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I have a reissue of George Szell's Tchaikovsky Symphony #4 on London, reissued by Super Analog Disk in Japan, that I bought new about 15 years ago. When I first played it, I was amazed at how bad it sounded. Not only was it dull with diminished highs, breakup distortion came out of both channels on peaks, especially in the inner grooves. It sounded like a combination of limitations in the source master tape plus a bad remastering and/or pressing. I can't remember why I didn't just return it. So I took it out the other night for another spin only to renew my disapppointment. It sure looks impressive. It's on heavy weight vinyl and packaged nicely. There's technical info on the minimal processing used during the remaster. Why does it sound so bad?
Follow Ups:
I have a Mehta/Planets on a Super Analogue Disc and it sucks also. Apparently some titles were later pressed in the US, and they were not very good. They look great, have Japanese obi, but look carefully to see if it's manufactured in Japan.
So IMO your 'new' record was someones return, who ruined it, then sent it back. They took a look, decided Hell reshrink this baby.. and you got the shaft.
(at one record show, I watched in awe and horror as a dude played an LP on a tiny portable.. As it played, I could SEE the change in the groove of the LP from shiny to duller.. That POS totally worn out stylus was instantly killing any hope of that record being playable in the future.)
Imbeciles ruin everything!
It sounds like your setup isn't capable of properly tracking this pressing.
Just pick up the cheap Decca reissue for a few bucks and compare. Decca turned out a few rare duds.
Edits: 06/03/17
That's absolutely not the case. Multiple properly set up turntables have given the same result. The distortion comes out evenly from both channels. It's not like it's right channel only sibilance.
He could be correct.
Not to be quarrelsome, but I came to the same conclusion from reading your statement about your sonic results.
I won't dispute your words,.........................................................even though this is the internet, but there was a time when some hi fi only records were cut so hot they were unplayable on some equipment. The reviewers were so happy reporting how the cannon shots in the 1812 symphony threw the needle out of the groove, as if that were a good thing. ( through my eyes, the same event would be , Me bummed because the cannon shot on my rare hi $ fi record was just destroyed forever, do to mechanical error. )
you might have one of those old hot rod records that only a reviewer could love. real world record care is one of the reasons I favor a high compliance cart. I would rather ride the records easy than hard. Some guys are more into the mechanical side and would instantly go into upgrade mode if given an "unplayable" record.
I have a handful of super analog out of japan, I dragged some home from an audio show.at about 50 bucks a copy some time ago. All played as expected, thank goodness, but there were no complicated grooves, just jazz, and I am running a modern tip shape on old shure cart, designed for" trackability:", as they called their high compliance design feature.
Moving coils low compliance, race car suspension versus street, so to speak. For some, records are disposable, as designed. Not me, i will shelve some detail rather than mis-track and destroy the groove forever.. Most selling audio stuff favor the machine over the vinyl.
Perhaps you have heard of a thing called the grado dance, to illustrate my point. in brief, good sound, tough design for vinyl contact, from the reports. You might have the same situation, more information than your cart can handle, a skateboard on cobblestone deal.
of course, I could be wrong, and there is a quality control guy over in japan trying to live down the shame of defective vinyl and a lifetime of sloth.
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