Allman Brothers at Fillmore East, which one?

I have an early pink label Capricorn, I would have to check who mastered. It is a good sounding record, despite the challenges of the recording. Just checked a piece I wrote, Dennis King and George Piros both mastered these, I have one which is a mutt, and some sides are DK in the deadwax, some GP. Both sound good. The "hot" one is usually the Monarch, more punchy in my experience. I haven't heard the Japanese pressing that CZ referred to, I assume in reaching his conclusion, he compared with the early pink label Capricorn. The challenge with these early US pressings is almost always condition. Good luck. 

Astro- I have the Classic remaster as well as an early pink label Capricorn that I compared quite a while ago. My recollection is that the Classic has more "hi-fi" attributes- detail and more open in the midrange, as you mentioned, but that the early pink label Capricorn was more cohesive, of a piece. I probably have a beige Capricorn around somewhere (unless I got rid of it). I can try to re-compare. I think some of this is listener preference and system bias- i.e., the sonic character of the mastering may better match what you like or complement the character of the system it is played on. Overall, I don't think this recording is a great sounding record, much as I love the music.  (I played the hell out of a copy back when it was originally released- have no idea where that old copy is). And these--the less stellar recordings, sonically, -- are often the records that make me search for better sounding copies. 

Astro - no disrespect intended to you by my use of the word "hi-fi" to describe the Classic. Yes, I am basing what I said on memory, but heard over my own system at the time with the copies to hand. I did, in fairness, acknowledge that some of this may not only be system dependent, but based on listener preference. For example, "soundstage" to me is an attribute-  often used by audiophiles to describe one facet of the sound. But it is only one facet, depending on your priorities and preferences. I have no monopoly on choosing what is "right" or "best"--in fact, my point is that different copies have different strengths and weaknesses.  And, I have many Classics that I bought at the time of release. Every one sounds different than the earlier "standard issue" copies (and among those, there are many differences depending on the cut, the country of origin, etc.) . But, I'm not making a blanket indictment of the Classics. To be sure, Mike Hobson had great taste and went to the limit to deliver some of the best remasters at the time.  And, it was nice to get fresh, unmolested copies of some of the more pricey collectibles for a reasonable price. But, the choice between copies/pressings/remasters is, to me, often one of preference rather than demonstrably "better" or "worse." My apologies for using a descriptor that seemed like an insult.

Astro- Happy to go back and make the comparison anew. It’s just not something I can do instantly.
PS: my system hasn’t changed that much since I made that comparison, same amps, speakers, table,cables, same brand/model of phono cartridge- just the later "better" iteration, though I did probably have a different phono stage (which change in my estimation, now makes things more involving). So, it is a fair comment about listening with the current system, rather than based on memory.

PPS: Also happy to address your comments about soundstage and its importance separately. I don’t want to derail this thread.

astro- not to belabor this, because i think at this point you are trying to take me to task for something, but the issues you present are:

1. What does the Classic remaster of this record sound like, compared to an earlier pressing, in particular a pink Capricorn that I described. This will take me time to do. If you need me to explain why, it takes a minimum of 45 minutes for my amps to warm up. We are in the midst of electrical storms here, and I pull power to my gear, so I can't just run upstairs and make the comparison in "real time." I will do so when time and circumstances permit, as I offered to do.
2. You also take issue with my comments about soundstage, in connection not only with this Allman Bros album, but in other postings I made. I said I am happy to address the topic of soundstage separately. If you are familiar with my site, just go to the about page and scroll to the bottom, where there is a link to "system notes." I pretty much summarize what my biases are, and where I think the relative importance of soundstage fits in my overall worldview.