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Thread: Please recommend mono classical LPs

  1. #1
    Join Date: Aug 2013

    Location: London

    Posts: 95
    I'm Ked.

    Default Please recommend mono classical LPs

    If you are using a dedicated mono set up (Miya zero etc), please recommend Mono classical LPs

  2. #2
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 2,831
    I'm Tom.

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    I have quite a collection of early Phillips Minigroove, many of them come up very well. (Series dates from the early 50s I think). Mainly Lieder and Chamber Music from my perspective, but also some orchestral stuff if that's your bag (on the whole that stuff it not really of interest to me though an exception would be Furtwangler or Walter's doing Beethoven symphones). Some good early EMI/HMV Lieder recordings. DG can be variable in terms of pressings, but some of it's good.

    A substantial chunk of my classical LPs from this period are Lieder - early Fischer-Dieskau, Hermann Prey, Elizabeth Schwarzkopf, Gerard Souzay (his early mono recordings on Phillips are so much better than the stereo ones from the 60s), Kisten Flagstatt, many random others.

    Some of the very early stuff especially from the likes of Columbia needs re-equalisation or it won't sound that great. This can apply to the others as well up till the late 50s but I find Columbia improves the most when I correct for pre-RIAA equalisation.

    There are some fabulous chamber music recordings around, Cassals, Vegh, Serkin, Menuhun from the 1950s. Good organ music too.

    Most of the early LP Baroque ensemble or vocal stuff is utterly terrible/unlistenable - pianos for harpsichords, idiotically slow tempi, utterly stupid instrumentations, warbling massed choirs and this persisted right through the 1960s ... thank god for the early music revival of the 1970s.

    I'm not recommending individual recordings as it's all about what you like.

    Watch out for 78 reissues, some of this stuff is of historic interest but sound quality of a lot of the early reissues leaves a lot to be desired. They can do so much more with these recordings nowadays with digital clean-up techniques, see the Pristine Classical site.
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers; Amp - Radford STA100; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 / Ikeda IT-407 tonearms; Cartridges Stereo - Miyajima Madake, Ortofon SPU Royal N, Ikeda 9C III, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Sonovox MC-4 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; preamp - Firebottle custom; Vinyl: Garrard 401 with AT1503 tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage: Firebottle Plus; Digital - Trichord Genesis III CDP + Arcam rBlink; Schiit Multibit DAC.

  3. #3
    Join Date: Aug 2013

    Location: London

    Posts: 95
    I'm Ked.

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    I like all of this stuff. I go to around 50 concerts a year in London from chamber to Leider to orchestral. But I don't want to go overboard with vinyl purchases so looking to build up a steady collection on recommendations.

  4. #4
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 2,831
    I'm Tom.

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    Quote Originally Posted by bonzo View Post
    I like all of this stuff. I go to around 50 concerts a year in London from chamber to Leider to orchestral. But I don't want to go overboard with vinyl purchases so looking to build up a steady collection on recommendations.
    Drop round sometime we'll have a mono session.
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers; Amp - Radford STA100; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 / Ikeda IT-407 tonearms; Cartridges Stereo - Miyajima Madake, Ortofon SPU Royal N, Ikeda 9C III, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Sonovox MC-4 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; preamp - Firebottle custom; Vinyl: Garrard 401 with AT1503 tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage: Firebottle Plus; Digital - Trichord Genesis III CDP + Arcam rBlink; Schiit Multibit DAC.

  5. #5
    Join Date: Apr 2010

    Location: Bristol, since 1978. Current house since 1996!

    Posts: 323
    I'm Chris.

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    I had some early Elvis (and Charlie Parker) 78s.......I guess they're 'classical' in a way?
    Chris.

  6. #6
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 2,831
    I'm Tom.

    Default

    The bottom is falling out of the Elvis market I read but the Charlie Parker would still be in demand I suspect. Good jazz 78s are a lot of fun to play with.
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers; Amp - Radford STA100; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 / Ikeda IT-407 tonearms; Cartridges Stereo - Miyajima Madake, Ortofon SPU Royal N, Ikeda 9C III, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Sonovox MC-4 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; preamp - Firebottle custom; Vinyl: Garrard 401 with AT1503 tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage: Firebottle Plus; Digital - Trichord Genesis III CDP + Arcam rBlink; Schiit Multibit DAC.

