{"product_id":"masselecid_fremaux_2610","title":"Massenet - Le Cid - Ballet Music - Scenes Pittoresques \/ Fremaux - White Hot Stamper (With Issues)","description":"\u003cp\u003e\u003cstrong\u003e*NOTE:\u003c\/strong\u003e There is a mark that plays 4 times at a moderate level about 1\/8\" into the fifth movement on side 1, \u003ci\u003e\"Le Cid\" Ballet Music\u003c\/i\u003e - \"Catalane.\" There is another mark that plays 10 times at a moderate level about 1\/2 way into the six movement, \"Madriene.\"\u003c\/p\u003e\n\u003cp\u003eThis is a record that clearly belongs on a Super Disc list; if Harry hadn’t already put it there we certainly would have. (We would love to compile a Super Disc list of our own, but unless you have just the right copy of whatever title you find on the list, you may not have anything like Super Disc sound quality, so why a list at all? It creates more problems for audiophiles than it solves.)\u003c\/p\u003e \n\u003cp\u003eBoth sides of this \u003ca href=\"\/search?q=tag:%22tas-list%22\"\u003e\u003cstrong\u003eTAS list\u003c\/strong\u003e\u003c\/a\u003e disc contain audiophile Must Own Demonstration pieces, full of Tubey Magic, powerful dynamics, real depth, lifelike ambience, and uncannily accurate instrumental timbres, especially from the woodwinds. Add explosive dynamics and deep bass and you have yourself a genuine audiophile recording.\u003c\/p\u003e\n\u003cp\u003eThe sound is so rich you will not believe you are listening to an EMI. If more EMI records sounded like this we would be putting them on the site left and right. Unfortunately, in our experience the majority are thin, shrill and vague. Not so here!\u003c\/p\u003e\n\u003cp\u003eThis vintage UK import pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to \"see\" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- \u003ci\u003ethis sound\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eIf you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.\u003c\/p\u003e\n\u003ch3\u003eWhat The Best Sides Of Le Cid - Ballet Music \/ Scènes Pittoresques Have To Offer Is Not Hard To Hear\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003eThe biggest, most immediate staging in the largest acoustic space\u003c\/li\u003e\n\u003cli\u003eThe most Tubey Magic, without which you have \u003ci\u003ealmost\u003c\/i\u003e nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in \u003ca href=\"\/search?q=tag:%221971%22\"\u003e\u003cstrong\u003e1971\u003c\/strong\u003e\u003c\/a\u003e\n\u003c\/li\u003e\n\u003cli\u003eTight, note-like, rich, full-bodied bass, with the correct amount of weight down low\u003c\/li\u003e\n\u003cli\u003eNatural tonality in the midrange -- with all the instruments having the correct timbre\u003c\/li\u003e\n\u003cli\u003eTransparency and resolution, critical to hearing into the three-dimensional studio space\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eNo doubt there's more but we hope that should do for now. \u003ci\u003ePlaying the record is the only way to hear all of the qualities we discuss above,\u003c\/i\u003e and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.\u003c\/p\u003e\n\u003cp\u003eCopies with \u003cstrong\u003erich lower mids and nice extension up top\u003c\/strong\u003e did the best in our shootout, assuming they weren't veiled or smeary of course. So many things can go wrong on a record. We know, we've heard them all.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTop end extension\u003c\/strong\u003e is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTube smear\u003c\/strong\u003e is common to most vintage pressings. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.\u003c\/p\u003e\n\u003ch3\u003eOther Pressings\u003c\/h3\u003e\n\u003cp\u003eThe original Blueback pressing (CS 6058) of the Martinon performance we played was a complete disaster: shrill, with no top or bottom to speak of. Admittedly, we only had the one copy, so take it for what it’s worth. If you feel like taking a chance on one, make sure you can return it if it sounds as bad as the one we are describing.\u003c\/p\u003e\n\u003cp\u003eHowever, the Stereo Treasury pressing of the above performance can be quite good.\u003c\/p\u003e\n\u003ch3\u003eWhat We're Listening For On Le Cid - Ballet Music \/ Scènes Pittoresques\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eEnergy\u003c\/strong\u003e for starters. What could be more important than the life of the music?