Multiple Copies Of LP s Same Title

Sometimes it also takes multiple attempts to find a really good pressing, even if it is the most desired pressing.

Frank, you're definitely right about the sweeter highs on the originals vs. the Classics. Part of this is offset by the better bass, dynamics, transparency and getting closer to the master tape, but yeah, I would not have minded tube mastering either, we could have had the best of both worlds. In the end, as I believe you said, we should be happy that they have made these reissues, they bring a new and bit different view to a great series of recordings.

There is a sticker on Bernie Grundman's mastering deck (I am not kidding here, it really exists) that says: "Use a transistor--go to jail. It's the law." It is meant in jest. Otherwise Classic Records would have to bail him out from serving time. How long a sentence would Frap and Rcprince give him?

None, really, Slawney--I'm thankful for the excellent job he did. And I can sweeten the strings a little with a choice of tubes in the MC stage of my preamp. So I guess I'm more than happy with the way things are; the greatness of the performances and recordings shines through, tubes or transistors. For those who wonder what the difference might have been, though, two interesting possibilities: 1. My recollection is that Analog Productions a few years ago did a reissue of a jazz album (don't recall which) which Bernie had originally mastered, but for which they had Doug Sax do the mastering. In response to protests, they did an alternate version of the same record, same tapes, with Bernie doing the remastering. I have not listened to either, but it might be interesting to compare. 2. Classic did a DAD of the old Ravel Vox Box with the Minnesota Orchestra (I assume Bernie was involved in the remastering, but am not sure), which I have, and which Analog Productions released both as a CD and vinyl record mastered by Mr. Sax. There is a definite bloom and ripeness in the Sax-mastered discs you don't get on the Classic, although in many respects I prefer the Classic version for its neutrality and better transparency, particularly in the lower frequencies (except for the damned reversed channels from track to track--maddening!). Apples and oranges, I know, due to the formats, but in terms of tonal balance the AP versions sound a little colored to me. Wouldn't want to live without either, though!

Slawney, I'm not anti SS as you seem to think. Overall, I feel that classic did a good job with the transfers. The bass and dynamics are superior, as mentioned previously. The "compression" is gone, the overall sound is cleaner, but more sterile as well. The top end is more extended. Some very good improvements. But, the 3D and smoothness of the strings on the originals is compromised on the reissue.
Since the recording was originally mastered all tube, it only makes sense to reissue it that way (RCA themselves thought it best too, on the tape deck at least when thier CD issues were released). I can think of no other reason for the "falsification" of the violins.
Since these Reiner issues are arguably the most important musically and sonically in the Stereo era, I wished for TML's all tube chain, to mimmick the way it was done in 58.
Let it be known that in no way would these recordings have reached exhaulted status SONICALLY, without the original all tube chain used in the birth of stereo.......Frank