Side One: Mint Minus Minus
Side Two: Mint Minus Minus
- With two Double Plus (A++) or BETTER sides, this Shaded Dog pressing of Reiners's superb 1960 recording had the glorious Living Stereo sound we were looking for
- It's also fairly quiet at Mint Minus Minus, a grade that even our most well-cared-for vintage classical titles have trouble playing at
- There were only three performances with audiophile quality sound in our shootout, and the Shaded Dog pressings not only had the best performances, but the sound that the team of Mohr/Layton managed to achieve was second to none
- In other words, Harry was right to put this on his TAS Super Disc list - it really is a super disc
- If you know anything about these works, you know that have tons of top and bottom end, and it is the rare pressing that can capture both
- The texture and harmonic overtones of the Living Stereo strings are near perfection - as we listened we became completely immersed in the music on the record, transfixed by the remarkable virtuosity Reiner and the CSO brought to these difficult and demanding works so many years ago
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Vintage covers for this album are hard to find in exceptionally clean shape. Most of the will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG
This shootout has been at least five years in the making, and the case could be made that something like fifteen is closer to the truth. Around 2016 we surveyed the recordings of the work we had on hand -- close to a dozen different performances, I think -- and found them all wanting, save three: this one (which is still on the TAS List), a Reader's Digest pressing with Kempe (our second favorite), and a London with Kertesz.
If a particular performance had any distortion or limitation problems in the higher frequencies, it was quickly rejected out of hand. Same with low end whomp and weight. On these works both are crucial.
No other pieces of music of which we are aware have so much going on up high and down low. This narrowed the field of potential Hot Stampers considerably. Great performances by top conductors could not get over these hurdles -- high and low -- time and time again.
For these reasons, it took us years to find the right recordings. We knew the Reiner would be hard to beat, but we kept trying record after record hoping that we could find one to wrest the crown away from what is widely considered the greatest recording of the works ever made.
We never did find something better. Our best Shaded Dog ended up winning the shootout. The best RCA pressings were doing everything right. There was plenty of top end, with virtually no harmonic distortion, and when I say plenty, I mean the right amount. Not many engineers managed to get all the highs correctly onto the tape, but Lewis Layton nailed it -- in 1960!
So many recordings had screechy strings and horns. When the music would get loud, and both the Pines and the Fountains get very loud indeed, assuming the recording will let it, the sound would become unbearably harsh and unpleasant. This is the opposite of what should happen, and it was obvious that those recordings would not make it past the first round.
All three of the finalists could claim enthusiastic performances with powerful energy and top quality orchestral playing. Still, with the best copies going head to head with each other, Reiner had more of all the qualities we were looking for.
How did the famous 1S/1S pressing fare? No idea. I haven't seen one in twenty years. It may be better than the White Hot copy we are offering here. I certainly would not make the mistake of saying what it sounds without having played it. If someone has one and wants to send it to me to audition, I would love to give it a spin.
Some recordings we played lacked transparency, as well as the relaxed sense of involvement that eases one’s ability to be tricked into thinking “you (really) are there.”
The famous 1977 Maazel recording for Decca, which was on the TAS List for a long time, suffered from a bad case of multi-miking and the transparency issue mentioned above. What do you expect from 1977?
This is, of course, the knock on the Modern Heavy Vinyl Pressing -- where is the transparency? The space? The three-dimensional depth? If your stereo can reproduce these qualities -- a big if, since even as recently as twenty years ago mine could not -- you should have given up on these opaque and airless frauds years ago.
The Real Deal
This vintage RCA Shaded Dog 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 -- this sound.
If 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.
What The Best Sides Of The Pines and Fountains of Rome Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost 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 1960
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, 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.
The Classic Records Pressing
For those of you who have only heard the Classic pressing, you are in for a world of better sound. The Classic is both aggressive and lacking in texture at the same time, the worst of both worlds. Bernie's cutting system is what I would call Low Resolution -- the harmonics and subtleties of the instruments simply disappear.
We wrote about it on our blog, under the heading Bernie Grundman's Work for Classic Records in Four Words: Hard, Sour, Colored and Crude. Search for it if you would like to know more.
What We're Listening For on The Pines and Fountains of Rome
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Powerful bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint 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.)
Those 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.
If 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.
Better Front Ends Are Often Quieter
I would make the further point that the better your front end is, the less likely you are to have a problem with vinyl like this, which is the opposite of what many audiophiles believe to be the case. In other words, some of the cheaper tables and carts seem to make the surface noise more objectionable, not less. On the other hand, some pricey cartridges -- the Benz line comes to mind -- are consistently noisier than those by Dynavector, Lyra and others, in our experience anyway.
A Must Own Orchestral Showpiece
Our Difficulty of Reproduction Scale
This album is especially Difficult to Reproduce. Do not attempt to play it on anything but the highest quality equipment.
Classical music is unquestionably the ultimate test for proper turntable / arm / cartridge setup. The Pines of Rome would be a superb choice for adjusting tracking weight, VTA, azimuth and the like.
One of the reasons $10,000+ front ends exist is to play large scale, complex, difficult-to-reproduce music such as these two tones poems. You don’t need to spend that kind of money to play this record, but if you choose to, it would surely be the kind of record that can show you the sound your tens of thousands of dollars has bought you.
It has been my experience that cheap tables (anything under $2k, I would guess) more often than not collapse completely under the weight of a mighty record such as this. If you have one of those, this is probably not the record for you.
- Pines of Rome
- Fountains of Rome