\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe Big Sound\u003c\/strong\u003e comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.\u003c\/li\u003e\n\u003cli\u003eThen \u003cstrong\u003etransient information\u003c\/strong\u003e -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePowerful bass\u003c\/strong\u003e -- which ties in with good transient information, also the issue of frequency extension further down.\u003c\/li\u003e\n\u003cli\u003eNext: \u003cstrong\u003etransparency\u003c\/strong\u003e -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eExtend the top and bottom\u003c\/strong\u003e and \u003ci\u003evoila\u003c\/i\u003e, you have The Real Thing -- an honest to goodness Hot Stamper.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3\u003eAudio Issues\u003c\/h3\u003e\n\u003cp\u003eIt’s clear to us that our stereo system loves this record. Let’s talk about why we think that might be.\u003c\/p\u003e\n\u003cp\u003eOur system is fast, accurate and uncolored. We like to think of our speakers as the audiophile equivalent of studio monitors, showing us to the best of their ability exactly what is on the record, no more and no less.\u003c\/p\u003e\n\u003cp\u003eWhen we play a modern record, it should sound modern. When we play a vintage Tubey Magical Living Stereo pressing, we want to hear all the Tubey Magic, but we don’t want to hear more Tubey Magic than what is actually on the record. We don’t want to do what some audiophiles like to do, which is to make all their records sound the way they like all their records to sound.\u003c\/p\u003e\n\u003cp\u003eThey do that by having their system add in all their favorite colorations. We call that “My-Fi,” not “Hi-Fi,” and we’re having none of it.\u003c\/p\u003e\n\u003cp\u003eIf our system were more colored, or slower, or tubier, this record would not sound as good as it does. It’s already got plenty of richness, warmth, sweetness and Tubey Magic.\u003c\/p\u003e\n\u003cp\u003eTo take an obvious example, playing the average dry and grainy Joe Walsh record on our system is a fairly unpleasant experience. Some added warmth and richness, with maybe some upper-midrange suckout thrown in for good measure, would make it much more enjoyable. But then how would we know which Joe Walsh pressings aren’t too dry and grainy for our customers to enjoy?\u003c\/p\u003e\n\u003cp\u003eWe discussed some of these issues in another commentary:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003ch3\u003eOur Approach\u003c\/h3\u003e\n\u003cp\u003eWe’ve put literally thousands of hours into our system and room in order to extract the maximum amount of information, musical and otherwise, from the records we play, or as close to the maximum as we can manage. Ours is as big and open as any system in an 18 by 20 by 8 room I’ve ever heard.\u003c\/p\u003e\n\u003cp\u003eIt’s also as free from colorations of any kind as we can possibly make it. We want to hear the record in its naked form; not the way we want it to sound, but the way it actually does sound. That way, when you get it home and play it yourself, it should sound very much like we described it.\u003c\/p\u003e\n\u003cp\u003eIf too much of the sound we hear is what our stereo is doing, not what the record is doing, how can we know what it will sound like on your system? We try to be as truthful and as critical as we can when describing the records we sell. Too much coloration in the system makes those tasks much more difficult, if not a practical impossibility.\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eWe are convinced that the more time and energy you’ve put into your stereo over the years, decades even, the more likely it is that you will hear this wonderful record sound the way we heard it. And that will make it one helluva Demo Disc in your home too.\u003c\/p\u003e\n\u003ch3\u003eSpeakers Corner Vs. Klavier\u003c\/h3\u003e\n\u003cp\u003eSpeakers Corner did a very good version of this album on Heavy Vinyl back in the 90s, which we highly recommended at the time. We wrote:\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003eFinally a version of Le Cid that we can enjoy! Superb sound with a performance to match! No more suffering through the hi-fi-ish Doug Sax\/ Acoustic Sounds rebutchering of the Fremaux on Klavier.\u003c\/p\u003e\n\u003cp\u003eAudiophiles in droves bought into that one, apparently not noticing the overblown bass and spark-spark-sparkling top end. Thankfully we now have this Decca to demonstrate proper orchestral balance.