyre" (lyre bird), absolutely brilliant sounding recordings, great performances and dead silent vinyl pressings, also Decca's budget series "The World of Great Composers", amazing sound and performances.
Absolutely, I'm with you on both counts. L'Oiseau Lyre is top notch. All the records I have heard on that label I would consider to be audiophile grade in my opinion. "The word of " also can sound superb but I find the UK pressings to be best. They really are great value though as many can be found for one dollar :)
Your correct about the Decca/London Philips pressings of the pre-digital early 1980's. Phiilps, and DG, had the very best, quietest pressings of all major labels. One of the reasons that Philips vinyl was so quiet, was that they practiced what was called de-horning. That process entailed smoothing out the stamper metal parts to eliminate the sharpest edges, which might result in ticks. Audiophiles of the time sneered at that practice, cause it could also eliminate the highest frequencies and hence, audiophiles of the day contended, the air of the venue and sharpest transients. Personally, I find Philips pressings of Decca/London/Argo's to be really nice, if different from earlier British pressings. In significant ways, they combine the best aspects of both companies. The ones to be careful of are the final years of British Decca pressings [approximately 1979-1981]. Vinyl quality dropped off of the cliff. They tend to be truly awful. Noisy beyond belief. Also, Arrau is pronounced "ah-rahw", rhyming with "now".
Thank you for this valuable information. It makes sense. I agree about the ductch pressed deccas: really good just different from normal decca. I know the Blue/Teal type label for the digital deccas seem to be very noisy and crackly. I don't usually pick up many digital vinyl discs but those I have learned to steer well clear of.
Check out the matrix number on the Philips LPs for the country codes. If it has 670 it is a Dutch pressing.. I have a lot of French Philips and even though some labels say France the pressings have Dutch codes. The French Philips pressings which have the 380 country code have a very distinctive and wide raised edge around the labels.
Thank you for this information! After checking: all other 4 have the "670" designation. The Disc in questions has: Side 1 : 44 9500 243 1Y = 51 (2 or 3) 1 Side 2: 9500 243 2 1 520 .. I'm guessing the 520 is the country code?
Another great video, really good each time to see you succeeding trying out different styles for these videos. I just want to pass on my thoughts about the Grieg/Dvorak ASMF as I have the same pressing, Oval Argo design without groove, which coincides with the tax code JT on the deadwax. Decca produced Vinyl from this period often has a lovely detailed but warm quality which I suspect is due to a sweet spot between the first big improvement in cutting heads while retaining a few bits of older equipment in the recording/mastering chain. Unfortunately the inner plastic liners around that time are particularly prone to progressive bonding to the vinyl over time, especially rapid in the moist UK climate and over time can raise the sound floor a lot. I would recommend for the ASMF the precaution of either adding a further new liner inside like the Nagaoka style or using a new inner sleeve to maintain the sound quality.
That is some great insight and makes sense about the sweet spot for decca. My version has: ZRG-3401-IG on the deadwax , no groove. Yes that plastic inner sleeve especially the paper /plastic FFRR combo has given some real issues with the plastic almost congealing to the record. I have found that in extreme cases the application of 1/4 solution (%99 rubbing alcohol to distilled water) spraying it on the record laying flat and letting it sit for a few minutes then rubbing it around with a good quality microfiber cloth can get rid of the residue.
@@VinylBliss thanks it’s really useful to hear an alternative to my current strategies which are either don’t buy or if mild case buy and use enzyme record cleaner for usually a 10% reduction in noise floor. Yes my Grieg copy is exactly the same, I’ve also got the Equivalent pressing of ASMF’s Bartok Concerto Percussion which sadly has prominent noise floor for the first movement but still sonically excels against my 1978 Decca pressing of the same record.
Nice Brendel finds. He’s one of the greats. We take him a bit for granted I think.
I absolutely agree, I think I have been taking him for granted. The more I listen it seems to me he possesses a special kind of intimate nuance and fluidity. I just picked up his recording of schubert sonatas and german dances also on philips, it is just excellent.
