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  • regnaD kciN
    replied
    Originally posted by astrotoy View Post

    NIce to see thread revived. Does anyone know whether the remastering continued for the Mercuries? My main issues on my many Mercuries were pressing almost to the label, often noisy vinyl, and being American records, having previous owners who didn't take care of their records.

    Larry
    Unfortunately, I haven't seen any others yet. I get the feeling that classical reissues are seen increasingly as a dead-end, unless there's a "big-name" (Karajan, Bernstein, Heifitz, etc.) on the cover.

    Leave a comment:


  • Guest's Avatar
    Guest commented on 's reply
    Not just the Ravel Rapsodie Espagnole - I'm in it for the Ibert.

  • MylesBAstor
    commented on 's reply
    Yes the FR1 is the pressing to have. I only ever found the RFR pressing. My buddy has a FR1 and when we compared the two years ago, the earlier pressing done by RCA was superior. But I am still glad to have it. As well as the Classic reissue.

  • Guest's Avatar
    Guest commented on 's reply
    makes sense to me!

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  • astrotoy
    replied
    Originally posted by regnaD kciN View Post
    So, I decided to spring for the Paray 24/96. While the new remastering can't overcome the sonic weaknesses of Ford Auditorium, it's a huge improvement, particularly in capturing the acoustic. While the CD, for me, gave the impression of the sections almost in isolation booths from each other, here we have a unified soundstage and a sense of the musicians actually playing together.

    I'm still not as big a fan of Paray's reading as some people (read: HP) are, mainly because the Detroit Symphony sounds smaller and not as tonally-secure, particularly in the strings, as the Boston Symphony under Munch or the City of Birmingham Symphony under Frémaux, to name two of its leading competitors, but at least, this time, I can come away from the recording understanding why some might rate it highly, which was never the case from the CD.

    While I was at it, I also picked up the companion 24/96 mastering of Mercury SR90143, with works by Hindemith, Schoenberg, and Stravinsky, performed by the Eastman Wind Ensemble under Fennell. This is one Merc that never got reissued on stand-alone CD or SACD, although I understand it was included as a bonus disc in the third MLP box set. I can only assume that this was passed over because, frankly, the works were considered to be too "modern" and minor to be of general consumer appeal. Be that as it may, it's a simply stunning recording of demo quality, and has immediately found a place on my "top high-res downloads" list. Hearing the results of these two releases, mastered using the Plangent Process and supervised by Thomas Fine, I find myself wishing that the powers that be at Universal would authorize new transfers of all the Mercury titles (it'll never happen, but we can dream). Regardless of the reputation of the previous CD transfers, these are really enough of an improvement to justify a "do-over."

    NIce to see thread revived. Does anyone know whether the remastering continued for the Mercuries? My main issues on my many Mercuries were pressing almost to the label, often noisy vinyl, and being American records, having previous owners who didn't take care of their records.

    Larry

    Leave a comment:


  • rockitman
    commented on 's reply
    I have all of those. They don't make the top 15 in terms of sound quality...Ravel Rapsodie Espagnole, Chabrier/Espana are classic reissues (don't have originals) so I don't include it here.

  • Bill Hart
    replied
    Originally posted by rockitman View Post
    Click image for larger version Name:	 Views:	1 Size:	26.5 KB ID:	46924 This is an awesome record I acquired recently. RFR-4/RFR2, RIAA

    ******Myles, can this thread be made a sticky like the RCA, HMV, Decca threads ? Thanks in advance.
    Good idea.MylesBAstor
    As a matter of thread administration, it might make sense for myles to create a sub-forum for labels, and then different sections within that that are admin controlled for the particular labels. That way, it isn't just one long thread- since even within Mercury, for example, this thread started with different kinds of digital remasters and source material. Not suggesting that digital be separate, but the OP's topic is one topic for a thread; there are no doubt others re Mercury. That would make a sub-forum with the usual suspects in different subcategories, e.g. Merc, RCA, Decca/London, EMI and probably a few others that are collected/sought after. You could probably also include some of the jazz ones like Blue Note and Riverside. And Myles could entertain other subcategories based on request so he doesn't have to populate every conceivable label of possible interest at the outset.
    We could even add at some point, some of the non-classical stuff if there is interest- Vertigo Swirl, the various Polydor or Philips labelled stuff, etc.

    Leave a comment:


  • Rob
    replied
    I like your list/collection but no Ravel Rapsodie Espagnole (SR0313)?? I would also add the Kodaly/harry Janos suite, Dupre/Widor, British Band Classics, Fiesta in Hi-Fi, Hanson/Composer and His Orchestra and Chabrier/Espana to name a few I never was high on Hi Fi a la espanola, I sold the two orig copies I had for a pretty penny. I'm happy with the Classics reissue.

