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Rossini-Respighi / La Boutique Fantasque / Fiedler - Super Hot Stamper

The copy we are selling is similar to the one pictured above.

Super Hot Stamper

Rossini-Respighi / Ibert
La Boutique Fantasque / Divertissement / Fiedler

Regular price
$169.99
Regular price
Sale price
$169.99
Unit price
per 
Availability
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Sonic Grade

Side One:

Side Two:

Vinyl Grade

Side One: Mint Minus Minus

Side Two: Mint Minus Minus

  • Outstanding Double Plus (A++) sound throughout this vintage RCA Victrola stereo pressing of these delightful orchestral pieces
  • 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
  • Unlike the original Shaded Dog pressings, this Victrola is in correct polarity on both sides
  • Tons of energy, loads of detail and texture, superb transparency and excellent clarity - this recording, when mastered and pressed right, as is the case here, is the very definition of DEMO DISC sound
  • When we talk about space and transparency, we're talking about recordings that sound like this one
  • A favorite title with audiophiles - it’s full of lovely orchestral colors and, as usual, Fiedler and the Boston Pops understand how to bring them out

More of the music of Ottorino Respighi (1879-1936) / More Classical and Orchestral Recordings

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Fiedler has a way with the Ibert piece here like nobody’s business; the performance is definitive, although the sound is not as good as La Boutique Fantasque, which is nothing short of amazing. The Kay piece sounds excellent here and is beautifully performed. Fiedler is hard to beat on music like this.

This vintage RCA Victrola 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 VICS 1053 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 1957
  • 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.

Copies with rich lower mids and nice extension up top 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.

Top end extension 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.

Tube smear is common to most vintage pressings and this is no exception. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

What We're Listening For On VICS 1053

  • 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.
  • Tight punchy 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.

Vinyl Condition

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.

Side One

  • Rossini-Respighi - La Boutique Fantasque
  • Overture
    Tarantelle
    Vivo
    Mazurka
    Danse Cosaque
    Can-Can
    Valse Lente
    Nocturne
    Galop

Side Two

  • Ibert - Divertissement
  • Introduction
    Cortège
    Nocturne
    Valse
    Parade
    Finale

  • Kay - Cakewalk (Excerpts)
  • Grand Walkaround
    Pas De Deux
    Nocturne
    Finale: Gala Cakewalk

Background

Italian composer Ottorino Respighi (1879–1936), celebrated mostly for his collections of tone poems like The Pines of Rome, The Fountains of Rome, and The Festivals of Rome, also created the music for the delightful ballet composite La Boutique Fantasque (or "The Magic Toy Shop"), based on lesser-known tunes by Gioacchino Rossini, which premiered in 1919.