@@VinylBliss ruclips.net/video/OfGscfrEOKo/видео.htmlsi=8WPkHSh-yC0CQaw1
Great to see somebody supporting European recordings here on the toob, look out for a label called "L'Oiseau Lyre" (lyre bird), absolutely brilliant sounding recordings, great performances and dead silent vinyl pressings, also Decca's budget series "The World of Great Composers", amazing sound and performances.
Absolutely, I'm with you on both counts. L'Oiseau Lyre is top notch. All the records I have heard on that label I would consider to be audiophile grade in my opinion. "The word of " also can sound superb but I find the UK pressings to be best. They really are great value though as many can be found for one dollar :)
Your correct about the Decca/London Philips pressings of the pre-digital early 1980's. Phiilps, and DG, had the very best, quietest pressings of all major labels. One of the reasons that Philips vinyl was so quiet, was that they practiced what was called de-horning. That process entailed smoothing out the stamper metal parts to eliminate the sharpest edges, which might result in ticks. Audiophiles of the time sneered at that practice, cause it could also eliminate the highest frequencies and hence, audiophiles of the day contended, the air of the venue and sharpest transients. Personally, I find Philips pressings of Decca/London/Argo's to be really nice, if different from earlier British pressings. In significant ways, they combine the best aspects of both companies. The ones to be careful of are the final years of British Decca pressings [approximately 1979-1981]. Vinyl quality dropped off of the cliff. They tend to be truly awful. Noisy beyond belief. Also, Arrau is pronounced "ah-rahw", rhyming with "now".
Thank you for this valuable information. It makes sense. I agree about the ductch pressed deccas: really good just different from normal decca. I know the Blue/Teal type label for the digital deccas seem to be very noisy and crackly. I don't usually pick up many digital vinyl discs but those I have learned to steer well clear of.
Check out the matrix number on the Philips LPs for the country codes. If it has 670 it is a Dutch pressing.. I have a lot of French Philips and even though some labels say France the pressings have Dutch codes. The French Philips pressings which have the 380 country code have a very distinctive and wide raised edge around the labels.
Thank you for this information! After checking: all other 4 have the "670" designation. The Disc in questions has: Side 1 : 44 9500 243 1Y = 51 (2 or 3) 1
Side 2: 9500 243 2 1 520 .. I'm guessing the 520 is the country code?
@@VinylBliss That is right. 520 is Italy.
@@desertislanddisques thank you, it makes sense.
Another great video, really good each time to see you succeeding trying out different styles for these videos. I just want to pass on my thoughts about the Grieg/Dvorak ASMF as I have the same pressing, Oval Argo design without groove, which coincides with the tax code JT on the deadwax. Decca produced Vinyl from this period often has a lovely detailed but warm quality which I suspect is due to a sweet spot between the first big improvement in cutting heads while retaining a few bits of older equipment in the recording/mastering chain. Unfortunately the inner plastic liners around that time are particularly prone to progressive bonding to the vinyl over time, especially rapid in the moist UK climate and over time can raise the sound floor a lot. I would recommend for the ASMF the precaution of either adding a further new liner inside like the Nagaoka style or using a new inner sleeve to maintain the sound quality.
That is some great insight and makes sense about the sweet spot for decca. My version has: ZRG-3401-IG on the deadwax , no groove. Yes that plastic inner sleeve especially the paper /plastic FFRR combo has given some real issues with the plastic almost congealing to the record. I have found that in extreme cases the application of 1/4 solution (%99 rubbing alcohol to distilled water) spraying it on the record laying flat and letting it sit for a few minutes then rubbing it around with a good quality microfiber cloth can get rid of the residue.
@@VinylBliss thanks it’s really useful to hear an alternative to my current strategies which are either don’t buy or if mild case buy and use enzyme record cleaner for usually a 10% reduction in noise floor. Yes my Grieg copy is exactly the same, I’ve also got the Equivalent pressing of ASMF’s Bartok Concerto Percussion which sadly has prominent noise floor for the first movement but still sonically excels against my 1978 Decca pressing of the same record.
Thanks for the video and good to see your collection in the background.
Thank you !
When you're looking at phillips, be sure to avoid Italian pressings sonucally they are not that great
Noted and thank you! I can also say the philips festivo Canadian repressings although clean are not as good as the originals by a fair margin.
Phillips did not exist , it should be Philips with just one L !