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Classic Records Demo
of the 33 1/3 vs. 45 rpm
The knowledge that 45rpm playback
provides far higher fidelity is no secret. In fact, at the beginning
of the antepenultimate LP era there were a number of companies that
experimented with 45rpm issues in an attempt to capture the attention
and approbation of the audiophile market.
Angel had done a few,
and only today I learned of the existence of a Japanese pressing of
"Cannonball Adderly in Chicago" on a "Japanese
Mercury" 12" 45 rpm.
According to J. C. O'Connell, (in a
post to one of the audio-oriented internet mailing list groups), "it
only runs 23 minutes total but the sound is incredibly excellent.
Dates from 1977 but all the liner notes are in Japanese only. It was
a quintet. It sounds like a direct-disk it is so good".
(On
the same list, Tony LaFoglia responded "The LP was recorded in
Chitown [sic] in 1959. The 1977 date is most likely a reissue date as
Cannonball died in 1975, as I recall. . . . The original lp was
issued in 1960. . . . One of the trends for awhile in the 70's early
80's was for some labels to issue "audiophile" 45rpm
edition 12" records.
EMI/Angel even did this with some
classical titles. I have at least one of those".
(This
dialogue was probably prompted by a post concerning the Classic 45rpm
demo heard at our meeting).
For those of you who never acquired
any of the D2Ds (Sheffield Labs innovated it) when they first
appeared in the mid-late '70s, they threw audiophiles into a tizzy
over their clear, unveiled sonics. For most of us, they were the
closest we had ever heard to what a master tape might sound
like.
However, their necessarily limited production was highly
impractical for wide scale record distribution, and so, the process
was relatively short lived, and confined to just a very few
audiophile labels. But I believe that the D2D was a wake-up call to
the mass market producers, and resulted in the emergence of the
experiments with 45s which occurred at around that time. This too was
short-lived, no doubt governed by dismal bottom line sales, for most
of them were not very impressive.
If this Adderly disc is an
exception, it is probably due more to the care and feeding in
mastering by the legendary Japanese sound engineers than anything
else.
The Classic discs support this assumption, for even on
John's "low end" front end (Adcom GTP Tuner/Preamp and
Onkyo turntable/Shure cartridge--an older one, at that), the
differences were quite audible.
So, if you are thinking that only
the audiophile upper crust can fully appreciate these recordings, you
are much mistaken.
(maybe of the year .
. . maybe the decade!): "If I had a $7000 cartridge I'd be
afraid to play a record!" said by Earle Stevens when Anna
Airhead asked if his cartridge was a Clearaudio Insider.
The first
comparison that was done sampled test pressings of the 33 1/3
versions of the LSC2449 album that features the ballet music of
Gounod (from Faust) on one side and excerpts from Bizet's opera,
Carmen, on the other.
In this case, we were comparing the Carmen
excerpts. As it happened, quite a few people in attendance had never
heard any of the Classic reissues before, so the entire program was a
revelation, starting at ground zero with the wonderful clarity and
extension of the 33 1/3 reproduction.
Thus, given the general mood
of the room -- that "it doesn't get much better than this!"
-- the switch to the 45rpm cuts of the same recording induced an
awestruck reaction. These were audibly superior in terms of intimate
detail -- not the "spotlighted" kind (though some of depth
and width of the image, as well as a refined level mistakenly thought
it was a trick of multi-miking, not fully understanding that both
pressings were made from the original RCA "Living Stereo"
master tape), but rather the same coherence and clarity that one
hears in a live performance.
The orchestra presents an
homogeneous, blended sound, yet within that there is no difficulty
whatever discerning the separate instrumental choirs and even the
sense one gets of individual instruments playing within those
groups.
All those aural "clues" are discernible and
present to a much higher degree in the 45 pressing. In short, to
everyone present, it was an earful!
At the climactic finish of the Classic Records 33 1/3 pressing playback of the Bizet Carmen selections, a quiet voice in the background was heard to mutter: "Take that, you CD lovers!"
This was also one of
those rare instances where nearly everyone simply sat and listened --
all the way through! (A tribute to the ITC-7s as well as to Classic
Records, I think).
Nevertheless, in the interest of time, I
limited the second sampling to the first half of side 2 of LSC2225,
Witches' Brew, consisting of the Malcolm Arnold "Overture to Tam
O'Shanter." The 33 1/3 alone will put any system through it's
paces, having broad dynamics, high frequency extension that will
bring every dog in the neighborhood running and a low end that
probably registers on the seismograph at Cal Tech!
Given a 45rpm
transfer, the results were mind-boggling. Shimmering, lustrous
lifelike orchestral tuttis contrasted with hold-your-breath merest
whispers of sound emanating from quiet, defect-free, vinyl
surfaces.
So accurate-sounding was this that even a myriad of
ambient noises captured during recording could be discerned. A guest
attendee, Gary Johnston, later commented in an email to one of the
internet audio groups that "I found the differences when you
listened from one to the other to be pretty amazing in terms of more
presence in the midrange, a wider stage presence, and an overall
larger sound. There also seemed to be much greater dynamic range with
the 45's".
SPECIAL
ORDERING PROCEDURE FOR CLASSIC RECORDS 45RPM ISSUES:
These are,
essentially, limited production products, and will not be carried in
the catalog per se. So, if you are interested in acquiring these
discs, you must sign up ahead of time to be on the "call"
list of those who want to place orders as each new release is
available.
While you are not obligated to do so (when the time
comes), you may very definitely be left out in the cold if you don't
preregister.
According to Mike Hobson, ". . .these [are]
strictly limited to initial demand and pre-orders. Once the pressing
run is determined, there will be no extras and the stamper will be
destroyed after the pressing run is complete." (emphasis mine,
A.L.).
To get on the pre-order list, call (800) 457-2577 (outside
the US, the number is (213) 466-9694). The first release, (LSC2222,
Debussy's Iberia) is GONE, and as of May 15, there were about 200
copies left of the Reiner/CSO Also Sprach Zarathustra (LSC1806, 4
discs), and limited supplies of the Verve 6149 reissue of the "Sonny
Stitt Blows The Blues" album for you jazz fans. Scheduled for
Release in June are the Gounod Ballet Music (Faust) album with the
Royal Opera House Orchestra conducted by Gibson, and the Reiner/CSO
"Festival" album, which features Russian orchestral
favorites including one of the best-ever versions of A Night On Bare
Mountain. (*Shiver!*)
p.s. The usual disclaimers apply. My only
interest in seeing that Classic Records and other reissue labels
survive is so that I will have a continuous supply of brand new,
defect-free, fabulous sounding, high quality 180 gram vinyl records
to buy.
© Copyright 1998 Anna Logg
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