  7. #7
    Join Date: Aug 2013

    Location: London

    Posts: 95
    I'm Ked.

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    Quote Originally Posted by montesquieu View Post
    Drop round sometime we'll have a mono session.
    Will do. What's your nearest station, and how far are you from it? Also please PM me your ph no.

  8. #8
    Join Date: Dec 2017

    Location: Manchester

    Posts: 63
    I'm John.

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    Classical fans, don't you find that the surface noise of vinyl is a major problem when playing classical? There is so much silence in the music that every crackle and pop is audible - I find it unlistenable.

    Sent from my SM-G920F using Tapatalk

  9. #9
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 2,831
    I'm Tom.

    Default

    Quote Originally Posted by Crackles View Post
    Classical fans, don't you find that the surface noise of vinyl is a major problem when playing classical? There is so much silence in the music that every crackle and pop is audible - I find it unlistenable.
    One reason why CD caught on initially fastest with classical listeners.

    However a decent setup will minimise all this:

    - a good record cleaning machine like a Loricraft will clean the grooves out
    - a quality cartridge with an appropriate stylus profile - stylus and cantilever design have an enormous impact on how loudly imperfections are picked up and transmitted
    - a decent tonearm - noise can be attenuated/controlled or amplified through resonances, depending on tonearm quality
    - record decks can also make things worse or better in the way noise is damped or reflected
    - phono stage/SUT - the electrical response of the phono stage will determine whether noise is quickly passed over or lingered on and made worse, phono stages also contribute hiss and other noise that can exacerbate problems with noisy vinyl. A good phono stage will help with noise not make things worse.

    Of course there's no substitute for pristine vinyl but I hear very little difference after a few plays between new vinyl/reissues and well cared for older vinyl that's kept clean. I won't say I have no issues, I have acquired damaged vinyl over the years (second hand stuff) that is indeed unplayable, but 99.9% of the time it's fine and if it's not, a clean will usually fix the issue.
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers; Amp - Radford STA100; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 / Ikeda IT-407 tonearms; Cartridges Stereo - Miyajima Madake, Ortofon SPU Royal N, Ikeda 9C III, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Sonovox MC-4 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; preamp - Firebottle custom; Vinyl: Garrard 401 with AT1503 tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage: Firebottle Plus; Digital - Trichord Genesis III CDP + Arcam rBlink; Schiit Multibit DAC.

  10. #10
    Join Date: Dec 2017

    Location: Manchester

    Posts: 63
    I'm John.

    Default

    Quote Originally Posted by montesquieu View Post
    One reason why CD caught on initially fastest with classical listeners.

    However a decent setup will minimise all this:

    - a good record cleaning machine like a Loricraft will clean the grooves out
    - a quality cartridge with an appropriate stylus profile - stylus and cantilever design have an enormous impact on how loudly imperfections are picked up and transmitted
    - a decent tonearm - noise can be attenuated/controlled or amplified through resonances, depending on tonearm quality
    - record decks can also make things worse or better in the way noise is damped or reflected
    - phono stage/SUT - the electrical response of the phono stage will determine whether noise is quickly passed over or lingered on and made worse, phono stages also contribute hiss and other noise that can exacerbate problems with noisy vinyl. A good phono stage will help with noise not make things worse.

    Of course there's no substitute for pristine vinyl but I hear very little difference after a few plays between new vinyl/reissues and well cared for older vinyl that's kept clean. I won't say I have no issues, I have acquired damaged vinyl over the years (second hand stuff) that is indeed unplayable, but 99.9% of the time it's fine and if it's not, a clean will usually fix the issue.
    All good points. With my own setup I don't normally have a problem with noise except with the odd second hand or badly pressed record, but with classical I always find it a problem. Maybe I've just bought bad classical vinyl.

    Sent from my SM-G920F using Tapatalk

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