\u003c\/p\u003e\n\u003cp\u003eIf your system needs boosted bass and highs keep the Klavier. If it doesn’t this Decca will allow you to forget about the sound and enjoy this lovely music.\u003c\/p\u003e\n\u003c\/blockquote\u003e \n\u003cp\u003eWould we still feel the same way about the remastered Decca pressing we used to like? Not as much, that’s for sure, a subject we discussed in this commentary.\u003c\/p\u003e\n\u003ch3\u003eHeavy Vinyl and the Loss of Transparency\u003c\/h3\u003e\n\u003cp\u003eSo often when we revisit the remastered pressings we used to like on Heavy Vinyl we come away dumbfounded — what on earth were we thinking? These are not the \u003cstrike\u003edroids\u003c\/strike\u003e sounds we are looking for. Perhaps our minds were clouded at the time.\u003c\/p\u003e\n\u003cp\u003eBelow are some thoughts from a recent classical listing that we hope will shed some light on our longstanding aversion to the sound of modern remasterings.\u003c\/p\u003e \n\u003cblockquote\u003e\n\u003cp\u003eThis original pressing has the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in a real concert hall, this is the record for you. It’s what Golden Age Recordings are known for -- this sound.\u003c\/p\u003e\n\u003cp\u003eIf you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- usually, not always to be sure -- but new records do not, ever.\u003c\/p\u003e\n\u003cp\u003eWhat is lost in these newly remastered recordings? Lots of things, but the most obvious and bothersome is transparency. Modern records are just so damn opaque. We can’s stand that sound. It drives us crazy. Important musical information — the kind we hear on even second-rate regular pressings — is simply nowhere to be found. That audiophiles as a whole — including those that pass themselves off as the champions of analog in the audio press — do not notice these failings does not speak well for either their equipment or their critical listening skills.\u003c\/p\u003e\n\u003cp\u003eIt is our contention that no one alive today makes records that sound as good as the ones we sell. Once you hear this Hot Stamper pressing, those 180 gram records you own may never sound right to you again. They sure don’t sound right to us, but we are in the enviable position of being able to play the best properly cleaned older pressings (reissues included) side by side with the new ones, where the faults of the current reissues become much more recognizable, even obvious. When you can hear them that way, head to head, there really is no comparison.\u003c\/p\u003e\n  \u003ch3\u003eA Lost Cause\u003c\/h3\u003e\n\u003cp\u003eThe wonderful vintage disc we are offering here will surely shame 100% of the Heavy Vinyl pressings ever made, as no Heavy Vinyl pressing — not one — has ever sounded especially transparent or spacious to us when played against the best Golden Age recordings, whether pressed back in the day or twenty years later.\u003c\/p\u003e\n\u003cp\u003eMany of the major labels were producing superb classical records well into the 70s. By the 90s no one, and we really do mean no one, could manage to make a record that compares with them.\u003c\/p\u003e\n\u003cp\u003ePrecisely the reason we stopped carrying The Modern LP Pressing -- it just can’t compete with good vintage vinyl, assuming that the vinyl in question has been properly mastered, pressed and cleaned.\u003c\/p\u003e\n\u003cp\u003eThis is of course something we would never assume -- we clean the records and play them and that’s how we find out whether they are any good or not. There is no other way to do it -- for any record from any era -- despite what you may have read elsewhere.\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003ch3\u003eVinyl Condition\u003c\/h3\u003e\n\u003cp\u003eMint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)\u003c\/p\u003e\n\u003cp\u003eThose of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.\u003c\/p\u003e\n\u003cp\u003eIf you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.\u003c\/p\u003e","brand":"Massenet, Jules","offers":[{"title":"Default Title","offer_id":67825707319592,"sku":"masselecid_fremaux","price":499.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0257\/3415\/2295\/files\/masselecit.jpg?v=1791220007","url":"https:\/\/better-records.com\/products\/masselecid_fremaux_2610","provider":"Better Records","version":"1.0","type":"link"}