LDS 6065 Ernest Ansermet - Royal Ballet Gala Performances - 8LP 45RPM BOX SET - Classic Records CLARITY VINYL 200g Quiex SV-P - STILL SEALED
THE LAST OF OUR STOCK PLEASE NOTE: Disc 7 is not included in this set - only contains Discs 1-6, 8 and 9
Featuring orchestral highlights from Faust and Carmen, the latter selections on side 2 are nothing short of spectacular Widely regarded as one of the best of the Decca recorded RCA released Living Stereos. Original 33 rpm copies still bring up to 700 at auction. According to Jonathon Valin who wrote The RCA Bible : I own no other RCA that exceeds this disc in getting the full weight of a symphony orchestra in your living room. This title was mastered directly from the two track analog master tapes that were on the machine at the recording session held at the popular Decca venue, Walthamstow Hall in London where many of the great Decca recordings were made. Tony Hawkins, the legendary Decca Transcription Engineer flew over at Classic Records expense in the Fall of 1994 with the tapes for the mastering sessions at Bernie Grundman Mastering in Hollywood. Hawkins would oversee many of the Decca/RCA mastering sessions over the early years of Classic Records. A long standing item on many audiophile want lists this issue was issued in very limited quantity as a 4 disc single sided 45 rpm set Classic s 200g QUIEX Super Vinyl Profile.
Tracklist
Pyotr Ilyich Tchaikovsky The Nutcracker Suite
A1 March
A2 Dance Of The Sugar Plum Fairy
A3 Arabian Dance
A4 Chinese Dance
B1 Dance Of The Toy Flutes
B2 Waltz Of The Flowers
Ottorino Respighi After Gioacchino Rossini La Boutique Fantasque
C1 Tarantella
C2 Andante Mosso
C3 Can Can
L o Delibes Copp lia
D1 Act 1: Introduction And Mazurka
D2 Introduction And Waltz
D3 Cz rd s
D4 Act 2: Valse De La Poupee
Adolphe C. Adam Giselle
E1 Act 1: Introduction And Waltz
E2 Act 2: Pas De Deux And Variation
Pyotr Ilyich Tchaikovsky Swan Lake
F1 Act 2: Scene - Dance Of The Little Swans Pas De Quatre
F2 Scene - Pas De Deux
F3 Waltz
Robert Schumann Carnaval
G1 Pierrot
G2 Reconnaissance
G3 Avevu
G4 Pantalon Et Columbine
Pyotr Ilyich Tchaikovsky The Sleeping Beauty
H1 Introduction, Prologue: The Lilac Fairy
H2 Act 1: Rose Adagio Pas D Action
I1 Waltz
Fr d ric Chopin Les Sylphides
I2 Overture: Prelude In A, Op. 28, No. 7
I3 Mazurka In C Major, Op. 67, No. 3
Conductor Ernest Ansermet
Orchestra Orchestra Of The Royal Opera House, Covent Garden
45 rpm Records have long been recognized as providing a higher fidelity musical experience resulting purely from the cartridge being able to extract more of the nuance from the complex vertical and horizontal groove modulations in stereo LP s. Further, Classic Records 45 rpm single sided pressings dramatically reduce the mechanical resonances created by the cartridge during playback by allowing these resonances to be more fully transmitted to and absorbed by the turntable platter. Classic Records Clarity Vinyl 45 rpm pressings are designed and manufactured to provide the LOWEST DISTORTION in every aspect of LP playback resulting in putting the listener as close to the music as possible. With only a handful of copies of this definitive reissue left, don t hesitate before the price on the secondary market skyrockets
Background on Clarity Vinyl Pressings
In 2008, Classic discovered that demagnetizing black vinyl records leads to better sound in playback. The engineers at Furutech in Japan, makers of a commercial record demag machine, explained that the carbon black that was added to PVC record pellets contained trace metal that became randomly magnetized and while spinning below an electro-mechanical transducer phono cartridge caused electrical distortion inside a cartridge during LP playback. Hence, demagnetizing a black vinyl record dramatically reduces the electrical distortion and leads to more Clarity in playback. Michael Hobson, founder of Classic Records reasoned that if the carbon black were removed then the result should be more Clarity in playback. Working closely with the PVC manufacturer Kenan, Classic developed its own proprietary Clarity Vinyl devoid of the problems with trace magnetic particles contained in black vinyl formulas. Clarity Vinyl represents the ultimate in vinyl formulations because it is comprised of over 90 percentage of the highest quality co-polymer available - a key component in vinyl pellets used for manufacturing vinyl records. Further, Clarity Vinyl has no carbon black additive, common in vinyl formulas for LP s. Carbon Black contains trace metals that become magnetized and cause electrical distortions in cartridges during playback that smears the sound. By taking out the Carbon Black, Classic Records is able to dramatically reduce the electrical distortions and thus bring more Clarity to the playback process, providing a more realistic musical experience to the listener and LP enthusiast.A Clarity vinyl pressing on a flat profile die is the absolute ultimate pressing possible and even a step above the JVC UHQR black vinyl pressings. Not to be missed - you can hear the difference
