New Analogue Productions Decca/RCA Releases

[MylesBAstor]

My father worked for RCA, so, once our family finally moved from mono to stereo in 1968, he was easily able to get any RCA LP at the very least at discount, and probably for free. At the time, we probably accumulated much of the RCA content of HP's eventual Super Discs list; however, many of them were among the noisiest records I ever owned (especially, ironically enough, those with a "Miracle Surface" label, such as Scheherazade and Pines/Fountains). Over the years, I reached the assumption that many of these "cheap or free" records were actually stock returned by retailers as defective -- but it sounds like you had much the same experience at full retail price...

Well we know as we crossed into the '70s and the now infamous oil crisis, companies began using reground vinyl. And stores, such as Sam Goodies got nailed for rewrapping defective, returned discs and putting them back out on the shelves. (and they weren't the only ones doing this either.)

I have to say that I really never encountered that noisy surface issue. But as I pointed out earlier, there's something unique about the profile of the Lyra cartridge's stylus that makes records sound much quieter than other cartridges. About the only other cartridge that does this is the Ortofon A95.

[regnaD kciN]

Back in the day I had an original LSC 2449 1S (I believe every original was a 1S). At the time it was sonically head and shoulders above all the LSCs. I've owned 90% to all the original LSCs and a common thread between them is noisy vinyl, I'm taking about surface noise that rides above the intrinsic noise floor of the tape itself. These reissues and any of the Hobson/Tan efforts, IMHO are more listenable because of the superior surfaces. Lucky for us the tapes seemed to have survived in great shape b/c the sonics of these latest releases are sprectacular.

My father worked for RCA, so, once our family finally moved from mono to stereo in 1968, he was easily able to get any RCA LP at the very least at discount, and probably for free. At the time, we probably accumulated much of the RCA content of HP's eventual Super Discs list; however, many of them were among the noisiest records I ever owned (especially, ironically enough, those with a "Miracle Surface" label, such as Scheherazade and Pines/Fountains). Over the years, I reached the assumption that many of these "cheap or free" records were actually stock returned by retailers as defective -- but it sounds like you had much the same experience at full retail price...

[Rob]

Know Allen wrote about these somewhere. My copies of Witches Brew (a long time reference and favorite that gave to HP) and Gounod's Faust, #100, finally arrived last week and I got around to listening to them tonight! Wow! I need to listen to them against the Classic and originals (though the original Gounod is one the few Living Stereos never came across and today the price is prohibitive) but my first reaction is the reissues have dynamics and low end that were never on the earlier issues. (well the Classic had more bass but it just sounded boosted.) Neither do these reissues have the steeliness I hear in some of the other RCA Analogue Production reissues. Part of that might be attributable to these (all but 2 of the Decca/RCA reissues) to these reissues being cut by Willem Makkee in Germany for Chad. (he also cut the Decca Mahler's 3rd for Chad not too long ago as well as some of the Speakers Corner reissues.) More manana!

[ATTACH=CONFIG]n5989[/ATTACH] [ATTACH=CONFIG]n5990[/ATTACH]

That corroborates with what Chad told me, the cutting house that gets the master (tape) is usually the closest geographically to were they reside.

Back in the day I had an original LSC 2449 1S (I believe every original was a 1S). At the time it was sonically head and shoulders above all the LSCs. I've owned 90% to all the original LSCs and a common thread between them is noisy vinyl, I'm taking about surface noise that rides above the intrinsic noise floor of the tape itself. These reissues and any of the Hobson/Tan efforts, IMHO are more listenable because of the superior surfaces. Lucky for us the tapes seemed to have survived in great shape b/c the sonics of these latest releases are sprectacular.

[MylesBAstor]

Know Allen wrote about these somewhere. My copies of Witches Brew (a long time reference and favorite that gave to HP) and Gounod's Faust, #100, finally arrived last week and I got around to listening to them tonight! Wow! I need to listen to them against the Classic and originals (though the original Gounod is one the few Living Stereos never came across and today the price is prohibitive) but my first reaction is the reissues have dynamics and low end that were never on the earlier issues. (well the Classic had more bass but it just sounded boosted.) Neither do these reissues have the steeliness I hear in some of the other RCA Analogue Production reissues. Part of that might be attributable to these (all but 2 of the Decca/RCA reissues) reissues being cut by Willem Makkee in Germany for Chad. (he also cut the Decca Mahler's 3rd for Chad not too long ago as well as some of the Speakers Corner reissues.) More manana!