    Leave a comment:


  • rockitman
    replied
    Click image for larger version  Name:	 Views:	1 Size:	661.9 KB ID:	67594 Last but not least...My Original Mercury top 15. All are FR or RFR 1 or 2.Hi-Fi A La Espanola is the best sounding mercury, period. My copy is FR1.

    Leave a comment:


  • astrotoy
    replied
    I bought the two of the Analogphonic Mercury reissues on vinyl that they have issued. One is the Henryk Szeryng Treasures of the Violin (SR90367) and the other is the Janos Starker Italian Sonatas (SR90460). They just arrived yesterday and I haven't had a chance to play them. On their website it says they were from the analogue master tapes from Universal (which owns Mercury) and were mastered by Maarten de Boer (Szeryng) and Rainer Maillard (Starker) in analogue with lacquers cut at Emil Berliner Studios, pressed by Pallas.

    Larry

    Leave a comment:


  • astrotoy
    replied
    Originally posted by rockitman View Post
    Click image for larger version Name:	 Views:	1 Size:	26.5 KB ID:	46924 This is an awesome record I acquired recently. RFR-4/RFR2, RIAA

    ******Myles, can this thread be made a sticky like the RCA, HMV, Decca threads ? Thanks in advance.
    Christian, wonderful record. My copy, which I bought new, is one of the oldest records in my collection (in terms of how long I have owned it). I bought it (same RFR-4/RFR-2 stampers, but a "Vendor" copy - the small letters "VENDOR" are between the MERCURY and STEREO on the label) around 1965 when I was in college. Our local college bookstore (in Cambridge MA) had a huge record department. One day I walked in and there were bunch of new Mercuries, all at $1.98 each. I didn't know Mercuries from RCA Living Stereos from Columbia Masterworks in those days, and I bought a couple, including the Starker Brahms, probably for the Brahms Cellos Sonatas. When the reissue came out I also bought a copy of the Speaker's Corner version, good enough for people who can't find an original. BTW, "VENDOR" copies are not supposed to be as good as ones without the "VENDOR" on the label. Don't have copies of both to compare. Merc's can be noisy, the vinyl quality was not consistently good. Also they used to cut the records very close to the label to maximize the groove excursion dynamics, but that meant there was more inner groove distortion as a trade off.

    Larry

    Leave a comment:


  • rockitman
    replied
    Click image for larger version  Name:	 Views:	1 Size:	26.5 KB ID:	46924 This is an awesome record I acquired recently. RFR-4/RFR2, RIAA

    ******Myles, can this thread be made a sticky like the RCA, HMV, Decca threads ? Thanks in advance.

    Leave a comment:


  • MylesBAstor
    replied
    It's great to see the Merc recordings getting the treatment they deserve finally!

    Leave a comment:


  • regnaD kciN
    replied
    So, I decided to spring for the Paray 24/96. While the new remastering can't overcome the sonic weaknesses of Ford Auditorium, it's a huge improvement, particularly in capturing the acoustic. While the CD, for me, gave the impression of the sections almost in isolation booths from each other, here we have a unified soundstage and a sense of the musicians actually playing together.

    I'm still not as big a fan of Paray's reading as some people (read: HP) are, mainly because the Detroit Symphony sounds smaller and not as tonally-secure, particularly in the strings, as the Boston Symphony under Munch or the City of Birmingham Symphony under Frémaux, to name two of its leading competitors, but at least, this time, I can come away from the recording understanding why some might rate it highly, which was never the case from the CD.

    While I was at it, I also picked up the companion 24/96 mastering of Mercury SR90143, with works by Hindemith, Schoenberg, and Stravinsky, performed by the Eastman Wind Ensemble under Fennell. This is one Merc that never got reissued on stand-alone CD or SACD, although I understand it was included as a bonus disc in the third MLP box set. I can only assume that this was passed over because, frankly, the works were considered to be too "modern" and minor to be of general consumer appeal. Be that as it may, it's a simply stunning recording of demo quality, and has immediately found a place on my "top high-res downloads" list. Hearing the results of these two releases, mastered using the Plangent Process and supervised by Thomas Fine, I find myself wishing that the powers that be at Universal would authorize new transfers of all the Mercury titles (it'll never happen, but we can dream). Regardless of the reputation of the previous CD transfers, these are really enough of an improvement to justify a "do-over."


    Leave a comment:


  • MylesBAstor
    replied
    Northrup in Minneapolis had its issues too. From Tom Fine:

    "As for the recording, it's OK. Northrop was cavernous and thus the recording results are
    dry-sounding (the space was so large, not much audio content came to the back sides of the
    microphones, just dissipated out into the cavernous space). There's a bit more tape hiss than usual.
    It's made late enough to use three Schoeps M201 mics."

    Leave a comment:

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