Background on Classic 200g Super Vinyl Profile
In 2003, Classic Records launched its now famous Signature Blue Note Mono reissue series. As part of that series Classic developed an authentic 200 gram LP profile that replicated that of an original Blue Note record from the 1950 s. Comparing a test pressing on the new profile versus the same title on the normal 180 gram pressing it was discovered that the 200 gram version sounded significantly better. The 200 gram pressing sounded louder, with more definition and solidity of notes across all frequencies and there was more detail - particularly low level detail like room or hall sounds, pages being turned, musicians whispering and automobile sounds outside the studio all became easier to identify. At first it was speculated inside Classic Records that the extra weight resulted in the better performance as no one could come up with a better answer given that the stampers were the same as well as the vinyl pellets used on both 180g and 200g pressings. One day, Michael Hobson, the founder of Classic Records was discussing this unexplainable sonic discovery with the Legendary Mastering Engineer and Sheffield Records founder, Doug Sax when Doug, without hesitation stated Ah Michael you ve discovered the difference in a flat versus conventional profile . Puzzled, Hobson asked for an explanation which Sax described as going all the way back to 1950 s mono pressings and what happened when stereo records came out in the early 1960 s. Sax explained that in the 1950 s when mono records had no vertical modulation only lateral , pressing PolyVinylChloride PVC plastic records were more easily pressed on Flat Profile dies fitted to the pressing machines since the grooves on the mono stampers were all the same height no vertical modulation . The molten vinyl was able to flow evenly across the stampers and fill properly during the molding pressing of the record. The problems started when stereo record cutting came into vogue producing stampers that had variable height grooves sticking up across the diameter of each stamper. Using the older mono pressing dies resulted in tremendous problems getting the areas between grooves of different heights to fill properly - a groove that is in front of another taller one often got passed over by the flowing molten vinyl resulting in non-fill which was audible and thus a defective record. Pressing plants don t like to press defective records and are always looking for high pressing yields or a s few rejects as possible.
To solve the problem, the engineers developed a new pressing die profile which tapers from the center of the die, flattens in the middle of the diameter and then tapers again toward the outside of the die. The new profile was concave rather than flat. When you put a flat stampers onto the concave dies the stampers distort and are no longer flat - the grooves are no longer perpendicular across the stamper and by association across a finished vinyl pressing. This new die profile created back pressure on the flowing vinyl and solved the non-fill problem with stereo pressings and resulted in higher yields which was great for pressing plants and good for record companies who wanted good prices on pressings. The problem was and still is that the new profile records don t sound as good as they could because they are not flat across their profile. Using a micrometer across the diameter of a 1950 s mono records reveals that the thickness is virtually the same across the record s diameter from center label to outer edge but not so for a newer stereo profile pressing which is convex across its diameter resulting from the concave profile dies / distorted stampers. This is the dirty little secret that Classic had rediscovered was known to old school experts like Doug Sax who founded Sheffield Labs in the 1970 s. After the discovery, Classic Records never looked back and all of its releases and re-pressings after 2003 were on the new 200 gram Flat Profile dies that were specially made for Classic. Some years later Classic discovered that the very same profile was used by JVC in Japan to produce the legendary UHQR pressings for Mobile Fidelity which are well known to sound better than the conventional Mobile Fidelity pressings of the same titles - it all makes sense now. The long and the short of this is that Classic 200g Super Vinyl Profile Flat Profile pressings are as good as it gets for proper playback without groove distortion from non-flat pressings - Period.
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